REPETE: Tony Armstrong and 2001 A Space Odyssey

Kid, Hey, welcome to you.

Ain't nothing yet the movie podcast. We're utch at a movie lover, but a classic couple of the movie they haven't quite got around to watching until now. Today's guest is a repeat episode because I'm having a little break. Only a couple of weeks and we're back with brand new episodes. But today's guest is a great made of mine. I really enjoyed this chat. Is one of the men of the moment. It's Tony Armstrong in two thousand and one, a Space Odyssey, enjoy.

Ever dance with the Devil.

On the vale Line.

I'm walking ahead. I'm walking ahead.

Of all the gin joints in all the towns in all the world. She walks in the mind.

Having a right.

Nothing.

Where do we start with Tony Armstrong. Well, he played some AFL footing for the La Crows, Sidney Swans and Collingwood, but it's been his more recent foray into the media where Tony has been turning heads with a smile that could light up the mcg. Tony is the host of Indigenous AFL footy program The Brilliant Yuckeye, a collaboration between

Pretty smitten with him as well.

He's Tony Armstrong, did of his bad news segments on the Weekly with Charlie Pickering also bloody hilarious and I've got to say ras Central Tony is joyous, fun smart, funny and one of the biggest breaths of fresh air on Ossie TV in recent time. And I'm bloody stoke to have him as my guest today.

Today, I'm Tony Armstrong.

My three favorite films are Batman Begins.

You're Just an Ordinary Man, Ex Mackina, Did you program her to flirt with me? And Inception?

Think about it? Ariarne? How did you get here?

Where are you right now?

But up until only recently there was a film that had really been sticking out as one that I hadn't seen. I'm a big fan of science fiction and it's perhaps the og science fiction film two thousand and one, A Space Odyssey.

Yes you ain't seen nothing yet, fan Zach Krubrickery and a Venture continues as Stanley heads into outer space via the Dawn of Time, where apes have a territory war over a dirty puddle. Released a year before Neil and Buzz walked on the Moon in collaboration with writer Arthur C. Clark, two thousand and one of Space Odyssey is a film you need to create time for. It's a majestic third I think piece. It's evocaty of imagery will either entrance

I mean I known what I was watching it at the start. I was like, this is this is this? It? It was? It was pretty weird? Was it?

Like?

I paused it to see because I thought the audio is coming through. You got that black screen with this orchestral music, which is amazing, and you're wondering. After a while, you're wondering, Okay, hang on, this is going on for a bit, do you is something wrong with my TV?

I've actually got a confession to make.

So got on one of the streamers to watch it. It boarded off one of the streamers, Amazon Prime, so rented it for a month and started playing it. And I'm sat there with my house mate David and we're watching it and we stuffed up the audio ever so slightly like it wasn't an obvious stuff up, but it was.

Like having a golf commentator, agree is going now we're going in out of space? Seven would out it was, and it was no seven would by the way.

And we and we kind of looked at each other after five minutes, you know, after you kind of.

You get to the ape spit and we're like, no, this can't be right, this.

Can't be here right. So we fiddled around with the audio and I mean it was a bit of it. Well at least it made us think that we were watching the right thing. Yeah, because if I didn't have that, I would have thought I was I'd taken a wrong turn somewhere.

So I I thought for I think a few years that I had seen this film. I just kind of and I but I didn't really have many thoughts on it, which should have been the biggest indicator that I have not seen this film. So what I think though, because certain images and scenes I.

Had seen.

So what I think has happened is at some point when I was younger, I walked in on this film being played, it was playing and saw a certain section of it because I had no idea about that start the dawn of Man's stage with the with the Apes. I like, I that was like, is this what's going on here? Amazingly, this is released the same year as Planet of the Apes, So if you're working on Planet of the Apes, if I'd be thinking what the Hell's care doing it doesn't need that is a space movie.

I mean it was.

And then and then watching that at the start, you know, the apes were like like they're just with the bones and they touched the monolith. Yeah, and then and then it gives them this kind of divine intervention whatever you might call it. To start, I guess the weapon age or the age of tools. Yeah, and then it's pretty brutal. You see them, you know, beult the other ape and I'm like, oh my, what, Like, where's space here?

Like, I mean, get me.

On a ship as I want to see where's Han solo?

Yeah, I mean I'm happy for that crossover to happen.

But like I was so confused. And then clearly the movie goes on.

But I got to the end of it and I had no idea really, like I had.

A few ideas as to what I'd watched.

Like I loved a lot of it. But I mean, as as you said, Clark was it who?

Yeah, I have to see Clark so interestingly and when we move on before we get too deep into this, but I to see Clark. This was interesting. They actually collaborated on this, and there's one of the rare instances where a film was being developed at the same time as a book, So the artel kind of took care of the book, but they kind of worked together, which is an amazing way of doing it.

That is because obviously it's always not obviously normally it's the book, then the movie, and then everyone complains because the book I mean sorry, because the movie just never goes in it as much depth as the book. Well, this this went into so much depth. I didn't know where I was. I didn't know how deep I was.

Yeah, well, we'll go even deeper possible.

We'll keep shit.

Would come back and speak about two thousand and one in space. Obviously, I think I told you that this is like the fourth it's the fourth Kubrick film.

We have done.

One of the very early episodes of this podcasting series. One was a Clock or Orange with Christopher Pane, a film amazing. Then we've done The Shining last week with Tommy Dassolo, and the week before is that three?

He might be three?

Right?

Might We might have wedged one in between. Lisa mckinn did Full Metal Jacket. So we are on a Kubrick bent to the point where somebody else nominated Doctor strange Love for an episode coming up, and I said, I'm not sorry, sorry, I need I need a break, and I finally have had watched it recently, but I thought, with this, I think the audience needs a break. So I'm sure we'll do Doctor Strangelove down a track. But let's get into your three favorite films. Let's start with

Well, so for me, what I loved about it A I was at the perfect time age wise to for a film like that to come out. Loved superheroes, loved Batman rather than I find a lot of people are Batman verus Superman people. Yeah, I am a huge Batman fan. That was fifteen sixteen when it came out, so just at the right age to get right around a big action film. But also redefined the super the superhero genre. So it was the first one that really went dark.

Yeah, yeah, you know, before that was like pow because that blam, you know, but this was well, it's interesting to say that because I was I was in the hitting zone. When Batman we called Batman eighty nine, it was called Batman, yeah, Michael, Michael, Michael keatone, Michael Keaton was a technic sent as Joker. Yeah, and that that felt dark, like that was that that felt for me the first time, it was like, oh you, this is

It was Batman, Batman Returns, then Batman Forever, and.

Then Batman and Robin Yes, the Clooney, Yes, Chris O'Donnell. So by that stage, I think by the third film, I think the Batman Returns, they got away with it and then it became a bit almost camp.

Yeah, no, it did.

Yeah, so the one with like Clooney and whoever played Yeah, yeah, yeah O'Donnell, who played who played Robin?

Like it was like a departure from reality, you know.

And and and I think as much of a stretch as it is that a guy dresses up as a bat and runs around and fites crime, and of course that's ridiculous. It needs to be grounded in a real truth and a real reality. And I and that's what I found with Batman. Begins like you could you could actually believe this character again apart from the like being a billionaire or like all the stuff that is so obvious, but it was really really dark. It didn't really show

So yeah, and obviously it was just the perfect sweet spot for me.

And then I found I felt like I love the other two, but just for me, that'll just it probably elevates itself with the level of nostalgia.

I have towards it, and it got in first I was like, oh wow, this is we can do this.

And now even though the other two some people like more, I think the critically acclaimed one is Dark Knight yep, A Dark Knight where Heath Ledger, of course posthumously won an oscar. Yeah, so that one's obviously probably the most critically acclaimed one, But for me, it's Batman Begins.

Yep, excellent.

X Macina is am amazing film.

We've seen it. Yeah, what a film that is?

It? Basically it plays plays on the Turing test, which is, you know, the I guess, the final test of artificial intelligence, just to see if the machine can actually think for itself. And like the way that that's done is set set with this tech wizard who lives in the middle of in the middle of some sort of forest somewhere and this and this guy wins a prize off the back of being a genius within a robotics company and ends up basically being a human suring test for this machine.

And it's just the questions that it makes you ask yourself about.

Like manipulation and you know what machines are doing to what machines are already doing to us We know machines. And the one that I think we all go to straightaway is our phone and social media. Like we straightaways we know that that it's that it's influencing our behaviors, our thought patterns, the way we the way we act, the way we think. But then to kind of see it played out like that through the lens of this obvious robot who is still like weirdly beautiful.

It's it's it's it's so strange. It's Alicia for Canada.

It's the first time I think I've even seen her on screens around the win an oscar a couple of years later.

But yeah, yeah, and and and just watching that, and watching his descent, and and and the way that she manipulates.

The lead character, the Redhead fell I forgotten his name.

He's uh De Dominald Glease, I think it's Dominall. So he's he was in the recent Star Wars films, and he's the son of Brendan Gleason.

He's also in He's also in an episode of Black Mirror and all the English actors. Yeah, I know, right, I take a ticket.

But yeah, and and and just watching the way she hits him against against I guess the crazy tech billionaire is so brilliant and scary and captivating.

I love films, And obviously two thousand and one of space obviously is a big influence on X MAC and you know, obviously with all the I guess the AI stuff. But I love films, science fiction films that are set closer to Earth, you know, like that that are kind of almost happening on Earth. Arrival, I'm sure he's yeah yeah with Amy Adams and it's that that's a brilliant, simple film, but but is about so many massive things.

And like and Arrival, like the tent, the kind of tension like what would you do? Yeah, yes, yeah, ship, Yeah, I'm not going in there.

The simple bravery that character shows, yeah, is stunning, and you know, you can you can show bravery so many different ways, and where we see often where it's so obvious that they're being brave because they're going into a burning building or they're taking on a massive monster, you know. But yeah, it's a subtle dep fly, but it's exactly but in Arrival, that's a beautiful depiction of bravery.

Yeah, you're exactly right.

And I think as well with sci fi stuff, I like being freaked out by it a bit. In terms of I love getting existential dread. I also love like getting over thatesistential dread very fast after I've got it, But when it first comes I'm like whoa, yeah, like who knows what's going to happen? And you know it's not a not a movie. But I've already I've already

I really admire people who can project. I mean, it's fun to take the piss out of futurists. Yeah. Yeah, yeah, you get a real job, but you know, you know there's another way for that, guesser, Yeah, but I want that gig. Yeah exactly, Yeah, I got putting your foot tips in. But I I admire anyone who can see the trends of where we're heading and kind of see how that will affect us ten years, twenty years, and

Get the tinpoil hat off your head.

It's a telephone, mate, you call it, you use it to call me and uh and you know it is like you know it's yes, it is also our phone camera, but you know these are.

My phone and it knows where we are?

Is it where we are?

You know?

I don't know if you've ever seen the clip of David Bowie when the Internet first comes out and he's in an MTV interview and someone's going, oh, it's just another way of you know, trans transmitting information, and David was like, no, it's going to completely change the way we deliver information, the way we eve information.

It's going to change all of our art mediums.

It's he basically everything that he said in this in this clip it goes for about a minute and a half.

He's like, no wonder, no wonder.

David Bowie was able to do everything that he did in so many different art art forms because it was like he'd been to twenty twenty one and then and this interview would have been the mid nineties. It just and exactly to your point, but just on the guesses. Do you know the other gig I really want, you know, the feels like guy for weather.

Ten twenty seven, but it feels like twenty six. Yeah, yeah, I don't understand.

It feels like the other one. The pressure gauge in footage, I don't know.

How are they measuring that?

To eighty six?

That's through the roof.

That's good, I think, because there's red underneath it.

Let's go to inception, will stay on the science fiction. I mean this, I remember seeing this in the cinema. In fact, I saw it before. I've got to see a previous You very little outside of it being Christopher Nolan and an amazing cast, but bloody hell, it.

Is so good. I mean, what a great idea of you know, each like the layers of dreams and each dream you go down, time gets slower. And then the idea that you.

Can put yourself into someone else's dream and then influence their thinking by making them by conceivingly making them think that.

They've come up with a thought of their own volition.

Yeah, brilliant, And then turning that into an action film and then being able to have levels of so Basically, you've got different levels of action sequences.

That are all within the same or.

Within the same film, So you could like you could go anywhere, you know, they end up in the know, yeah, whereas like at the very highest level, they're on a they're on A seven four seven from.

I think, I think it's La to Australia to Sydney.

I thought I'm going through the island and lost, but maybe.

Maybe I was like no, no, no, that was two thousand and one space.

We'll get to that. So when you're watching a film like Inception, how important is it? How do you watch it? Are you trying to work it out? Or on first viewing? Do you come to understand it the more you watch it? Because I tend to watch those films like like that. Inception is a great example. You explained it then better than I ever could. But I watched it as almost a heist movie. Well it is exactly, and that's how

Still just anyone know that?

And well that's and we'll certainly get to that with two thousand and one, the idea of of do we have to know everything that you know happens in a movie. Sometimes people get frustrated with like not having it all tired.

I love it.

Yeah, yeah, I think there are ways of doing it where it really works, and I think it's a really good example of that. I did see a movie, Jim Jimish movie with Bill Murray called Broken Flowers, and it was I really enjoyed that film, and he was about Bill Murray played a guy and he's going around to various I think X ex girlfriends of his and uh, I forget I've only seen a little once because the

It can leave you with questions without Yeah, you're right. I think inception is a great one because it leaves you with so many questions. But also it's a perfect point to leave it because then you go, well, where will we like at what level were we watching the film, Matt?

Were we in a dreamscape? Were we in real life? Does it matter? Really?

Like, you know, is he happy enough just going into that dreamscape and living there forever?

Or is it or is it true? I mean brilliantly done.

And you're right, there can be a nice juncture, or there can be a really nice point to do it where you leave people with questions but they still feel like they've got some form of closure. Yeah, And it sounds like that Bill Murray film. You're like, Oh, I would have liked to have had a few more signposts. Yeah, yeah, just a couple.

Yeah.

There are questions you can have with Inception in two thousand and one, which I think are really healthy and great for discussion and can enhance your enjoyment of the movie. What you don't want to do is a question of like what happened there? Like what what you know?

Like what.

You're not giving me enough to kind of go on to discuss. Really, Like the Sopranos, I love the end of the Sopranos, like this, you know it's it's you hear and you might want to skip ahead if you haven't, if you if you plan on watching The Sopranos for the first time. But Tony is is there waiting at the cafe and all you hear is a bell ring and he looks up and you're not sure if that's if that's a family member, a friend and a colleague, or is it somebody there to do a hit on him exactly?

And I think the brilliant thing about that is the motif the whole way through has been ding. They look up like that, you're gone, but we don't see him, like, we don't see that. So you watch it and you think you know what happens, like I think he does, but I don't know.

And I love that. And I think us talking.

About this out loud, because I've never really spoken about the end of films that have or series that are unresolved.

I think it's if you can leave it with a couple of.

Paths from that last moment, I think audiences are happy, Yeah, because I can see why it's that path. I can see why it's that path. Or I can see what's that path. Or I can see what's that path. I don't know, but I can justify each of them. So I still feel like I've got closure even though I don't know.

Maybe yes, well absolutely. And the great thing is you might think that Tony Soprano gets gets killed in that moment. I might think that he doesn't. Neither of us are wrong, Yeah, exactly. And and the creator, David Chase is more than happy for us to have that. He's not he's not asking us necessarily to to you know, oh yeah, he's probably happy for us to healthily debate what it might mean. But and what I love about two thousand and one

It's I mean, if I was to ever write something like this, which there's just no way, I just would never be able to get drunk again because people.

So what are you? I'll tell you, you know, yeah, yeah, how would you keep it in? You know?

Well, we'll get to the ending of what I think Stanley Kubrick might be thinking.

I just mean, ingenuously, if I wrote a brilliant cliffhanger like Inception or The Sopranos, any of these ones where you left that you left there scratching your head, I'd be I'd be six drinks away from from from blowing the lid.

Because I think I think you're right.

Because what's interesting is I think the creators, you know, and if they say, the writers at that time, they have made up their mind that they want the audience to debate for eternity whether Tonyno got shot or not in that in that in that final scene. If they say I think Tony got killed in that in that last scene, then that becomes facts younger. Yeah, that is like you, you wrote it, You are the creator, so we we we now believe that as fact. So you do have to then, you know.

So do you think they don't know? Like genuine like do you genuinely think? And I often think this is also like the cynic and me gooes, well, how can you not know? But then but then also maybe they don't. Yeah, no, I WHI should be the only way to do it, I think, without spilling the beings somewhere at some comic con or.

Funnily enough, I was thinking about this recently, how I think the process of writing, and one of the most powerful things about writing is how it can unlock your

So I form a therapy perhaps absolutely absolutely cathartic.

Yeah, And it doesn't always have to be therapeutic, It doesn't always have to be you dealing with. But it's you exploring something that you decided to explore. So I think to even suggest that all creators and or writers know exactly what they work, like one hundred percent know exactly what that work means is not necessarily true. And I suspect Stanley Kubrick has and I think he's embraced it. I think he's smart enough to embrace that, you know

I'm pretty sure.

I'm pretty sure that's where we get to at the end.

But I.

Really believe that. I think the reason the Coen Brothers are so reluctant to discuss their work in detail is I think they work on the same level where it's like this is we subconscious into our process, and we embrace it. We don't try to fight it. We don't always try to understand everything. How fascinating is that when you see something on screen where you kind of go, I'm not exactly sure what that man, but it was cool.

It's cool, yeah, yeah, And I think I think that's a great point in that, you know, when you reflect on your own life and some decisions you make and all that kind of thing, because ultimately, I think writing you make a decision to write.

You make a decision to write about something you.

Might not understand as you're saying, what the true but the true intention is at the very beginning, but on a whim. You might think it's on a whim, but it probably comes from some deep down intention to do it. And geez, like you'd have to be so self reflective

I don't know why that came out.

So you would be I think quite naive to think that everything is so so so meticulously planned out. And then when I think about someone like a Wes Anderson, who I think has everything down to you know, like the millimeter everything so planned, from the choreography of the scenes to you know, the tiny little whiskey tumbler that might be on a desk in the back. Like he's

Absolutely, And what's really interesting, I bet this two thousand and one is a Kubrick is famous for nothing being like by chance, you know, and the shining we spoke about Tommydasley last week props in the background, but it's a furniture, like the design of the architecture of the hotel, so many things, and not by chance. I get the impression. Even though I know there are things in this movie two thousand and one that have been obviously thought out

Know, sequences to go for five minutes, you know, of just like a spaceship going from the left of screen to the right of screen, and just slow music.

And that's why I think that's two minutes of black screen at the start. With that music is a way of informing you, going this we are going to take what's coming.

I have no idea that's where that music came from either, right yeah, yeah, yeah, you know, like I've heard that elsewhere in pop culture, and I just I just assumed I knew, Well.

I actually is that is that? Where is that original score?

Or is that?

Is that just classical music? I'm not actually sure. Listeners are very good? Has any podcasts at gmail dot com? Let us know if that because I thought the same thing. I thought, oh, this is where it comes from, and maybe this is where it was popular, right.

Yeah, but it could be a very very old song. That's but there was also there was stuff in it as well which I thought was so brilliant and just such a weird way to do things. And I was looking at it going half the time, I was thinking, how have you shot this?

Yes?

So you know the scene treadmill almost like that running.

Yeah, I watched that without any thought of story. I was watching that just trying to you know, being in and around TV now having some idea of shooting techniques and that kind of thing going.

Is it on a runner like like we've never done another maybe seat breakfast?

Yeah?

Yeah, I simply don't have the budget.

Got a green screen that I play around with every now and then. Yeah, yeah, poorly, Yeah, but it's incredible. In fact, the first episode of this podcast, Tom Gleeson nominated two thousand and one, is one of his favorite films and one things he said when he watched it, I think a boarding school was watching it thinking how did they do this late? And that I still don't know, and I'm not sure that, you know, I haven't had time to do it enough deep diving to kind of know.

If there's stuff out there.

There's many stuff out there, there's if there's yeah, a video showing how they actually did it always been explained on.

Because even one of the scenes where one of I guess the space waiters on the plane on the spaceship, she's walking along in the in the sticky shoes grip shoes, yeah, in the in the in the grip shoes, and then she goes she starts going up, but then like in verses on herself and then walks and then walks out. And you know, obviously there's cut points and stuff, but you just couldn't you couldn't see any And this is what sixty sixty eight.

So this is a year before the moon landing. They are still working out like there's still new information coming in in about the Moon's gravity, so they know fair bit less than what we know now. And that's why I think the gravity rules in this movie are a little skew.

If and I.

There are times when it's like, oh, hang on, why why isn't that floating? Or why isn't you know, why is this floating?

But not that?

Yes, yes, I think it's very forgivable, particularly because you know, man hadn't landed on the Moon. And I think like in the as I'm making this film, there were some things discovered about the Moon's gravity, which may have even changed the way they would have done if you had the time. But that scene, You're absolutely right when he's running around.

Is just it's incredible. Yeah.

And one of the other things I was thinking as I was watching it, because I had to keep reminding myself that it was in sixty eight, I was like, I can kind of see why people think the Moon landing was fake, if you know, and made in a Hollywood basement, you know, like the Chili Pepper's lyric Fromication, you know, you know, it's it's like, well, I'm watching this movie and it looks like it looks pretty bloody real now imagine what that looked like in sixty eight.

I kept on thinking the same thing. It's like this would have been my Like we probably said before about other movies, and sometimes we watch movies now it's mind blind.

But I think Blade Under twenty forty nine, the epicness of some of those, like coming into into the post apocalyptic vegas like that kind of you're like.

Whoa, right, yeah, so watching this it's sixty eight though, like I mean, smacked, it unbelievable and it looks so good, Like it's funny when you take out fashion. Fashion is a big like you know, a cup holder in a way of going.

This is when this film was baking Jean's nineties.

Yeah, exactly exactly, and it can it can have a really quick technologies also that, but what this does is like because it's it's space technology. I mean they even get a bit of FaceTime going, you know, like, which is incredible. How do you know again futurists right, like yeah, and then they did work with Yeah, I think you know, scientists and futurists and NASA people from NASA to get the information right, and so you.

Know, when they first get to that, I guess the kind of the space station and they've got you know, I guess the European space crew there. Early early in the film, it looked like I've seen like officers that look like that, like open plan modern kind of cool ergonomic.

Furniture, you know, you know, like the red chairs. I was like, oh, what Danish designers done these?

You know, yeah, I was.

I was looking at it.

I was like far right, Like that's like it's I think what they went for rather than like, you know, being on trend with fashion. They were like, what is like timeless? Cool is like almost you could like like you could never conceive owning any of this stuff, but you could conceive.

That it exists well after c Clark was going to have His original idea was to have Hell nine thousand as a like mobile kind of robot. And then the reason he didn't go with that is like, is it this could date? You know, I imagine if you had Dexter from Perfect Match going around on on on that spacecraft. Yeah, that's it really quickly. So they had this, you know, this omnipresent red eye that becomes Hell nine thousand. You know how cools like amazing.

I was the first thing that came to my mind, and I've forgotten his name from Futurama. The robot who's the robot in Futurama. I'm not a bender, right, but yeah, like it's like that, you know, he's got yeah and you're like, you're like, uh, yeah, that's aged poorly.

But but but yeah, if you can fu Durama's card and it's almost a piss take, but yeah, that's on this movie.

Yeah, it's it's it sticks out because as well, even though Futuma is like piss take, everything moves just as it should because it's it's a cartoon, so you know, yeah, whereas if that like the actual technology to move whatever robot.

It was, you wouldn't have been able to like that wouldn't have been able to hold up.

So this omnipresent and the voice, the voice of how Mine thousand, Wow.

It was so scary from the first time you heard it. Yeah, from the first time you heard it, you like trouble, you know.

And I think there's been so many films since two thousand and one have been influenced by two thousand and one where you kind of I think it's loaded into us now. I wondered watching it nine sixty eight is I'll be curious as when your sense of like something's not right with this, with this AI.

Trick in the first time that it was like something's malfunctioned.

Yeah, would the penny have dropped then?

Could be?

Because I think maybe not, because why why would you would trust at that stage?

We should advise you, however, that our preliminary findings indicate that you're onboard niner triple zero computer is in error predicting the fault, I say again, in era predicting the fault. I know this sounds rather incredible, but this conclusion is based on the results from our twin niner triple zero computer. We are skeptical ourselves, and we are running cross checking

We work it out.

X Ray delt the one. This is Mission control to zero four to nine er Trends Mission concluded.

I hope the two of you are not concerned about this. Oh, I'm not out. Are you quite sure? Yeah?

I'd like to ask you a question though, of course, how would you account for this discrepancy between you and the twin nine thousand.

Well, I don't think there is any question about It can only be attributable to human error. This sort of thing has cropped up before, and it has always been due to human error.

Listen, how there's never been any instance at all of a computer error occurring in the nine thousand series?

Has it none whatsoever? Frank? The nine thousand series has a perfect operational record.

Well, of course, I know all a wonderful achievements of the nine thousand series, but uh, are you certain there's never been any case of even the most insignificant computer.

Are none whatsoever? Frank? Quite honestly, I wouldn't worry myself about that.

Well, I'm sure you're right.

Hel U.

Fine, that's very much.

Oh, fr I'm having a bit of trouble with my transmitter and sea, but I wonder if you'd come down and take a look at.

It with me.

See let or hut.

Because yeah, well, I suppose upon reflection the first time is you know, when he's at the space station and he's talking about going.

To I think it's the Moon. He's going to the Moon to find the next monolith. Yeah, and the European. The other European space.

Team who are heading back to Earth are like, oh, haven't you heard about all the trouble anyone who's gone there? The their comms have been lost. You know, if I was to watch it again now, obviously I know it now. But that's that's probably your first hint that something's not right.

And it's a great filmmaking and storytelling, does it. It's I still fall into the trap sometimes early movies of not listening to those kind of casual conversations. In the conversations they have really important details in them. And then once you know I said, and viewing or you can think back to it, like you haven't kind of gone, oh.

No, that was I didn't.

I didn't pick up on it, you know, And and even then like, obviously obviously it's a clue, but yeah, the way it's written, it's not written as a clue. It's written as a throwaway detail that you're not really supposed to think about that now you're genius, genius.

And then you know, you speak of that influencing further films.

As soon as I saw how and heard how and then realized it was Ai, and then when I really realized, you know, not just was AI to the point of being AI under you know, control. It was a I with a true mind of its own. I was like, this is where replicants came from with Blade Runner. You know, I was because you know, the replicants they break like, they have their own thoughts and and they break out.

Anyway, it could be completely false.

Oh no, I mean, I think the influence of this film is there's no doubt this is one of the most influential films of all time. It's one of the first times where like a studio film and an art house film kind of collided.

I think it's really interesting. Well yeah, like just like visually it could be you know, you could and they pretty much do.

You could just play space music to it, and you could charge people two hundred and fifty bucks to go to a session at the MGV and they'd be lining up around the corners.

What is a Pink Floyd song that you can put on in a particular moment. I forget which track it is, but if you put it on a particular moment it kind of because they were in conversations to perhaps provide a soundtrack really because before he landed on all the classical stuff, he did like go through a number of different paths, and so there's a pink floid track that if you play at a certain point.

It fits perfectly.

I've actually got one more if but before we move off, I guess the influence further on. So you know, in the last bit, in the last I guess act or stage, whatever you want to call it.

I think it's off the top of my head, like Journey to Jupiter or something.

Like that, I think, and I think that's I think that's where the pink floids come.

Yeah, right, because so you know, in Interstellar, which is another one of my favorite films, you know when I forgot Matthew McConaughey's character's name, but he's basically going back through that portal and like and like the ship's like shaking, yeah, and you know.

The portal at the end.

As soon as I was watching it, I was like, oh, man, like derivative as you know obviously everything is, but almost a direct ode to.

Two thousand and one. I was like watching it and even the you know, the close up on there on the.

Helmet, but yeah, you know that shot from seeing that before, Yeah, yeah, and it was it was where i'd where I went straight away was Matthew McConaughey's character in Interstellar.

Yeah, and even the way the like the portal like bent Bent ever so slightly exactly the same as as in Interstellar.

It's it's it's it's incredible. And that there's the other The other famous thing in this film, I think is that the from Kubrick fans is that look which becomes where it's it's a character kind of looking down but eyes up. And you see that in in in the Helmet, I think, you know, and that you see Game a Pile in full metal jacket give that same look before he goes ape ship and and really you know, gives

A slow so like a slower shutter speed. Yeah, so rather than getting a crisp image, everything's kind of.

Blurred and he is warped, and yeah, you just kind of captured whatever. So you know, you're really contriting some control of what you actually get obviously, but you get the beautiful images and that's and that's how that is achieved, and that's that's incredible. And when you think again, we come back to nineteen fifty eight.

Yeah, and yeah, so my mind went straight away to some kind of kaleidoscope, you know, like but but then I couldn't work out how you would do a kaleidoscope and turn it.

Yeah.

So I mean so I just again, and we keep we keep saying this. I can't work out how this film was done. On the most part, Like normally, there'd be one or two things that I'd seen and I go, oh, that was cool. If I had half an hour, I reckon, I could have solid thinking. I reckon, I could I could work that out. Yeah, this this this stuff. I'd need, you know, a science degree.

Yeah, it's incredible.

And that's even if this doesn't work, Like, let's face it, there are some people who who would hate this film and would not have the patience for it. And that's and that's fine, completely fine.

I get that.

And I'll confess to last I watched it last night. Probably not under the perfect circumstances. I watched it. We had a final episode of War, and I kind of forgot I probably should watch this the night before, but I like to watch it the night before we come and to discuss it so it's really fresh in my mind.

Some of the challenges, Like it's almost aggressively challenging your mind.

You know, yeah, exactly. So I prefer that watch these films for the podcast, you know, maybe a glass of wine, a glass of Scotch in a relaxed frame of mind. You know, there was a part of me it's like, wow, this is gonna be late by the time.

You will laugh at how I watched it.

So I.

Did Breky yesterday morning, So what's time you have to be up for breakay? So I get up at twenty to four. You've done Brecky shifts. You understand what it's like.

It's hard, and you.

Get tired, Like you're just tired basically all the time.

It's a great like it's really fun to do, but you're tired. And I got home. I had to do some other chores.

So I got home at about two o'clock and I was like, I've got to watch you It's either now. But I had to go film Yoka last night, so I was, oh, I've got to watch it now. So I watched it yesterday AVO, and it took me about four and a half hours to watch because I kept falling asleep because.

I was as you know, you're just so tired, and I was really enjoying it.

But you have to be like in the right zone, I reckon to watch this film, you have to be ready to you have to be ready to go with it. It's the same as like, gayh, what are those So there's train Spotting and then there's Requiem for a Dream. You can't watch those films in certain headspaces. You need to you need to be ready to go to watch those films. And it's the same as this. You've got to be ready to soak it in and sit in like what could be perceived as being as being bored.

Yeah, we've got I mean there's a version of this film and I full confession, I had to rewind. I missed the bit where basically We'll get to this bit soon where Dave goes and unplugs unplugs hell, you know, like people may maybe the people moment the.

Film is going to say that was my most tense kind of scene.

Yeah, and I was really enjoying because that's when he's you know, he's he's been trapped out and he has to kind of get his way through and it's amazing. I don't know how I was just you know, it was probably twelve thirty by this stage, and my eyes went up. You know, I'm gonna shut down for a little while. Health conversation going on. So yeah, it's it's what was I.

Going to say?

Actually no, so no, So we're talking about the kind of film it isn't it's like it's it's like it's not a film you can just chuck ones like a like a.

Shoot them up no where you're so easily entertained.

And there's a version of this film, Like you could do an edit on this film, like if you wanted to show it to my dad, you know, like who doesn't necessarily give aid all the themes and a lot of the philosophical questions it's posing, and you could start this after the Dawn of Man with that first space ship cut out. Yeah, there's probably there's probably a seventy minute version of these film. It's a really good entertaining film, which is basically about an AI computer, you.

Know, try to take over.

Yeah, yeah, yeah, will Because the original cut I was reading somewhere it was like it was like one hundred and sixty one minutes something like that.

It took a ninety minutes.

Yeah, yeah, yeah, and there was that would have been what I been a bit how you're going?

I laughed, I laughed when I read that he took out after.

The New York City. Yeah, he got smacked in the.

Ninety minutes to help with the pacing. What were you doing with the other forty mate? The speed up the pacing? It's about ninety minutes.

You can you imagine being like a die hard like Kubrick critic back then and you walk out and someone goes, so tone, did you like.

Be honest? Yeah? Favorite bit the end.

Yeah, there was a popular actor at the time. I forget who it was. I read about that that you walked out halfway through and this week, can somebody tell me later on what this is all about?

Well, what happens in the end.

And jokes on them, no one, can you gotta go see mate? Hell lady, hell, it's it's so yeah at that moment where because.

Dave's just lost, Like if you go back sort of five minutes, Dave's just lost Frank.

Question question about Frank. Why wasn't he headed to the.

I didn't understand that now, I mean, that's that's that's space one I won isn't it.

Space one one? Why would you not be tethered because if you miss yeah, yes, satellite, whether they're fixed gone.

Well, so my only my my only thought was that because I did have the same thought, I was like, perhaps he was, but it was like hooked up to something and you know how how has control over all the all the mechanics in the ship?

My only thought was that how disconnected him?

See, but I would have loved to have seen that, you know, and this is Kuber gives us what he wants to give us.

Yeah, exactly.

In the end, it doesn't really matter, like it's just one of those things that you think afterwards, why is he? Even during I must says.

Why is he? Why is this going for his spacewalk?

And that's and that's see, that's one of those ones if we think back to earlier how we're talking about those those those happy accidents or those accidental that's a very deliberate decision. Yeah, that's a very deliberate decision to not to not show a tether, to leave us in a mind where we go, well.

Why wasn't he to say was he? And then how it's hard to believe that Arthur C.

Clark and Stanley Cerick don't have a discussion about Okay, so he goes out. He's obviously tended to the spaceship because he's not going to go out and then oh he's tended. Yeah, well he doesn't need to be tad what No, it needs to be Yeah, yeah.

There's there's no way. But so yeah, anyway, so Frank's hurtling off into space. Dave at this point is going like, I know that Howel's crook because they've had the conversation just before and you can see the bit. It's brilliantly done, and you don't I don't think you know at that point that Hal can read lips open?

Hello, Hell do you read me?

Hello?

Hell? Do you read me?

Do you read me?

Hew? Do you read me? Hell?

Hello, Hell, do you read me?

Oh?

Hell, do you read me?

Do you read me?

How affirmative?

Dave? I read you? Open the pod bay doors.

Hell, I'm sorry, Dave. I'm afraid I can't do that. What's the problem.

I think you know what the problem is just as well as I do.

What are you talking about?

Hell? This mission is too important for me to allow you to jeopardize it.

I don't know what you're talking about.

Hell, I know that you and Frank were planning to disconnect me, and I'm afraid that's something I cannot allow to happen.

Where the hell did you get that idea?

Hell, Although you took very thorough precautions in the part against my hearing you, I could see your lips.

More because they're because they're sat there in the perfect little I guess the window window, I.

Mean the whole spaceship. They could have gone anywhere, they had to sit right in front of him. I imagine how I said everything.

Like you said omnipresent, and they have this conversation. They're like, well,

Yeah, and he's like, I'm sorry, like, you know.

For this mission to go forward, I can't let you back on the ship. And you're like, oh my god, this he's taken it, like he's got the ship now.

So that's that's the.

Reason why I think, how how untethered Frank? But then it's that scene where he reconnects and he gets shot out of the out of the rover into the kind of holding bay, Yeah, pulls it down.

He's got yeah seconds, you know, I think they've proven that you can actually survive of like fifteen seconds or something. But there's there's also if you apparently if you're trying to hold your breath during it, you will explode.

So there's like there's yeah, there's so many caveats.

Yeah, but also like they're like, oh, yeah, you can you know, apparently you can survive fifteen seconds.

Who's done?

Yeah, you know, who's go Yeah?

Yeah, no, thanks, Yeah.

Absolutely, it's such a it's it's the best stretch of the movie for mine as far as yeah, because it feels like they're is there's that, it's all tension, it's a bit of action, and it's it's eerie because you know, how's he gonna, yeah, how's he gonna overcome? How he seems to be he seems to be completely in control and then yeah, he just goes and doesn't It switches him off. But that, you know, like that's a great

Dave, I can see you're really upset about this. I honestly think you want to sit down, calmly, take a stress pill and think things over. I know I've made some very poor decisions recently.

You certainly have hell and that like it goes up for quite a while. Stanley Cubbing does not rush.

Through this at all, and he's climbing up that that really claustrophobic ladder.

You're going, oh, my lord.

And then he gets into that kind of I guess Hal's mainframe whatever you want to call it. God, that room looked cool, you know, like like the red Dutch tilts. So you know, it's it's it's just off, you know, things are a bit cooked. And then it's like you get to the end, get to the end, and his voice starts changing as he starts taking out the memories.

Oh genius, genius.

And he he's deleting the memory you know, he's bleeding on the pawn or the all the porn.

It's gone. I was going to know just incognito, the.

Search history is gone. But is it is. It's fascinating. It's just so it's fascinating. I love it so much, Like I thought that was the best sequence. I think that was completely so. Then so this happens and then we kind of go back. He goes through the eventually he goes through that stargate which we're spoken about, and then what did you make oh of the bedroom in the bedroom and yeah, yeah.

So basically almost like a floor of a house, or you know, you could imagine it like the premiere suite at some swanky hotel, you know, like like three or four different rooms all connected with the rover in it.

Yeah. Yeah, and the rover was in it. I was also was the room of green screen and the rover just you know, I couldn't stop thinking about how they were making stuff because it was so amazing. Yeah, and then all of a sudden, you don't see him get out of the rover. He's just out of the rover.

And then there's who I didn't realize or clock as being Dave look back at him.

Yes, so I didn't clock that the first time.

And so this this this figure turned around and looks at Dave, who's still Oh by the way, Dave at this point wrinkles all over his face as well, so has aged an eon. Yeah, I I I have to admit I wasn't sure what I was watching at that point, and I was I was going, you know, is he is he seeing himself in the future?

Is he seeing himself in the past.

Is this an alternate universe where he's you know, sort of watching time go by through a window?

I wasn't sure. I really wasn't sure.

And then it got like obviously weird when the last monoloth comes and then we see, you know, a big baby boss.

Hang on old to young? What you know it was? I didn't know what to make it? What did you make of it?

I'm like, and I always say this about this podcast, and I feel like this is the perfect episode to point this out and to remind people is that we will have people listening to this who have seen this maybe many times, and have their own views on it. The beauty about this podcast is I have a guest who is who has just seen the movie and he's pro he's still processing it, hasn't had a chance to go back and watch it again. I and I'm in

Yeah, and he's now looking at Earth and about to go back.

Yeah. And that is that the birth of Is that his individual rebirth into you know? And will he go back to he will? Will he go back to Earth? Is that a whole new species species being born, a whole new superhuman specie about to be born?

Is evolution?

Is it?

So? I was thinking, trying to rack my brain, and I was so glad when you said you weren't one hundred percent sure what was going on with the film too, so I didn't feel like I was so close.

So really, when I read that quote, a.

Complete more on because I was on I was racking my brain on the way here, trying to think, Okay, so logically, what's the kind of logic flow of the way I've seen, you know, kind of in quotes humanoids in this film, and you know, we start off as apes, or it starts off with apes and it ends up with a baby. Bit in between, we've had someone we assume age and we assume it's all the same person in the same timeline, in the same universe.

I've watched too much freaking Morty, you know, like all the multi verses. But so then, I, like you said, probably the closest I got to.

An idea was perhaps its evolution, and you know, it's onto, It's onto the next phase, whatever that is.

I got no idea what that is, but.

I think a lot of it is. It really is magery and and this Kubrick giving you an opportunity to be in the moment to ponder, you know, to be inspired. I feel like it's a reasonably optimistic ending for this film. I think there's a version of this which could have been a bit bleaker, but I think it's quite optimistic ending with the know a boss baby, you know, new life being reborn. I feel like that's a reasoning optimistic ending.

Do you prefer happy endings? I I'm going to rephrase that do you like movies that end on a.

Positive ignoring the ignoring.

Joke.

I was quite proud of myself for and it took me a few seconds ago. No, don't, don't. Don't come on having a good discussion about one of the high art film more time. Yes, I like hand jobs a bit.

I never thought you'd ask home.

Yeah, usually just take you out for lunch afterwards. No, it's I don't In the same way, we're discussing about open ended endings and also closed endings where everything's tied up. I don't necessarily have a preference. I'd just liken to be done well. And I thought this was for what they were going for. Is done really well? Do I understand it?

No?

Not at this stage.

I may have more conversations, I may do a bit more deep diving, and I'll you know, I could come back in the year's time.

I have more and more thoughts.

Do you think it's the kind of film that maybe they were wanting us to walk out or finish watching with a feeling inside rather than an answer?

Yes, absolutely, I think that, Like you know, there are.

Some films or even a lot of music does it And the first one that comes to my mind is a King's Leon song called the Bucket, very very sad, very sad song about someone kicking the bucket. But you sing that like it's a summer song and we're going to catch up with mates and get milkshakes and stuffy bongs,

Where left with a bunch of questions but a.

Feeling absolutely, And I think they're inviting you to contemplate life and where we've come from, where we're going.

There's a lot of those questions, aren't there, And like thematically, you know, you've got.

Unborn babies, you've got space, which everyone always starts getting existential about big classic music that evokes emotion. Yeah, yeah, I think I.

Tend to agree. It's you're in no uncertain terms as to how you feel. You've just got no real idea why.

Yeah, yeah, you're having a like an emotional response to it, or you just get frustrated with it. And I can in particular, I mean, I would like to go see this again. But you know, on a big screen, you know, it does, it does, and I think they do do that quite often. In fact, Kate Lenbrook said to me that not she had seen this recently on a big screen. Apparently,

And some very influential musicians said it was one of their favorite films. That John Lennon, I think at the time, was saying he'd watch it once a week.

David Bowie was a huge fan of it because he probably got it. You know, yeah, jerk, it's a bit of light fair for David is at it. I knew.

I knew.

I knew from the I knew from the second the ape picked up the bone. What do I said? Two hours for?

Then?

Mate?

You know, we should we should point out one of the great movie transitions of all time that the bone going up turning into a spaceship and turned into a spaceship, which which is what they're saying, is that this is the first weapon into a website. Yeah, and you mentioned earlier took go back to the monolith, arrives and the

And then it goes.

He throws it in the air and we see the spacecraft and that's the space station, and that's almost like the ultimate weapon, you know, millions of years into the future. And also because I had to read about this film after I watched it, it walk away and go okay, well that's done.

Ye yeah, yeah, I had to read about it, which is great.

You know, it left me with a lot of questions and it said as well that the monolith like whenever the monolith turned up and it was and it was touched, it expanded horizons. So the first time with the apes they touch it and then all of a sudden, weapons the next the next time, the monolith is on the Moon and they go down to the Moon and then they touch it and they look at it, and then it lets out that shriek and it's basically like a warning or whatever it is. It's like an alarm to

To that's really interesting. That explains That explains a lot.

And then and then the last one you see on Jupiter sends them through that stargate sends them through the Star game. And then the very last one we see is old Dave in the bed and he's like again I think I think it's one of those Kubrick looks where he's like in the bed and and he's kind of looking through his forehead brow at this at the monolith. As the it's almost like an eclipse with the monolith with I'm assuming A's Sun. And then go and then I think the boss Baby ends up there, so.

And there's a nod to Michelangelo, I think too, when he's reaching out always his fingers out, that's supposed to be a nod suggesting that this monolith is actually a god.

Yeah.

Yeah, I really like the monolith as far as I was sure it was actually supposed to be like even an alien life form as such, or is it like what is it? Is it a god? Is it an alien life form? Kubrick was almost going to have alien life forms appear in this and then.

Are you glad he didn't?

Absolutely? I think it's a happy accident. The reason he didn't do it because a budget. He realized that they were running out of budget. But then he so he convinced himself, and I think rightfully so that we don't need to see them, you know. I think he was credit to see you know, you don't see God, you know.

Well, yes, the same thing. Yeah, APAs to discover have you have you? Have you seen a TV.

Series called Dark No, it's just brilliant German TV series, three, three seasons.

I don't do German.

You don't of all of all of them Germans, the one you don't do?

No, No, I don't love German. Answer in fact that lives of others run Lola Rum it's my favorite. That's Booty. They have TV or TV.

Have you seen Babylon Berlin. I've seen episode of It's that's fantastic.

Yes, anyway, I digress. My dad's watching it at the moment. Actually recommend at the end.

Of the day, jeez, me and your dad. Huh, you're probably surprised. I enjoyed two thousand but and I've only just clocked it now. So it's this.

It's this show where basically they don't just time like, it's not just about time travel. It's it's about.

Like parallel universe travel as well.

So like the premises, it's not like we aren't just everywhere where, every when, and so you know, it's like so then the question becomes where.

Are you or it's not just where are you? When are you right?

And basically the thing they use to get from one place to the other is dark matter. And now that I now that I've seen this, I think to myself, is that an you know, am I going to find Am I going to see little nods to a space I mean to a space ODY see everywhere I look now? Or is that going to be confirmation bys?

Do you know what I mean?

Yeah, Yeah, that's fascinating.

Yeah, Like I just wonder if I'll see them now and.

At least for the next little bit, I won't be able to stop looking because it's it's it's It's got me with more questions obviously than I've got answers.

Yeah.

I mean, there's no doubt though that the influence of this has been. It's like you were discuss Citizen Kane on this before and even the Shining and certainly if you've watched The Simpsons and this keeps on coming up on it on this on these podcasts. You know a lot of a lot of my guests who'll watch movies for the first time, going, oh, now, I understand that that reference yeah older, you know, and then the Shining and isn't Kane They go for it both those films

So you speak of like, I'm not sure how they did it? God that looked realized. Yeah. Yeah. The movement of all because I was because I was watching as closely as I could. Is a leg flailing where it shouldn't be.

You know, I think he's dead already, so is the leg everything was put and the weird axis that they had him on in you know, Frank spinning around really strangely. And yeah, no, I'm quite the same, especially when they do the thing with the audio where you just hear the breath have you ever scuba dived?

Yes, I have actually, but I also did Snooba recently in Hawaii, which is a slightly different thing. It's a bit of an easier way of doing it. But I know you mean that that breath and apparently this is Stanley Kubrick's breath. Oh really fun fact.

Yeah, love that.

But the thing is, if you've ever scuba dived, which I would think must be the closest thing to being tethered into space in that you're going into another environment. If you take it off, you're cooked. But when you go down, your mind forgets that you can breathe, so you'll actually hear your your breath go and that's all you can hear. And that's freaky out and you need to like literally say to yourself, hey, tone like.

Yeah. And then when they do, like when they couple like a spacewalk with the breath, that gives me a very very physical reaction. I don't thought of it. I don't like it.

No, I completely know what you're talking about. And but that that's that feeling of watching somebody going, Wow, you cannot be more lost than you are right now, like you're untethered. Idiots like, how do you get back outside of you know, the shuttle being able to come and pick your up somehow, and and you know we've seen that happen, happens in gravity. But how do you like it?

You are?

So I'm not scared of heights, but I don't like sitting standing too close to an edge where like you could possibly fall, you know, I don't think most people are probably want risk it. Yeah, why risk it? So to see somebody like that far up and just floating away, it would say, is just terrifying.

So out of control? Yeah, yeah, And I think most people don't really like being out of control.

Yeah, that's I think that's exactly one of it is, Like of control, mate, it's been a bloody blast. I've got some fun more more fun facts. I've weaved some in. Do you know the idea that there are conspiracy theories saying that the moon landing was actually almost produced or directed by Stanley Kubrick and they used unused footage from this film and spacecraft and some of the props to fake the moon landing.

So I didn't know that, but I did say earlier that I reckon, well not not I reckon. I can see why people are moon landing can especially theorists, conspiracy theorists, because of how legiti it all looked.

So I get it, yeah idiots, but I get it wrong. But like, yeah, I was watching it and there was some stuff I was like, this is so realistic.

Yeah it's still now. You could have made this in the eighties. It's used to be going, wow, this is I can't believe this is made in the eighties or even the nineties.

Straight. Yeah, and you look, and I think you touched on it earlier.

The best thing they did because as soon as one I think as soon as one thing dates, everything dates. So if you were to have had an alien life form in there, it would have dated.

Everything that you've seen.

So that's why I think it holds up against so many of the other space movies until probably recently from an effects point of view, because you're like, well, alien looks like you know, plastic, Yeah, you know, like the prop sous and then that just gives away the whole conceit of everything else.

Hence why it was a brilliant idea not to have the dexter robot as hell. So it was nominated for thirteen Oscars only won the one for special effects. Stanley Kubrick was awarded that because he was oversaw a special effects department. A lot of the people who worked on the special effects thought it was unfair that he was the sole recipient of that OSCAR because it was seen as a team effort, which I think is complotely fair enough. They did tighten up the oscars the rules around that

On that is the footage behind the scenes of Jack Nicholson getting ready to go through the door.

Yeah yeah, yeah, it's.

It's great. It's unbelievable just watching him like descend into this complete deranged madman. He scary. There is a good deep diving to be had with the shining.

Absolutely, there's one joke in this movie, not the joke it's it's I think it was Dave. Dave's looking at basically how to go to the toilet in out of space, and they've got how to how to how to take a dump in out of space. Kubrick said that was the only the singular joke in this in this film, even putting that in.

I thought there was another joke when you know, when they come with the first time they land on the moon and he comes with the with like all like the space food, I guess, and one of them makes the comedy.

Is like they're getting better and better at these all the time. Yeah, and then maybe that was just an earnest space dude.

Yeah, yeah, yeah. I think it probably plays as a joke for them, where there's a joke that's designed to make the audience laugh. So I I think I agree with you.

I'm not going to challenge Stanley. I just thought there was another year.

Well, Stanley won't won't refute it. So yes, I think I think that's I think we worked in a lot of our the the apes were mimes, and I'm not sure if you kind of they were so good like I mean, obviously, when the came I got a bit closer, you could see that these weren't real apes, but they were great from a distance. When you stayed away a bit, they you would have believed they were real apps.

And again, I know we keep harping on it, but you've got to remember when people are seeing this. Yeah, like straight up, straight up, you're believing.

If you're seeing in the cinema in ninety sixty eight, you're watching it, I think you believe that these are you know, you.

You think that they've somehow got apes and trained apes soundly.

Colver be one of insurance policy in case aliens were discovered before the film was released. Lloyd's of London knocked him back. But it would have been a pretty good payday actually, for if they had taken that up, to be honest, so they missed out, would have been a huge payday, huge payday, mate, Thank you so much, Thanks Pete. This comes with a bit of homework, and this is you know, I'm chuffed with the amount of my guests who, whether it was by design or just through some naivety,

I was gonna say I could have done a ninety How had Sampang not seen the cast?

Oh well that has been discussed many times and we still don't know. Really, he doesn't know how, but he loved it and we always recommend The Castle to.

The Hitting Zone. It's it's one of the best films. Well.

He also works with those who made that, so it's it's kind of incredible. Mate, you are an absolute joy to hang out with, loving having you on the on the project. We'll see you on there. This week ABC Breakfast was where you can see Tony yuck eye spose we can people catch your guy.

So your guys on an I t V. I think it's on Fox as well. I think the AFL website streams it as well. So yeah, Base and maybe SPS showed as well. Yeah, so it's all over the place.

You've got no excuse if you've got a TV, I shall be on in your house, no excuse not to have Tony Armstrong on your house. It's if you love your foot you get onto it. It's a cracking footy show mate.

Thank you. So much. What a pleasure that was awesome.

Day see.

Day see.

Give me your lab su Grave, see.

All four from.

Love of You.

Yes, Hell nine thousand is gone. The batteries have been taken out. His such history has been erased. I love that chat with my friend Tony Armstrong. Catch him on Yockeye, the Project, ABC Sports. He is killing it at the moment and the bloody joy to be around and the big commitment to watch to watch two thousand and one of Space Odyssey whilst doing Breakfast TV. Three votes t Armstrong, maybe the first time he got three votes. Take care and I'll see you very soon.

And so we leave old Pete safe and soult and to our friends of the radio audience, we've been a pleasant good night.