Daina Reid and Anchorman: The Legend of Ron Burgundy

Australian director Daina Reid has directed some of TV’s biggest shows (The Handmaid’s Tale, Upload, Space Force), but she’s never witnessed Ron Burgundy in action… until now. 

She reveals whether it still holds up, what it's like working with Steve Carell in the flesh, and debates the true power of a jazz flute.

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Episode Transcript

Speaker 1 (00:00):
Pete Hally here Welcome to you, and See Nothing Yet
the movie podcast where our chat to a movie lover
about a classic or beloved the movie they haven't quite
got around to watching until now. And today's returning guest
director Dana read.

Speaker 2 (00:18):
All below.

Speaker 3 (00:19):
I want to stay here with you. Got the jobble,
my snake shucked, my fail.

Speaker 4 (00:41):
Haven't a right, So you ain't seen nothing here?

Speaker 1 (00:53):
Yes, Dana recreates history by becoming Yasney's quickest returning guest.
We had Dana on not not long ago to cover
nine point fifty eighths, the defiant Ones, Stanley Kramer, Tony
Curtis and of course the.

Speaker 5 (01:10):
Great late Sydney Pottier.

Speaker 1 (01:13):
And when she nominated that she also had mentioned that
she had never seen Anchormand now I had worked with
Dana on Let's sketch comedy series Ski House, That's where
we first met, and then my movie I Love You Too,
which Dana directed beautifully, and I was appalled that she
hadn't seen Anchorman, or maybe very very surprised at least

(01:34):
because Dana got started in Full Frontal. She was great
on Full Frontal, a very funny actor on that, and
is just a delightful cinephile. You know, she loves chatting
about TV and film. She's passionate. She's done so much
both here and abroad in Australia only I Love You Too,

(01:57):
but also paper Giants Kerry Packers wore Secret River Offspring
and then just pops sober to the States and wins.
So he's nominated for an Emmy for The Handmaid's Tale,
which reunited here with two vans to Hoofsky, and then
does Space Camp with Steve Crell and John Malkovich and
Lisa Goodrow and Jimmy o'yang, and then does Upload, which

(02:21):
is a fantastic Greg Daniels, another Greg Daniels piece of
comedy with the ideas are plenty in that. So Dana
is as good as it gets. Has recently wrapped up
on Handmaid's Tail. That series has come to the close
after billion seasons.

Speaker 5 (02:36):
I think it was.

Speaker 1 (02:37):
So she's absolutely extraordinary and I was so thrilled. Basically,
she mentioned the night before we did the The Fight ones,
you know, she'd also watched and Commands, so I just
left up the opportunity and said, well let's do both.

Speaker 5 (02:50):
So basically we've done.

Speaker 1 (02:52):
A doubleheader these are released a little bit apart, but
they were basically done back to back.

Speaker 5 (02:57):
I'm so stoked to be hanging with my mate direct that.

Speaker 6 (03:05):
Hello. My name is Dana Reid, and my next three
favorite films are It's a Wonderful Life, love yety, pleaet this,
every kind of marrying. I mean, you're yet peas Wing
Rogue one.

Speaker 5 (03:20):
We were on the vertive greatness. We were this close
to providing peace and security for the galaxy, A confusing
peace with terror.

Speaker 2 (03:30):
Well let's start somewhere and alien ash Are you kidding?

Speaker 5 (03:36):
This thing?

Speaker 6 (03:36):
Bled acid?

Speaker 5 (03:37):
Who knows what it's going to do? And it's dead.

Speaker 6 (03:40):
But up until this week, I had never seen in command.

Speaker 4 (03:44):
Arnol Q one.

Speaker 6 (03:45):
After the photo Matt was destroyed, the bear scampered back
into the woods.

Speaker 4 (03:50):
Apparently he wasn't too happy with his color prints.

Speaker 3 (03:55):
From the entire.

Speaker 5 (03:56):
Channel four news team, I'm Veronica Corningstone and I'm Ron Burgundy.

Speaker 4 (04:01):
Go fuck yourself, San Diego.

Speaker 3 (04:10):
What in the name No nobody talks about my city
that way? Ron Bergy's asses.

Speaker 4 (04:18):
Grass, nice work, everyone sharp, broadcast, really good everyone on
the floor as well, really a lot of hustle.

Speaker 3 (04:28):
I liked it, don't bound, dumb bound.

Speaker 7 (04:33):
Hello Edwards, Ron, I've got to fire you.

Speaker 5 (04:35):
Well, I've got to fire you.

Speaker 7 (04:36):
Bing bong bong, You're fired.

Speaker 3 (04:38):
D Do you even know what you just said?

Speaker 5 (04:42):
Oh?

Speaker 7 (04:43):
Great Odin's raven.

Speaker 1 (04:45):
Oh yes, it's a nineteen seventies and we are in
the Channel four newsroom in San Diego, which, depending on
who you listen to, may or may not mean Wales, Vagina.

Speaker 5 (04:55):
Yes, the Channel four.

Speaker 1 (04:56):
Newsroom where men are men and women are the pas
and s ecretes. The allegendary Ron Burgundy, inhabited by the
one and only Will Ferrell, and alpha male with a
penchant for Scotch and jazz flute with his testosterone field
team consisting of sports reporter Champ Kind, David Koshner, reporter
in the field Brian Fantana, the ageless Paul Rudd and

(05:18):
simple weather man Brick dam Land the always great Steve Carrell.
But when ambitious reporter from out of town Veronica Corningstone
the excellent Christina Applegate joins the team, she has eyes
for the top job, threatening the chauvinistic ecosystem on which
the Channel four newsroom is built, directed by the Great
Adam McKay, which he co wrote with Ferrell himself, and

(05:40):
Command looms large as one of the great American comedies
of the twenty first century, kickstarting the Judd Apatow comedy Empire.
Dana Reid, have you ever seduced anyone with the Jay's flute?

Speaker 6 (05:51):
I can't play the flute.

Speaker 5 (05:52):
You can't.

Speaker 6 (05:53):
Oh, I can play the recorder, though I should have.

Speaker 5 (05:54):
Tried to thank Oh. Yeah, does the recorder get you
over the line. I'm not sure it does.

Speaker 6 (05:58):
Oh, it's pretty sexy.

Speaker 1 (06:02):
American party. It was somewhat disturbing. Actually, Will Farrell played
the flute growing up.

Speaker 5 (06:08):
I'm not sure.

Speaker 2 (06:09):
I think it's actually him. It's I believe, so welcome back. Yeah,
maybe our quickest returning guest on You ain't say nothing
yet because we covered the Defiant Ones the great film
Tony Curtis and Sidney Potier a little while ago, from
nine to fifty eight. But I was torn as to

(06:30):
which film to choose because you mentioned that you hadn't
seen Anchor Man, and we've worked together before in comedy
on sketch comedy with Skihouse and then I Love You Too,
the movie I made.

Speaker 5 (06:38):
We made, and I thought I can't leave this line
there you need to watch Anchor man.

Speaker 6 (06:45):
Yes, I really like, it really really got under my
skin that I hadn't seen it, and I have to
go and look at this.

Speaker 5 (06:51):
So why hadn't you seen it? Look?

Speaker 6 (06:54):
I think it's it's a longstanding boisey kind of comedy
bias that I have, And because growing up, I would
stare at the Three Stooges on those Saturday movies and go,
why is that funny? Why is that funny? And to me,
there really is a golf between what was accepted as

(07:16):
funny and when you're a female, you were outside of that.
As a little girl growing up, there was nothing that
was kind of for me where I would find funny.
And so I mean and a lot of the I mean,
Chad Apatat does amazing movies, but a lot of them
still have that for me. And so I'd watched Talladega
Nights and I kind of felt the same way. Even

(07:37):
Blades of Gloria kind of felt a bit the same way.
Old School, which a lot of my male friends love,
still felt the same way. I'm like, ah, yeah, So
it kind of fell into that group of things as
kind of I've been watching Will Ferrell over the years
and how he's developed and the stuff that he does
with Adam McKay as well, and then you know, succession

(07:58):
and and all the fantastic zoo lest things that he's doing.
I've kind of my appreciation of just how amazing and
clever he is. I mean, if I'm feeling a little bit,
you know, if I'm having a bit of a bad day,
I'll watch the cow Bell Sketch for Saturday.

Speaker 5 (08:20):
Just watching it during the week, actually, it'll.

Speaker 6 (08:22):
Just make you feel better. It's an unbelievable genius and
it's just so left field and strange, so.

Speaker 5 (08:30):
Nuanced, and so like I'm a comedian.

Speaker 1 (08:35):
I love the idea of like, how did you come
up with that idea or that sketch, you know, because
it's so many influences. Sometimes sometimes there's an obvious answer,
but that one you're going to go, yeah, where did
you get? And I heard him speak about it. He
just was he loves that song and he just he
knows the cowbell and he started thinking about the guy
who plays the cow bell in that song, and he

(08:56):
pitched it quite a few times. It kept on getting
knocked back, and then eventual Christopher Walken as the guest
star and they went, He's the one who's going to
make it work.

Speaker 5 (09:04):
It works with Christopher.

Speaker 1 (09:05):
Walken and he he changed his top two more figure
hugging kind of top.

Speaker 5 (09:11):
That's a plate a part.

Speaker 6 (09:12):
It really did.

Speaker 5 (09:13):
Yeah, it was a great costume choice.

Speaker 6 (09:15):
Yeah. I keep going because I'm still a Midnight oil fan,
and I keep fantasizing about Will Ferrell coming out and
doing the cowbell and read about it. Wouldn't that be amazing?
Come out and just whack that cow bell for me?

Speaker 1 (09:29):
Tend to one album with Little Ferrell on cow bell,
I think would be fantastic, just next to Rob Hurst
is belding it out.

Speaker 6 (09:34):
So hopefully now we put it out there, we're going
to make it half fand.

Speaker 1 (09:37):
It's going to make it happen a lot of it.
You said that you're still a me not oil fan.
There's nothing wrong with being a me not oil fan.

Speaker 6 (09:41):
I love being I love mid All so much.

Speaker 5 (09:44):
I love the oils.

Speaker 1 (09:44):
I love the oils so much to talk about because
anchor man, I think, Yeah, it's and I love I think.

Speaker 5 (09:52):
I don't use the.

Speaker 1 (09:53):
Term hero really to describe anyone in entertainment, but Will
fairly probably my favorite, Like he is always funny for me,
even the bits that you could spend the day watching
Will Ferrell be funny, but not in scenes from his movies,
like presenting awards when he came un road of Live

(10:16):
he came up with John c Riley, I think for
step brothers in Australian track suits carrying like a pole
vo because Stephen Hooker had just won the gold medal
for Australia. So they just found, you know, Australian tracksuits
and came on with a pole vot carrying between them
and they just he just is always funny like and
it's always thinking how can I be funny When he's

(10:37):
presenting with you know, Tina Fey or you know Kristen Wig.

Speaker 5 (10:41):
He's always finds a way to be funny and yeah,
and it's.

Speaker 6 (10:45):
Not usual like even that doing the finding the uniforms
and doing the pole vot. It's just such a it's
kind of like a sweet gesture that's extremely humorous.

Speaker 1 (10:56):
Exactly, and you have sometimes I found people would come
to Australia and at times, you know American actors phoner
then you know, or they'll save that kind of stuff
for Graham Norton or the biggest shows. But Will was
never like that. He would always absolutely bring it and
he wasn't the only one lost. People came and gave

(11:16):
great interviews and all in another time he came this week.
He's for suchy like gold track suits as well. Like
he's just and also because I've interviewed a few times
and I've introduced his movie, I've interviewed the campaign and
shared a car with him and just genuinely a lovely guy.
Reminds me of Steve Carell. I'm sure we'll spak about

(11:38):
Steve Carell because he I know you've worked with him.
Like those two are the loveliest people I've met. I think,
as far as you know how successful they are, and
this really nice. I think maybe it's got to do
finding fame later later in life, I think, does it.

Speaker 6 (11:55):
Yeah, I haven't met Will Ferrell, but yeah, Steve Carrell was.
We say he's so nice, he's too nice for his
own good. We were doing a scene where he had
to run a lot and he just said, oh, I've
got a bit of a twingy knee I've got and
I said, well, let's not do it. It's like no, no, no, no, no,
We'll do it. No, seriously, if you've got anything, you're

(12:18):
the star of the show, like you Steve Carell, will
we'll move it. No, no, no, And then he Blundy
did it and I tried to keep it, you know,
as little as possible, but we had to go to
hospital the next day and I'm like, oh my god, no,
he was just being too accommodating.

Speaker 1 (12:35):
I read a book about the Office, the American Office,
which against all odds, was brilliant, and I say, against
all odds, you know, now we know Greg Daniels was involved,
and we'll talk about Greg Dangles, I'm sure. And Steve Carrell.
Of course it was going to work, but had a
really shaky first season, and they were taking the BBC

(12:57):
scripts for Baiden the Steve Merchant and them Ricky Jave's scripts.
And then when they found their own voice, and it
kind of happened after the forty year Old Virgin, when
they found carrel super power that he can be more vulnerable,
vulnerable than what's you know. Javes found that, like those
later scenes in the Office were incredible, I thought, but
that was his superpower. So they kind of took the
brill cream out of his hair and it's kind of

(13:19):
remodeled them, and Michael Scott was reborn and it was
it was brilliant.

Speaker 6 (13:23):
It is. His vulnerability is off the chart. It's just
he's so accessible. And again, my journey's different, of course,
and you know, he's a big superstar. But I've always
been interested in the vulnerability of all the characters because
I think that's where we all meet, that's where we
all connect, because it takes us a different time to

(13:43):
get to that level of vulnerability, but that's that's how
commonplace is, how vulnerable we all are. And he's got
that in bucket loads. And I mean I did Space
Force with him, and you know, he plays well. He
plays a good Republican. He's you know, he's a and
he's the leader of the Space Force. And John Malcovich

(14:03):
plays the more left wing guy and you know, he's
the good Republican faced with this incoming crazy government and
he's trying to do good. And the vulnerability of that
position really like created, like really made that character so
endearing and amazing and oh my god, the stuff he does.
And there's I think my favorite scene ended up not

(14:25):
being in the show, but what him he says the
long goes, I'm going to go eat salad sandwiches until
I'm sick, and then it's just him eating salad sandwiches,
excelled sandwiches and singing trying to sing the gambler and
gagging and vomiting like and I couldn't. I couldn't function.
I couldn't. I was like crying. I could not do

(14:46):
my job. It was amazing. It was amazing. But I
don't think it's in it, like it's I've got the
memory of it.

Speaker 5 (14:52):
You have the memory.

Speaker 1 (14:53):
We'll be chating about Steve Croll and Will Ferrell very
soon as we make our way through and Command. But
before we do, your next three favorite films great choices.
One that pops out straight away, Rogue one out of
the out of all the Star Wars entries. Why does
Rogue one make it into your next three top films?

Speaker 6 (15:14):
Well, I mean Star Wars is always you know, was
my favorite for years. I think it's everybody's favorite, and
it's the reason why I got into the business. Like
I said, I wanted to do that, and then I
remember seeing Rogue one after all the films that came out,
and we went as a family, which was amazing. With
my two kids and my husband, and I turned to
my husband, I said, I've been waiting for that film

(15:34):
for forty years, and you know, it really captured so
close to what we felt with the first one. And
when you think about it, I mean, I won't be
able to talk about it without kind of tearing up.
It's a much better premise is because you know we
talked about in Star Wars they kind of go, oh,
you know, the plans, the plans and the plans of everything,

(15:55):
but getting those plans is actually the story. That final
scene when they're trying to shove that thing and Darth
Vaders after them and killing them all and they're trying
to move it, I'm like losing my mind. It was
just like it was incredible. So yeah, I love that movie.

Speaker 1 (16:13):
I had because that came some of the memories bit blurry.
But that was before that was the first you know,
like non prequel original trilogy film that came out that
was pre like Force Awakens.

Speaker 6 (16:26):
I don't know, I thought it was after that, was it?

Speaker 1 (16:28):
Yeah, because I certainly had that feeling Force Awakens, and
I think all those early Star Wars I was able
to take my kids.

Speaker 5 (16:37):
You know, I remember seeing we just.

Speaker 1 (16:38):
Got back from a holiday I think maybe Hawaii, and
then got back and it was Hawai because I was
supposed to interview Harrison Ford for the project and I
was committed to spending time with my family on holiday.

Speaker 5 (16:52):
So I did send to my wife could we put
it back a week?

Speaker 1 (16:55):
Only half joking and so missed out on that, but
got back and was like, okay, we get back the
movie over to the next day. We jet lagged on
that we are going to see Force Awakens. And it
was great being able to experience those pre sequels and
the rogue ones with the kids. And yeah, it was
special because I did feel like most of them I

(17:17):
quite like, particularly Force Awakens last Jedi.

Speaker 5 (17:20):
Was it just I'm surprised that the lack of.

Speaker 1 (17:25):
No symmetry they were with the the you know, with
the way JJ Abrams settled up, and then Ryan Johnson,
who I'm a big fan of, They're seemed to be
a lack of dialogue between those two they needed. I
think Kevin fig you know, to kind of go okay,
he's doing what, you know, where does his story go?
And but I kind of like the way it came
home with the writer Skywalker as well. So yeah, but
Rogue one is is great and it's got you know,

(17:48):
the added bonus, a bit of mendoo.

Speaker 6 (17:52):
He's so great, He's the best.

Speaker 5 (17:53):
He's the best.

Speaker 1 (17:54):
It's a Wonderful Life has popped up many times on
this podcast. We both covered it and and it's been
nominated in People's Top three films.

Speaker 5 (18:03):
Do you watch this at Christmas time? Alongside that? Diehard?

Speaker 6 (18:06):
I do? So it's Christmas Night, I've got to say.
With the kids sometimes it's a bit of a battle
for home alone. We'll get watching on Christmas night.

Speaker 5 (18:15):
Olf is a big one in their house. Another wilf
Forel film has become big in their house.

Speaker 6 (18:19):
Yeah, so again, because you've got to know, it's a
democracy at our place. But it's a wonderful Life. Is
my Christmas Night film? Kind of Yeah, pre kids and
every now and again they're not as into it as
I am though.

Speaker 5 (18:32):
Yeah. It is a beautiful film.

Speaker 1 (18:33):
It's beautiful and it's darker than you know, you talk,
it's a wonderful life. It's a Christmas movie, but it's
got its darkness.

Speaker 6 (18:40):
Yeah, oh, it really has. It's a I mean I'm
a big science fiction reader and the book it's Rob
Grant who wrote the Red Dwarf series, And there's one
called Better Than Life and it's a kind of like
an addictive video game that goes into your brain and
you lead character is in It's a Wonderful life. That's

(19:02):
his that's his fantasy, that's his best world as being
in It's a wonderful life because it is. It's a
beautiful story. It's dark, but having an angel on your
side and you know, and seeing what what you give
to the world is quite It's a beautiful, uplifting and happy,
ultimately happy film.

Speaker 1 (19:20):
And Jimmy Stewart is, you know, like he's America's kind
of father, you know, for those who are not across
Jimmy like the closest I think we got the Jimmy
Steard is probably Tom Hanks.

Speaker 6 (19:30):
Yeah so now, yeah, Yeah.

Speaker 5 (19:32):
He's incredible.

Speaker 1 (19:33):
And there's a really like I love when I'm watching
an older film an occasion there is a performance that
pops out that feels quite modern and.

Speaker 5 (19:43):
The actress Reed Donna read it. Really it feels like
a modern performance to me.

Speaker 6 (19:49):
Yeah, it's when you see those people who are doing
a different style.

Speaker 5 (19:53):
It really does read.

Speaker 6 (19:55):
Yeah, she's she's wonderful. You know, she's so look, I
got to say relatable. In the last time we were
on we're talking about just what women have to play.
She brings a lot of nuance of you know, of
her role in that family life and of what's happening
to her husband. Yes, it's really quite fantastic. I should

(20:18):
go and look a bit more of her stuff.

Speaker 5 (20:20):
Yeah, she's extraordinary.

Speaker 1 (20:22):
And speaking of strong females, somebody who stood out in
the eighties with Sigourney Weaver and Alien, Alien Aliens.

Speaker 6 (20:32):
I love both of them, but Alien is probably the
you know, I love the pure horror of it. It's
whereas you know, Aliens is a great action movie. Alien
is the psychological horror and also the experience of seeing
it at the cinema when I was quite probably too
young to see it.

Speaker 5 (20:49):
Yeah, come out eighty three.

Speaker 6 (20:54):
I think it's earlier than that. I think it's nineteen eighty.

Speaker 1 (20:56):
Yeah.

Speaker 6 (20:57):
Yeah, So because we're all off to the sign fiction
movies at the time, We're go off to see Star
Wars and we're off to see Close Encounters, and you know,
and that kind of comes out on the back of that.
So you're in space again, where we all love to
be but it's really really really horrifying, but beautifully acted.
Like yeah at Koto, John Hurt, It's I'm just trying

(21:21):
to think who else we have in there. We've got
a Cartwright, Veronica Cartwright. And who's our robot?

Speaker 5 (21:29):
Tom Skirrett's in there.

Speaker 6 (21:30):
Oh yes, Tom Skarett is excellent.

Speaker 5 (21:32):
Tom Skirtt, He's he's got that you have if Tom
Skirrett as your dad kind of vibe.

Speaker 6 (21:37):
Yeah, he definitely has that.

Speaker 5 (21:40):
John Harry Dean Stanton, Oh, yeah, of.

Speaker 6 (21:42):
Course, Ian Holm, that's right, that's right, Ian Home. He
was like, they's such a brilliant cast.

Speaker 5 (21:50):
Really great cast.

Speaker 1 (21:52):
Really Scott of course, getting the job done. Okay, we're
going to move through those street your next three favorite films,
because I I I'm chomping at the bit. He's a
chomping champion on the whole debate about that, I need
to know. Let's talk about the film you are here
to talk about today.

Speaker 5 (22:10):
Boy, that escalated quickly. I mean, that really got out
of hand fast. You jumped up a notch. It did,
didn't it? Okay, let's get into it.

Speaker 1 (22:21):
Dana Reid, You've directed so many comedies over the years
you have been in one of the all time great
Australian comedy sketch shows. For some reason, you had not
seen Ankerman from two thousand and four, directed by the
great Adam McKay. He wrote with Will Ferrell, starring of
course Will Ferrell and Steve Carrell and so many others.

(22:42):
Christine Applegate, of course, did you enjoy ankormn The Legend
of Ron Burgundy?

Speaker 5 (22:47):
I kind of did, you kind of did? Okay, it's
a start, it's a start, and we'll work from there.

Speaker 6 (22:54):
Look, it is that thing. It's so big and broad. Yes,
And I guess you know that because I'm kind of
I find that a little bit in a in a movie.
It's a lot.

Speaker 1 (23:04):
It's it's because we don't really do this comedy in Australia, well,
you know, and whether it's just opportunities and budgets and
all that, but there's a real Saturday night life has
not to answer for you know, you know, for better
or worse.

Speaker 5 (23:20):
I think probably for the better.

Speaker 1 (23:22):
Where there's this when you spoke about the cow Bell sketch,
you know, and that like you you can almost imagine
them making a character out of that and make a
movie and possibly making it work. And this feels like
a character out of Saturday Night Live. I don't think
he did ever appear on Saturday Night Live.

Speaker 5 (23:41):
It doesn't feel like it.

Speaker 1 (23:43):
And then they are quite good at transforming these big,
larger and life characters into comedies with big, over the
top set pieces. But still, I would argue through an command,
it's still got something to say, which I think is
a very Adam McKay will feral thing.

Speaker 6 (24:00):
Yeah, I think that's the greatness of the two of
them is that they there's there's a point, and it's
a really good point, and it still hasn't really fully
been addressed. It's the fact that Christine Applegrat, who's so
brilliant in it, you know, and and all the pressure
that she's under and all their unbelieva they can't see

(24:21):
their own kind of their bias, like you can't see
it at all. So that definitely saying something. But at
the same time, it's so interesting for me, you know,
she's still being watched, like it's not from her point
of view, it's you know, she's still observed and gorgeous
and all that sort of stuff. Extremely talented person. But

(24:44):
so yeah, it's still kind of skews very male. And
you know, we were talking before about you know, we
kind of growing up and not getting the Three Stooges.
You can not understanding why on earth that's funny at all.
So it is that kind of you know, Bridesmaids of course,
but is still pretty bloody broad. But not that speaks

(25:07):
to me because I understand it, experience experience of it.
So again it's just that going. It's just it's a
little big for my taste. But I do think he
is marvelous, and I think they all are particularly marvelous.
I love watching Paul Rudd in anything. And it's interesting
that it's pre four year old virgin for Steve Carrell.
So he's got a minor role, which kind of does

(25:29):
your head in because now we have all that history
of what's what he can do. Yeah, and he's not
doing anything in that film is kind of and you go,
we all know what he can do and what he
gives us, and he ends up he's doing Fox Catcher
and all the other stuff, the dramas that he's doing,
and we're not getting that there You're kind of going,

(25:49):
give me more, come on, give me more. But again,
it was a fantastic Saturday night movie. I probably will
watch that again.

Speaker 1 (25:57):
I think for me it's a watching it this morning again.
And I literally could have done this podcast. And I
haven't really done this before, but I could have done
this episode without watching it leading into this, like I've
seen it so many times. I was on the poster,
my quote on the poster for the Australian release of
Anchorman because I and the this is true. I farted.

(26:21):
I laughed so hard I farted when I was watching it,
and I could tell you the exact moment. It was
the line when Paul Rudd puts on sex panther the
cologne goes out, and there's all these lines, you know.
I think Cassina Applegate says it smells like an old
diaper wrapped with Indian which, and then John Battel says

(26:48):
it sounds like burnt fubs or something like that. And
then a woman who I'm not sure who it is,
she has the button on the on the on the
scene which it smells like bigfoots it smells up Bigfoot stick.

Speaker 5 (27:00):
Oh, I'll give this.

Speaker 8 (27:01):
Little cookie an hour before we're doing the no pants dance,
time to musk up.

Speaker 1 (27:10):
Wow.

Speaker 4 (27:11):
Never ceases to maze. What cologne you're gonna go with?
London gentlemen? Or wait, no, no, no, hold on Blackbeard's delight.

Speaker 8 (27:23):
Now she gets a special cologne. It's called sex Panther
by Odeon. It's illegal in nine countries. Yeah, it's made
with bits of real panther, so you know it's good.

Speaker 4 (27:37):
It's quite pungent. Oh yeah, it's a formidable scent stings
the nostrils in a good way. Brian, I ham goving
to be honest with you, that smells like pure gasoline.

Speaker 8 (27:50):
They've done studies, you know, sixty of the time it
works every time.

Speaker 4 (27:57):
That doesn't make sense.

Speaker 8 (27:58):
Well, let's go see if we can make this little
kiddie per as we jigs got an invot at like
an extend you away?

Speaker 6 (28:15):
My god, what does that smell?

Speaker 8 (28:20):
Oh that's a smell of desire, my lady.

Speaker 7 (28:23):
God, Now it smells like like a used diaper filled
with Indian food.

Speaker 5 (28:28):
Oh excuse me, you know a desire smells like that
to some people?

Speaker 7 (28:33):
What is that?

Speaker 3 (28:33):
Smells like a turn covered in burnt hair.

Speaker 1 (28:38):
And I think it was just the culmination of all
those lines and then hitting that button. It just I
was already laughing, and then Bigfootstick has got me and
I farted in the cinema because I was laughing so hard.
I mentioned it on radio, and Universal gave me a
call and said, do you mind, we've been on a post.

Speaker 5 (28:56):
It would be my honor, It would be my honor. Yeah.
I love this film.

Speaker 1 (29:03):
I think it's beautifully made. I think, like the start
is heard before, it kind of sets up you know
exactly the kind of film you're about to watch.

Speaker 5 (29:11):
You know the characters, you know the tone, you know.

Speaker 1 (29:16):
In interrogues of the characters in a beautiful, good Fella's
Scorsese kind of kind of way, the way it's all
floating through. But I do think what its secret source
is is that when ron Berg and the we you know,
he's obviously extremely arrogant, but there's the vulnerability that kind
of comes into his performance. And we spoke about vulnerability

(29:37):
before when he meets Christina Applegate Veronic Conistone at the
party and he all of a sudden he's not as
smooth as he He knows he's not being smooth, and
he's fumbling and he can't quite he knows he's trying
too hard to impress her, and I think that is important.
And then when you know the guys that you know,

(29:58):
we're going to destroy a he is hesitant, you know,
and he goes, no, that was just were just joking around.
We're not really going to destroy her. Of course, as
it develops, he's attitude changes. But I think having those moments,
and you say right about vulnerability, I think if you
have that in there.

Speaker 5 (30:18):
It can make all this silly. You can have all
this silly stuff. And the fact that the.

Speaker 1 (30:24):
Lads are so over the top, you know, I think
that also helps. But and Christina Applegate is an underrated
performance because he's really funny in it, but she grounds
it as.

Speaker 6 (30:36):
Well because hers is a real truth, like what she's
going through is real. And again Adam McKay, because they
are so broad and big and baffoon, like you know,
all of them, and they all have a vulnerability to them,
you know. Paul Rudd has that in Bucket Loads as well.
So there's nothing even though it is a threatening situation

(30:58):
that's absolutely real, and I think, you know, we still
see it as a really a problematic thing in the
news world to this day. He renders them not not
dangerous Bye by making it because they are all they
all have that real soft vulnerability, vulnerable, and they're all
kind of a bit stupid, especially like so it makes it,

(31:25):
it makes them really lovable.

Speaker 5 (31:26):
Yes, And there's also the.

Speaker 1 (31:31):
Adding to the vulnerability and the sensitivity of these men.
And you mentioned that, like that's something that's I think
really true today that you know, you talk left in
the right and I get really kind of over it
and all this woke stuff that you know, like anti woke.

Speaker 5 (31:48):
Or like whatever. It's like.

Speaker 1 (31:51):
If you can offend anyone, like anybody, the idea that
people you know who would say anti woke, like I'm
not like they accuse people being snowflakes. It's like yeah,
but when people come for what you care about, that's when,
like it's happening now in America, like all the you know,

(32:12):
like Trump diehards are getting are so touchy about having
their things, you know, about Trump being made jokes about
Trump on Saturday Night Live. It's of course he's the president.
They're gonna make jokes. That's always happened. There's always jokes
about the Prime minister or the president of the leaders.
You know, of course that's going to happen. But they
get so sensitive about it.

Speaker 6 (32:31):
That they have the nerve to then accuse someone else
is being snowflake exactly.

Speaker 5 (32:35):
Yeah, it makes no sense. And this is kind of
happening here.

Speaker 1 (32:38):
Like when the men, you know, when I think where's
Mantooth you know, which we'll get to all the cameos
and and all that, you know, confronts them and they
come back and they say, yeah, like, yeah, people are
calling us names now because you know, Veronica's co anchoring
and and and.

Speaker 5 (32:59):
We don't like it, you know, And it's such a
it's such I think.

Speaker 1 (33:02):
Actually again, I speak of movies still being alive and
changing as times change, and I think there are things
in an Command that feel as a live today as
they were when the movie came out.

Speaker 6 (33:12):
Oh, I agree totally. It's still it's still a thing. Yeah,
even though there when the film's made much more recently,
but it's set in the seventies like it was. I
think it's still there to this day. I think they
just made it palatable and also really attractive to look
at by putting all the mo's and the suits and
the outfits. This looks excellent.

Speaker 1 (33:31):
I heard somebody say I had a theory about comedy
that other than Sally agree with it. But it's interesting
that they said good comedy shouldn't age well, and I
guess the idea is that maybe good. I think their
point was good comedy should be dealing with what's happening
right now, right now, and.

Speaker 5 (33:48):
As attitudes change. And that doesn't mean that you know,
you're being racist or sexist, but any of those things.
It just means that you're talking about now and in
ten years time those things people might get less about
and whatever. But I think, which I mean, do you
have an attitude on that at all?

Speaker 6 (34:06):
Well, it's an interesting thing. Last time we were talking
about some like It Hot Now that is a comedy
that is still funny, yeah, And so I find a
lot of Charlie Chaplin's comedy is still funny.

Speaker 2 (34:20):
Yeah.

Speaker 6 (34:20):
So I'm sure there's a place for in a sense
you're talking about political humor or current affairs humor that
will you won't get it maybe later in fifty years
time because it's so specific. But I do think there's
a lot of comedy that will last for a very
long time.

Speaker 5 (34:38):
I completely agree.

Speaker 1 (34:39):
I think Brian's Mate is as funny today as it
was when it was released, and I think Anchorman and
I think possibly I thought, why has it I think
from my mind aged so well in my mind, I
think part of it is also that it's set in
the seventies, so it's not necessarily dealing with things that
were going on in two thousand and four. It's dealing
with something that the seventies, and there's time to kind
of like have that judgment of what it must have

(35:02):
been like, even though these issues are still certainly pertinent
today and certainly back in two thousand and four, But
there's a time and space can actually kind of helps,
I think as far as commentary goes, it does.

Speaker 6 (35:19):
But again, I think we're talking about humanity of the
humor in the humanity of the people, and that's timeless.
What those men are going through and how they're feeling
about the world is kind of timeless. So yeah, I
think it will always be a funny picture. I mean,
because that time, the truth of that time is the

(35:40):
truth of that time, and we all remember the truth
of that time, because I mean America is trying to
turn it back to that time and further back now
as far as gender stuff. But I think it will
always be relevant. We will always understand it.

Speaker 5 (35:53):
There is.

Speaker 1 (35:56):
Famously there's a lot of improvising going on in this
in this movie, and they made they had so much footage,
they actually made a second cut of the film which
exists out there. It's entertaining. It's not as good obviously,
you know, they make a sequel as well. Where do

(36:17):
you stand on improvising when you're on set, because I
sometimes it rubs me up a little bit the wrong
way when I hear actors. And I have mentioned this
one before. I heard Vince Vaughan talk about Wedding Crashes
once and it was like the writer did not exist.
It was like he just made up the whole movie himself.
And I'm like, yeah, And also I think sometimes I

(36:39):
really like Vince Vaughan. He's great in this, he's great
in Wedding Crashes as well. But there are times when
I'm watching him going, you're improvising and I'm not sure
if it's adding anything to this.

Speaker 6 (36:47):
Yeah, and you're not in it. It looks it's really
interesting because we always will direct alternatives. Here's some alts. Yeah,
the papers come here, the sides come for alts, you know,
when we roll into it. But in the cut, it
invariably the performed. I always find the performance is better
on the actual scripted line, and no matter what kind

(37:09):
of comes up, the scripted line is in the actor's
body more regardless. And so that's my personal preference. And
I'm not a big improviser unless the whole thing is.
You know, if you go to a show that's improv
that's a different deal. You're going to get absolutely amazing

(37:29):
gold if the whole thing is that's what the rules are.
But if you've got a script that someone's worked on
and everyone's rehearsed, you might find there's little bits of
gold every now and again in the alternative lines or
the improvised lines, but usually it's the original that really cracks.

Speaker 5 (37:44):
Yeah, yeah, that's.

Speaker 1 (37:45):
Interesting because and there's also there's so many jokes, Like
watching it this morning, I was like, for me, almost
every line funny. Like there's not many movies. It's not
my you know, I've been meaning to do my life
top one hundred films, and I would love to know
what my what film one hundred is? Like how close

(38:06):
is that being in my head of being like, oh,
it's probably my top ten. I actually actually one hundred,
you know, So I don't know where anchormand kind of fits.
Plans Trains and Automobiles are my favorite comedy of all time.
Sideways as well in my top three. We've got the
Part two. Not a comedy, but I.

Speaker 5 (38:25):
I just find every performance in this.

Speaker 1 (38:30):
Funny and everything, even if you don't think it's it's
It's like Baxter, you know, and they do all these
jokes about backstories. He's chatting the backster, He's you know,
he's understanding what he's saying.

Speaker 5 (38:42):
They're sleeping the pajamas.

Speaker 1 (38:44):
But then you know, Jack Black kicks baster off her
off the bridge, and you think, okay, this is a joke,
but it's all story.

Speaker 5 (38:52):
Still, it's story.

Speaker 1 (38:53):
That is the incident that then makes Ron Burgundy late
for his coverage, which gives running your cording Staring the
opportunity to.

Speaker 3 (39:02):
An at them. What the hell? Bro Hello, neighbor, did

(39:25):
you just throw vertat you?

Speaker 5 (39:26):
I know I believe I did.

Speaker 3 (39:28):
What do you wire something? We can see what happened?
I did see.

Speaker 7 (39:31):
That was a terrific little spill.

Speaker 3 (39:33):
That spider Raspberry, that's my chopper.

Speaker 7 (39:35):
You just thrashed, Bros of Easy Come Badre.

Speaker 4 (39:39):
I'm your friend out here all right.

Speaker 3 (39:40):
I want you to fix my chopper before I stomp
your goopy ass.

Speaker 4 (39:44):
If you want to throw down and fisticus, fine, I've
got Jack Johnson and Tom O'Leary waiting for you right here.

Speaker 6 (39:49):
You destroyed the only thing I love.

Speaker 5 (39:51):
All right there it is, what do you love?

Speaker 4 (39:55):
I love poetry and a glass of scotch, and of
course my friend Baxter here.

Speaker 3 (40:02):
Well, guess what now this is happening.

Speaker 7 (40:04):
Excuse me, excuse me, what are you doing?

Speaker 3 (40:12):
That's how our roll backs who.

Speaker 1 (40:22):
So as much as like imagine in less safe hands,
this could just become set piece up the set piece.
But there's still the story is still alive and strong in.

Speaker 6 (40:35):
It, and the gag is is actually the plot. Yes,
so that's that's the best stuff.

Speaker 5 (40:41):
And the amazing thing when ron finally gets back to
the studio and.

Speaker 1 (40:47):
Like the fact that he does not support Ronica's success, says,
you know, it's it's funny and we're having a laugh,
but also it is it's a real truth to it.
But how men, you know, who partnered with successful women
can behave.

Speaker 6 (41:07):
That's absolutely true, and the ego of it and actually
facing that and kind of going this is what The
truth is that's that's been so so threatened by it,
and it kind of goes. That's why it happens. That's
why women are kept down there because everyone's so threatened. Yeah,
and he's happy to go there, happy.

Speaker 1 (41:25):
To go there, really happy. And I mean the man explaining,
which I'm not sure if that was a thing. Obviously
it was a thing that didn't have a label in
two thousand and four. But you know, the whales san
Diego means whales.

Speaker 5 (41:41):
He refuses to just be he refuses to be vulnerable,
even though we know we've seen him vulnerable, but he's
as a man, he's refusing to not know what san
Diego means. I love it. I love it so much.

Speaker 1 (41:55):
Were were there any scenes that kind of stood out
for better or use for you? Because like I said,
I farted during Did you fart in any scenes at all?

Speaker 6 (42:05):
There was no farting, but maybe that was something I had,
something a little bit more calming for dinner. I don't know,
what have you done something that you're allergic to?

Speaker 1 (42:14):
I don't know what I've done that day. And also,
like you know, this seems ridiculous that it stands out
as a you know, almost as a progressive idea when
I think back to two thousand and four. But diversity,
the idea that they're addressing diversity. And Fred Willard, by
the way, the great friend, Oh my god, so funny,

(42:34):
so funny, just like doesn't have a lot of screen time,
but there's little phone calls he has about his son,
you know, like let the marching band go.

Speaker 5 (42:41):
You know, he's on acid. He's shooting you know, a
bow and arrow into into a crowd, but he plays.

Speaker 6 (42:47):
That's his thing. It's so interesting that Fred Willard thing
of just you know, just how how kind of slightly
removed he is from the world.

Speaker 5 (42:57):
Yes, it's slightly not with us, that's exactly that's exactly
what it is.

Speaker 1 (43:01):
Waiting for gofman was I think when I really first
hooked into Fred Willard and just so good, so beautiful,
and yes he's no longer with us, sadly. But the yeah,
the idea that when they they're saying that the bosses
or I forget who it is, the sponsors, they say

(43:23):
they want more diversity, and that the outrage that they
all experience is like, you know, it's it's it's again,
it's it's a real thing.

Speaker 6 (43:32):
It's a real oh my godess it's I mean, the
more we're talking and you know, kind of about it today,
I'm kind of in my mind, I'm analyzing it again.
It is really way ahead of its time because that's again,
it's happening right now. Everything that's going on is the
backlash of that. It's that reaction. But actually in government, yea,

(43:54):
the whole bunch of blokes over there behaving like those
guys in a command Yeah. Yeah, they are really kind
of laying it out there.

Speaker 5 (44:02):
Yeah.

Speaker 1 (44:02):
And all the women, like mentioned in the review of
the film or the women, there's no outside of Christina Applegate,
Veronica Corningstone, there's no there's no women in any positions
of power. They're all office workers, they're all secretaries, they're pas.

Speaker 5 (44:19):
They are there.

Speaker 1 (44:20):
So I do think, like I'm trying to think of
another movie that is so joke heavy that he's still
saying and I'm surely it exists, but he's still saying
something about the world, like, you know, I'm not sure
if Zoolander was going for this kind of comment.

Speaker 6 (44:40):
No, No, it's definitely definitely not. He's definitely going for
their political and I guess that's been my growing kind
of admiration for Wilfarell and Adam McKay is watching that happen.
They've got something to say.

Speaker 5 (44:55):
And I think even Talladega Knights, you know, like he
is saying something about America and like and it's funny.

Speaker 1 (45:02):
I heard them say that Talladegan Knights has been hugely
successful or for all of them. But they'll watch it
with people, although you know, they'll speak to people who
are into Nascar who love it because it's like, yeah,
you made a film about Nascar, but also people who
hate Nascar. They're laughing at Nascar and the culture there,
so it kind of works. They've got this thing working

(45:23):
for two camps, which is a hard thing to do.

Speaker 6 (45:25):
Yeah. Yeah, they're very very clever.

Speaker 5 (45:27):
What is it about poor rad that we love so much?

Speaker 1 (45:29):
Because he is he is his ageless that's been well documented,
from clueless to you know, to and command to everything
he's done. He's just the something. He's an avery guy.
But he's also like you wouldn't say he's a good
look and everything.

Speaker 5 (45:46):
He's a no like, what is it?

Speaker 6 (45:47):
What is it? I think we're going to keep banging
on about vulnerability and what that is because in Romeo
and Juliet, you know, he plays Paris right, and he's
he's a dicky, you know, but he's he's and this
is what wilfare on and command. That's what they've done.

(46:08):
They're not dangerous, they're not threatening. You know, it's you know,
you're safe here. There's something about it that you're safe
here because he's he's willing, Claire names is Juliet and
he's a complete tool and funny in it, and he stays.
You remember him in pretty much everything. I'm trying to remember.
There's quite a serious film that he is in and

(46:30):
it's gone out of my head now because that happens
from time to time. Is it closer or is it something.

Speaker 5 (46:35):
Else closer with Mellie Portman, I'm not sure.

Speaker 6 (46:41):
I'm not sure I've got but I remember watching it.
It's quite dangerous territory again for him, and you're still
with him, You're still on his side. It's look, we
could study it, you could do a PhD.

Speaker 1 (46:55):
Not just for the physical weird, not aging. I heard
somebody that they reckon Paul Rube their theory and Paul
rub that he was kind of born at the age
of thirty five, and he just has an aged past
thirty five, like even when he was younger, even th
in clueless, he has like he has like an older sensibility.
He doesn't look old, he looks still looks young, but
he's like he's got his vibe of a thirty five
year old always.

Speaker 6 (47:14):
I agree. I agree, he's so good.

Speaker 5 (47:17):
There's also like, you know, it's it's it's fun.

Speaker 1 (47:21):
It's got a Simpsons quality about it, like when the
sex panther thing comes up and then they're like then
they're like hosing him down. You know that was that
seems like a scene straight out of the Simpsons. You know,
it seems I don't know, it just seems so so
funny to me. But the they did do a sequel,
by the way, and Command two, which didn't get the

(47:42):
love that An Command got, which I don't know how
it would have to be honest, but it's still again
there's a reason for doing it. It is about like
the twenty four hour news cycle coming in and then
their their reaction to that.

Speaker 5 (47:54):
I thought it was really good.

Speaker 6 (47:56):
I thought it was I have to check that one out.

Speaker 5 (47:58):
I think you have to check it out. I think much.

Speaker 1 (48:01):
I still find there's some scenes in watching In Command
this morning, and like I said, I could have done
this podcast this episode without watching it again, but I've
completely forgotten about Like that, we everyone, everyone turns on
Ron Burgundy because he's been sabotaged by Veronica, by you know,
fucking San Diego, which is so funny, like the jokes

(48:24):
saunt up early and you listen, it's it's a joke
with you know, like I'm Ron Burgundy, don't you. He
will read and it's just a joke. But then it
pays off because.

Speaker 6 (48:34):
You know exactly it's that's that's what it is. It's
a character.

Speaker 1 (48:38):
Think this is the character, and when you can you
can still get your laugh but actually have it moving
forward or coming back later on it's it's it's gold.

Speaker 5 (48:46):
And he does that and the whole community turns on.
The sick of fans are like run but fuck you,
Ron Burgundy. Nobody speaks about my town like that, and
that his own team turn against.

Speaker 6 (48:56):
Him, and how easy it was, how we all turn
on a dime, that's all that love gone.

Speaker 5 (49:01):
That's absolutely saying something you know too. So he goes
and he's milk.

Speaker 1 (49:10):
Milt was a bad choice. He's actually plays a part
in this podcast that's in the air intro. The other
thing about Veronica is she's she's landing her punches and
she's winning. You know, she you know, she is the
smartest person in the room. And I like that she
was able to have, you know, the show another side

(49:31):
of her where she can if she wants to get
down and dirty, she can get down and dirty and
play with with the big boys.

Speaker 6 (49:36):
Yeah, I mean, and and a lot of women are
forced into that kind of behavior anyway. I mean that's
what he always you know, it's as a professional woman
in this business. It's that thing of going it's so
easy to get labeled difficult because if you do anything,
you're you're in trouble. But you know, and god, go, yeah,
she's really she's really hard. I bet she was created

(49:57):
by all the stuff that happens to you kind of
forced in to taking the action that Christina afflegate that
Veronica takes because she's kind of forced into it.

Speaker 1 (50:05):
I thought about that as I was watching it, actually
that yeah, women don't have to do much to be
labeled difficult and meant to be labeled difficult. They have
to they have to either not be popular in an
audience all of a sudden, you know, or some sudding
there's been another reason outside of their behavior. I actually
thought of like carry Ane Cannilly, because I did, I'm
a celebrity with carry Anne. And it's been well documented

(50:28):
that she wasn't in there for very long and there
was a bit of a bust up with one of
the other camp mates. But I mean, what a trailblazer.

Speaker 5 (50:36):
I mean her time Channel nine in the Oh my god.

Speaker 6 (50:41):
I mean, there's there's such a story in her and
how she survived. I mean, all those women in Hollywood
kind of the old school day are ruthless, you know,
kind of and they had to be. That's who you
had to be that and imagine what a trailblazer so
alone all by yeah, yeah, and you know when she

(51:02):
got her lifetime achievement at the Logis. I love the
moment where she went she went down and she picked
up the champagne and got back up on stage because
she was ready to take out a moment and yeah,
I'm going to need I'm going to need this. Yeah,
and here I am. Because you kind of you felt that,
you felt the difficultness of that journey and she was
kind of finally at the end of that road and

(51:24):
she was having her champagne.

Speaker 5 (51:25):
It was tops.

Speaker 1 (51:27):
And you look a lot of the network TV now
and they you know, you know, Channel ten, and they'd
be like carry and and Julia Morris and there's more
women around. And that's not to say it can't be better,
but you made the point Carrie and Kennelly was on
an island by herself. As John Iland, I can't think

(51:49):
of maybe outside the sixty minutes, you know, Eliz Hazes
and that, but yeah, it felt really it would have
felt pretty isolated.

Speaker 6 (51:57):
Oh it would be interesting to notice how lonely that
and he was.

Speaker 1 (52:01):
I did watch The Dock on a plane recently about
Elizabeth Taylor if you get a chance of its Elizabeth
Taylor docaud that came out this year last year, which
is great as well as we're checking out. I do
love the the We spoke when we spoke with the
finant Ones about how they showed a sex scene in
nine point fifty eight, which is basically you know, the

(52:23):
female character Billy's mother. We spoke about that pulling your
head down, which we all know is about that man.
I like the fact that they didn't really want to
show a sex scene in and Command, so they go
to animation pleasure tamp, which kind of like they did
a similar thing which is genius in forty ye odd
Virgin where they end with the Age of Aquarius when

(52:47):
they finally you know, have sexy break, he lose his virginity.

Speaker 5 (52:51):
It's so good.

Speaker 1 (52:52):
The Afternoon, the Light, the singing Afternoon Love with it's
about vulnerability, you know, this is the vulnerability the episode.
But when when they're talking about love and what's love
and Brian Fantana saying, yeah, I met a Brazilian or
Chinese girl. We in the came up dressing room. We
made out and he's like, I'm pretty sure it's not love,
and that's yeah. I love lamp scene. I mean all

(53:13):
these you know, I'm not sure how aware you have,
but there's so many like quotable like things get re
quoted from all the way through, all the way through
and comming, I love lamp is its own you know,
is its own thing. But then in this busting out
into Afternoon Delight, it's like the cowbell again. It's like, yeah,
it was great, it's funny.

Speaker 6 (53:31):
It's funny. Yeah, I mean because it's a kind of
it's a cringey song. It's a really really cringey song
because it's released in all seriousness, so it's just a
gift to a comedian that song, and then they just.

Speaker 1 (53:44):
Get back to work. It's so good. This movie was
pitched over twenty times before I got made, like the
Cowbell Sketch, and after the success of Old School and Elf,
they finally agreed to make it. Tim Robbins got paid
in wigs. Oh, let's chat about the Do you have
a favorite came out? Do you have a favorite news team?

Speaker 6 (54:03):
Oh my god, I've got to remember all this because
I've watched one watch it one time, You watched.

Speaker 1 (54:08):
It one time, And I always remind our audience that
I'm always chatting with somebody who has is still processing
the film.

Speaker 5 (54:15):
So you had you been still of the Spanish news.

Speaker 6 (54:22):
I remember going, oh, can you do that?

Speaker 5 (54:26):
And then you had he been born with his mantuth.

Speaker 1 (54:29):
You had Tim Robbins, he was a his storian or something,
or I forget where he was actually from.

Speaker 5 (54:37):
Uh Luke Wilson that I was in there, m hm,
what's this?

Speaker 6 (54:47):
Well?

Speaker 4 (54:48):
Well, well, Ron Burgundy and the Channel four news team. Hello,
wes Man tooth, Hello, evening news team, a nice clothes
and I didn't know the Salvation Army was having a sale,
Am I right?

Speaker 3 (55:06):
Am I right?

Speaker 7 (55:07):
Look these guys, Hey, where did you get those clothes
at the toilet store?

Speaker 5 (55:19):
What are you doing on our statious turf, Burgundy. You're
about to get a serious beat down.

Speaker 7 (55:24):
I will smash your face into a car windshield and
then take.

Speaker 8 (55:28):
Your mother, Dorothy Mantooth out for a nicey food dinner
and never call her again.

Speaker 3 (55:34):
Dorothy Mantooth is a understand me, Dorothy Mantooth is a set.

Speaker 4 (55:39):
Hey, leave the mothers out of this, all right, it's
not necessary.

Speaker 1 (55:47):
I will say that the They have an a mess
of repeat saying in the sequel, and it's twice as big,
with twice as many cameoyes. It's ridiculous, uh, the amount
of people in there, But it's it's fun. The scene
that follows when Bricks talking about killing somebody with the
trident is just again ridiculous, but somehow it all holds together.

(56:13):
In the early draft of this had a plane crash
carrying a bunch of news anchors and news people crashing
into a mountain and the other plane we crashed into
another plane and then they end up on a mountain.
The other plane we're carrying monkeys and martial arts equipment,
which led to an all in fight, which obviously was scrapped,

(56:38):
probably thankfully, but I assume that's where the seed of
the idea for these fight at the end must have
come from. That. Yeah, Amy Poll was cut out of
the movie for his that had not been made known.
She does appear in briefly in and Command two alongside
Tina Fey.

Speaker 5 (56:56):
In The Jewel and Little Easter Egg. It's Little East Egg.

Speaker 1 (57:01):
When the studio Ron Burgundy and Veronica having a chat
in there, kind of talking under the same, very aggressive
things to each other over the closing music. In the credits,
you'll see under writing credits, you'll see two people you
may know, John Hamm and Adam Scott who were friends

(57:24):
of Paul Rudd, and they just had a little shout
out to those guys who have since become superstars. Obviously
mad Men and many things of John Hamm and Adam's
got many things step Brothers and also more recently Severence.

Speaker 6 (57:38):
I know what an amazing show that is.

Speaker 1 (57:40):
I just started watching it. It's incredible it is genuine incredible.
I can imagine completely you directing episodes of that.

Speaker 6 (57:46):
I love that show. It's very much yeah with the side.

Speaker 5 (57:50):
It's got you all over. I watched the last episode
and wow, that comes home as well as is that
the season one? Season one? And I've heard the episode
one of season two.

Speaker 6 (58:01):
I have watched it.

Speaker 1 (58:02):
One of the very few episodes that has got like
a one hundred rotten Tomato score or something.

Speaker 6 (58:07):
Everyone was worried. I've been waiting for it for a
long time. Yeah, yeah, forgetting to watch that, because yeah,
you go to choose wisely.

Speaker 5 (58:15):
You do, you do. That's so before we let you go,
congratulations on that all the success. What's it? What's it
been like when you were out of the states? Handmads?

Speaker 6 (58:26):
That was Handmats, so the first thing, the first thing
was Handmaids.

Speaker 1 (58:28):
You just having to get Emmy nominated. So hello, there's
a new sheriff in town. But how are you feeling
when you went over? I mean it must been companying
imagined to have Yvonne it was there who you work with?
I love you too, But still you're in this American
system and how different is it to working here?

Speaker 6 (58:50):
Oh myself it was just you kind of go, oh,
you get to a certain age and you won't feel
like that anymore, and then when you get there you
go oh, no, you still do. It's just like you know,
seven and you go oh. It was really quite nerve
wrecking and very very cold. It was minus twenty six
on my first day shooting minus twenty six and I
had my Australian winter gear on wrong. Just like that

(59:12):
was a real lesson. So and it is, it's a
bigger system, but it's essentially it's the same.

Speaker 5 (59:18):
Yes, fundamentally, fundamentally it's the same.

Speaker 6 (59:21):
So that's that's comforting. So having done so much here
was it kind of put me in good stead for
dealing with all of that. But you know, I guess
one of my favorite gigs was working with Steve Carell
and John Malkovijohn on Space Force and getting to work
with Greg Daniels has been amazing.

Speaker 1 (59:40):
So for those who don't know, Greg Daniels is the
man who basically ran The Office, the US Office, which
is one of the most successful comedies of recent times,
and like I mentioned earlier, extraordinary that you know, it's
often Americas have screwed up so many you know, other formats,
and the UK Office is so but loved. And I

(01:00:02):
say to people who who are like, oh no, I'm
not watching the US one, It's like you need to
watch them and just think of them as different shows,
and they are and then and there. The UK has
its strength for only being you know, twelve or so episodes,
but the US one has its strength for being having
more episodes and leaning into other characters and following them
outside of the office a bit more than the UK

(01:00:24):
one did. So I have absolutely love. I can barely
split them as far as which ones I prefer. But
Steve Carrell is just amazing. And I've had the honor
of interviewing room a couple of times as well. And
again with referrals, just one of the lastest guys you
can mate, Yeah, very very clever. Yeah, and Malkovich, we

(01:00:48):
didn't mean being John Malkovich recently. Do you ever do
you ever allow yourself to get the situation where you
go tell us about being John Malkovich or tell.

Speaker 6 (01:00:59):
Us you know, you kind of wish you could, but yeah,
it's that there's hardly any time the thing. Yeah, yeah,
so you're going to all you get to talk about
is the character and the job really and if that's
that's your time with them. But it was, Yeah, that
one was really quite intimidating to sit across the when
we did the table read, and I'm sitting across from

(01:01:20):
those two from Steve Carell and John Macovich sitting next
to each other, and to try and stay focused and
not just be going crazy in your own head was
quite a feat.

Speaker 5 (01:01:30):
Did you set that up with you? To set up
director on the No?

Speaker 6 (01:01:32):
No, that was that was Paul King, who directed all
the Paddington movies. Okay, Yeah, so I did the last
the last episodes of that of Space Force and Upload,
I think, and I just finished doing the final season
of Upload recently this year in twenty twenty four.

Speaker 1 (01:01:49):
Upload is great as well as Greg Daniels again, and yeah,
that's got so many ideas in there. I recommend binge
watching Upline because I feel if you, if you wait,
there's a season I think between maybe two and three
maybe where it took maybe it's two years between time Flies,

(01:02:11):
and there's like.

Speaker 8 (01:02:12):
Oh what what?

Speaker 6 (01:02:14):
Yeah, and it's a it's so detailed. He's got a
great science fiction brain.

Speaker 1 (01:02:18):
Details and the ideas alone in that is incredible, but
it's such an incredible idea and beautifully executed.

Speaker 5 (01:02:26):
So when you come on to.

Speaker 1 (01:02:29):
Setting up for those who don't know, when you have
a director who will set up the tone and the
look and they do the first X amount of episodes
and they're there and everyone kind of follows that template
to an extent. You know, you have your own flourish
as I imagine, and you know, but what what what
do you prefer?

Speaker 6 (01:02:48):
Do?

Speaker 7 (01:02:48):
You do?

Speaker 5 (01:02:49):
You do you love the idea of setting it up
or I.

Speaker 6 (01:02:52):
Like doing both? Both things are real thrill because you
get to set up your own style and and talk
through what the writer's going for and what the producers
are going for. But there is also something in learning,
especially especially with Greg Daniels, and of jumping into that

(01:03:13):
and putting your brain in that reality. And same with Well,
Handmaid's Tail kind of shoots in a way that I
really like shooting. So that worked, like so my style
suited that show house. I guess it's if you look
at Secret River, because it's shot kind of the same.
So there's big white shots that make the architectural wide shots,

(01:03:37):
and then you're right in there with the shallow depth
of field close ups with the character, so it's very similar.
So that kind of translated really well. So yeah, I
like them both. And sometimes when you're a bit later
in you can have a bit more fun too, Yeah,
you can, you know, you can really really enjoy it.

Speaker 1 (01:03:58):
Speaking of Yvonne, who we love working, I love you too,
have extraordinary successive. Handmaid's Tale just wrapped up, I think.

Speaker 6 (01:04:05):
Yeah, we just finished.

Speaker 1 (01:04:06):
Yes, you're on that reason, I was, yeah, fantastic. And
she's directing now, she's made like a short film as
she as she lent in that she ask you about that.

Speaker 6 (01:04:16):
We speak about that, and you know, kind of she
would direct our conversations to that a lot more than
character and Serena Joy, and she's pretty all over Serena
Joy of course, and what we were doing together, which
again no spoilers, it was pretty clear like as you'll
see when you watch it for Serena she has a big,

(01:04:40):
a big journey this season. But we did spend a
lot more time talking about you know, well, it's the
running of the machine. Really. That's because there's kind of
two sides to the job, is the creative and working
with the actors and rehearsing and the text and the
other side is running that big, massive machine. So your
time is arranged and you've you've covered all your bases

(01:05:04):
and you've worked everything out beforehand. So we spent a
lot of time talking about that.

Speaker 1 (01:05:07):
Yeah, I'm excited for it. I saw her short film
that she made. She said it to me and it's
really great. I was really when somebody said you're something,
you're you're at touched nervous in case, yeah, you know
what happens, but it was great.

Speaker 6 (01:05:21):
It was excellent.

Speaker 5 (01:05:21):
Yeah, really excellent.

Speaker 1 (01:05:22):
So I think she may be one of the watch
behind the camera, but obviously we hope she stays in
front of the camera too. Dana read you have broken
a record for the quickest returning guest on You ain't
see nothing yet. You just happen to mention to me
yesterday that I also watched in commands. I was like, oh, well,
let's do it one too.

Speaker 5 (01:05:41):
So I really appreciate you doing this.

Speaker 1 (01:05:45):
As I always say, I'm always chatting up to somebody
who's just still processing a film that just watched.

Speaker 5 (01:05:50):
So I do appreciate you coming in to do this again.

Speaker 6 (01:05:53):
It's my pleasure. Pete.

Speaker 7 (01:05:54):
Good on your Dana ladies and gentlemen, can I please
have your attention. I've just been handed an urgent and
horrifying news story. I need all of you to stop
what you're doing and listen.

Speaker 1 (01:06:09):
Kennon, Yes, Afternoon Delight in the That was a great
fun hanging out with Dana Reid for Anchorman. She wasn't
expecting this to come and talk about it. She just
watched it to catch up on it because she was
you know, when she mentioned it and she said out
loud that she in Anchorman, I think part of her

(01:06:31):
brain went, Okay, I need to watch Anchorman and watched
it over a wine on Saturday night, not thinking she
necessarily had to come and talk about it. But I
left at the opportunity, and here we are. It was fun,
just just it's always fun talking about Will Ferrell and
Steve Carrell and and yeah, the fact that Dana's worked
with mister Correll is extraordinary. And yeah, two of the

(01:06:54):
great guys, Will Ferrell and Steve Carell and bloody how
they make me laugh. Will Ferrell is just my favorite,
only followed by bees Dick by Steve Carell. Okay, if
you love the podcast, I asked you to support it.
By getting on iTunes and giving it five stars and
also a review. I you know, I just be kind

(01:07:16):
and me you know, thank you. This is all free
for you guys. So yeah, just a review, faster review,
and a few nice words.

Speaker 5 (01:07:26):
This keeps the.

Speaker 1 (01:07:27):
Algorithm moving in the right direction. I do love doing
the podcast. Your words of encouragement and support a lovely, lovely,
I do appreciate it. Also, if you want to hear
your voice on the podcast, get onto our speak pipe.
We'd love to hear your voice, ask questions, comment or

(01:07:49):
anything you've heard during any of the discussions. We have
old confirmed that next week's guests. At this time of recording,
I'm not sure who it is. I'm sure in real
time I know now, but I'm sure it's going to
be a great guest and a great classic movie, because
that's what you've come to expect. And you won't say
nothing yet until then. Back and our

Speaker 4 (01:08:17):
And so we leave old Pete safe and soult and
to our friends of the radio audience, we've been a
pleasant good night