September 16, 2025 • 35 mins
We’re back! In this special two-part return, Pete is joined by global bestseller and Bad Guys creator Aaron Blabey. In Part One, Aaron dives into the three movies that made him tick - the shark-fueled terror of Jaws, the comic genius of Tootsie and the razor-sharp cool of Reservoir Dogs, and explains how they shaped his creativity. Plus, Pete shares listener messages and lifts the lid on the show’s new two-part format, with next week’s episode devoted entirely to Richard Linklater’s Boyhood.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Thank you day Pete. Hell Ay you're here.
Speaker 2 (00:01):
Welcome to you Ain't Seen Nothing Yet the Movie podcast,
where our chat to a movie lover about a classic
or beloved movie they haven't quite got around to watching
until now. And today's guest author extraordinary Aaron Blady.
Speaker 3 (00:21):
All below, I want to stay here with you. Get
the jobble.
Speaker 4 (00:40):
My snake shucked, my hail couldn't have.
Speaker 3 (00:45):
An a right, So you Ain't Seen Nothing Yet.
Speaker 2 (00:56):
Before we get in today's guests, who I'm very excited about.
This is the first episode back from a bit of
a hiatus for you at Seeing Nothing Yet. I'm very
excited to have our own baby with me today. But
this thought I would let you know of a couple
of little changes for you as Seeing Nothing Yet. The
podcast will now be presented over two weeks. Each episode.
Instead of having episodes a run for an hour and
(01:18):
a half, we're just going to split them in two.
So the first part one you'll have my guest's favorite
films and talking about their their movie journey over their life,
and the second half will be the movie that we
have nominated to talk about, So we'll see how that goes.
(01:38):
It just makes it a bit more manageable to get
these podcasts out. I'm doing another podcast called make Me
Good at Golf. You can check that out. So that's
taken me a little bit of my time as well.
But I thought we've had some speak pups come in.
If you want to leave a message for us, you
can go through follow the links on our page and
(01:59):
leave a message. Great to heat your voices that we're
going to have a couple before we get chatting to
Aaron Blaby's let's go to the first one.
Speaker 5 (02:08):
Hey, mister Hellier, I love your podcast. I got introduced
to it from my boss who is from Australia and
knows you. I am shocked that you have not seen
Amadeus and I think you should watch Amadias and you
(02:28):
should put this on your podcast very very soon. I
would love to hear it. Your work is amazing. I
love your voice. I think you great. Keep it up.
Speaker 1 (02:39):
Thank you well.
Speaker 2 (02:40):
I'm blushing. Thank you, Thank you very much. From wherever
in the world you have sent that from. Please let
us know where in the world you are listening to
you anything nothing yet from but that is a lovely message.
Speaker 1 (02:51):
Thank you.
Speaker 2 (02:51):
I appreciate that very much. And Armadius came up in
one of the recent podcasts. I've never seen Amadias, and
I really will get onto that, even if it's not
nominated by one of my guests, I will get it
around of watching it myself just for my own and
I'll let you know. I'll certainly let you know when
I do watch Amadeus. Excellent, excellent message. Let's go to
(03:14):
another one I think is from Becky.
Speaker 6 (03:16):
Hey, Pete, it's Becky here. I just have been enjoying
the weekpeat of the interview to you did with Brenda
Cowe on Punta Front Logs. I have never watched it before.
I'm looking forward to it. Just wondering if you're ever
going to cover June. It's incredible. I love my sci fi.
(03:39):
I also love my drama and that's why I love
Before Midnight and just wondering if you're ever going to
get anyone to cover off in June series because it's
pretty incredible and fabulous. I know that the third one
is still yet to come, but I'm on th start
(04:01):
someone on this series and just see where we go,
because the new one's going to come out next year
and I'm really pumped about it. Anyway, I love the show. Yes,
it's what I live for. Totally love it.
Speaker 1 (04:12):
Thanks Pete, Bye, thank you, Becky.
Speaker 2 (04:16):
Funnily enough, before the first June came out, we almost
did the original June movie.
Speaker 1 (04:20):
I forget who the guest was going to.
Speaker 2 (04:22):
Be, and then we just postponed it because June came
out and I thought, that's films exploding. It's probably people
probably more interested in that than the original film. Perhaps
maybe I'm wrong, but I think it's a good suggestion.
Will I'll certainly put June on the list. I didn't
love the sequel part two as much as I loved
at first. I thought the June one was the masterpiece.
(04:43):
The second one felt like it may may be wrong,
but my vibe was trading a little bit of water.
But I cannot wait to see the third installment of
the June series, so absolutely Becky will get onto that. So, yes,
if you want to leave a message, suggestions for our guests, movies,
anything you've heard, you want to take up, let us know.
Speaker 1 (05:06):
We love hearing your voice. What I might try to
do is actually.
Speaker 2 (05:08):
Let you know in advance when we have guests on,
So maybe you can even aim some questions or thoughts
to our guests and based on the movie that we're watching.
So let's get into today's episode returning you ain't seeing
nothing yet. Finally, let's talk to Aaron Blaby. Aaron Blaby
is one of Australia's biggest exports right now. He has
(05:31):
become a one man industry. He is extraordinary the amount
of work that he's putting out into the world. He
started as an actor. He was in a couple of
He's in the series Crash Burn, The Damnation of Harvey McHugh.
He was in that, but it's not necessarily where he
(05:52):
made his name as good as an actor as he was.
It is in the children's author space where he has
become an absolute icon.
Speaker 1 (05:59):
Led if you will.
Speaker 2 (06:02):
He already had a very successful book writing career, was
winning lots of awards, selling heaps of books, getting critical acclaim.
But then it was a little run he went on
where there were three books in particular that have exploded
around the world, and they are Pigged, A pug Fell
(06:23):
with the Unicorn, and of course The Bad Guys. The
Bad Guys in particular has become a movie franchise whose
dream works. The original film came out a couple of
years ago, and now Bad Guys Too is in cinemas now.
I had the pleasure of seeing a little sneak preview
and it is a lot of fun. At the age
where my kids are grown up, so I don't watch
(06:44):
as many animated films as I used to. But so
you know, I wasn't sure how I was going to respond,
but this is a great film. It's just a great film.
It's fun, it moves at a pace, it's got a
great story, the characters are funny. It's all in there.
So don't feel bad if you don't have kids. Go
see Bad Guys Too. I highly recommend it. And Sam
(07:05):
Rockwell in the lead. Brilliant anything Sam Rockwell does. He's
one of the goats. Mac Maarn's in that. For comedy fans, Aquafina,
It's got a great cast, it's beautifully done. It's like
it's animation at the highest order. So go check out
Bad Guys Too. And Yeah, really thrilled to have Aaron
Blaby chatting to me today.
Speaker 4 (07:26):
Hello, I'm Aaron Blaby and my three favorite films are Tootsy.
Speaker 7 (07:34):
I'm an actress, I'm a character actress.
Speaker 3 (07:36):
I can play this part any quick you wanted.
Speaker 8 (07:38):
I'm sure that you if you're a little bit too
soft and genteel, you're not threatening enough, threatening enough?
Speaker 6 (07:44):
How's this?
Speaker 2 (07:44):
You take your hands off me, Cromin and meet your
ball right through the roof of your mouths.
Speaker 1 (07:48):
You had enough of a threat yours.
Speaker 4 (07:50):
You've got to need a pick approach and reservoir dogs.
Speaker 7 (07:54):
You're gonna bark all day, little doggie?
Speaker 1 (07:58):
Where are you gonna be?
Speaker 7 (08:01):
Was it?
Speaker 3 (08:04):
I'm sorry I didn't catch you.
Speaker 8 (08:07):
Would you repeat it?
Speaker 2 (08:09):
Are you gonna bark all day?
Speaker 3 (08:10):
Little dog?
Speaker 7 (08:14):
Are you gonna bite?
Speaker 3 (08:15):
Asole play ground?
Speaker 1 (08:20):
Happened?
Speaker 4 (08:20):
Until this week? I had never saying Richard Linklights boyhood.
Speaker 3 (08:26):
Talk to me, Samantha. How was your week?
Speaker 8 (08:29):
Uh?
Speaker 3 (08:29):
I don't know, Dad, it was kind of tough. Billy
and Ellen broke up, and Ellen's kind of mad at
me because she saw me talking to Billy in the cafeteria.
And you remember that sculpture I was working on.
Speaker 4 (08:36):
Well, it was a unicorn and the horn broke off,
so now it's a zebra.
Speaker 3 (08:40):
Okay, but I still think I'm gonna get an egg,
right Mason?
Speaker 8 (08:43):
Uh?
Speaker 4 (08:44):
How was your week?
Speaker 3 (08:45):
Well? Dad, you know it's kind of tough. Joe he's
kind of a jerk. Actually, he stole some cigarettes from
his mom and he wanted me to smoke him, but
I said no because I knew what a hard time
you had quitting smoking, Dad? How about that? Is that
so hard to dad?
Speaker 4 (08:56):
These questions are kind of hard to answer.
Speaker 3 (08:58):
What is so hard to answer about? What sculpture are
you making?
Speaker 4 (09:01):
It's abstract?
Speaker 3 (09:03):
Okay, Okay, that's good. See that's I didn't. I didn't.
I didn't know that. I didn't know you were even
interested in abstract talk.
Speaker 1 (09:09):
No, they make us do.
Speaker 4 (09:10):
It, but Dad, I mean, why is it all on us?
Speaker 3 (09:12):
Though?
Speaker 7 (09:12):
You know?
Speaker 1 (09:13):
What about you? How was your week?
Speaker 4 (09:15):
You know, who do you hang out with? Do you
have a girlfriend, what have you went up to?
Speaker 3 (09:19):
It's to your point, so we should just let it
happen more natural. Okay, that's what you're saying.
Speaker 4 (09:27):
Okay, that's what we'll do.
Speaker 3 (09:29):
I'm starting now.
Speaker 2 (09:32):
Mason Junior Ala Coltrain is a regular seven year old
boy growing up in Texas with his sister Samantha Laurela
link Later and mum Olivia Patricia Arquette. In an Oscar
winning role with his dad, Mason Senior, Ethan Hawke separated
from his mum and seemingly not entirely dependable due to
a job that has him in Alaska for large chunks,
Mason Junior must navigate his boyhood over a period of
(09:56):
twelve years, through a couple of disappointing stepfathers, moving houses,
finding out where his passions lie, girls and music, puberty
and teachers, friends, and booze. Incredibly crafted by the great
Richard link Later, Boyhood was shot over twelve years, with
time shifts only distinguishable by pop culture references, technology and
subtle the subtle aging of the lead characters. Aaron Blaby,
(10:18):
did you ever go through puberty in a movie?
Speaker 4 (10:21):
In what sense?
Speaker 2 (10:24):
It was a weird one to craft a little question
off the back of back because there's so much going
on in this movie over twelve years. First of all,
welcome to you and see nothing yet.
Speaker 4 (10:33):
Thank you.
Speaker 2 (10:34):
It is a pleasure to have you, and I'm really
excited by this film in particular to talk to you
about and thank you for choosing this movie because you
are on the pro ma trail a bad guys too,
and you've chose I'm not sure if you realized this.
You chose to watch a nearly three hour movie at
what point did you regret that?
Speaker 4 (10:53):
Pretty quickly, I was, Look, it's a film made. All
had a bit of a blockage on for some reason,
because like when you asked me to choose one and
you send a helpful list of films to choose, I
had seen all of them. I actually had. I've obsessed
with movies and in a very new and divergent kind
(11:14):
of way. And I don't know why. I'd always sort
of pushed back from boyhood. There was something about it
that I don't know. But we'll get into what we
thought about it moving forward. But it's yeah, it's.
Speaker 1 (11:32):
So you're aware of the of the shot over twelve years.
Speaker 4 (11:36):
Of course, of course, yeah, that was all I knew.
Speaker 1 (11:39):
Really.
Speaker 4 (11:39):
I knew that Patricia had won the Oscar. I knew
that there is a loose improvisational tone to all of
link Lay the stuff I always really liked, Dazed and Confused,
the Sunset Sunrise movies. I'm not the world's biggest fan
of those, but I you know, so I kind of
knew what to expect would degree and then the overarching
(12:02):
idea of it is obviously gorgeous shooting something over such
an extended period of time, that. Yeah, I'm controversially, I
think i'm in the is it a little overrated?
Speaker 1 (12:19):
Just a little teaser, a little teaser that I cannot
wait to talk to you about it.
Speaker 2 (12:25):
But I want to talk to you about your favorite
three films, which are extraordinary films, and you know, I
think we all know them, and also by Bad Guys too,
So let's actually start with Bad Guys Too.
Speaker 1 (12:40):
Congratulations. I saw a preview of it last week.
Speaker 2 (12:43):
And my kids are a bit older now, at sixteen
or seventeen, twenty twenty two, so some of these animated
films come out, I don't necessarily always see them, so
I wouldn't saw Bad Guys Too. It's extraordinary. It is
such a it's animation as highest level. It moves at
such a pace, it's got a story that keeps you,
you know, on the edge of your seat.
Speaker 1 (13:03):
It's it's a beautifully done Congress.
Speaker 4 (13:05):
Thank you, thank you. I'm really proud of this one.
I think the first I thought the first one was great,
but I think the second one really took it up.
And it's more relaxed, I think too, than the first one.
And they the team there at DreamWorks always just got
the tone of what I do. So there's they played
(13:28):
very fast and loose with the story, but that was
always fine with me as long as they got the
tone of the sense of humor and the character relationships right.
I was always cool with anything they did, and they
the fact that they've continued to do that, they've added
more of my characters, got those right, and then cherry
picked the kind of really cool bits from the books
(13:50):
and then blended them into an Ocean's eleven soda Bergie
kind of story. Again. Is just like, it's such a thrill,
you know, it's an amazing feeling to take, especially being
a movie obsessive, to be in a situation where something
and a bunch of characters and situations that I invented.
(14:11):
Just on that scale.
Speaker 2 (14:13):
I think about you when the it's kind of like
a New Dream Works anime. Well I hadn't seen it before,
like animated at the start of the film, and it
goes through all the characters in where the Marvel Cinema
does as.
Speaker 1 (14:22):
Well, like and you have like what was it watching it?
Speaker 2 (14:26):
Going and seeing Shrek and Madagascar and you know how
to train your drag and now you're part of this world.
Speaker 4 (14:33):
It's it's nuts. In fact, I think they've they've been
that little opening thing you're talking about. I know, before Okay,
Wild Robot, I think it was they'd added my guys
to that thing we were, and that was it's hard
to process. I don't really know what to do with that. Yeah,
(14:53):
it's I think because the Bad Guys for me was
always a just of all the stuff that I love.
The initial idea when pitching it anyway, Tarantino for kids
basically it's where it began, and there's which is it
seems impossible, but I thought, is that possible? And then
(15:15):
as it's gone along, I was able to include things
that you would never put in a children's book in
a million years. And that was the game for me,
was what's the least appropriate thing you put in a
children's book? And a Texas chainsaw massacre? And then I
ended up with a character in the second half of
the series that has chainsaw hands that is completely valid
(15:36):
in that world kids think is hilarious. And it's my
studio where I is just every wall, every part of
it is covered in images from all cinema history really,
and it's sort of like the inside of my brain
externalized and it's like a shortcut. For me, I just
sort of sit and if something occurs to me. It's
(15:58):
all that thing about taking two elements that don't belong
together and finding a way to click them together in
a new context. But for kids you can do that.
So it's so joyful to be able to take iconography
that people wouldn't think to use for kids and then
hot wire it in a way that an eight year
(16:20):
old goes. That's the coolest thing I've ever seen, You know,
It's that that's been the game. And I think I
mentioned it earlier, but I discovered not too long ago
that I'm on the spectrum and as autistic as they come.
And I think that has been how this has maybe
(16:40):
formed in my head over the years, is putting together
bits that wouldn't necessarily seem a natural thing to do,
but for me, it has seemed the only way to
approach it that makes any sense. I don't know if
it does, but that's where they came from, and their
(17:03):
universe came from. At some point, I went on a
walk and I put a wolf and a shark and
a piranha and a snake in the car from Mad
Max and had them talk to each other, like the
tipping conversation at the beginning of Reservoir Dogs and suddenly
there was the bad guys, and that those bits just
fully formed. One day. We're just in my head so
(17:24):
and I've gone for lots of walk since trying to
make a similar thing happen, and it doesn't. You know,
It's just it's just sometimes a little door in the
universe will open up and though all those bits will
connect some that's yeah.
Speaker 2 (17:38):
And then you get a phone call one day saying
Sam Rockwell is in. That must have been.
Speaker 4 (17:44):
Such a trip I've been like it was. Green Mile
obviously was the first time that he really knocked everybody
or out of it, like it's just like, who is that?
But I'd seen him before that in a John Dagen
film called Lawn Dogs and Australia Straining Director, and I
remember thinking at the time that guy is really cool.
And then Green Mile came out and he just we
(18:05):
just hit like a bomb and then he had that
string of really cool stuff. Galaxy Quest was always one
of my favorites.
Speaker 1 (18:10):
Mastic men.
Speaker 4 (18:12):
He's fabulous, He's just amazing and he's a really cool guy.
To have met him for the first time in person
a couple of weeks ago, but he's genius. And Three
Billboards is one of my favorite performances anyone's ever given.
I think, I think the filmed some masterpiece.
Speaker 2 (18:26):
That's brilliant, and that's the Kevin Bacon game. That's the
Degrees of Kevin Bacon. That's where we meet because Peter
Dinklage is in that movie, and he was in a
movie that I made. I remember getting a similar call,
Saint Peter Dinklide, He's going to do your movie. He's
a pre Game of Throne. So it was even you know,
it was you know, he wasn't as big as he
is now, but it was very exciting because but when
(18:47):
those calls come through, something you get, you get the
guy you want.
Speaker 1 (18:51):
It's very exciting.
Speaker 4 (18:52):
It sure is.
Speaker 1 (18:53):
So congratulations on on on bad Ice too.
Speaker 2 (18:56):
Everybody goes See is, whether you got kids or not,
This go See is is quite the romp. Let's talk
about your three favorite films, which are absolute classics. Let's
start with the Jaws. I mean, everything's been said about Jaws,
but when did you see it?
Speaker 4 (19:14):
It was really pivotal for me, and it was actually
the crappy sequel Jews too. That it was when I
was four years old, I had to be let out
of a cinema with my eyes closed because the posters
for Jaws two were up and it was so terrifying
to me. And then as happened, I was frightened of
lots of things when I was really little, and then
at some point in my early teens became obsessed with
(19:37):
horror films, and Jaws was my sort of gateway into
that universe. I've seen Jews probably more than anything, probably
other than TUTSI. I've seen it hundreds of times. I
guess I sort of know all the dialogue, and.
Speaker 9 (19:50):
Any shark expert in the world will tell you it's
a killer.
Speaker 5 (19:52):
It's a man eater.
Speaker 8 (19:53):
Look, the situation is that apparently a great white shark
has staked to clean in the waters off fam of
the island, and he's going to continue to fee as
long as there was food in the water, and.
Speaker 3 (20:01):
There's no limit to what he's going to do.
Speaker 9 (20:03):
I mean, we were already had three incidents, two people
killed inside of a week, and it's gonna happen again.
It happened before the Jersey Beach five people chewed up
in the same one week.
Speaker 1 (20:11):
Tell him about the swimmers.
Speaker 8 (20:12):
A shark is attracted to the exact kind of splashing,
an activity that occurs whenever human beings go in swimming.
You cannot avoid it.
Speaker 9 (20:18):
If you open the beaches on the fourth of July.
Speaker 3 (20:20):
It's like ringing the dinner bell for Christ.
Speaker 8 (20:21):
Look, mister Vaughan, mister Vaughan, I pulled a tooth the
size of a shot glass out of the rectull of
the boat out there, and it was the tooth of
a great white.
Speaker 9 (20:28):
Who was Ben Gardener's boat.
Speaker 1 (20:29):
It was all chewed up.
Speaker 7 (20:30):
I helped toe it in.
Speaker 9 (20:31):
You should you should have seen it?
Speaker 3 (20:32):
Where is that tooth? Did you see it broke?
Speaker 7 (20:36):
Oh?
Speaker 3 (20:36):
I didn't see it.
Speaker 1 (20:36):
He dropped it good.
Speaker 8 (20:37):
I had an accident. Way yea.
Speaker 3 (20:39):
And what did you say?
Speaker 2 (20:40):
The name of this shark is.
Speaker 8 (20:44):
It's a car carrot and carcarrious.
Speaker 3 (20:45):
It's a great white.
Speaker 7 (20:46):
But you don't have the tooth.
Speaker 9 (20:50):
Look, we depend on the summer people here for.
Speaker 6 (20:52):
Are very live.
Speaker 2 (20:52):
You are not going to get this.
Speaker 9 (20:55):
We're not only going to have to close the beach,
We're gonna have to hire somebody to kill the shark.
I mean, we're gonna have to tell the you.
Speaker 7 (21:07):
Are familiar with our problems.
Speaker 8 (21:09):
I think that I am familiar with the fact that
you were going to ignore this particular problem until it
swings up and bites you on the ass.
Speaker 4 (21:15):
And there's something I don't really understand. I guess nobody does,
really how the power of that film is so kind
of elemental, the three, the fact that Spielberg took three.
The reason it works is he had a shark that
didn't work when he was making the film, but he
took three actors who you cared about, put them on
a boat and you didn't want them to get eaten.
(21:40):
And that was the the all the this I see.
I don't even know where to start with this film.
There's from John Williams score to the absence of the shark,
creating which is purely big out of necessity at the time,
but creates this world that I it was like a
(22:02):
comfort movie for me. Weirdly, ultimately, I would just put
it on it in the background. I know it's the
craziest thing to say, but it's true. It's true. There's
something There was something about Amity Island and the atmosphere
of that Roy Scheider's you know, beautiful, earthy, grounded performance
the you know, the one Richard Drevis's sort of edgy,
(22:24):
sort of cokey Euro Season. Then you've got that astonishing
performance from Robert Shaw and that in Indianapolis speech, which
is one.
Speaker 1 (22:34):
Of the most Yeah, because I remember watching it.
Speaker 2 (22:36):
I watched it recently for this podcast with Picola, and
and I hadn't seen it for years, And as a kid,
I probably wasn't that interested in that speech when I
were young, but watching it as an adult, that's the
best thing about the film.
Speaker 4 (22:52):
Oh, it's incredible, absolutely, absolutely, And the fact that and
I heard it because it's the fiftieth anniversary this year
and they made a little doco about it. Apparently Robert
Shaw to started he asked Spielberg if he could have
a few drinks before he did the speech, and then
he went off and had so many drinks he had
(23:13):
to be carried onto the boat and then he couldn't function,
and they went, well, that didn't work, and then he
called Spielberg in the middle of the night, apparently like
really embarrassed, and said, can you please let me have
another shot? And you came in the next day sober
and did one take and it's the one in that
film mastered it. It's so powerful, that moment where he
talks about the they've got what is the black eyes
(23:34):
like a doll's eyes until the bite and then they
roll over white. It's just magnificent. It's so good.
Speaker 2 (23:42):
And that film I'm guessing that a lot of movies
made up until then, like monster films, if you like,
were aliens or like The Blob, all those, but this
is something that was terrifying because we knew, we know
what sharks are, we swim amongst them, you know, and
so that's again, I think it was so terrifying people.
Speaker 4 (24:01):
I'm pretty sure my dad has never set foot in
the ocean since nineteen seventy five. Get the shit out
of him, you know. It's just and it was so like,
it was such a brilliant It was one of the
first really brilliant marketing campaigns because it was released on
the first day of summer in the States and just
(24:21):
became this. I mean, it was the first blockbuster really
and match two years later by Star Wars. But just like,
there's nothing that I don't love about that film, and
it's because it's funny too, and there's only Spielberg could
find a way in the middle of all of that
to have like that beautiful, little heartwarming moment with Roy
(24:42):
Schader and his little son sitting at the table and
they're doing the mirroring. It's that doesn't push the story
forward in any particular way, but it just makes you
care about him just that little bit more before he
climbs on board the boat than all hell breaksleast.
Speaker 2 (24:58):
You gotta love seventies films, aren't you. They basically they
defeat Jaws and then the movie's over, Like they don't
even get back to shore, but there's no evlogues of
like catching up and loved one's hugging this.
Speaker 1 (25:08):
It's like, no, they don't even make it back to
so good.
Speaker 4 (25:10):
Well, let's stripped back to the bone that film. And
it's like, because the precedent was Spielberg's previous the telemovie
Jewel with the truck and the car, which was just Jaws.
Basically we were the truck instead of Shark. He was
so good at that point at still is everything obviously,
(25:32):
but like there was something so impossibly deceptively simple but
elegant about the way he told that story and the
moments like that beautiful dolly zoom shot on Roy Scheider.
When the kid on the Lilo gets eaten, it's it's
(25:53):
he took it from his cock in vertigo, but that
that where you can just feel his stomach turned upside
down when he realizes that this is a real thing.
It's one of the most beautiful moments in cinema history.
I can watch that moment over and over and over again.
It never gets.
Speaker 1 (26:11):
Let's tat try my boyhood, but let's talk about your
other See what a I mean? This is a perfect film.
It's a perfect film.
Speaker 4 (26:19):
Yeah, it's a perfect film.
Speaker 1 (26:21):
That was great, John Blendy.
Speaker 7 (26:26):
Yeah, thanks to my coach.
Speaker 3 (26:28):
No, no, you did it yourself.
Speaker 1 (26:30):
I mean perfect. I love the middle.
Speaker 3 (26:32):
Okay, so much for the Mutual Admiration Society. Let's move
on to item seventeen.
Speaker 7 (26:36):
Joe Clear, this is that I need Alan, Tom and
John to take ten ron.
Speaker 1 (26:44):
My name is Dorothy.
Speaker 4 (26:46):
It's that toutsy or sweety a honey a do no,
just Dorothy.
Speaker 9 (26:52):
Now, Alan's always Allen, Tom is always Tom, and John's
always John.
Speaker 4 (26:55):
I have a name too, It's Dorothy capital d O
R O T h Y. I think for me as
a kid because I grew up in regional Victoria and
felt like such a widow did and I don't know
what it was about towtzipuffin the fact that it was
so delightfully funny. It was like felt like a portal
to me to New York. It felt like evidence of
(27:18):
a world beyond in many ways for me, and there
was just something. So there's the comedic, it's a comedic masterpiece.
I think there's some there's not one piece of that.
And I always loved that story, which apparently is true
that Dustin Hoffman drove Sidney Pollack crazy during the shooting
(27:42):
of that, because Pollack was trying to make comedy and
Hoffman insisted that Dorothy and Michael Journey was a very
very serious thing, and he was, as far as he
was concerned, he was making a really powerful drama. And
Pollack was tearing his hair out going it's comedy, man,
and he was. But I think the tension between those
(28:03):
two things is what makes it so spectacularly. Hoffin's commitment
to Michael having and then when the wheels fall off
and he wants to get out of that situation, and
he's got that wonderful scene where he's been proposed to
by Jessica Lan's father. He's got Terry Garr, who's he
(28:24):
thinks he's, you know, like he's someone thinks he's a lesbian,
someone thinks he's gay, someone wants to marry him. And
he says, this is a nightmare.
Speaker 1 (28:29):
I don't want to do.
Speaker 4 (28:30):
Man, I want to He gave me an engagement ring.
I wouldn't needed to piss in the sink. It's such
a it's such a wonderful film. There's nothing nothing about
that movie that I don't like.
Speaker 1 (28:42):
I think you just love Bill Murray.
Speaker 4 (28:43):
And oh that's those scenes are just so great, and
it's just so random the stuff that he says. It's
that bit he wakes up and goes.
Speaker 2 (28:52):
Mom, you know, and then also just it ends in
a like it doesn't necessarily become a romance, like they
walk off, yeah, and they're friends.
Speaker 4 (29:02):
Yeah.
Speaker 1 (29:02):
I mean I don't know what.
Speaker 2 (29:03):
Happens after that, but I like that and kind of
an unusual choice, you know for movies that not to
close it off with a kiss or something.
Speaker 1 (29:11):
Yeah.
Speaker 4 (29:11):
I guess it was like he'd behave pretty despicably so
I think it would have been too big a leap.
Speaker 1 (29:18):
What if they shot one and they you know, but isn't.
Speaker 4 (29:21):
Charles Derning is so beautiful, as is the herb Jessica
Lang's dad.
Speaker 1 (29:25):
It's one of those presences. He's so lovable.
Speaker 4 (29:29):
It's so in that scene in the bar when he
goes to give him the ring back and he says,
give it to me outside, it's so yeah, no, it's
a beautiful thing. And Geena Davis in that tiny little
role too.
Speaker 1 (29:41):
Yeah. Yeah, it's so good, so good.
Speaker 2 (29:44):
And Reserve Dogs is your third favorite film and should
come as no surprise because, as you said, the Bad
Guys have been kind of partly inspired by Dogs.
Speaker 9 (29:53):
It was.
Speaker 4 (29:55):
It's a strange one that, I mean, I when you
asked for three, it's impossible, really, but I picked Reservoir
Dogs because of the impact it had on me that
I remember it so clearly. Gets nice being back in Melbourne,
but I used to try. In ninety ninety two when
it came out. It was a rainy night, I was
(30:15):
walking down Collins Street and I saw the poster. Nobody
knew what it was because it wasn't a big film
at the time, but it was only retrospectively after pulp
fiction that it kind of blew up a little bit,
but it was just a little indie film. I saw
the poster, thought it looked cool, went in and it
just blew my mind. And I went every night that week.
I went and saw every session that was I just
(30:37):
couldn't believe what I was seeing. There was something so
we'd never seen that meta sense of cinema before that
was still grounded somehow, absolutely thrilling, referencing every cool thing
you've ever seen in a film done on a low budget,
pretty much just a bunch of guys in a warehouse
(30:59):
because you couldn't afford to shoot anything else. And it
was absolutely riveting from start to finish.
Speaker 1 (31:05):
Hey, your names.
Speaker 7 (31:08):
Mister Brown, mister white, mister blood, it's the blue, mister orange,
mister pink.
Speaker 1 (31:16):
Why am I mister pink?
Speaker 7 (31:17):
Because you're a faggot?
Speaker 1 (31:18):
All right? Why can't we pick our own colors?
Speaker 7 (31:23):
No way, no way? Try it once and does it work?
You get four guys all fighting over who's going to
be mister black, but they don't know each other, so
nobody wants to back down. No way, I pick you're
mister pink. Be thankful you're not mister yellow.
Speaker 3 (31:38):
Yeah, but mister Brown, that's a little too close to
mister shit. Mister pink sounds like mister pussy.
Speaker 7 (31:43):
How about if I'm mister purple, that sounds good to me.
Speaker 1 (31:46):
I'll purple.
Speaker 7 (31:47):
Yeah that mister purple. Some guy at some other job
as mister purple. You're mister pink. Who cares what your
name is?
Speaker 1 (31:56):
Yeah, that's easy for you to say.
Speaker 7 (31:57):
You're mister white.
Speaker 3 (31:58):
You have a cool sounding.
Speaker 4 (31:59):
Then it was one of those things that looking for
the bad guys in my life. Didn't know what that was.
It took me so many years to find them, and
reservoir dogs was one of the pieces of that puzzle
that used to torture me when I saw reservoir dogs.
I've just covered this before, but it's true. When I
saw reservoir dogs, I wanted to eat it somehow. Is
(32:20):
the only way I can describe that feeling. Empire strikes
back to the same thing to me when I was
a kid. I watched it, and just watching it wasn't enough.
I wanted to be able to absorb it somehow, and
you can't, so I just left weirdly frustrated for years
by that. And I think it was something about the
(32:43):
way I've always equated Tarantino a little bit too, Like
the Beastie Boys were great at it too, that kind
of like really giddy appropriation of other things, like a
bower bird, just taking bits and pieces from here and
there and just mixing it into a cauldron and making it.
And that's what Tarantino's film, especially those early ones, felt
(33:04):
like to me. It was just like a like a
kid in a candy store, just choosing all the bits
that all the cool Like Tarantino's films also felt like,
you know, all those awesome posters from the seventies, like
really lurid posters, and the post that looks like that's
got to be the greatest film, and the films will
always crap, But like those posters, it's like he took those,
(33:28):
he actually made the film you wanted that posted to be.
Is what I always felt like to me. And yeah,
I don't know, it pushed a button in me that
I don't fully understand, but it meant like And then
two years later Pulp Fiction dropped and that was it
was the Village Center on Burke Street, and it was
(33:50):
the only time in my life I'd ever done this.
I went in I sat down, I watched it for
three hours, came out, bought another ticket, went back in
and watched it again. Wow, yeah, there is I don't know.
It spoke to me in a way that very few
of the film had.
Speaker 1 (34:05):
Yeah, you're right about the influence.
Speaker 2 (34:06):
I mean every you know, to get a movie greenlit,
I think in Hollywood, you know, the teen years following
if it wasn't a ro Many comedy or it had
to be the crime films, and then playing with the
time and not any kind of structure.
Speaker 4 (34:19):
Which came from novels. Apparently it was just he loved.
It occurred to him, why don't I love in a
novel the time jumps back and forth all the time.
Why don't we do that?
Speaker 1 (34:29):
Just did it?
Speaker 8 (34:30):
You know?
Speaker 4 (34:30):
And it works so beautiful.
Speaker 2 (34:33):
Okay, there Aaron Blaby's three favorite films, and Aaron we
joining us again next week this gust the film he
hasn't seen until now, Boyhood from Richard Link Later until
then by for an hour, and so we leave old
(34:56):
Pete savansl and to our friends of the the audience,
we've been a pleasant, good time. M
Thank you day Pete. Hell Ay you're here.
Speaker 2 (00:01):
Welcome to you Ain't Seen Nothing Yet the Movie podcast,
where our chat to a movie lover about a classic
or beloved movie they haven't quite got around to watching
until now. And today's guest author extraordinary Aaron Blady.
Speaker 3 (00:21):
All below, I want to stay here with you. Get
the jobble.
Speaker 4 (00:40):
My snake shucked, my hail couldn't have.
Speaker 3 (00:45):
An a right, So you Ain't Seen Nothing Yet.
Speaker 2 (00:56):
Before we get in today's guests, who I'm very excited about.
This is the first episode back from a bit of
a hiatus for you at Seeing Nothing Yet. I'm very
excited to have our own baby with me today. But
this thought I would let you know of a couple
of little changes for you as Seeing Nothing Yet. The
podcast will now be presented over two weeks. Each episode.
Instead of having episodes a run for an hour and
(01:18):
a half, we're just going to split them in two.
So the first part one you'll have my guest's favorite
films and talking about their their movie journey over their life,
and the second half will be the movie that we
have nominated to talk about, So we'll see how that goes.
(01:38):
It just makes it a bit more manageable to get
these podcasts out. I'm doing another podcast called make Me
Good at Golf. You can check that out. So that's
taken me a little bit of my time as well.
But I thought we've had some speak pups come in.
If you want to leave a message for us, you
can go through follow the links on our page and
(01:59):
leave a message. Great to heat your voices that we're
going to have a couple before we get chatting to
Aaron Blaby's let's go to the first one.
Speaker 5 (02:08):
Hey, mister Hellier, I love your podcast. I got introduced
to it from my boss who is from Australia and
knows you. I am shocked that you have not seen
Amadeus and I think you should watch Amadias and you
(02:28):
should put this on your podcast very very soon. I
would love to hear it. Your work is amazing. I
love your voice. I think you great. Keep it up.
Speaker 1 (02:39):
Thank you well.
Speaker 2 (02:40):
I'm blushing. Thank you, Thank you very much. From wherever
in the world you have sent that from. Please let
us know where in the world you are listening to
you anything nothing yet from but that is a lovely message.
Speaker 1 (02:51):
Thank you.
Speaker 2 (02:51):
I appreciate that very much. And Armadius came up in
one of the recent podcasts. I've never seen Amadias, and
I really will get onto that, even if it's not
nominated by one of my guests, I will get it
around of watching it myself just for my own and
I'll let you know. I'll certainly let you know when
I do watch Amadeus. Excellent, excellent message. Let's go to
(03:14):
another one I think is from Becky.
Speaker 6 (03:16):
Hey, Pete, it's Becky here. I just have been enjoying
the weekpeat of the interview to you did with Brenda
Cowe on Punta Front Logs. I have never watched it before.
I'm looking forward to it. Just wondering if you're ever
going to cover June. It's incredible. I love my sci fi.
(03:39):
I also love my drama and that's why I love
Before Midnight and just wondering if you're ever going to
get anyone to cover off in June series because it's
pretty incredible and fabulous. I know that the third one
is still yet to come, but I'm on th start
(04:01):
someone on this series and just see where we go,
because the new one's going to come out next year
and I'm really pumped about it. Anyway, I love the show. Yes,
it's what I live for. Totally love it.
Speaker 1 (04:12):
Thanks Pete, Bye, thank you, Becky.
Speaker 2 (04:16):
Funnily enough, before the first June came out, we almost
did the original June movie.
Speaker 1 (04:20):
I forget who the guest was going to.
Speaker 2 (04:22):
Be, and then we just postponed it because June came
out and I thought, that's films exploding. It's probably people
probably more interested in that than the original film. Perhaps
maybe I'm wrong, but I think it's a good suggestion.
Will I'll certainly put June on the list. I didn't
love the sequel part two as much as I loved
at first. I thought the June one was the masterpiece.
(04:43):
The second one felt like it may may be wrong,
but my vibe was trading a little bit of water.
But I cannot wait to see the third installment of
the June series, so absolutely Becky will get onto that. So, yes,
if you want to leave a message, suggestions for our guests, movies,
anything you've heard, you want to take up, let us know.
Speaker 1 (05:06):
We love hearing your voice. What I might try to
do is actually.
Speaker 2 (05:08):
Let you know in advance when we have guests on,
So maybe you can even aim some questions or thoughts
to our guests and based on the movie that we're watching.
So let's get into today's episode returning you ain't seeing
nothing yet. Finally, let's talk to Aaron Blaby. Aaron Blaby
is one of Australia's biggest exports right now. He has
(05:31):
become a one man industry. He is extraordinary the amount
of work that he's putting out into the world. He
started as an actor. He was in a couple of
He's in the series Crash Burn, The Damnation of Harvey McHugh.
He was in that, but it's not necessarily where he
(05:52):
made his name as good as an actor as he was.
It is in the children's author space where he has
become an absolute icon.
Speaker 1 (05:59):
Led if you will.
Speaker 2 (06:02):
He already had a very successful book writing career, was
winning lots of awards, selling heaps of books, getting critical acclaim.
But then it was a little run he went on
where there were three books in particular that have exploded
around the world, and they are Pigged, A pug Fell
(06:23):
with the Unicorn, and of course The Bad Guys. The
Bad Guys in particular has become a movie franchise whose
dream works. The original film came out a couple of
years ago, and now Bad Guys Too is in cinemas now.
I had the pleasure of seeing a little sneak preview
and it is a lot of fun. At the age
where my kids are grown up, so I don't watch
(06:44):
as many animated films as I used to. But so
you know, I wasn't sure how I was going to respond,
but this is a great film. It's just a great film.
It's fun, it moves at a pace, it's got a
great story, the characters are funny. It's all in there.
So don't feel bad if you don't have kids. Go
see Bad Guys Too. I highly recommend it. And Sam
(07:05):
Rockwell in the lead. Brilliant anything Sam Rockwell does. He's
one of the goats. Mac Maarn's in that. For comedy fans, Aquafina,
It's got a great cast, it's beautifully done. It's like
it's animation at the highest order. So go check out
Bad Guys Too. And Yeah, really thrilled to have Aaron
Blaby chatting to me today.
Speaker 4 (07:26):
Hello, I'm Aaron Blaby and my three favorite films are Tootsy.
Speaker 7 (07:34):
I'm an actress, I'm a character actress.
Speaker 3 (07:36):
I can play this part any quick you wanted.
Speaker 8 (07:38):
I'm sure that you if you're a little bit too
soft and genteel, you're not threatening enough, threatening enough?
Speaker 6 (07:44):
How's this?
Speaker 2 (07:44):
You take your hands off me, Cromin and meet your
ball right through the roof of your mouths.
Speaker 1 (07:48):
You had enough of a threat yours.
Speaker 4 (07:50):
You've got to need a pick approach and reservoir dogs.
Speaker 7 (07:54):
You're gonna bark all day, little doggie?
Speaker 1 (07:58):
Where are you gonna be?
Speaker 7 (08:01):
Was it?
Speaker 3 (08:04):
I'm sorry I didn't catch you.
Speaker 8 (08:07):
Would you repeat it?
Speaker 2 (08:09):
Are you gonna bark all day?
Speaker 3 (08:10):
Little dog?
Speaker 7 (08:14):
Are you gonna bite?
Speaker 3 (08:15):
Asole play ground?
Speaker 1 (08:20):
Happened?
Speaker 4 (08:20):
Until this week? I had never saying Richard Linklights boyhood.
Speaker 3 (08:26):
Talk to me, Samantha. How was your week?
Speaker 8 (08:29):
Uh?
Speaker 3 (08:29):
I don't know, Dad, it was kind of tough. Billy
and Ellen broke up, and Ellen's kind of mad at
me because she saw me talking to Billy in the cafeteria.
And you remember that sculpture I was working on.
Speaker 4 (08:36):
Well, it was a unicorn and the horn broke off,
so now it's a zebra.
Speaker 3 (08:40):
Okay, but I still think I'm gonna get an egg,
right Mason?
Speaker 8 (08:43):
Uh?
Speaker 4 (08:44):
How was your week?
Speaker 3 (08:45):
Well? Dad, you know it's kind of tough. Joe he's
kind of a jerk. Actually, he stole some cigarettes from
his mom and he wanted me to smoke him, but
I said no because I knew what a hard time
you had quitting smoking, Dad? How about that? Is that
so hard to dad?
Speaker 4 (08:56):
These questions are kind of hard to answer.
Speaker 3 (08:58):
What is so hard to answer about? What sculpture are
you making?
Speaker 4 (09:01):
It's abstract?
Speaker 3 (09:03):
Okay, Okay, that's good. See that's I didn't. I didn't.
I didn't know that. I didn't know you were even
interested in abstract talk.
Speaker 1 (09:09):
No, they make us do.
Speaker 4 (09:10):
It, but Dad, I mean, why is it all on us?
Speaker 3 (09:12):
Though?
Speaker 7 (09:12):
You know?
Speaker 1 (09:13):
What about you? How was your week?
Speaker 4 (09:15):
You know, who do you hang out with? Do you
have a girlfriend, what have you went up to?
Speaker 3 (09:19):
It's to your point, so we should just let it
happen more natural. Okay, that's what you're saying.
Speaker 4 (09:27):
Okay, that's what we'll do.
Speaker 3 (09:29):
I'm starting now.
Speaker 2 (09:32):
Mason Junior Ala Coltrain is a regular seven year old
boy growing up in Texas with his sister Samantha Laurela
link Later and mum Olivia Patricia Arquette. In an Oscar
winning role with his dad, Mason Senior, Ethan Hawke separated
from his mum and seemingly not entirely dependable due to
a job that has him in Alaska for large chunks,
Mason Junior must navigate his boyhood over a period of
(09:56):
twelve years, through a couple of disappointing stepfathers, moving houses,
finding out where his passions lie, girls and music, puberty
and teachers, friends, and booze. Incredibly crafted by the great
Richard link Later, Boyhood was shot over twelve years, with
time shifts only distinguishable by pop culture references, technology and
subtle the subtle aging of the lead characters. Aaron Blaby,
(10:18):
did you ever go through puberty in a movie?
Speaker 4 (10:21):
In what sense?
Speaker 2 (10:24):
It was a weird one to craft a little question
off the back of back because there's so much going
on in this movie over twelve years. First of all,
welcome to you and see nothing yet.
Speaker 4 (10:33):
Thank you.
Speaker 2 (10:34):
It is a pleasure to have you, and I'm really
excited by this film in particular to talk to you
about and thank you for choosing this movie because you
are on the pro ma trail a bad guys too,
and you've chose I'm not sure if you realized this.
You chose to watch a nearly three hour movie at
what point did you regret that?
Speaker 4 (10:53):
Pretty quickly, I was, Look, it's a film made. All
had a bit of a blockage on for some reason,
because like when you asked me to choose one and
you send a helpful list of films to choose, I
had seen all of them. I actually had. I've obsessed
with movies and in a very new and divergent kind
(11:14):
of way. And I don't know why. I'd always sort
of pushed back from boyhood. There was something about it
that I don't know. But we'll get into what we
thought about it moving forward. But it's yeah, it's.
Speaker 1 (11:32):
So you're aware of the of the shot over twelve years.
Speaker 4 (11:36):
Of course, of course, yeah, that was all I knew.
Speaker 1 (11:39):
Really.
Speaker 4 (11:39):
I knew that Patricia had won the Oscar. I knew
that there is a loose improvisational tone to all of
link Lay the stuff I always really liked, Dazed and Confused,
the Sunset Sunrise movies. I'm not the world's biggest fan
of those, but I you know, so I kind of
knew what to expect would degree and then the overarching
(12:02):
idea of it is obviously gorgeous shooting something over such
an extended period of time, that. Yeah, I'm controversially, I
think i'm in the is it a little overrated?
Speaker 1 (12:19):
Just a little teaser, a little teaser that I cannot
wait to talk to you about it.
Speaker 2 (12:25):
But I want to talk to you about your favorite
three films, which are extraordinary films, and you know, I
think we all know them, and also by Bad Guys too,
So let's actually start with Bad Guys Too.
Speaker 1 (12:40):
Congratulations. I saw a preview of it last week.
Speaker 2 (12:43):
And my kids are a bit older now, at sixteen
or seventeen, twenty twenty two, so some of these animated
films come out, I don't necessarily always see them, so
I wouldn't saw Bad Guys Too. It's extraordinary. It is
such a it's animation as highest level. It moves at
such a pace, it's got a story that keeps you,
you know, on the edge of your seat.
Speaker 1 (13:03):
It's it's a beautifully done Congress.
Speaker 4 (13:05):
Thank you, thank you. I'm really proud of this one.
I think the first I thought the first one was great,
but I think the second one really took it up.
And it's more relaxed, I think too, than the first one.
And they the team there at DreamWorks always just got
the tone of what I do. So there's they played
(13:28):
very fast and loose with the story, but that was
always fine with me as long as they got the
tone of the sense of humor and the character relationships right.
I was always cool with anything they did, and they
the fact that they've continued to do that, they've added
more of my characters, got those right, and then cherry
picked the kind of really cool bits from the books
(13:50):
and then blended them into an Ocean's eleven soda Bergie
kind of story. Again. Is just like, it's such a thrill,
you know, it's an amazing feeling to take, especially being
a movie obsessive, to be in a situation where something
and a bunch of characters and situations that I invented.
(14:11):
Just on that scale.
Speaker 2 (14:13):
I think about you when the it's kind of like
a New Dream Works anime. Well I hadn't seen it before,
like animated at the start of the film, and it
goes through all the characters in where the Marvel Cinema
does as.
Speaker 1 (14:22):
Well, like and you have like what was it watching it?
Speaker 2 (14:26):
Going and seeing Shrek and Madagascar and you know how
to train your drag and now you're part of this world.
Speaker 4 (14:33):
It's it's nuts. In fact, I think they've they've been
that little opening thing you're talking about. I know, before Okay,
Wild Robot, I think it was they'd added my guys
to that thing we were, and that was it's hard
to process. I don't really know what to do with that. Yeah,
(14:53):
it's I think because the Bad Guys for me was
always a just of all the stuff that I love.
The initial idea when pitching it anyway, Tarantino for kids
basically it's where it began, and there's which is it
seems impossible, but I thought, is that possible? And then
(15:15):
as it's gone along, I was able to include things
that you would never put in a children's book in
a million years. And that was the game for me,
was what's the least appropriate thing you put in a
children's book? And a Texas chainsaw massacre? And then I
ended up with a character in the second half of
the series that has chainsaw hands that is completely valid
(15:36):
in that world kids think is hilarious. And it's my
studio where I is just every wall, every part of
it is covered in images from all cinema history really,
and it's sort of like the inside of my brain
externalized and it's like a shortcut. For me, I just
sort of sit and if something occurs to me. It's
(15:58):
all that thing about taking two elements that don't belong
together and finding a way to click them together in
a new context. But for kids you can do that.
So it's so joyful to be able to take iconography
that people wouldn't think to use for kids and then
hot wire it in a way that an eight year
(16:20):
old goes. That's the coolest thing I've ever seen, You know,
It's that that's been the game. And I think I
mentioned it earlier, but I discovered not too long ago
that I'm on the spectrum and as autistic as they come.
And I think that has been how this has maybe
(16:40):
formed in my head over the years, is putting together
bits that wouldn't necessarily seem a natural thing to do,
but for me, it has seemed the only way to
approach it that makes any sense. I don't know if
it does, but that's where they came from, and their
(17:03):
universe came from. At some point, I went on a
walk and I put a wolf and a shark and
a piranha and a snake in the car from Mad
Max and had them talk to each other, like the
tipping conversation at the beginning of Reservoir Dogs and suddenly
there was the bad guys, and that those bits just
fully formed. One day. We're just in my head so
(17:24):
and I've gone for lots of walk since trying to
make a similar thing happen, and it doesn't. You know,
It's just it's just sometimes a little door in the
universe will open up and though all those bits will
connect some that's yeah.
Speaker 2 (17:38):
And then you get a phone call one day saying
Sam Rockwell is in. That must have been.
Speaker 4 (17:44):
Such a trip I've been like it was. Green Mile
obviously was the first time that he really knocked everybody
or out of it, like it's just like, who is that?
But I'd seen him before that in a John Dagen
film called Lawn Dogs and Australia Straining Director, and I
remember thinking at the time that guy is really cool.
And then Green Mile came out and he just we
(18:05):
just hit like a bomb and then he had that
string of really cool stuff. Galaxy Quest was always one
of my favorites.
Speaker 1 (18:10):
Mastic men.
Speaker 4 (18:12):
He's fabulous, He's just amazing and he's a really cool guy.
To have met him for the first time in person
a couple of weeks ago, but he's genius. And Three
Billboards is one of my favorite performances anyone's ever given.
I think, I think the filmed some masterpiece.
Speaker 2 (18:26):
That's brilliant, and that's the Kevin Bacon game. That's the
Degrees of Kevin Bacon. That's where we meet because Peter
Dinklage is in that movie, and he was in a
movie that I made. I remember getting a similar call,
Saint Peter Dinklide, He's going to do your movie. He's
a pre Game of Throne. So it was even you know,
it was you know, he wasn't as big as he
is now, but it was very exciting because but when
(18:47):
those calls come through, something you get, you get the
guy you want.
Speaker 1 (18:51):
It's very exciting.
Speaker 4 (18:52):
It sure is.
Speaker 1 (18:53):
So congratulations on on on bad Ice too.
Speaker 2 (18:56):
Everybody goes See is, whether you got kids or not,
This go See is is quite the romp. Let's talk
about your three favorite films, which are absolute classics. Let's
start with the Jaws. I mean, everything's been said about Jaws,
but when did you see it?
Speaker 4 (19:14):
It was really pivotal for me, and it was actually
the crappy sequel Jews too. That it was when I
was four years old, I had to be let out
of a cinema with my eyes closed because the posters
for Jaws two were up and it was so terrifying
to me. And then as happened, I was frightened of
lots of things when I was really little, and then
at some point in my early teens became obsessed with
(19:37):
horror films, and Jaws was my sort of gateway into
that universe. I've seen Jews probably more than anything, probably
other than TUTSI. I've seen it hundreds of times. I
guess I sort of know all the dialogue, and.
Speaker 9 (19:50):
Any shark expert in the world will tell you it's
a killer.
Speaker 5 (19:52):
It's a man eater.
Speaker 8 (19:53):
Look, the situation is that apparently a great white shark
has staked to clean in the waters off fam of
the island, and he's going to continue to fee as
long as there was food in the water, and.
Speaker 3 (20:01):
There's no limit to what he's going to do.
Speaker 9 (20:03):
I mean, we were already had three incidents, two people
killed inside of a week, and it's gonna happen again.
It happened before the Jersey Beach five people chewed up
in the same one week.
Speaker 1 (20:11):
Tell him about the swimmers.
Speaker 8 (20:12):
A shark is attracted to the exact kind of splashing,
an activity that occurs whenever human beings go in swimming.
You cannot avoid it.
Speaker 9 (20:18):
If you open the beaches on the fourth of July.
Speaker 3 (20:20):
It's like ringing the dinner bell for Christ.
Speaker 8 (20:21):
Look, mister Vaughan, mister Vaughan, I pulled a tooth the
size of a shot glass out of the rectull of
the boat out there, and it was the tooth of
a great white.
Speaker 9 (20:28):
Who was Ben Gardener's boat.
Speaker 1 (20:29):
It was all chewed up.
Speaker 7 (20:30):
I helped toe it in.
Speaker 9 (20:31):
You should you should have seen it?
Speaker 3 (20:32):
Where is that tooth? Did you see it broke?
Speaker 7 (20:36):
Oh?
Speaker 3 (20:36):
I didn't see it.
Speaker 1 (20:36):
He dropped it good.
Speaker 8 (20:37):
I had an accident. Way yea.
Speaker 3 (20:39):
And what did you say?
Speaker 2 (20:40):
The name of this shark is.
Speaker 8 (20:44):
It's a car carrot and carcarrious.
Speaker 3 (20:45):
It's a great white.
Speaker 7 (20:46):
But you don't have the tooth.
Speaker 9 (20:50):
Look, we depend on the summer people here for.
Speaker 6 (20:52):
Are very live.
Speaker 2 (20:52):
You are not going to get this.
Speaker 9 (20:55):
We're not only going to have to close the beach,
We're gonna have to hire somebody to kill the shark.
I mean, we're gonna have to tell the you.
Speaker 7 (21:07):
Are familiar with our problems.
Speaker 8 (21:09):
I think that I am familiar with the fact that
you were going to ignore this particular problem until it
swings up and bites you on the ass.
Speaker 4 (21:15):
And there's something I don't really understand. I guess nobody does,
really how the power of that film is so kind
of elemental, the three, the fact that Spielberg took three.
The reason it works is he had a shark that
didn't work when he was making the film, but he
took three actors who you cared about, put them on
a boat and you didn't want them to get eaten.
(21:40):
And that was the the all the this I see.
I don't even know where to start with this film.
There's from John Williams score to the absence of the shark,
creating which is purely big out of necessity at the time,
but creates this world that I it was like a
(22:02):
comfort movie for me. Weirdly, ultimately, I would just put
it on it in the background. I know it's the
craziest thing to say, but it's true. It's true. There's
something There was something about Amity Island and the atmosphere
of that Roy Scheider's you know, beautiful, earthy, grounded performance
the you know, the one Richard Drevis's sort of edgy,
(22:24):
sort of cokey Euro Season. Then you've got that astonishing
performance from Robert Shaw and that in Indianapolis speech, which
is one.
Speaker 1 (22:34):
Of the most Yeah, because I remember watching it.
Speaker 2 (22:36):
I watched it recently for this podcast with Picola, and
and I hadn't seen it for years, And as a kid,
I probably wasn't that interested in that speech when I
were young, but watching it as an adult, that's the
best thing about the film.
Speaker 4 (22:52):
Oh, it's incredible, absolutely, absolutely, And the fact that and
I heard it because it's the fiftieth anniversary this year
and they made a little doco about it. Apparently Robert
Shaw to started he asked Spielberg if he could have
a few drinks before he did the speech, and then
he went off and had so many drinks he had
(23:13):
to be carried onto the boat and then he couldn't function,
and they went, well, that didn't work, and then he
called Spielberg in the middle of the night, apparently like
really embarrassed, and said, can you please let me have
another shot? And you came in the next day sober
and did one take and it's the one in that
film mastered it. It's so powerful, that moment where he
talks about the they've got what is the black eyes
(23:34):
like a doll's eyes until the bite and then they
roll over white. It's just magnificent. It's so good.
Speaker 2 (23:42):
And that film I'm guessing that a lot of movies
made up until then, like monster films, if you like,
were aliens or like The Blob, all those, but this
is something that was terrifying because we knew, we know
what sharks are, we swim amongst them, you know, and
so that's again, I think it was so terrifying people.
Speaker 4 (24:01):
I'm pretty sure my dad has never set foot in
the ocean since nineteen seventy five. Get the shit out
of him, you know. It's just and it was so like,
it was such a brilliant It was one of the
first really brilliant marketing campaigns because it was released on
the first day of summer in the States and just
(24:21):
became this. I mean, it was the first blockbuster really
and match two years later by Star Wars. But just like,
there's nothing that I don't love about that film, and
it's because it's funny too, and there's only Spielberg could
find a way in the middle of all of that
to have like that beautiful, little heartwarming moment with Roy
(24:42):
Schader and his little son sitting at the table and
they're doing the mirroring. It's that doesn't push the story
forward in any particular way, but it just makes you
care about him just that little bit more before he
climbs on board the boat than all hell breaksleast.
Speaker 2 (24:58):
You gotta love seventies films, aren't you. They basically they
defeat Jaws and then the movie's over, Like they don't
even get back to shore, but there's no evlogues of
like catching up and loved one's hugging this.
Speaker 1 (25:08):
It's like, no, they don't even make it back to
so good.
Speaker 4 (25:10):
Well, let's stripped back to the bone that film. And
it's like, because the precedent was Spielberg's previous the telemovie
Jewel with the truck and the car, which was just Jaws.
Basically we were the truck instead of Shark. He was
so good at that point at still is everything obviously,
(25:32):
but like there was something so impossibly deceptively simple but
elegant about the way he told that story and the
moments like that beautiful dolly zoom shot on Roy Scheider.
When the kid on the Lilo gets eaten, it's it's
(25:53):
he took it from his cock in vertigo, but that
that where you can just feel his stomach turned upside
down when he realizes that this is a real thing.
It's one of the most beautiful moments in cinema history.
I can watch that moment over and over and over again.
It never gets.
Speaker 1 (26:11):
Let's tat try my boyhood, but let's talk about your
other See what a I mean? This is a perfect film.
It's a perfect film.
Speaker 4 (26:19):
Yeah, it's a perfect film.
Speaker 1 (26:21):
That was great, John Blendy.
Speaker 7 (26:26):
Yeah, thanks to my coach.
Speaker 3 (26:28):
No, no, you did it yourself.
Speaker 1 (26:30):
I mean perfect. I love the middle.
Speaker 3 (26:32):
Okay, so much for the Mutual Admiration Society. Let's move
on to item seventeen.
Speaker 7 (26:36):
Joe Clear, this is that I need Alan, Tom and
John to take ten ron.
Speaker 1 (26:44):
My name is Dorothy.
Speaker 4 (26:46):
It's that toutsy or sweety a honey a do no,
just Dorothy.
Speaker 9 (26:52):
Now, Alan's always Allen, Tom is always Tom, and John's
always John.
Speaker 4 (26:55):
I have a name too, It's Dorothy capital d O
R O T h Y. I think for me as
a kid because I grew up in regional Victoria and
felt like such a widow did and I don't know
what it was about towtzipuffin the fact that it was
so delightfully funny. It was like felt like a portal
to me to New York. It felt like evidence of
(27:18):
a world beyond in many ways for me, and there
was just something. So there's the comedic, it's a comedic masterpiece.
I think there's some there's not one piece of that.
And I always loved that story, which apparently is true
that Dustin Hoffman drove Sidney Pollack crazy during the shooting
(27:42):
of that, because Pollack was trying to make comedy and
Hoffman insisted that Dorothy and Michael Journey was a very
very serious thing, and he was, as far as he
was concerned, he was making a really powerful drama. And
Pollack was tearing his hair out going it's comedy, man,
and he was. But I think the tension between those
(28:03):
two things is what makes it so spectacularly. Hoffin's commitment
to Michael having and then when the wheels fall off
and he wants to get out of that situation, and
he's got that wonderful scene where he's been proposed to
by Jessica Lan's father. He's got Terry Garr, who's he
(28:24):
thinks he's, you know, like he's someone thinks he's a lesbian,
someone thinks he's gay, someone wants to marry him. And
he says, this is a nightmare.
Speaker 1 (28:29):
I don't want to do.
Speaker 4 (28:30):
Man, I want to He gave me an engagement ring.
I wouldn't needed to piss in the sink. It's such
a it's such a wonderful film. There's nothing nothing about
that movie that I don't like.
Speaker 1 (28:42):
I think you just love Bill Murray.
Speaker 4 (28:43):
And oh that's those scenes are just so great, and
it's just so random the stuff that he says. It's
that bit he wakes up and goes.
Speaker 2 (28:52):
Mom, you know, and then also just it ends in
a like it doesn't necessarily become a romance, like they
walk off, yeah, and they're friends.
Speaker 4 (29:02):
Yeah.
Speaker 1 (29:02):
I mean I don't know what.
Speaker 2 (29:03):
Happens after that, but I like that and kind of
an unusual choice, you know for movies that not to
close it off with a kiss or something.
Speaker 1 (29:11):
Yeah.
Speaker 4 (29:11):
I guess it was like he'd behave pretty despicably so
I think it would have been too big a leap.
Speaker 1 (29:18):
What if they shot one and they you know, but isn't.
Speaker 4 (29:21):
Charles Derning is so beautiful, as is the herb Jessica
Lang's dad.
Speaker 1 (29:25):
It's one of those presences. He's so lovable.
Speaker 4 (29:29):
It's so in that scene in the bar when he
goes to give him the ring back and he says,
give it to me outside, it's so yeah, no, it's
a beautiful thing. And Geena Davis in that tiny little
role too.
Speaker 1 (29:41):
Yeah. Yeah, it's so good, so good.
Speaker 2 (29:44):
And Reserve Dogs is your third favorite film and should
come as no surprise because, as you said, the Bad
Guys have been kind of partly inspired by Dogs.
Speaker 9 (29:53):
It was.
Speaker 4 (29:55):
It's a strange one that, I mean, I when you
asked for three, it's impossible, really, but I picked Reservoir
Dogs because of the impact it had on me that
I remember it so clearly. Gets nice being back in Melbourne,
but I used to try. In ninety ninety two when
it came out. It was a rainy night, I was
(30:15):
walking down Collins Street and I saw the poster. Nobody
knew what it was because it wasn't a big film
at the time, but it was only retrospectively after pulp
fiction that it kind of blew up a little bit,
but it was just a little indie film. I saw
the poster, thought it looked cool, went in and it
just blew my mind. And I went every night that week.
I went and saw every session that was I just
(30:37):
couldn't believe what I was seeing. There was something so
we'd never seen that meta sense of cinema before that
was still grounded somehow, absolutely thrilling, referencing every cool thing
you've ever seen in a film done on a low budget,
pretty much just a bunch of guys in a warehouse
(30:59):
because you couldn't afford to shoot anything else. And it
was absolutely riveting from start to finish.
Speaker 1 (31:05):
Hey, your names.
Speaker 7 (31:08):
Mister Brown, mister white, mister blood, it's the blue, mister orange,
mister pink.
Speaker 1 (31:16):
Why am I mister pink?
Speaker 7 (31:17):
Because you're a faggot?
Speaker 1 (31:18):
All right? Why can't we pick our own colors?
Speaker 7 (31:23):
No way, no way? Try it once and does it work?
You get four guys all fighting over who's going to
be mister black, but they don't know each other, so
nobody wants to back down. No way, I pick you're
mister pink. Be thankful you're not mister yellow.
Speaker 3 (31:38):
Yeah, but mister Brown, that's a little too close to
mister shit. Mister pink sounds like mister pussy.
Speaker 7 (31:43):
How about if I'm mister purple, that sounds good to me.
Speaker 1 (31:46):
I'll purple.
Speaker 7 (31:47):
Yeah that mister purple. Some guy at some other job
as mister purple. You're mister pink. Who cares what your
name is?
Speaker 1 (31:56):
Yeah, that's easy for you to say.
Speaker 7 (31:57):
You're mister white.
Speaker 3 (31:58):
You have a cool sounding.
Speaker 4 (31:59):
Then it was one of those things that looking for
the bad guys in my life. Didn't know what that was.
It took me so many years to find them, and
reservoir dogs was one of the pieces of that puzzle
that used to torture me when I saw reservoir dogs.
I've just covered this before, but it's true. When I
saw reservoir dogs, I wanted to eat it somehow. Is
(32:20):
the only way I can describe that feeling. Empire strikes
back to the same thing to me when I was
a kid. I watched it, and just watching it wasn't enough.
I wanted to be able to absorb it somehow, and
you can't, so I just left weirdly frustrated for years
by that. And I think it was something about the
(32:43):
way I've always equated Tarantino a little bit too, Like
the Beastie Boys were great at it too, that kind
of like really giddy appropriation of other things, like a
bower bird, just taking bits and pieces from here and
there and just mixing it into a cauldron and making it.
And that's what Tarantino's film, especially those early ones, felt
(33:04):
like to me. It was just like a like a
kid in a candy store, just choosing all the bits
that all the cool Like Tarantino's films also felt like,
you know, all those awesome posters from the seventies, like
really lurid posters, and the post that looks like that's
got to be the greatest film, and the films will
always crap, But like those posters, it's like he took those,
(33:28):
he actually made the film you wanted that posted to be.
Is what I always felt like to me. And yeah,
I don't know, it pushed a button in me that
I don't fully understand, but it meant like And then
two years later Pulp Fiction dropped and that was it
was the Village Center on Burke Street, and it was
(33:50):
the only time in my life I'd ever done this.
I went in I sat down, I watched it for
three hours, came out, bought another ticket, went back in
and watched it again. Wow, yeah, there is I don't know.
It spoke to me in a way that very few
of the film had.
Speaker 1 (34:05):
Yeah, you're right about the influence.
Speaker 2 (34:06):
I mean every you know, to get a movie greenlit,
I think in Hollywood, you know, the teen years following
if it wasn't a ro Many comedy or it had
to be the crime films, and then playing with the
time and not any kind of structure.
Speaker 4 (34:19):
Which came from novels. Apparently it was just he loved.
It occurred to him, why don't I love in a
novel the time jumps back and forth all the time.
Why don't we do that?
Speaker 1 (34:29):
Just did it?
Speaker 8 (34:30):
You know?
Speaker 4 (34:30):
And it works so beautiful.
Speaker 2 (34:33):
Okay, there Aaron Blaby's three favorite films, and Aaron we
joining us again next week this gust the film he
hasn't seen until now, Boyhood from Richard Link Later until
then by for an hour, and so we leave old
(34:56):
Pete savansl and to our friends of the the audience,
we've been a pleasant, good time. M
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