Get a Peter Halley here.
Welcome to you Ain't Seen Nothing Yet the Movie podcast, where I chat to movie lovers about classic and beloved movies they haven't quite got around to watching until now.
In today's guest, Limo, surely you can't be serious.
I am serious, and don't call me Shirley.
Frankly, my dear, I don't give a damn.
I could have been a contender. I could have been somebody's.
It couldn't be happening right now.
We ain't seen nothing yet.
I've known Limo for about twenty years now. First met him around the Adelaide comedy scene. He was doing gigs and I think organizing gigs around the stage whilst doing Breakfast Radio a FM dominating over there. And then a gig came up on the show that I was working on before the Game, and we flew Limo in and he became such a massive part of that show that ended up running for twelve years. He's a fantastic stand
up also a fantasy broadcaster. Not only is he dominated undone A commercial airwaves, but also more recently on ABC with Sports brand Stand where he's done an amazing job. He also plays Jim in working Dogs, brilliant government, satire, utopia. But most of all, when I think of Lima, I just think of a cracking bloke. He is such great company like he's just joyful to be around. He's a
natural storyteller. He treats everyone with the utmost of respect and warmth to just flows flows from the can want to flow. I'm not sure if warm flows that the right word is on the tip of my tongue.
He will feel it in the home.
But he is just one of those kind of guys who's just a pleasure to be around and really enjoyed this chat with my Matemo.
Get my Name is Limo, and my three favorite films of all time The Blues Brothers, See the Police, No Man, We're Musicians, Pop Fiction, Den's.
Dead, Baby Dead's Dead.
And the Life of Brian Now.
You listen here is not the fut is a naughty.
But up until two nights ago, I had not seen with nail and I.
Give it a look at that look at that accident, flat spot, He's hard accidents.
They're throwing himself.
Into the road.
Plad there throwing themselves into the road escape while as idios und road darn it you haven't got a child.
That is all along the watchtower Jimmy Hendricks and you may I know this. Jimmy Hendricks's family had to sing Whitnail, and I decided to tighten the use of his songs
in movies. Discip point of these movies were becoming heavily associated with drug culture, and yes, there are plenty of drugs in Whittnail and I Drug with Your Beard, Gin and red Wine all feature pretty prominently in Bruce Robinson's nineteen eighty seven semi order biographical George Harrison produced cult classic about a pair of drunken, high unemployed actors in the sixties who go on an accidental holiday to the English countryside where things go unswimmingly Limo.
Welcome.
You ain't seen nothing yet.
I hope it is a pleasure to be with you. And thank you for finally making me watch with Nla and I after all these years.
What was it that made you choose this film? Was it the only film you haven't seen? Or what inspired you to watch this one?
There's I mean, there are a few films that I haven't seen that I have to get around to, but I chose this one for a couple of reasons. One, it regularly appears at the top of all time comedy movie lists, certainly lists that come out of the UK with nol and I. If it's not number one, it's in the top three always. And some people who I really know and like and trust love this film, namely justin Hamilton, you know well, and Ross Stevenson is also a huge fan of this film, so I felt, right,
I have to It's well regarded as a comedy. I've got some good comedy friends who love it, so I have to watch it.
And I have an embarrassing confession as well that I had not seen this film until last night. This has happened occasionally already on this podcast, which I knew it would.
This was almost for me.
The joy of doing this podcast was the rewatch, you know, and introduce other people to films that I love, classic films, but also the seat films that I hadn't seen that I've maybe put on the back burner because it's hard to find time sometimes to watch a movie from nine and eighty seven.
Yeah, it really is. And you know what I realized when I watched this two nights ago, I realized that I have actually tried to watch it a couple of times, and I've bailed out real early. I started watching it and I was like, oh, I've seen this, and then then I went out, I've tried to watch this before, and I stopped, and I've got to be honest with you, it's.
Kind of hard work. Yeah, well, let's get to whit nail and I soon.
I just want to circle back because I think it's a really interesting point and I had a similar kind of vibe and it'd be interesting to see if the film kicked in eventually for you. But I I just want to go back, circle back to your other favorite films. So this is about the tenth one of these I've recorded, and I reckon half of the people who have guessed it on this show. Blues Brothers has come up, so a great pick. We're on a mess from guard pulp fiction.
Tell us about pulp fiction. You love of pulp fiction?
I you know me, I'm sure like you, And like tens of hundreds of thousands millions of other people sat in a cinema and were just blown away by that film. It was like nothing I'd ever seen before, and to me, it redefined what a movie could deliver and how a movie could make you feel. And to me, it was the ultimate cool movie. It was there was There was not a single scene in that film, or a single moment in that film that was uninteresting or boring or
not incredibly freaking cool. And the music as well. I'd heard great soundtracks before. I remember loving the Big Chill soundtrack. That was one I listened to a lot when I was at Uni. But this, the music in this film was amazing, and then I was interested to find out later hearing Tarantino I talk about the film, he found the songs first, and the movies the movie came out of the music.
It's one of the things I love about Tarantino.
I love filmmakers and then people, you know, television makers who take music seriously. And I'm not just talking score, I'm talking soundtrack, you know, because it was a while, it was a while. For a while, soundtracks were a bit of a dirty thing. You know, some people wouldn't like the idea of putting soundtracks, you know. It was a bit of a scene as a bit cheap. Yeah, But the way Tarantino has almost I guess, redefined it has been staggering.
And you know. I mean there were up until then.
There are you know, a handful of movies that you might have the cassette of, you know, or your sister may have the Dirty Dancing cassette that was a pretty great soundtrack and a Ghost I remember being having a few bangers on it. But we had great songs. But they were introduced you to all these, you know, songs that maybe you'd heard your dad play and you kind of go, oh, maybe dad was under something.
Maybe dad was cool. You're right though that almost some of those genres of music were completely new to me. Yeah at the time, because I was I was a South Australian kid who grew up on a farm and had lived in Adelaide. That's all I've done in my life up until that point. So there were loads of really cool songs. And one of my favorite stories is that the scene with with Z and the Gimp in The Young Chop, Tarantino initially wanted the music he wanted
for that scene. Down there was my Sharona by the Knack and there were four members of the NAT and one of them was a really committed Christian and he said, I don't want our song to be played over which is essentially a rape scene down in that cellar. So they said no and he ended up using it busting circles or something. Anyway, whatever the song was they used.
But how would you be one of the other three members of the nat game because at the time I probably went here whatever and that it's the highest selling soundtrack of all time. Do you owe us? I'm gonna medevoo on your.
And your third or film which also has featured the Life of Brian, And there is a connection between these two films. It was both produced by George Harritt handmade films George Harrison saved. Basically, Life Brian doesn't get made without George Harrison. But tell us about Life of Brois. Were you raised Catholic? Are you Catholic?
Yes? Yeah, yeah, yeah, absolutely, one hundred percent. I was raised in a very committed Catholic household.
So what what did like Brian mean in the Lehman house?
Uh? You know what, It was never really discussed in the house in terms of its commentary on the church. Funnily enough, my dad took me to set it at the driving in Loxton in Countries out Australia, and Dad thought it was hilarious. He laughed from start to finish, So I don't know if that was him secretly telling me through his laughter that he thought all this Catholic was bullshit. But I when I first saw it, I was about nine or ten, and it was just stupid
and funny to me. Then I didn't see any made any of the political meaning to it or the religious meaning to it. That only came clear to me years later when I watched it for the thirtieth fortieth time.
Yeah, I was with the same I kind of.
I was raised Catholic, and it just for me introduced that you could be a little bit silly with religion with that it necessarily demeaning what it means to yourself or the people around you, you know, like my my grandparents were, you know, very committed. For me, it just meant that you didn't you could have fun with religion, and it didn't necessarily have to mean that, you know, be offensive to people around you, although it was really
considered offensive at the time. When we interviewed Eric Idol on the project recently I did I went back and watched old clips of Life of Brian and some of the interviews they had done last Stumbledore on one with John Please and Michael Palin and they're talking to two like archbishops you know of the time it was, and it goes about forty minutes or so, and I was just gripped by it, like then, this is basically the week it was released, and having you know, this discussion
about life of Brian with these two guys who just were you know, offended, and they it was really funny because often in the interview they were saying, this is a tawdry piece that we won't Yeah, people won't remember this in six weeks alone, you know, six years, and knowing it's probably become the comedy you know, I would probably say the greatest comedy film of all time.
Yeah, it's it's it's a lovely interview to watch in hindsight.
And our guest to you as a march and migration Mervin Stockwood, the Bishop of Salik'd like to ask you, Bishop first, what was your review of the film?
We penncefull I was big there to think that it was we can't get rid of Jesus in Europe today Esco Robaina, who I think thought most Communists that they're going to get rid of religion very quickly find that, as he said, it's going to hang around with us for.
Quite a long time.
And certainly when you think of what's the god the greatest attractions on the stage, both films and I am enacting ever since Jesus greatest Superstar, that's what's drawing the crowds. I mean, Jesus is the most disturbing influence. You can't get away from him. You may worship him, respect him, commit your on act him, or just ridicule him and lampo on him, but you simply can't get rid of him.
I would love to watch that interview, and particularly with the context of what we know now about what the Catholic Church was up to in the seventies and they were critical of these guys making a film, but also also they couldn't find funding for the film for this very reason, which is why George Harrison stepped in. And there's that great line where George Harrison read the script and said, I have to see this film, so I'm
going to fund it. And I think it was Terry Gilliam said it's the most expensive movie ticket ever because it costs four million quid.
Because you know, at the end of Life of Brian when they're on the cris fixes and there it kind of pans out to like a massive wide shot and you can still hear him on the cross kind of saying this will never work, this will never work. And I forget the specific lines, but it's actually in reference that there was a particular executive at I think it was so and that's basically talking directly to him giving a big buck you on the way.
Out, big plays for money, I earnie, I said, I never make that money. So that's that's a movie. That's a movie version of Mark Chuck o' williams holding his tie up like this, yelling Alan Scott you were wrong. After Paul won the flag.
Finally somebody has made Life of Brian.
The connection is there, but that talking about the comment on religion. There's just so many sweet moments in the film, but one of my absolute and this really connects with me. And I think about this a lot, especially with in things in areas like art, where artists always encourage through that music or their art people to be individuals, right, and where they all gather around Brian in Life of Brian and they're asking him what they should do next,
and he says, you're all individuals. You don't need to follow me, do your own thing, and they all go, yes, we are individuals, and I just it reminds me of the big day out and watching Rage against the Machine and then singing, fuck you, I won't do what you tell me, while ten thousand people are doing exactly what rage against the machine and telling them to do.
The connection is there.
So George Harrison produced both Life of Bryant and Whitnay and I, and so good on him for supporting comedians out of it.
Just how did you watch the film? You're cozy up? You did?
You know?
Sometimes and I've asked make to do this podcast.
They've basically watched it on a you know, on a night padding bed, or they've they've set it up their home cinema.
How did you watch it?
I was in the land room at home, so just nicely snuggled up on the couch. I've got my couch, my wife has her couch, and kel who you know, of course, and we got it up on SBS on demand and we decided to have our own little movie night. Only one of us was there at the end though. Pete, which will form part of my review of the film.
That's interesting because I watched it last night on SBS Underman Yeah plug it, and my wife Bridge was, you know, she often goes about early you know, she enjoys an early night. And I said, are you want to watch this film with me? Thinking she'll say no, and she goes, yeah, I'll give it. I'll give it a go, and she lasted minutes.
Kel lasted a little bit longer because I had lured her in with the idea of this podcast, so I thought i'd be I said to her, I'm going to talk to Pete about it. Be nice if we could talk about it together before I talked to Pete. So so she had a little bit of skin in the game there, so that kept her connected to it for a little bit longer. But she lasted about twenty five minutes. I reckon and she just said, I just she said, I can't take these two self obsessed, fucking morons any longer.
And the bet.
Yeah.
Well, Bridge has a particular dislike as well of the London gray but she really really these English TV programs or movies that are just gray and dull as far as the landscape go.
You know, she she loves the office.
But even when she was got in the office, the original office, she would go, Jesus, London's gray and miserable, isn't it.
That part of London?
There is a real there is a real bleakness to London. Yeah, you think like all those classic Yeah, even even Faulty Towers, there's kind of there's a bleakness to the setting, you know, on the butters. I'm trying to think back of those old English sitcoms down but yeah, there's a real whereas the Americans know how to inject the popper color.
Yeah, they've most mostly they've moved on. I think you know, Richard Curtis helped move them under the show like a more vibrant London. But it is, it is certainly a miserable It's it's I should point out the film debuts of Richard E. Grant and Paul McGann tell you that, and I also tell you that both. I must have you Normals for your doctor who fan. I'm not on a bike.
I don't watch it.
Yeah, I'm not. I'm not much of a door. I was as a kid. I loved it as a kid, but I just haven't gone back to it for years.
Well they both end up being doctors. Paul mcgah was doctor number eight and Richard E. Grant was doctor number nine.
I had no dear Richard E. Grant was a doctor.
Well there, yeah, there you go. So okay, So it starts off and it's leek. How did you what did you like it?
You know, I watched this film with way too much expectation. As I said, it's always rated as one of the top comedies. Ever, it's I almost feel it's like a It's a Citizen Kane, where I get annoyed by the predictability of it being number one on all these lists, and I just, you know what, it's a comedy, and it just didn't make me laugh heaps like it really, it really didn't. And I found it difficult to really
like the character as much. You know, you had this both kind of raging alcoholics who were just useless on every single front, and I just didn't see them as having many redeeming qualities, and I struggled to warm to either of them much through the film.
It's really interesting that often the conversations I've had on this podcast, we will look at you know, the even like you know, the honor amongst criminals, for example, even like the horrific characters, and we're you know, we've done some films, we've covered those things, even like I said, like a clockwork orange like to see, there's got to be a redeeming feature.
Yes, there might be in James Dean in where we had a.
Cause he you know, he's in the police station at the start and he's being on drump and he puts a coat around a young kid and that's just okay. There's an act of kindness that you know that he's you know, he's got a soul. And there's just there's nothing.
About these characters.
And this is almost not a criticism. This is almost a compliment that the fact that this has it is a classic. You know, whether we liked it or loved it or not, it is a classic. And it's it's two characters that you don't necessarily warm to. There's no there's no features about them that you make you warm to them particularly.
Uh. And then there's no plot. There's no there's no plot.
I was watching it going thinking to myself, what is the point of this film? It's understand why anything's happening.
It's basically a couple of drunk you're high actors who grab a river tree change and and like you think of the most shows, you know, movies, your characters will have a want and a need, and that they can be two different things. Often they are two different things. They start off with a want and then they find
out their need is something different. They've got a purpose of motivation, you know, And like like Marlon and finding nem A crosses the oceans that these guys you're not as you're really besides just getting out of their awful situation. You're not sure they're leaving or what they're trying to achieve.
Oh exactly. And I found myself, yeah, as I said, wondering, what is the point. I don't get why they're doing anything. I don't get what I'm supposed to be engaged with in this story. And then later I kind of when I read a little bit about the film and it's popularity, I get that it's set against this dreary English backdrop, so they're trying to highlight the fact that there's two England's.
Basically there's the England that these guys live in. And I guess that is that perhaps if you lived in that England, you'd find a connection point in that with these characters and if you understood that England. But yeah, everywhere they go, there's just they don't offer anything to any show of warmth on any level. So I was trying to think about moo movies that this is similar
to to help me try and understand it. So I'm going to give you three movies, okay, and I want you to tell me which one you think is most similar. Two with Narla and I all three American films leaving Las Vegas. And I say that because Nicholas Cage's character tried to drink himself to death, and I feel like Richide with Narola is trying to drink himself to death.
Sideways, I love Sideways, one of my favorite films, which is.
A great film. So you have the two guys go away together, yep, and then at the end they realize they shouldn't be together. Yeah, right, which is kind of a you know, loose connection to with Nayla and I. And the other one is Fear and Loathing in Las Vegas.
Right, Well, I would say Fear and Loathing in Las Vegas, which I've only seen the ones again. I found the bit pointless body pointless. I think what they're trying to do is survive, you know. I think that's what these characters are really trying to do. That that's there, that's there. You know, they're they're they're freezing their houses off in their fact, they've got nothing to eat. They're drinking, you know, a light of fluid. The line don't make you drink that.
Was that was a funny line. I'd den'tmand to have some booze. I wouldn't drink that. Why not because I don't advise it. Even the wankers on the side wouldn't think.
That that's worse than myth nonsense.
This is a far superior drink to myths. Wankers don't drink it because they can't afford it. H we've got him, what's in your tool box and we have nothing. You've got anti freeze, you fool. You should never mix you drinks.
I did love with the other already have the cigarette and led to gather around the cigarette.
I thought that I thought there were some great lines, and we'll come back to some of the lines soon. But to get back to your point, I think Sideways has more of a.
Purpose. And the thing that I love about Sideways compared.
To Whitnaal and I is that Paul Gimati, the comparison we can make of them both Paul Giamati often ringing his agent he's got this, he's waiting for word on his book, and Whitdale and mar Wood is his name is his creditors as and I in the credits, but his name is actually mar Woods. It's seen upside down on an envelope addressed to him, and I only know that because I researched it, so we're referred to him as Marwood. As Paul McGann's character that they're waiting to
find out if they've got any work. The thing that's interesting about Another Night, we don't know if they're any good. Having regeeming features. You could see a temptation to have, you know, do a really good audition, but then at the start of the movie and then told, nah, you're not quite right. You know, these guys are good, that we're batting for these guys because they're good, but that opportunity we're not.
We're not given any of that, although though we are.
But oddly it's the final scene in the film when with Now perfectly recites a Hamlet and does it and does it beautifully and it's a it's the perfect I can't remember exactly what the line is. It's perfect for the film and for him, and then he walks off. So that's the that's the moment where you go, oh, ship, okay, here's you can But it's almost like it's too late. Now, guys, you.
Can tell us to start listen like the people who might love with Now and they're listening to this and this is not These are the two blows responding to the film that we watched for the first time two nights ago.
So we're not we're not telling anyone how to suck eggs or the Tampa with a classic.
But I wonder if if you had have started with to address our concerns in an audition trying to recite that monologue and kind of not quite nailing it or forgetting it, and then at the end you come back to it and he actually nails it. I think that would have been kind of really powerful. I think it was a beautiful way to end the film, and I must if you know. But in the book is based on a book by Brice Robinson, who wrote and direct the movie.
He goes he's got a different ending.
He does that, he does the speech and then goes back to his apartment by himself, and he I think lights cigarette, pulls himself a whiskey, grabs a.
Gun and blows his brain. So I may I must London get really making the book.
I'm glad they didn't roll with that in the film. That would have really me over the edge if he'd blowed his brains out at the end. Although perhaps Pete to play Devil's advocate, it's clear that he's very smart in the film. Perhaps that is a clue to the fact that he's or to the argument that he's good what he does.
Maybe intelligence is different yeah to talent. And I just I just found myself wanting to know, are these guys actually any good at at acting? Are they living in a dream world? Or are they unlucky?
You know?
And I thought that would have been something to potentially play with. Interesting fact about Richard E. Grant, he is obviously playing an alcoholic in this. I thought he did a really good job of the drunk actor. Have you ever drunk actor?
No?
I haven't.
I've drunk voiced I did ree Reese Darby got drunk and did drunk history, and as part of it, he was very far up story. He did a Mexican race caller, so I had to voice drunk Rece Derby, so calling Farlap in a race in Mexico. Yeah, so drunk res Derby doing a Mexican accent. That's what I've done.
That's great. It's tougher than people would suspect. And Richard E.
Grant is a Teachotel didn't. I don't think he drinks anymore, but well, but he certainly that stage he had never drunk, and so he had had The director made him have a like a pint of vodka just to give him a.
Chemical memory. He said he drunk. Turns out that Richard E. Grant's allergic to alcohol.
And really, I said, well, he did do a very good job of acting drunk. And another thing you've just reminded me that turned my wife off is the relentless smoking. She said she found it really hard to watch basically chain smoking for the whole night, where she left after twenty five minutes, but they changed smoked pretty much for the entire film.
Is that is this Kale smoke or is a nex smoker.
No, she's never smoked and she's not a smoking I just found it hard to watch, and I still have the occasional dart and even I looked at it and went, oh, that's just just someone. Can we go for two scenes without a cigarette?
It was really wearing me down. That's interesting. I'll tell you what.
Let's talk about some of the lines because this movie. What I knew about this movie coming into it, there was it was very quotable. The people loved particular lines and and you know scenes in the film were there lines that, Yeah, ou.
There's a few I liked. I can't get my boots on when they're hot. I mean that might me. That did make me smile. That's that's pretty funny.
Was was very funny. When I just placed the chicken on the little seat, What are you supposed to do with that?
He did?
Is alive?
Yeah, I know that you've got to kill it the fire after on fuel collector. Yeah, I know that. I got the lugs in hut looking at it. It doesn't I'm starving. I can make a die. You've got a throat that I think you should strangle it instantly. In case. It's not strying to make friends with all right, get hold of it, you hold it down, strangled. I can't. It's dreadful, beating eyes this day. It's a bloody chicken.
Just think of it, bacon across its back. Quite do this if you love to get its gut side it.
There is something I guess relatable about their general hopelessness these two. You know that about them running away from the guy in that bar.
I have a heart condition. I have a heart condition.
You hit me.
It's murdered.
I am murdered, A perious.
My wife is having listen.
I don't know what my acquaintance did to upset you, but it's nothing to do with me. I suggest you both go outside and discuss it sensibly in the street.
Ah okay, so you go. Okay, these are not these are not men's men. Okay. These And then they get to the farm and they can't do a goddamn thing. They cannot They can't light a fire, they can't look a chicken. They can't even go shopping and keep the shopping in the freaking bag. The scared of a cow. There's not there's just no redeeming feature at any point with these guys so so, and the yeah, the boots being in the oven and being hot, and the chicken my thumbs have gone weird.
That was weird. Yeah, that comes up as a bit of a classic line of people love you have weir.
I'm in the middle of a buddy those and this is I did really like this line. Those are the kind of windows faces look in at those old windows, and I thought, yeah, they are the kind of windows that people stare through.
That's yeah, they're great.
My favorite is the one I've mentioned in the in the in the start is We're gone on holiday by mistake.
I thought it was a yes, are you the farmer? With this We've gone holiday by mistake? When in this cottage here are you the farmer?
Stopped saying that with passing the fucking farmer?
And when I mentioned earlier as I'll never mix your drinks.
And by the way, I should actually say what I got to the point where I liked this film, like I found the early the first twenty minutes tough, but what it felt.
You know, when there's a scene when they get up to the farm and they go you see.
Mar would go for a walk, and it feels like the first space you get in that film, and it's about twenty minutes in and actually I was breathing in the country air because you had the really shitty apartment in Great London, and I thought, oh, this is actually quite nice. And then finally you go to a house and the woman comes to the door and she's just as nasty and mean as everyone back in London say, okay, we haven't completely that life behind.
I did. I have the same thought place when I saw him walking on his own I had a real sense of relief. I was like, ah, right, okay, now this is what you this is what you wanted, this is why you went away.
Absolutely, I think the English are so good. I think that the best by far at putting cerebral, the cerebral alongside the absurd and the filthy. And I think Money Python do a bit like there's a respect for silliness and we get away from that in uh, you know, reviewing comedy or looking at comedy, or embracing comedy or taking comedy in.
The silliness is so important and even the filthy.
I mean, this is a movie that you know, talks and makes you know, whimsy comments about you know, Chekhov's The Seagull and then has lines like I feel like a pig shat in my head.
That's funny, that's fine, that's a great line. That is a great line, and I may, I may will use that line. You can see, you can, I mean, which is typical of a cult film. There's loads of great lines that you know that groups of friends are regularly reciting these lines to each other and have done for years. So, Pete, if we lived in London when this film came out, I just know that we probably would have loved it, and we and our friends would all be reciting lines
from the film on a regular basis. Still to this day.
Absolutely, I can absolutely see why it's a classic. You know, you get to the point when you know you're watching films that are much loved and so yeah, sometimes you kind of go, this wasn't for me, But you know,
I think you appreciate why they're a classic. And and I've got to say, when I watch The Clockwork Orange with Christopher Pane, the first twenty or so minutes, again we're tough, you know, and then it starts the branch out and you're going to go, Okay, now, I understand that the themes start revealing themselves and you start thinking
about when this was made. And I think I had a similar thing with Whitnail, and I just I found the first fifteen twenty minutes pretty tough, but once I got to the country, I felt, no.
This is good, and I think I'll watch it again and a couple of whiskeys. I must say I got halfway through it.
I yeah, I didn't feel like drinking a whiskey, but I think I will go back and watch it again now that I've read a little bit about it as well, because you think about that. You mentioned the timing nineteen eighty seven. This is Thatcher's UK back then, and a lot of people during that period were feeling like they were slipping through the cracks and there was nowhere for them. And then you look a look at this film. There's a great imagery of them driving off with a wrecking ball,
wrecking ball knocking a building down behind them. Yeah, that's almost like saying, yeah, this you knew of, this place isn't for you anymore, and this is where and developers are going to come in and you won't be able to afford what's going up here, and then they get to the country and everyone in the country hates them.
Yeah, yeah, where do we belong?
Where's our place? Where do we fit into all of this?
That's great.
And then there's there's the Uncle Monty played by Griffiths, who has just the most incredible face. Really, he's only thirty nine in this movie.
That is unbelievable. He looks he looks sixty.
So if you don't know the name Richard Griffin, you know him. He's in the Harry Potter films.
He's lots of stuff, and he's such a great presence, and he's often over the top and in a really lovely way. And so this character was based on a French director that Bruce Robinson worked with when he made a production of and Juliet that kept on kind of coming onto him, and a lot of the lines in the movie are based almost verbatim from this French director.
How did you did you enjoy Uncle Monty? Did you get for you?
It?
Did?
It did get a bit uncomfortable for me, Uncle Monty. Look, I was angry at with now for setting him up.
Yeah.
The starts like putting Uncle Monty onto onto him just to get him out of his own hair. I mean that really made me. Thank God, not only do you not have any redeeming features, you have characteristics that make me actively not like you about with Nail, And then I just I just wanted Marwood to properly tell him to get stuff that was annoying me that he kept.
It's almost a common English politeness, isn't it, Like even when you were yeah, yeah, they've been come on to buy this, you know, like, let's face it, pretty filthy kind of dude that you still can't just say fuck off, mate.
I'm to an extent I felt like Uncle Monty. There were times where I laughed, and there were times when I went, oh, it's a real rollercoaster, like the scene where with Nail goes and sleeps in his own bed and then my uncle Monty locks the door and says, you know, trying to the very lightest, trying to seduce him. Really it's I just literally two nights ago finished Rodan Pharaoh's book Catching Pill, and I know you're bad as well.
I was in a headspains and going, oh, yes, this isn't right, this isn't.
And he also had Marwood had on the classic massive white Bob catches that I think were the only underpan on sale for ever until about the mid nine nineties.
I don't mean the vicdom blind, but I already had two experiences downstairs with Uncle Monty.
I don't think I'll be sleeping in the andes. I think I would have been jeans.
Yes, yes, yeah, but again it it just further highlighted how defenseless and futile Marwood's existence was.
I had to come.
I tried not to.
Oh, I tried not to, said Monty, something I have to explain to you.
You needn't explain. He's told me everything. He told me that first day you came to Chelsea. You told me about your arrest on the top of the Court Road. He told me about your problems, how you feel, your desires, problems, problems. You are a toilet trader. He told me that you mustn't blame him, You mustn't blame yourself. I know how you feel, how difficult it is, and that's why you mustn't hold back. Let it ruin your youth, as I nearly did over Eric.
It's like a tide.
Give into it.
It.
It's society's crime, not ours. I'm not on a sexual Yes you are, you are. He couldn't, he couldn't nothing, he could make nothing work, Nothing could ever work for him. And the one time that you found yourself kind of cheering for them, and I can see, I can imagine this would be a very loved scene in the UK because it highlights the class differences. Is when they went
into that cafe with all those up themselves. People were all dressed very nicely and they got kicked out of the cafe and they were basically telling everyone to get stuff, and they called the police on them, and I thought
I could see people would love that scene. Yes, they'd be surrounded lots of people in who enjoyed this film would be surrounded by those we're not surrounded by, but they have interactions with those types of people and they'd want to tell them the funk off, but they wouldn't, So that would be a really enjoyable scene.
And what I enjoyed about that scene was was probably the only, possibly the only time you saw Whitnail just genuinely just crack up laughing like this seemed like he was having a really good time, which I when I over enjoyed that, And then I was reading a bit about the film afterwards, and that was he was actually a corpse in he couldn't literally Grant couldn't hold us straight.
There were dogs barking off in the distance and it was making him laugh and the director so but I thought it was a really lovely moment because you know, again these little moments we can get, like, you know, make a character and deeming, they're they're few and far between with wit nail, But that was a nice That was a nice moment.
It was great and you were talking about lines in the film. I did think Kell and I did so this is when Kurl was still watching it at the start. It was interesting to watch that opening sort of fifteen minutes in the apartment whilst having been in isolation ourselves, because that was like that version of living in isolation in that apartment. It was like it was like isolation hell in that apartment.
It's one of the points I wanted to make and it's it's it's a little trick of art design, which I think is a really cool thing to look out for, and I think people watching films would take this in subconsciously absolutely, and that's what it's designed to do. But I'm going to point of that, because I think it's almost a metaphor for the environment in COVID nineteen. So you see the apartment with nails and Marlbor's apartment at
the start, and it is an absolute hellhole. And then they go away and they they have you know, it's not a great experiences face, it goes pretty much bong shaped.
But they come back.
I mean, you know, they've grown own a tiny bit as people, and all of a sudden the apartment this seems nicer, it seems seems yeah, and no reason they would have gone home and cleaned up.
But it's just that nice little thing that art departments do.
Are this going You see it often and you may not take it in I think so constantly you would where their world has just gotten a little bit better, a little bit better. I think it's I think it's the metaphor for the environment COVID nineteen is if you take people, you know, out of the out of the environment, the environment might just clean itself up a little.
Are you You know what You've made a very good point. Well, the environment is cleaning itself up, an't there dolphins swimming around Venice at the.
Moment and.
There's dolphins in the Yarra, there's got the tigers. Are no lines sleeping on the road to Kruger National Park anyway. But yeah, you're right, I didn't. I didn't. I didn't take that in watching it. I was too distracted by the drug dealer in the house and his mate, who was I don't know, trying to make some sort of connection with that globe he was rubbing again again.
How time time has changes certainly some some certain racial terms that we probably wouldn't use.
Yeah, yeah, yeah, very foolish works man.
Danny's an interesting character in a way because it makes me like, so often when you are scripting either a movie or TV series, you are I feel sometimes I haven't worked overseas, I've only worked in Australia for as you know, writing, but sometimes we overthink how to introduce characters, and I think Danny's just there. We don't know how they really know Danny. Yeah, we don't know if they like Danny, are they friends or you know, it seems like they're put upon by Danny. But I think the
character it kind of works. He's funny, he's got some you know, space out theories. Yeah, but others and the hair.
And oh yeah, hair is hair is how aliens can get messages into you.
Yes, yeah, that's that's one of these theories that there's the first things I think he says when we when we're meeting him.
So, so you think you will watch it again?
You know now that I get this, You know, now that I've read more about it and I understand a bit more about the commentary on politics and the commentary on class, I might go back and have a look at it again. And now that I've got one viewing out of the way, there's a lot of expectation on that viewing, which is why I always say that I love seeing My favorite way to see a film is to know nothing about it, but not even having seen the trailer, in fact, not even really knowing the genre.
I love just to go bang and everything is a fresh experience. Whereas this, I'd heard too much about it too many years, so the expectation was too high. But I think I will go back and watch it again. And Danny the drug Dealer, doesn't he have the great libraries refers to the sixties as the greatest decade ever. Yeah, and it's it's late in nineteen sixty nine, So you know, that's over the decade. Ever, that's nearly over. We're about to move into some really bleak period in our lives.
And the other way to look at that is to go, he goes, it's the greatest decade ever and the lives are fucking terrible. So gee, how would you be going if it was the worst decade ever?
So we know, and I I think we've covered that has been. Has it been in a thing you have seen recently that kind of has whether it be on TV or or the movies that they've blown your way?
Umm, now you're only talking about movies.
Yeah, it could be TV. Well, you know, you know what I mean.
I'm watching the Michael Jordan documentary. That's just yeah, that's really blowing my mind. I've watched in while in lockdown. I've watched season three of Ozark's, which I love, but which I love, but I feel like it's Breaking Bad light, you know that's.
I watched the first episode or two of those actually, you know, a year or two ago, and and I thought the same thing. I'm not even through the entire series of Breaking Bad yet, but I should watch Breaking Bad for a start. Ozark because I think I think I'm watching an inferior version.
Yeah yeah, yeah, but it's but it's good, but it's no, it's no Breaking Bad. And speaking of Breaking Bad, I'm watching Better Call, Saul. I've watched the first three and a half seasons, right a Better Call, which I'm loving. It's it's got heart and it's funny and it's you know, just just beautiful characters and it's cool as well, and you can see the connection with Breaking Bad. I'm really enjoying that.
Well, Breaking Bad certainly got better when Saul came into that world. Yeah, yeah, and just befroreably let you go aften ask people what your first film you saw was? What was at least your first memory of a film you saw.
Yeah, I reckon. So there's two answers to this. Because I got up in country South Australia, we only had two television channels, and so movies that felt like movies were repeated a lot. So I remember, specifically, I don't know why, watching The Bridge over the River Koi, which got replayed a lot for some reason, and also the sound of music as well. So they were just movies I remember from my younger childhood but going to the drive in with dad. Dad, the one that took us
to the drive in. I remember seeing Rocky at the driving with Dad and that was a real and I I loved it so hard. So that's a really clear, great memory for me. It's better than my memory about six years later of seeing as a thirteen year old boy seeing Flash Dance at the cinema with my mum. Now, that is a sexy film and a thirteen year old boy doesn't need to be said it with his mom.
I reckon, what your dad did? You to see Rocky? He would have felt like Dad of the year.
Yeah, and.
As you may have thought, I reckon, I've messed up here.
It was a very quiet walk out of the cinema and car trip home after that.
Yeah, So that was Movies were a big part of the Lehman household, like growing up.
Not really to be honest, because because we only had the twoelevision channels and we got a video recorder I think in nineteen eighty two, but the vi closest video store was a one hour drive away and we don't go to Loxton once every two weeks, so when we hired a video we had to have it for two weeks,
so we had one. We'd watch it heaps. So I remember when we first The first three movies we got when we got our beout chess recorder were Class of nineteen eighty four, which is a really violent sort of school film, Young Doctors in Love which is hilarious, and Life of Brian.
Wow.
They so those three films I remember being so excited. They were the first films we watched on our video recorder.
I remember the first three films we got.
And this was from a friend who had a video for years and basically was a basic video pirate, and they they had this massive cabinet. I used to love going over the house and the scene, the titles and these were just like very neat with the way they wrote it. And so they said, I just take a few videos, and we took Return of the Jedi. And this is like a little bit later on, so this is about eighty seven or so. Yeah, we got Return
of the Jedi. We got mask Eric Stoles, yes, beautiful film we share, and a film called Dusty which was like almost a prototype for Red Dog. It was a strange film, a red copy which it was pretty good.
Actually.
Mamphis no River might have been in there as well, which we'd already seen. But the damn any change you got the watch of MAMSONO River.
You took it.
Yeah, you took it absolutely so.
Yeah.
So the films I watched as a kid, I watched a lot. Yes, we had had we had them for a couple of weeks before we took them back to the video store.
And now you have a son, laddie, how to movies play a role in your relationship?
If at all that they played, they play a babysitting role. So when he likes one, when that is a major win. So he so films he has, He's three and a half films he's loved so far, Nemo and all the other films that come with it, Toy Story one, two, three, four, Uh, the recent Cat and the Hat with Mike Myers. He's really into that for whatever reason. And then it's all just things like you know, poor Patrol, Shawn, the Sheet, Peter Rabbit, et cetera. Curls yelling one out to me. Monsters inc A.
University was pretty too.
Actually, I don't think he's seen my dad might if they get him onto Monsters University. And and he's and my wife is really into Star Wars, which.
You might already know that, God bless yes.
And so we've got all these Star Wars bath toys. So he keeps banging on about seeing Star Wars. So he's watched the beginning of Star Wars quite a few times, but it starts getting a bit much for it.
Yeah, yeah, he might want it might be another year or so away, but yeah, start work is pretty innocent, like the only thing that I would want about Star Wars. But if he's already, if he's seen the start of it,
he may have already seen it. The scariest thing when I watched Star Wars at first was Darth Vader entering the you know with the Stormtroopers and the sound of his you know, the breathing, and I found out and then outside of that, I don't think Embi Strikes Back is darker, but I reckon Star Wars.
You might be able to get away with it reasonly soon. Yeah.
I like.
My favorite thing to come out of it is if I'm playing with him and we're doing whatever. Let's say there was yesterday we had just two drumsticks and we were pretending to fight monsters, he will just randomly out of nowhere. He'll grab a drumstick and he would go Daddy Darth Vader, and he'll jump up like he's a
Stormtrooper and hold the drumstick like it's a gun. And then I'll have to do the opposite and stand opposite him and hold my drumstick like it's a gun, and we pretend Darth Vader walks through in between us.
That is awesome.
Yeah, So that's but when movies really connected for me. I went to boarding school. We used to get one movie every Saturday night that all the borders could come and watch. And the one the one I really remember, watching His Trading Places that I love out of films
we watched there. But when films went to the next level for me is when I went to UNI and I was at a residential college, and me and my group of friends were just in love with all of the Monty Python film so we used to watch them over and over and over, and we knew every line from every film, and we would go out and we were terrible company for anyone who was in us because we would just recite the lines over and over and over again and do the voices and everything else.
They given me my first erection. Yes, the Meaning of Life.
Yeah, the sex education, yes, yes, you know, with his wife in front of the classroom.
I just remember thinking, why is why are my pants feeling funny?
It's a really, it's a really it's kind of hard to watch, but very that one. It's funny. That film The Meaning of Life, for some reason hasn't ever quite got the same love that Quest for the Holy Grail and Life of Brian have got.
But it's just I prefer it more than Holy Grail, to be honest. And maybe because I watched it more, maybe because it just random have it on tape. We taped it off the television and we end up watching that more than Holy Grail.
But I I really, I really like it. I think it's I mean, it's got the restaurant scene with the you know, the vomit, and that's which is.
Just one of the great just see that that line just another way for I still say that line to this day. Right if I'm out to dinner with friends, or even if I'm at home with kel and She'll go on full and I go we just a with her, just you know, there's there's a hand you know, there's a handful of movie lines. It's just stick with it. There are on a high rotation through your whole life, and that's one one of them. For me and John Clice,
who I'm sure you've met. You've met John Plice, right, you would have.
I interviewed him recently this last year, like last year, so.
I interviewed him on the project. So it must have been a night that you went on. And I was talking to him in the green room before the show and I said to him, I mean, I just shake my head at myself when I think about this. We're talking about month, we're talking about Faulty Towers, which, let's be honest, is one of the most beautifully crafted pieces of comedy ever. And he spent him and Penny Cook spent years on these scripts, years and they are watertight.
And this goes to Sheldon lovely bloke he is. I said to him, and I can't even remember what which episode it was, but I said to him, Hey, you know the such and such episode. I always thought it would have been great if this character had done this right. Can you believe if I said that?
Can you believe it?
Right? And he goes and he laughs and says, oh, what a great idea. I wish i'd thought of that, and then I thought about it later on. I thought, what a sweet, beautiful man when he when he really should have turned around and said, you're you're telling me that the greatest comedy ever has got a few holes in it?
Is that what you want?
Is that what you're me?
And yeah, George Harrison's number, I've got a few.
Yeah, unbelievable.
Thank you so much for chatting movies and now night and taking the effort to watch the film. I notice is the podcast it asks a little bit more than just rocking up. Well, I'm glad you know that you may watch it again. And I'm glad you finally said me go back to Russ Stevenson and Justin hab On and say, you know.
Yes, I think appropriately with Nola and I could be like a fine wine. It will improve in my mind with time, and I'll go back to it again now that I understand some of the themes and characters a.
Little bit better.
So absolutely so thanks for putting me onto it, and thanks for making me watch the whole thing, because if I didn't have the pressure and expectation of this podcast, I may well have bailed on it again.
Wow, job done, Thank you so much, and and we'll catch you around.
Thank you mate.
I have a lad wherefore I know not lost all my mirth, And indeed it goes so heavily with my disposition that this goodly frame there seems to me a step promen True, it's the.
Most excellent canner heavy look you it's brave or hay fermament. This majestical frajet with golden far Why it'd appear it's nothing to me but a far and pestilent congregation of vapor us. What a piece of work as a man, How noble in reason, how infinite and faculties, How like an angel and apprehension?
How like a god?
The beauty of the world, pagan of animals?
Yet to me, what is this quintessence of dust man?
The lights?
Not me, no nor women neither No women know.
So there you go.
That's another episode of you Ain't seen Nothing yet in the can That reminded me of.
The episode where I chatted the Regil core. But about Castaway. I really enjoyed Castaway. Rachel was less infused, And then the more we spoke about it, the more she I think enjoyed in hindsight Wknail Nafe and Lean myself was a bit like that, but both of us were kind of like talking each other around a bit on that. So I look forward to to watching it again. Thank you to everyone who has helped this podcast together. Derek Myers from Casways Studios dot com, my podcast manager. You've
done a great job, Derek. We're doing a great job. Dan Movies dot com dot Au, Jimmy and Tom at Circustry Sounds, and everyone who has just reached out to say how much they're enjoying the podcast. I've just got a couple of letters to just read parts of the first one is from Lindsey Keipwait, and she contacted us at Yasney Podcast dot com Yasney Podcast dot com, and Lindsay says, hey, Pete, I really enjoyed the podcast.
I watched the movies before. I listen to it fun right now when I need it, when we need it. I'm a fellow.
Victorian, and yes, hello, particularly to the Victorians in a pretty hard lockdown.
Numbers look pretty good today, so hopefully we'll be out soon.
Lindsay goes under say, I don't expect every podcast to be a feminist deconstruction, but discussing Casablanca as problematic without mentioning that Bogart walks off at the end, all ready to become BFF for the serial rapist Captain Renault, was pretty gross.
The racial issues didn't get to mention either.
Bergmann refers to it to the fully grown man Sam as a boy until she recognizes him.
I hope that's helpful feedback.
I'll still listen, but I think it makes it more interesting when you discuss the questions that are raised when you view an old movie with today's eyes. I hope you're your family. Well, miss you are the best. Lindsay, Thank you, Lindsay. I tell you what I love about your email. We are so used these days when people have a gripe or an issue they want to raise, it is done in a often a vitriolic, sometimes irrational fashion.
This was a really considered email, and you know and I will take it under an absolute advisement.
Oh. I will point out that when we're often.
We watch these movies the night before, and that's how I encourage my guests to do it. So it is not at all supposed to be a full movie review where we kind of really completely deep dive into all the facets of the movie. It is really it's about at least at least the guests and often me as well. And this is the case with Catablanca, really processing a classic film that we just saw. So sometimes we don't catch capture or the essence or all the issues of
the day. But with that said, thank you for your email, and I will endeavor to be across more of that stuff down the track. I think we can, you know, and I think the podcast where is Sincere is genuine and funny, and I think all these things can co exist. So thank you Lindsay for that email. I hope you're well to the next correspondence I got.
Is it really touched me? And this is going to be the final of this season.
If you ain't seen nothing yet, We're just going to take a short break and lune be a few weeks just to record a few more just.
To get ahead of the curve, and then we come back.
We've got great people lined up, Naked Belbo, Sam Mack, my good friend from Canada, Adam, Christie Ross, Noble, Matt Preston, Tony Martin are a few people who have confirmed for season two, but we're going to release a special one, an additional episode on Sunday with Bob Murphy watching watch Cassidy and the Sundance Kid. One is because it's the buye for the before the AFL final, so we thought it would be a nice time to sort of that.
I was going to hold it off for season two, but I got this letter from Annil Warren and it really touched me. When I released this podcast, I was hoping that it would be something that would give people something to do because they're bored in Lockdown, and you know a lot of people I sense might be into the idea of watching classic movies and catching up on those the gaps, filling in the gaps in their filmography.
For this one really touched me. Hi Pete, She says, I just want to say thank you for making your Yasni podcast. I'm sure you've had a lot of great feedback, but I just wanted to say it has helped get me through a really tough time. I was diagnosed with a very encanced the week we went into Lockdown two point zero in melbody and now going through chemo.
It is so good to have something easy to listen to that makes me think and laugh.
I really love movies, so I knew I would love this, but I didn't realize that you knew so much. I just love listening to you talk about your knowledge of the industry and the people you know with such warmth and fondness. My favorite episode so far was the Shrek episode with Dave O'Neil. I love listening to you guys talk about the castle and take away, and she says, I'm sorry for the long message. It wasn't you can keep writing for as long as you want, Adelaie. There's
a lovely words. I love watching you on the project and hope you know how much joy you bring to people. Thank you, Aili, and I did respond personally to Anilae. I hope you're doing well, and I just wanted to let you know that this episode on Sunday with Bob.
Murphy, which we recorded little while ago, but we're releasing it for you.
I want to take a couple of weeks off to get more episodes recorded, so we're not chasing a tale. But when I got that, I just thought, let's get one more, at least one more out, and I will will endeavor to keep the break short so we'll be back with more movies.
For you to watch. So thank you so much, and good luck, stay stay strong.
I can only imagine it's a horrible time to be going through chemo during lockdown. My wife who was in hospital for only a couple of days with a flag flight, it was frightening for a few days and.
Not being able to be there by her side to being in the hospital was tough. And that was literally a couple of days and everything turned out to be fine.
So it gave me a very very small insight into how hard it must be for those who have loved ones in hospitals and and fighting the good fight.
So Amalie, I hope you are doing as well as you can.
And Sunday's episode of Bob Murphy and I discussing Bushcasing and the Sundance Kid will be for you until then, love you all, see you next time.
And so we leave Old
Pete see Mansel, and to our friends of the radio audience, we've been a pleasant good name.