Michelle Brasier and Being John Malkovich

Believe it or not Australian comedian, writer, and actor Michelle Brasier, best known for Average Bear, had never watched Being John Malkovich... until now.

Michelle reveals if she's ever slipped into another celebrity’s brain, shares the wildest part of the film, and questions whether it could (or would) be produced in today’s world.

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Episode Transcript

Speaker 1 (00:00):
Give a pete, Hell are you here? Welcome to you
and Seeing Nothing Yet the movie podcast We're out out
to a movie lover about a classic or beloved movie
they haven't quite got around to watching until now. And
today's guest actor comedian writer Michelle Brazier all below.

Speaker 2 (00:22):
I want to stay here with you.

Speaker 3 (00:33):
Than the jobble, Why.

Speaker 4 (00:41):
Hate snake shocked, Hi, Hail.

Speaker 5 (00:45):
Haven't any write, No, don't seen nothing new.

Speaker 1 (00:57):
I am super pumped to have the wonderful, extremely talented,
the very funny Michelle Braziet on you ain't seen nothing
yet today. I am a massive fan. She's one of
the most watchable performers doing the circuit at the moment.
She's been plying her craft for over ten years. Early days,
she was in a group called a Double Denim and

(01:19):
more recently well then shifted over with hanging out with
the Only Donna Boys, became part of their troop and
appeared in their shows, their TV shows as I was
their live shows. But in more recent years it's really
broken out to announce herself as one of the most enjoyable, watchable,
talented solo performers. She did the show a couple of

(01:40):
years ago called Average Bear, which blew me away. I
was such a massive fan of that show. I loved
it so much. And she has gone on and to
perform that show around the world New York, La, London, Edinburgh.
She has done it all. She's absolutely kicking major goals.
At the moment, I got into do a few episodes

(02:01):
of How to Stay Married. She was hilarious in that
is so much fun to work with. Also, she's been
Get Cracking. You may recognize her and Get Cracking and
fans of Sew Michaela's Mad as Hell would know her.
She actually also writes and provides voice for Yollow Crystal Fantasy.
That's a massive cult show in the world of animation.

(02:23):
But she has also appeared on Drunk History, Hoovey and
she's she's doing She's literally doing it all. She can see.
She's got an amazing voice. She's a beautiful singer. And
she's walking into the Red Nads. I doing an introduction
coming with Michelle, and there's raving you up. Michelle's also
an author. Her book, her best selling book, My Brother's
Ashes Are in a Sandwich Bag hilarious, But you're so

(02:47):
kind of heartbreaking, and there's there's so much stuff loaded
into that book. Apple had it. There's one of the big, massive,
next big thing book, so get onto it. Audible. He
went massive on audible. Michelle did the Ordible. She did
the recording herself. You can listen to Michelle actually read
the book and her also her next year, the Comedy
Festival shows are on Sophie listening to this as it

(03:07):
comes out, and Michelle's show is called It's a Shame
We won't be friends next year A Grannie assume that
he is about Brodon Kelly, but maybe not. I don't know.
We'll talk to Michelle about that. Michelle is extremely talented,
as I've said, hilarious and I'm bloody Stoke can be
hanging with her to that.

Speaker 2 (03:29):
Hello, I'm Michelle Brazier. My favorite films are. This is
very hard because I'm like, I want to do my
letterbox top four and I have to drop off A four.
But I'm going to go Paddington too.

Speaker 6 (03:40):
We can still hear you, mister Brown.

Speaker 5 (03:43):
That was the light you turned off. The microphone is
on the other side.

Speaker 6 (03:47):
It's got microphone written on it.

Speaker 2 (03:49):
Waiting for Guffman.

Speaker 1 (03:50):
We had the first sighting here in nineteen forty six.
And it wasn't just a sadie. They just can fly by.

Speaker 5 (03:55):
They stopped, they landed, The people in Blaine went on
board the ship, pot lucked, dinner.

Speaker 2 (04:01):
And Furious seven.

Speaker 5 (04:03):
You risk life and limb to say, the free world?

Speaker 1 (04:05):
And what do they give you?

Speaker 6 (04:06):
Jello and a bad seventies TV show?

Speaker 2 (04:09):
But up ut yesterday, I had never seen being John Malkovich. Now,
when you say that I can be somebody else, what
do you mean exactly?

Speaker 5 (04:20):
Well, we mean exactly that we can put you inside
someone else's body for fifteen minutes.

Speaker 1 (04:28):
Can I be anybody that I want to be?

Speaker 5 (04:32):
Well, you, actually you can be John Malkovich.

Speaker 1 (04:38):
It's perfect. It's my second choice, but it's wonderful. I'm
a fat man, i am sad, and I'm two hundred dollars.
Oh oh h yes, yes. Struggling puppeteer Craig Schwartz John

(04:58):
Kuzak is married to animal rescue at Lottie and almost
unrecognizable Cameron Diaz. Anxious, insecure, and perhaps a little depressed,
Craig applies for a filing job at a mysterious company
located on the seven and a half floor of a
New York skyscraper. Craig gets the job, falls in love
with a seemingly unattainable Maxine Katherine Keener, and happens to

(05:21):
come across a portal into the body of acclaimed actor
and thespian John Melkovich played by John Malkovich. From a
script by the enigmatic Charlie Kauffman the feature debut of
Spike Jones. It's a miracle this film ever got made.
A puppeteer finds a portal into the body of John Malkovich,
which allows customers access to Malkovich for fifteen minutes before

(05:42):
being spat out alongside the new Jersey Turnpike. Yet welcome
to the world of Charlie Kaufman, Michelle Brazier. Have you
ever entered the mind of John Malkovich or any celebrity
for that matter.

Speaker 2 (05:53):
I never have, and you know, watching this, I really
regretted it. I thought so. The moral of this story
seems to be that you should enter into John Malkovich
if you get the chance, nothing will go wrong and
it will be good. So, yeah, no, I haven't have you.

Speaker 1 (06:08):
No, No, I've come close. When I'm at the door,
when I'm kneeling down and I go I'll go through
the portal.

Speaker 2 (06:14):
I'm scared of the slide.

Speaker 1 (06:16):
Yes, I'm spooked. I like the there.

Speaker 2 (06:20):
I hate being wet. It looks wet in there.

Speaker 1 (06:22):
It looks wet. Once you get there, it seemed like
a reasonably pleasant destination.

Speaker 2 (06:26):
That's true. That is true. You know you've got a
weigh the pros and the.

Speaker 1 (06:29):
Col You certainly do. Michelle, thank you so much for
being on. You ain't see nothing yet. We've been negotiating this.
It feels like for quite a while.

Speaker 2 (06:37):
Our text message through it is simply just cancelations and
reorganizations of doing this podcast.

Speaker 1 (06:44):
Yes, so thank you so much for finally getting here
and for being in the country, because you've been cheering
around everywhere.

Speaker 2 (06:51):
Yes, and this is a film.

Speaker 1 (06:54):
I'm so excited because you know, after people say I
haven't seen this film, I'm like, yeah, okay, then fair enough,
let's watch that film. But this is when you said
you hadn't seen being That kind of blew my mind
a little bit because I would have thought, and you know,
we'll getting to whether you liked it or not soon,
but I would have thought this was one of those
films that maybe would have been like a seminal film

(07:15):
for you.

Speaker 2 (07:15):
I think it should have been, and I I when
you look at me, you you might conclude that this
was one of the main ingredients. But I had not
seen it, which is a shock. But I think I
thought I thought it was a drama for starters. I
thought it was a drama. I didn't know it was
Charlie Kaufman. I didn't know it was Spike Jones. I
didn't know any of that stuff. I was like, oh, yeah,

(07:36):
that sounds like I don't know, like one of you
know that. I put it in the same world as
like that movie that's about Alan Turing, that drama about
the guy, you know, the one, Yeah, another one. It's
not I know everyone's annoyed now, is it. But I
was like, oh, you know, those movies that are probably
important to see, but like I can't really be bothered
sitting through the drama of it all. Yeah, that kind

(07:57):
of that's what I thought it was. I didn't know
it was just like surreal, absurd, big swing of a film.

Speaker 1 (08:04):
It is a massive swing, and like I said, it's
and I think it was. You know, we'll talk about
whether you enjoyed it them not soon. I want to
talk about your three favorite films. But I think just
the celebration that this film got made, like it's fantastic.
It's if you if you did not enjoy the film,
if you I didn't quite work for me, celebrate the
fact that this film has got made.

Speaker 2 (08:24):
That somebody said, yeah, somebody said yes, let's make this.
I love a big swing. I really love a big swing.
I've really been enjoying them lately. I loved Saltburn. I
love anything that's just like I'm just going for it.
I'm like, yeah, let's go, let's fucking go.

Speaker 1 (08:39):
That's it. And it's kind up a little bit in
the podcast recently where you know, people are saying, oh,
the only movies that have IP get made, and it's
you know, I can understand that, and Marvel films and
all this stuff, but there's still like they're still yogist
making films, and they're still you know, Reuben austronm banking
on his name you direct or Swedish and they're making

(09:02):
like still great films, and put On Sanderson is still
making great films. And there are still and the new
filmmakers all the time coming through. You can't because they
can't start with making it a Marvel film or you know,
Handed the Keys to Barbie or whatever. You still have
to work out and those those filmmakers have to make
a making I think, maybe more interesting films.

Speaker 2 (09:22):
I think so well. I mean it's interesting about like
the Substance, which I also adored, and that was her
second feature, I believe, but I think also a second
big swing. I think the first one was also kind
of a big maybe less of a high concept, but
also a really big swing. I just am really interested
in that, Like, yeah, let's just make a really weird thing.

(09:42):
It is really nice, and people don't go and see it?
What's that? What was the one before? Kinds of Kindness
with poor things, poor things? I adored poor things, And
even if you hated poor things, it's like, well at
least it's new.

Speaker 1 (09:55):
Well exactly, and you go. I mean, the favorite was amazing,
and the.

Speaker 2 (09:57):
Lobster favorite was so good.

Speaker 1 (10:00):
It's my favorite of his is so good, and and
and Ruben Asland the Triangle of Sadness was.

Speaker 2 (10:06):
Like, oh my god, being in the cinema for Triangle
of Sadness in that I won't ruin it, but in
that particular scene and the third Active Triangle of Sadness
being a completely different film, but maybe the best one
in the three films.

Speaker 1 (10:18):
Three these three acts in that film, and they all
feel like different it could potentially be different films. It's
it's so good enforce measure, Like it's just.

Speaker 2 (10:26):
Everything everywhere all at once. Big swings, swing, big girls,
let's go keep going.

Speaker 1 (10:32):
Past Lives maybe not the biggest as a swing, but
still like it's a beautiful original film.

Speaker 2 (10:38):
So that's what I like. I like something that's like
either Past Lives or the substance. I want to see
something that is tiny or something that is enormous. I'm
not interested in the middle at this current moment, in
my current.

Speaker 1 (10:51):
Life, current life and your next life. Who knows films
you'll be.

Speaker 2 (10:55):
Into once I'm inside John Malkovich, Oh well, probably be
into all kinds of different movies.

Speaker 1 (11:00):
The way this podcast episode ends, if you look over
in the corner the cupboard, this a little slightly a jar.
Oh yeah, it's actually Roves mind. Actually couldn't, I couldn't
find them.

Speaker 2 (11:11):
Always wanted to be in.

Speaker 1 (11:14):
I've been so close so many times. Let's so about
your three favorite films. I'm so glad that Paddington Too.
I've been raving about Paddington too. I'm doing Peter and
the Starcatch at the moment, and you know, because there's
there's twelve actors all hanging out a lot and if
you hadn't seen Paddington Too, and I know you need to,

(11:36):
and they had John Batchelor and Paul Captu has had
no idea that Paddington Too was this actual is genuinely great,
as is Padington Won, but Paddington too. He's like the
godfather too of Paddington movies. And he's a genuinely great film.
And I saw you Grant talking about it on Instagram

(11:57):
recently and I was look. He said, like it's it's
considered a letter box is maybe like the most popular, yeah,
alm or something like that. Yeah, so it is an
extraordinary film.

Speaker 2 (12:05):
I had one hundred percent on Rotten Tomatoes at least
when I first watched it for like a while.

Speaker 1 (12:10):
Yeah, it was.

Speaker 2 (12:10):
It's so good. It's so beautiful. I love whimsy. I
when I was picking which movie to say, it was
between that and Marcel The Shell with Shoes On, because
I just love that kind of whimsy. I really adore it.
There's something about the like what we perceive as British nests,
which I think is actually not real, but the idea

(12:31):
of Britishness that's very like adds to that. And then
this beautiful story about this bear who is just very
kind and the design is stunning.

Speaker 1 (12:40):
Yeah, it's like it's one of the biggest surprises at
a cinema that I I mean maybe because I've seen Pennington.
It wasn't as a supprise the surprise I go the
first Pennington was like, oh wow, this is this is
much big. I wasn't going to see it, and then
I heard all these things you say, and I saw
it because of the age now where my kids a

(13:00):
old enough, they're probably not going to come to those
films with you. There was too good for school for that,
those kind of films just right now. So you know,
if I see picks up film and probably watching it
by myself taking the kids to see picks out films
the now back in the cinema by.

Speaker 2 (13:15):
Myself, they've aged out and they have an age back
in exactly.

Speaker 1 (13:18):
And they will age back in. But yeah, so that
was a surprise. And then to see Patting Them two
and go, oh, it's even better.

Speaker 2 (13:25):
It was beautiful. By the time I saw Paddington One,
Paddington two was already out, and Broden Kelly said to me,
Paddington two is your favorite movie. And I said I
haven't seen it, and he said, I know, but it's
your favorite movie. You're going to fucking love it. And
so I was like, do you have to watch Paddington One.
He was like, not really, but like it's also really good.
It's your second favorite movie. And I was like, okay.
So I went home and I watched the Paddington's and
I was just daw on the floor. But yeah, I

(13:47):
saw them at home. I loved them.

Speaker 1 (13:49):
But it's so good if you haven't seen any of
the Paddington is the third one coming out in the
New year. Actually, Waiting for Guffman what a film. I mean,
it feels like a meetings you know very much, you know,
a comedians kind of film. Yeah, obviously stacked with comedians
and comic performers, but just just so good.

Speaker 2 (14:09):
Yeah, so good. I love all the Christopher Guest films.
I really love A Mighty Wind, which is the folk
music mockumentary, but I think Waiting for Guffman takes the cake.
For me because it's about music theater, amateur music theater society,
and that is just where my heart lives. That's the
funniest place in the world for me.

Speaker 1 (14:25):
I do try to sometimes make a case because Guffman,
clearly amongst comedians, seems to be the one that we
all love because it wasn't necessarily the first obviously spinal
tap Guffman, but there's a bit of a gap between
that and Guffin coming out, and it just seems to
be the one that everyone loves. Best in shows obviously.

Speaker 2 (14:42):
Great, best in shows great. I mean, you can't argument
there's dogs in it. Yeah, it's so good.

Speaker 1 (14:47):
And for your consideration, is underrated. I think as well,
that's about actors, and I was just coming up and
trying the lobby and all of that, and I sometimes
try to make the case for a Mighty Wind or
in Shah or even for your consideration. But the fact is,
I think Pam for pound for Guffin is the funniest.

Speaker 2 (15:05):
It's very quotable, like in all the songs. It's just
a really fabulous pairing of worlds. But I mean saying
that A Mighty Wind has the most incredible music in
it like it's really good, genuinely good and really funny.
So it's kind of I think A Mighty Wind is
very moving as well. Yeah, like the kiss at the

(15:26):
end of the Rainbow is very like yeah, oh, like
I think I've cried a few times in that. Also,
my favorite comedic moment ever is in In a Mighty Wind
when they're all someone's died and they're having a minute
silence for him who's died at the wake, and then
they're like, actually, can we make it a hum? Can
everyone do a hum? Because obviously it's like folk music,

(15:47):
and so they're all humming, and then you hear this
like ho and it pans around and you get to
Jennifer Coolidge and she's humming, but her mouth is open
and it's the most absurd honk. And it's really good shot.
And that's a really funny reveal. It's just it's my
that is the main ingredient in Who I Am. I
think that one scene.

Speaker 1 (16:07):
Yeah. The term that I always use a lot is
Fred Willard when he strikes the chair. You want me
to strike this? I know? Other terms I'm using a
term in theater or even TV or film. I'm like, yeah,
I know the terms another term, but what a collection

(16:28):
of like Eugene Levy and Katherine o Harr, you know,
always seem to be coupled together in these films, and yeah,
just I mean a beautiful mix of talent and all
just at the top of their game and executing and yeah,
so good. I could watch I can watch all of
them if there's In fact, I'm satting to Colin Layne
recently backstage at the Starcatcher and he had just we

(16:50):
both actually tuned in for like flicking three channels in
Besting Show, we're on at the same time without knowing
it and end up watching like half a best in
show because it's if it's on, it's hard, it's hard.

Speaker 2 (17:03):
To turn away. So good and you notice new things
all the time, Yes, because all the actors are so
good and they're all doing something, so you can watch
every scene like seven times.

Speaker 1 (17:13):
Yeah, yeah, so you have it, you have a favorite
like if you like do you have it like a
favorite actor in that In the Christopher guest World.

Speaker 2 (17:21):
It's really hard. I love Parker Posey, she is great,
but I think my Catherine, her heart is very hard
to beat, very very hard to be so.

Speaker 1 (17:30):
Boy, that combination. Yeah, in show whenever, whenever she plays cookie,
I think it's cookie and and they she keeps on
bumping into exploit boyfriends, partners, and it's she plays it
so well, Like the idea is funny, Yeah, but it's not.

(17:51):
What's funnier is the perform.

Speaker 2 (17:52):
And it's just the sandbox for her. With same with
Jennifer Coolidge. It's like, hey, we built you this Coolidge playground.
Now you go. And if anyone else did it, it would
be like okay, but she does it. It's like brilliant. Yeah,
just a different world.

Speaker 1 (18:07):
It's so good. One that was I expecting Fast and
Furious what I saw. I saw a clip of you
that you posted on Instagram where you had a bit
of tech issues and tech issues in the show in London. Yeah,
I believe, and you.

Speaker 2 (18:21):
Five hundred seats. My agent was there, my mum had
flown to London. My biggest show ever in London, and
uh yeah, the tech the tech went to share so you.

Speaker 1 (18:32):
You filled the timing as a text, you know, did
what text doing and we went to work by this
running through the Fast.

Speaker 2 (18:40):
And Furious, I was like, I'm going to show you
the plot of the Fast and the Furious until the
tech comes back on. It's a long plot.

Speaker 1 (18:46):
I imagine it would have been one of those things
that you were so enjoyable to watch, you counting Fast
and Furious. There might have been one or two people
slightly going how do you transition? You know, you know,
when you go into a bit of improv or crowd work,
sometimes it can be hard transition back into the material.

Speaker 2 (19:02):
Yeah, I mean it was kind of hard, and I
wanted to keep gold. I think it was, like, it's
a shame because it's one of the funniest I've ever
been on stage. When I watched something, there's footage of it,
so many people filmed it, and when I look at it,
I'm like, this was the best I've ever been And
I can never use this again. But this is not
helpful to me unless I make one year My comedy
show is just Michelle Brazier tells you the entire plot

(19:24):
of The Fast and Furious franchise. You will sell tickets
cell tickets. But yeah, I love I love The Fast
and the Furious franchise so much. I love cars, broom, broom,
I love family.

Speaker 1 (19:34):
It's all about family.

Speaker 2 (19:35):
I love it. It's so I started watching it, ironically
the whole series, and then by the time I got
to seven, I was like, sorry, there's something in my
eye feel kind of crazy. So Furious seven is, like,
I think, the best one because it's very moving and
it's like and it's it's a real joy. It's kind
of like the height of the new school of Fast

(19:56):
and Furious before it gets too silly and you you know,
Paul Walker and everything. You know, it's very sad. But
I also, I can't tell you how much I adored
ten Fast, ten Your seat Belts. And I thought that one,
not that it was good, but I thought it was
really brilliant. Like I thought it was like, this movie

(20:19):
is not a good film, but this movie is a
great movie.

Speaker 1 (20:22):
Do you know what I mean?

Speaker 2 (20:23):
Like how two thousand and one is not a good
movie but it's a great film. Does that make sense? Absolutely,
it's the opposite.

Speaker 1 (20:32):
The movies have popcorn two and there's movies that drink wine.

Speaker 2 (20:35):
Yes, yes, yes, And this is more of a vodka cruiser.
But I just I love the Fast and Furious franchise,
and I think this is the balance because the first
one is a good film as well, Like I think
you make an argument that it's a good film, and
then it kind of goes a bit, It goes in
a lot of different ways, and Tokyo Drift is probably

(20:56):
a good film too, and then five the rockawayn Johnson
enters and then it becomes this absurd thing where they
just have this pattern of folding the villain into the
family the next time, and the lines are so iconic,
and then we get to seven and we're like yes,
and then the balance went off, So I say seven,
but in my heart, I really mean ten. I really
mean the silliest ones, the silliest bits. I mean like

(21:20):
Jason Momoa playing a Disney high camp villain, Like that's
what I love about the franchise.

Speaker 1 (21:26):
What are they up to now? Because I think up
to ten? So yeah, I saw that. I saw that
with part one. I saw that if Ross Noble actually
did you yes, yes, yes, And I hadn't seen one
for years.

Speaker 2 (21:39):
Oh that would have been so confusing.

Speaker 1 (21:42):
But it was like it was, it was park your
brain and just enjoy exactly what you're saying. We are
watching a movie and I'm gonna eat and like we
actually spoke about it. I said, there's so much craft
on screen that you don't sometimes, you know, give credit
to because we used all the shiny stuff. But between
the stunt driving and the.

Speaker 2 (22:02):
Physical effects and the stunt driving is crazy and people
don't like In is it seven or six? I can't
remember which one it is, but in one of them,
they literally they parachute high performance vehicles out of a
plane and they did that, and they had Camerman who
was skydiving in green screen suits. Like filming these cars

(22:26):
with parachutes, that's crazy. You didn't need to do that. No, No,
I have a lot of.

Speaker 1 (22:31):
Love for those films and I feel it and I
feel it and I appreciate it, and you know, I'll
continue watching Fast and Furious now, please do. I will
think of you every single time. But let's talk about
the film. We are here to discuss.

Speaker 3 (22:46):
Malkovich, Malkovich, Malkovich, Malkovich, Malkovich, Malkovich, Malkovich, Malkovich, Malkovich, Malkovich, Malkovich,

(23:09):
Much of It Malkovich.

Speaker 1 (23:13):
Nineteen ninety nine, from the brain of Charlie Kaufman, who
also would write adaptation You Turn on Sunshine on the
Spotless mind, Spike Jones, who would also make adaptation and
her starring John Cusack, John Malkovich, of course, Catherine Keener,
Kareron Diaz sel Bras. Did you enjoy being John Malkovich?

Speaker 2 (23:33):
I loved this film.

Speaker 1 (23:35):
I am so glad. I mean I was confident, but
you never know, you never know.

Speaker 2 (23:41):
Yeah, No, I adored this film. I thought it was incredible.
I couldn't believe I hadn't seen it. The first ten minutes,
I was like, I hate this guy. I hope we're
supposed to hate this guy. And then I was like, oh, okay,
we're allowed. We're meant to hate the guy. That's great
that he's the villain. But it was such a joy.
It was and I love the idea of Cameron Diaz

(24:03):
being like, oh, how do we make her yack? Or
what if we give her frizzy hair? She's still so.

Speaker 1 (24:09):
Beautiful, absolutely beautiful that the first ten or so minutes,
they the way they like her is really like they
almost you couldn't tell it was. Yeah, they deliberately letting
you adjust. They wanted a moment where you might go, oh,
that's actually Cameron Das. They hold off on it, yeho.
They they kind of their faces lit particularly well in
the first or ten minutes or so. But yeah, everyone

(24:32):
is so good in this movie, so good.

Speaker 2 (24:35):
And the character Maxine, she was amazing, what an incredible character.

Speaker 1 (24:42):
Well, Katherine Keener apparently did not like the character, like
like she found it difficult to play. But I agree.
And I'm surprised when I read that because I think
it's such a ballsy kind of She's so funny, so funny,
she just like doesn't give a fuck. Yeah, you know, sexy,
she's just like funny, like all of it, all of it.

(25:03):
So I was surprised that she maybe struggled, maybe because
she's maybe nothing like that in person. I don't know,
but I thought, you know, I remember seeing this film
going my first Catherine Keener experience. I think when I
saw this film, I was like, who's that? And she's amazing?
And then you know, there are so many things. I'm
sure where we want to you know, kind of start, but.

Speaker 2 (25:24):
How do you even dive in the surrealist lesbian rom
com set inside of John Malcovic.

Speaker 1 (25:30):
Metaphysical jaunt of a movie like the idea? I think
one of the reasons it works is because it's a
weird idea, yes, and everyone wants, you know, love to
talk about how weird the idea is, but it feels
they find a way to make it feel you're not
questioning it.

Speaker 2 (25:47):
They don't try to explain it. And I think that's
the thing with sci fi. You just don't. You don't
say this is how, You just say, yeah, this is what.

Speaker 1 (25:57):
It's. And it's such a It takes a lot of craft.
It takes a lot of balls as well, because you
are when you're making easy you know, when you're making
something you don't know, you know you can, You're asking
people and you're getting feedback from people around you, and
maybe you do test screenings, but you don't know. Is
it's that when you do a twist sometimes you know,
I've done a few things like episodes of TV where
is a twist and you kind to go people spotting

(26:19):
the twist. I don't know, I'm too close to it.
You'll be asking yourself the question. It's a pissing people
laugh that they we haven't explained what this is. Those
questions would have been discussed by Spike Jones and Charlie Kaufman.

Speaker 2 (26:31):
Yeah, I want to learn so much about the making
of this film. Yeah, and the different versions. I'd love
to read the first draft of this.

Speaker 1 (26:38):
Oh well, apparently like the first it was much longer.
The people who were trying to get in on and
getting to the vessel, that is John Malkovich I, the
elder elderly people were trying to take over the world,
and there was like Satan was kind of a part
of it. From what I've read, it sounds like we
got to the right movie of the version, the right

(26:58):
version of the movie. Yeah. But also I think like
it starts off, there's so many like weird things going
on with Lottie has every animal under the sun in a.

Speaker 2 (27:10):
Chimpanzee, and that has hard to watch now in through
our current lens, like to be like, oh, what happened
to that chimpanzee? And why is it so close to
that dog?

Speaker 1 (27:20):
Yeah, and you kind of also, I mean credit, I'm
not sure if I'll be jumping in the cage with
the chimpanzee on a film set crazy.

Speaker 2 (27:28):
Have you seen chimp crazy?

Speaker 1 (27:30):
Oh?

Speaker 2 (27:30):
Yes, yes, yes, yeah, yeah. First starters, don't put the
chimp through that. Secondly, that's Cameron Dias. Be careful with it.
It's really important.

Speaker 1 (27:39):
Came these these precious yeah. Yeah, and then you've got
the seven and a half floor, and you've got this.

Speaker 2 (27:47):
Speech in love that was so funny.

Speaker 1 (27:49):
It was so funny.

Speaker 2 (27:50):
And and the woman in the fucking Lift.

Speaker 1 (27:54):
School Winner, Octavia Spencer.

Speaker 2 (27:56):
The cameos in this film were in incredible. Yes, Isaac
Hanson is in the audience at one point watching John
Malkovich puppeteer. It was so good.

Speaker 1 (28:09):
The Sean penn One was a particular favorite of mine.
Jennifer Anderson is just visible off screen. Yeah, she's got
almost a head turn, so it's only you wouldn't know,
but it is. Jennifer Anderson was during Jenfees. David Fincher
is Christopher Bing but he's like talking about you know,

(28:29):
the effect that John Horatio Malcovich. My favorite fact in
this movie is that John Horatio Malcovich his middle name
is not Horatio even that, and I love that giving
him that because it sounds like it might be John's
middle name, but his middle name and I love this
is Gavin Gavin, John, John Gavin. You could give me

(28:52):
a thousand guesses as to what John Malkovich's middle name was,
and Gavin.

Speaker 2 (28:56):
Would not have come at once, No, neither.

Speaker 1 (28:58):
That is amazing. And you've got You've got lester, who's
got this not speech impediment which is gone?

Speaker 2 (29:05):
That was so funny.

Speaker 1 (29:07):
Play Secretary, play there by Mary kay Placer we know
from the Big Chill and then she's amazing and you
can watch it and you can kind of go, oh,
these are just jokes. And you got the video as
the why as the why the Let's have a listen
to the history of the seven and a half floor.

Speaker 4 (29:24):
Captain Merton, once you got a child, I'm not a child,
but rather than an ould lady, a miniature proportions.

Speaker 6 (29:32):
See, well there was charity after become.

Speaker 4 (29:37):
Follow I'm not asking for all, Captain, but rather the
year of a kind man. What's a normal heart?

Speaker 5 (29:44):
Well, speak to Captain Merton.

Speaker 4 (29:47):
I'm afraid that the world was not built with me
and mine. Doorknobs are too high, chairs are unreally, and
high ceiling rooms mock my stature. Why cannot there be
a place for me to work in safe and comfort?

Speaker 6 (30:00):
The story is movement like the other. Therefore I shall
make you mean wife, and they should build a floor
for you between the between the seventh and the eighth
and the old building, so at least there'll be one
place in God's Green eart good you and you're a
cursed kink living piece.

Speaker 2 (30:24):
I love him as the Irish like explore a or whatever.
It's like, that's not Irish, really good, foul devil.

Speaker 1 (30:36):
But it's so so it's easy to look at these
and go, oh, they just they almost feel like a
bit like their sketches on my Like, you know, this
movie works with with that the seven and a half
floor and the speech impediment and all these things that
even the chimp, we see his memory of being you know.

Speaker 2 (30:53):
Oh my god being, Yeah, taken from the jungle.

Speaker 1 (30:55):
Taken from the jungle. And his name's the same name
that Lordie. So it's like it's like the parents have
actually given him the name and then it's been adopted
by Camery has. But the reason is Charlie Coffin knows
he needs to build a culture in this film, a
world that so when we get to the Portal, it

(31:17):
doesn't seem as weird as it would be in the
Reese Witherspoon nineties kind of romantic comedy. Yeah, like we're
in conditioned. He's conditioning us to kind of go this
world is a bit off center, yes, you know, And
funnily enough, I was watching a BAFT speech that Charliekavin
gave last night. Didn't give it last night. I was
watching it last night and he spoke about when you
write your scripts, you need to have your world needs

(31:39):
to feel consistent, and I was going, well, that's it,
that's what I've been thinking about. That's why all these
things are happening. So when we get to the portal
into John mccolmich's mind, which is a fucking back crazy
idea that we feel like this could happen in this.

Speaker 2 (31:56):
World because everybody believes him as well. When he discovers
the portal, everybody goes, oh.

Speaker 1 (32:00):
Okay, yeah.

Speaker 2 (32:01):
They don't challenge him, they don't worry that he's sick.
They go okay, yeah, yeah, which is amazing.

Speaker 1 (32:07):
Because it'll be the temptation for somebody to kind of
resist it and kind of go and then use that
as a way of feeding the audience and explanation as
to why this could possibly Just like you said earlier,
we love that they don't. They don't. And because sometimes
you risk when you explain that, people going oh that
doesn't hold up. Yeah, so don't explain it.

Speaker 2 (32:25):
Yeah, don't explain it. I just don't just don't try.
I love that. I love sci fi that just goes.
It's this shut up, yeah, don't worry about it.

Speaker 1 (32:33):
And what I love about sci fi as well, there's
different ways you can dole. Like Christopher Nolan does movies.
You know, obviously Interstellar and and Inception, which are metaphysical
and but there is, it feels like there is a
lot of explaining going on there is. He's trying to
kind of reach a place where you can trace some
thought to be possible.

Speaker 2 (32:49):
But I actually don't like that.

Speaker 1 (32:50):
Yeah, I like this version.

Speaker 2 (32:52):
Yeah, whenever I'm watching Christopher Nolan films, I feel like
I'm being left behind.

Speaker 1 (32:57):
Yeah, Like I'm always like, yeah, I.

Speaker 2 (32:59):
Didn't twelve maths. Can we just shut up?

Speaker 1 (33:03):
Yeah? I think Tenant. I was lost twelve minutes in
and I never regained my footing.

Speaker 2 (33:06):
Yeah, it's too hard. Yeah, it's too much. I remember
leaving like Interstellar and be like I get it, and
then now I can't remember anything about the film because
I spent the entire film being like, oh okay, like
trying to understand rather than like feeling anything for the
characters or anything. Yeah, it's like, so wait what Yeah? Yeah,
Oh my god, my dog just sneezed. I forgot she's here.

Speaker 1 (33:27):
I've got the beautiful retired guy dog. Eva Eva, Eva
asked about to Ali, But it's Eva. Did you watch
being John Makovic with Eva? I did.

Speaker 2 (33:36):
Yeah, she sat on the couch and she watched it,
enjoyed it, she loved it. Yeah, she only went to
sleep a few times, so that's pretty good for her.
That's pretty good. Yeah, dogs sleep most of the day,
they do.

Speaker 1 (33:45):
How good is the performance, by the way, and they're
all so good. But John Malkovich, he comes onto this project,
he hears about it through again, we're going to celebrate
the fact this movie got made by a first time
director and the first time rider. That's it's it's not
like people with all these experiences behind us. So they
went okay, and with names that don't traditionally sell movies.

(34:07):
I mean, Kuzak and Malcovich were coming off conn Air together.
But I mean it's not enough to necessarily get a movie.
Mate got into the hands of Francis Wold Coppola, who
is who knows it's going to get passed around, And
obviously his daughter is Sophia Coppler. She's married to Spike Jones.
He gets a script and is like, so Francs for
a couple, I think did a little bit of pushing it.

(34:28):
You know the script. You should met the Spike Jones,
but John Malcovich. They pictured this with John Malkovich and
he met with Charlie Cafran and said, how about this is?
He read the first thirty pages and went, this is stunning,
like this is this guy's got talent and he said,
how about you? Yeah, but nobody's going to make this film.
So how about we're working on some Howard Hawk's film.

(34:52):
Do you want to come on and help us rewrite that?
And he said no, I'm not interested in doing that.
He said, okay, how about we try to get this
film but we change the John Malkovich character and I
I'll direct it. He said, no, I'm not interested in that.
He said, okay, well, no worries. They left and for

(35:13):
some other I'm sure why, I think. Then he met
Spike Jones. I think Frenchville Copler step and said you
need to meet with Spike Jones. We're all gonna be
working with it for him one day, and he met
with him and was impressed enough and came back on board.
But I think he thought that he saw the opportunity
to direct, and he thought, if I'm going to direct,
I think me directing me in that role is too much.

(35:34):
It's too much. So I think that's why. And there
are other producers who recommended, like how about it's being
Brad Pitt or bring being Tom Cruise.

Speaker 2 (35:42):
Well, I was thinking about that. I was like, it's
so shocking that it's John Malkovich. Yeah, and it's so
good that it's John.

Speaker 1 (35:48):
So who's John Malkovich to you? Like, like do you
like how much are you aware of like who he
is when you see the name being John Malkovich? What
was like film references and you have a type in mind,
did you? Yeah?

Speaker 2 (36:01):
I mean maybe it's Connair or like character actor villain,
like camp kind of silly gravitas man.

Speaker 1 (36:09):
Yes, I think that's that's really good. And I think
even in nineteen ninety nine he was because he's done
like dangerous for the Aisons and he was like you know,
Oscar based a Thespian and a serious, a serious guy.
Conye kind of was you know slightly that kind of
shocked everyone. That was like and he you know that
was a money job, obviously, And he tells a story

(36:30):
of he was working with his like quite learned English
playwright and somebody, an assistant came in and gave him
the latest Conna Air script and he looked at it
and he just threw out over his shoulder. And the
playwright said, do you mind much if I've ever read
a Hollywood script, do you mind if I just take
it home and have a read of it? And he goes, sure, sure, absolutely,

(36:51):
and he took it home and the next day he
came back and he said, mister Malcolm, I just only
decided I read the script last night for Connair, and
I'm so glad you have got your principles and that
you're not doing you know, like this, and he gaes,
I'm doing it. I just I just don't need to
read it.

Speaker 2 (37:10):
I'm going to do it.

Speaker 1 (37:12):
I'm taking the six million dollars and I'm I'm definitely
doing the film. But yeah, so he was like, it's
really interesting when you like, would this film be as
fun if it was being Tom Cruise? Like, No, I
think there is something it would feel sketchy.

Speaker 2 (37:29):
I think you have to be funny. It has to
be a character actor. Yeah, it has to be somebody
like that. It could be like being John c Riley.
It could be being John Leguizamo, any of the Johns.
But it can't be Brad Pitt. Yeah, it's boring. That's
a different movie. And Tom Cruise, I don't know. I

(37:50):
love Tom Cruise in Magnolia and everything else. I'm like, okay, sure, yeah.

Speaker 1 (37:55):
I'm a Cruise fan, I think, but I just don't
think this is as in or as funny. Even though
Tom Cruise, I'm sure if he agreed to do it,
would jump in with both feet and he'd have fun
and have fun and be happy to take the piss
and all that. But I just think this was such
a surprising choice and the fact that he said yes

(38:18):
to it, and that we hadn't really seen I don't
think i'd seen Malviich do comedy up until this point.
And he was just so good. Not only was he
so good when he was kind of being himself as this,
like you know, up himself thespian. Yeah, but then when
he when Kuzak inhabits him, it becomes like this, he's
so funny.

Speaker 2 (38:38):
He's so funny, just in that one scene where he
goes inside himself and then in the restaurant everybody is
him and just to like look around that table. God,
I would have loved to have been on set to
see what he did. All those little improv bits, all
those little all the characters he played that were John
Malkovich were amazing. That was like, this is the man.

(39:00):
Now we've seen We've seen you do all of these
characters that you did for two seconds each in this scene,
and that was really exciting to me.

Speaker 1 (39:07):
Yeah, like that. Yeah, and because he also got the
Kusak's character's kind of voice and these mannerisms, and when
he's looking at his body, goes, why couldn't I have
found a younger body? Or and he has what if
I fall over and break a hip? Yeah, it's so good.

Speaker 2 (39:25):
He's also like forty three, and they're talking about like
how old he is. I think he was forty six
when the movie came out. Yeah, they're talking about how
old he is. A he does look so much older
than forty three. I think a combination of I guess
that it was the nineties, but maybe like just the
way his hair is, with the sort of hair on

(39:46):
the side but nothing in the middle, and he hasn't
shaved it. But it is crazy the way that they're
talking about age. And even the man who comes in
and is like, I'm a fat man. I was like,
you're a medium sized man. Men are bigger.

Speaker 1 (39:59):
Now.

Speaker 2 (40:00):
Everything is way different now we're all really young and
also really big. That's cultural difference. I also really loved
the agent when he walks in and keeps repeating sorry
about the counter at reception. Oh my god, I couldn't
believe I was. I wrote it down. I was like,
that's so fucking funny.

Speaker 1 (40:21):
All they've done is like they've gone, mister Malcolvich is
here to see you, and they've gone, what don't keep
him waiting? Yeah?

Speaker 2 (40:27):
Sorry about the content reception.

Speaker 1 (40:30):
I do love when they go in and he just accepted, Yeah, sure,
let's make a few calls.

Speaker 2 (40:35):
You know, I'm not an actor anymore. I'm a puppeteer. Yeah, okay, great.

Speaker 1 (40:39):
Yeah, but I also set up early that puppeteering is
a bit of a thing without these the great mantein.

Speaker 2 (40:45):
Yeah, and the Great Mantini's like logo with his hand
is really funny. I really liked that.

Speaker 1 (40:52):
So all the little details I add like the video
that we listened to early about the seven and a
half floor and the it's a sixty minute style story
that goes ahead and that's when we see, yeah, you
Brad Pitts and Sean Penn's all those little details are
so well done.

Speaker 2 (41:08):
Yeah, it's so it's so funny.

Speaker 1 (41:10):
It's so good.

Speaker 2 (41:11):
And at the end of it, where they're talking, where
they're like talking about Maxine withdrawing from him, they're just
saying these personal things that they would not know, and
he's just watching it and he's like, Okay, it's finished,
Like it's really really, really absurd and really funny.

Speaker 1 (41:25):
Did you know do you ever know where it was going?
Did you ever kind of have a hope that you
hope this happened or that happened, or do you just no?

Speaker 2 (41:32):
I mean I kind of had no idea. I wanted
the girl to get together, and that was all I wanted.
And I just hated that guy, the JOHNK He said,
what was his name, I don't remember his name.

Speaker 1 (41:43):
But I Craig Schwartz.

Speaker 2 (41:45):
Craig Schwartz. Yeah, I hated him. And I was worried
about the chimpanzee, and other than that, I've just along
for the ride. Like I was just like, yeah, let's go,
let's see what happens. I still don't really understand how
so many people are inside of John Malkovitt and they
lived for a long time, but like, yeah, let's let's
absolutely go. And then I guess the guy is in

(42:06):
charge because he's married his receptionist that he loves. You
can't understand.

Speaker 1 (42:10):
Him, can listen of the speech issues first come out?

Speaker 7 (42:18):
Damn fine, woman Flores. I don't know how she puts
up with a speech impediment of mind.

Speaker 5 (42:25):
You don't have a speech impediment, doctor, lest.

Speaker 7 (42:28):
Flattery, We'll get you everywhere, my boy, I'm afraid I
have to trust Flores on that one. She's got her
doctorate in speech impedimentology from Case Western. I apologize if
you can't understand the word I'm saying.

Speaker 3 (42:42):
No, I understand perfectly.

Speaker 7 (42:45):
It's very kind of a lie, lonely and my isolated
tower of indecipherable speech.

Speaker 1 (42:54):
That's awesome being playing Lest. He's so.

Speaker 2 (43:01):
It's so good, and it's she's so funny because that's
the first time I've said I think that's the first
of that joke, because you see that joke all the time.
But it was the first time, and it felt so
contemporary for just this woman to be like, I have
no idea what you're saying. Yeah, and he's speaking so clearly,
and she's like, I can't hear it's a thing you're saying,
Like this could be a sketch today.

Speaker 1 (43:21):
Yeah, So clearly it felt like for me because I
saw this when it came out and ceter In fact,
I saw a preview of it in the same week.
Oh my gosh, Yes, I saw it in the same week.
I saw American Beauty in both both in nineteen.

Speaker 2 (43:36):
Yeah.

Speaker 1 (43:38):
One of the great movie ins cling Intentions, The Matrix Magnolia.
Oh my gosh, Sich sense.

Speaker 2 (43:47):
Fu ninety ninety nine was so good.

Speaker 1 (43:49):
Ninety nine. There's a book I've got called ninety nine
nine best movie year ever. It is extraordinary, extraordinary. Yeah,
I think they witch really Fantom Menace, which he has
its own little place in history.

Speaker 2 (44:01):
Star Wars fans, there is nothing that Star Wars fans
hate more than Star Wars.

Speaker 1 (44:06):
God, I love any Star Wars you can give me.
If you're a Star Wars fan who gets upset about
Star Wars, maybe something to move on.

Speaker 2 (44:14):
Maybe you don't like Star Wars exactly.

Speaker 1 (44:16):
Maybe you've grown out of it. Shut up, shut up.
I agree so hard with the vessel. There was the
only time where I was like, I don't quite and
I got to the same points. And I've probably seen
his half a dozen times. We're going to go on,
I don't I don't care.

Speaker 2 (44:34):
I don't care, I don't care. It's fine.

Speaker 1 (44:36):
Yeah, if I'm going to go through the fact there
is a portal. Yeah, I can believe that there's a
group of people who are just and all of these
there's a group of people who are trying to live forever.
John Malgovic is Noah's ark.

Speaker 2 (44:48):
Yes, and I'm happy to suspend my disbelief for that.
That makes sense to.

Speaker 1 (44:51):
Me, It makes absolute sense.

Speaker 2 (44:53):
I loved it. I loved it, and it didn't hit
us over the head. You know the way that filmmaking
works now. And I just did this like screenwriting thing
with Screenustralia in New York and was working with all
these amazing screenwriters and you know, writing things myself and
getting things, trying to get things made, and everyone just
keeps saying it has to be second screenable, so you
have to keep pointing to things. And I noticed this

(45:13):
in the substance. Have you seen Substance?

Speaker 1 (45:15):
No?

Speaker 2 (45:15):
Yeah, Oh it's great, But there's just so many things
that she reads the instructions, and then we just keep
seeing flashbacks of the instructions, and I was like, if
this movie was made twenty years ago, we would not
need to see these But because of the second screen
of everything, which literally means, can you understand this film
if you have a second screen in your hand?

Speaker 1 (45:36):
Right to ask, I thought you meant like to watch
it the second time.

Speaker 2 (45:40):
No, it means your audience will be on their phone,
so you have to tell them everything way more. You
have to be so clear. It has to be so clear,
and I hate it. It's I think it's going to
ruin filmmaking, like it really and TV for a while,
and then we'll go back, you know. I think it's
a it'll be a misstep that we we take and

(46:00):
then we'll move away from it. And there will always
be people who don't bend to that. But for people
like us, it's like, Okay, sure, I'll put in a
little scene where she remembers the thing again, even though
we've seen that scene and it feels so naff and
so cliche. But like they need it.

Speaker 1 (46:18):
That is so awful, because who are we making films for?

Speaker 6 (46:21):
On?

Speaker 7 (46:21):
Now?

Speaker 1 (46:21):
Are we making films for the distracted? And what? Yeah?
Where do people go who want to watch an invest
in the film? Now, I admit sometimes, oh, you know,
I've gone to the habit. Sometimes I've had my phone
on me when I'm watching films at home. But I
still I get to the cinema enough.

Speaker 2 (46:40):
I would never have my phone on in the cinema, no, exactly,
So I don't really do it at home either. I
try to just put it, put it in the kitchen
and just sit down. Yeah, no one needs me now,
It's going to be fine.

Speaker 1 (46:51):
It's something I'm trying to work on of having my
phone just away from me. And when I'm doing this podcast,
usually I watched the film as a without the phone
just wash over me, and I'll watch it again with
the phone and I might be writing notes and I
might be writing observations and all of that. So, yes,
that is horrifying encouraged. Yeah, I mean being John Macavich

(47:12):
is such a funnies because after this came out, everyone
was trying to go become Charlie Kauffman. Everyone like you
imagine everyone going, well, let's let's not follow the rules. Yeah,
And I remember I went to a McGee McGee McKee
conference and he was saying, you're saying this. He goes,
you need to know the rules before you can break

(47:33):
the rules.

Speaker 2 (47:33):
This is after or before adaptation.

Speaker 1 (47:35):
This is around the time. Weird because Brian Cox flays
in adaptation, and he goes, Charlie Coffin, do not have
a shred of doubt. He knows the rules inside out
for him to break the rules.

Speaker 2 (47:45):
I think that's true, and I think that that's something
that's really interesting. Sorry to interrupt you there, but I
think I find a lot of like young comedians will
say to me like, can you help me with my show?
I'm trying to do that. I'm like, yeah, I'd love
to help you. My first note is always go and
see as much as you can, not just comedy theater, art,
Go see films, Go see all of these things you're
writing about this issue, Go read these books like this

(48:06):
is what you want to be looking at. And they'll go, oh,
I don't really want to like do the stuff that's
been done before. And I'll go that's great. I can't
actually help you if you're not interested in this, I
actually can't help you because you can't just enter in
and think that you're going to be able to do
this and be really clever. The reason this is really

(48:27):
clever is because it's come from a place of going, Okay, well,
this is how we normally do it. What if we xyz?
It's like you you don't get into a car and
not know what the steering wheel is. Like you might
want to design a new car, but you probably need
to know about an engine. Yes, you just need to
know about storytelling, and people just kind of don't.

Speaker 1 (48:48):
And it's so important. I think to be a consumer
and be an audience member, and you know, I love
going to see other shows and whether it be comedy
or you know. And this reminds myself the feeling of
walking in to the you know, and I consider my
music my house music that I'm playing before the show, like.

Speaker 2 (49:10):
Oh my god. Yeah, when people when people just so
clearly have not considered it, I'm just like, you didn't
give a fuck about how I feel at all. Five
I paid thirty bucks.

Speaker 1 (49:18):
My favorite story goes back many many years. I'm sure
he's changed now. But my good friend Dave Hughes. It's
before I started doing comedy and I was doing community
radio and I interviewed him on community radio and he
gave his mate, He's went the backstage room, which is
a sixty seat room at the town Hall in Melbourne,

(49:39):
and he said, may, if you want to bring some
friends in line, may I've got plenty of seats, bring
some giveaway tickets. So I did a bit of that
and I saw him at in the Peter Cook Bar
afterwards and I said, Ah, the house music or the
music he's walk on music was don't Dream It's over
by crowded house. I said, it was an interesting, you know,
song selection to walk onto like it was. I thought

(50:00):
there might have been like a theme for the show
or somebody gets nah. It was the only tape I
had in the car.

Speaker 2 (50:08):
The only tape I had in the car. Wow, that's
really really sure.

Speaker 1 (50:15):
I know, I'm sure he's changed his attitude, was it?

Speaker 2 (50:18):
But I think he has now. I mean, I think
he's somebody who really does the work.

Speaker 1 (50:22):
Which is no doubt about that. But I now I
I will consider the volume that I want the music,
playing the songs thematically how and it might not be
you know, obvious to anyone, anyone in the audience, but
it's like, I know the reasons I'm playing these songs. Yeah,
and just also it reminds you that when you're sitting
in a room about to watch a comedy show that

(50:43):
you want to like it. You know, sometimes you are backstage,
you're gonna go this this credit they don't they're not
here for me, or they don't they're not you know,
they've been dragged along or something. Yeah, your brain plays
this will trick on you that nobody who's there, who's
paid money that comes see actually wants to enjoy it.

Speaker 6 (50:58):
Yeah.

Speaker 1 (50:59):
No, you you sit in an audience and there might
be you know, a very small percentage of people in
that audience who might have been you might not have
been their first choice, you know, like you know, their
girlfriend won and they now they're there. But people are
there to enjoy the show. So there's even those things
to remind yourself what it's like to be an audience member.
I think is really important.

Speaker 2 (51:19):
Yeah, it's really important. I don't know, I don't. Yeah,
I get really up in arms about that stuff. Go
see things, Go.

Speaker 1 (51:27):
See things out there. One of the other things that
I think makes this film win as well. Is the idea.
Obviously it's quite subversive and all that, but it's a
very simple like we all have a fascination I guess
with celebrity, but also there's other people you know, and
maybe now more than ever with with you know, social media,

(51:49):
and it's it's not just celebrities, it's you know, there's
a new brand of celebrities with influences and Instagram and
it's like the idea that their life is better of
mine and if if only I could have that. Yeah,
And it's no, yaf they're in Machovich's brain for fifteen minutes.
That's not that's not a coincidence. If Andy Warhol spoke

(52:09):
about the fifte minutes. Yeah, I think you can have
a subversive in Vernakoma's weird idea, but I still think
it needs to have a thread of logic, yeah, behind it.

Speaker 2 (52:21):
And I think and it's about something, it's.

Speaker 1 (52:23):
About something exactly, And I think I think this is
about something. I think it's about you know, people's that
they're not enough and they want to be something more.

Speaker 2 (52:32):
Yeah, yeah, yeah, I think it's just yeah, and the
only people who end up happy really in the end
of the the people who just go, Okay, well this
is who we are, and then they have this daughter
together and they're like this nice couple and it's so lovely. Yeah,
it's like, yeah, just be yourself.

Speaker 1 (52:51):
Yeah, so lovely and kind of like you know when
Cameron Diaz Lottie first goes in and she you know,
she talks about maybe being or she.

Speaker 2 (53:01):
Got the language even is like, oh, this is fine,
Like this is somehow fine.

Speaker 1 (53:07):
I was watching going, oh, is this a bit that
I forgot? That's going to be a bit like oh
twenty five years later, but it's like respects Chelia Kaufman like, ye,
there's nothing to my years at least, and.

Speaker 2 (53:16):
You know, to mine, and you know, as a youth,
I my years prick up. Yeah yeah, yeh, you know
you do you go, oh it's the nineties. But I
didn't find you know, I think instead of saying I
think I'm transsexual, she said I'm a transsexual. But that
was it, and she's just like I'm going to go
talk to the doctor about it. And then the other
girl was like, don't leave, you know, let let her

(53:38):
do it. Sorry him, Like it's so nice. It's really
lovely the way they approach it and then she's like, oh,
it's not that I'm just gay, but like, yeah, I was.

Speaker 1 (53:47):
Lovely but yeah, because even then it's like, yeah, she's
just figuring, she's she's been, you know, she's had this
new experience and she's now questioning things and yeah, yeah,
curious and experimenting, and that's that's part of the jour you.

Speaker 2 (54:00):
Know, exactly, lovely, so good.

Speaker 1 (54:02):
Let's let's been a little bit of Maxine. I do
like Maxine. And one of the things again, John cuzx
Haarator Craig is so unlikable. It's weird when he's married
and all of a sudden he's asking this woman on
the date on basically his first day in the which
is kind of creepy and weird. She goes along, Yeah,
she goes along with it, which is you do kind
of go not exactly sure why you would go along.

Speaker 2 (54:24):
With it, But at the same time she's morally so dubious,
but she behaves like a man.

Speaker 1 (54:28):
Yes, exactly. Let's have listened to the asking of the date.

Speaker 5 (54:32):
Hi, do you know that I don't even know your
name or where you work?

Speaker 7 (54:37):
Yeah, okay, how about this if I can guess your
name at three tries.

Speaker 5 (54:45):
You have to come have a drink with me tonight?

Speaker 1 (54:49):
Why not?

Speaker 3 (54:51):
Okay if you look like a.

Speaker 5 (55:05):
Bad call the shell? Who mar seen Macine?

Speaker 2 (55:27):
Yeah? Who told you?

Speaker 5 (55:29):
Nobody told me? Came out? Don't you think that? Isn't
that odd?

Speaker 1 (55:34):
I love I love it something because you know he's
just playing all those tricks are going. Can you believe
that we don't I don't know your names?

Speaker 2 (55:40):
Like, yeah, yeah, yeah, we've known for one day. I
also love I noticed it in this scene how the
space is not like as encroaching on her as it
is on him. Obviously he's taller than her, and she's
just kind of fine in the space, Like she's always
sort of sitting, she's always holding herself in a good way.
She's like perched on something, and she doesn't look crouched.

(56:02):
He's always hunched over. And I think she's the only
person who can exist in that space and not look crazy.

Speaker 1 (56:10):
That's a really good point because the same way that
he comes in and she's sitting on the floor, I
think there's having a smoke on the floor and yeah,
absolutely right, she never looks cramped. That's really Oh my god.

Speaker 2 (56:20):
The scene where she comes over to their house for dinner,
to Cameron Dias his house for dinner with him.

Speaker 1 (56:25):
Ash the ash.

Speaker 2 (56:27):
The cigarette is like just like four inches of ash.

Speaker 1 (56:32):
It's incredible. It's like you do take out the takeout,
like was it just one take that they just that
was when they used.

Speaker 2 (56:39):
It's so funny. Is it deliberate? What is it? I
want to talk about it. I'm like, how did you
do that? How is it structurally? Staying up? I loved
it so much, but I sort.

Speaker 1 (56:51):
To think the same thing. Is it deliberate? And then
what does it mean? I we gotta talk about Charlie Sheen.
Oh yeah, John Melgovich, it was written as Kevin Bacon
and I'm not sure I couldn't do it or yeah,
but John Malkovich suggested didn't know particularly well Charlie Sheen,
but suggested Charlie Sheen, which is a great fucking suggestion,

(57:12):
because again, the idea of making this about being John
Malkovich is brilliant. And what's even more brilliant that his
best friend is Charlie Sheen.

Speaker 2 (57:21):
Yeah, and it's like that's not his friend. That's funny
that he didn't even know him that well. No, that's
really funny. I wonder what period of Charlie Sheen this was,
like what times?

Speaker 1 (57:31):
This is pre Tiger Blood? Yeah right, that was such
a weird. That was such a weird time Scott was
like hanging out with him. Yeah, weird Tiger Blood.

Speaker 2 (57:45):
And he seems so harmless now thinking about the things
that we've seen, like a pre Trump presidency, Charlie Sheen
feels very like he felt dangerous and now it's like,
what's that you're doing?

Speaker 1 (57:57):
What you say? I mean, you know, who knows what
you know might be come out and down the track,
but he seen true.

Speaker 2 (58:04):
I actually don't know anything about this.

Speaker 1 (58:06):
But a lot of his stuff seem to be self
inflicted and you know, yeah, like battling with addiction and
and all of that. So we don't know, we don't know,
but I think we can safely, hopefully safely remove P
Diddy from the Charlie she conversation. They see me very

(58:28):
different ends of the party.

Speaker 2 (58:29):
Spectrum, Yeah, yeah, different.

Speaker 1 (58:32):
But I do love the line when at the end
where he says about Malkovich invites him over and it's
it's machine malcatraz and they talk about like getting in
on this vessel. Yeah, and he says you me, Gary Sonice.
Maybe yeah, And it's as you know, details are so

(58:52):
can make something, you know, I joke work or not work,
or make it funny. And the word maybe is what's
so funny about that? Maybe because your brain kind of
tells this little story subconsciously that maybe Gary sneez the
might invite them, maybe they won't.

Speaker 2 (59:07):
Invite maybe they'll let him die, let him die.

Speaker 1 (59:11):
What you know, Gary Sneeze has some work to do.
Maybe I love it so much. The puppetry is so good.

Speaker 2 (59:17):
The puppetry is beautiful. It's really beautiful. I'd like to
know who did it?

Speaker 1 (59:21):
I mean, and that yeah, that it's such a funny.
You know when the early scenes is the street scene.

Speaker 2 (59:26):
Oh yeah, it's just like scene and the little girls
watching it. The dad punches her and then punches him,
and then it's like a cut to her being like
not again. Camantine has been like not again time my
dad's in the street.

Speaker 1 (59:45):
It's such a perfect We've seen the artists who you know,
often the actors or screenwriters or comedians who be portrayed
before in pop culture where it's like no, I've got
my morals and I'm going to but the fact that
he's doing it with puppetry, which is already yeah, basically
career in it. But he still got no I want
to say things with my puppetry.

Speaker 2 (01:00:04):
Yeah, it's they won't let me tell my story.

Speaker 1 (01:00:07):
Yeah, my own, my truth. My truth is so good.
I did love the scene that Lottie and when Loddy
gun Point takes Maxine through have you seen yeah? Yeah, yeah,
I've had like very that felt like there's the biggest
scene where they're going through the subconscious of I think
Jim Carrey's character, which made me think of that. But no,

(01:00:27):
it's so good, so good. Did you have any final
thoughts about the whole thing?

Speaker 2 (01:00:32):
I think so. I'm going to look at my notes,
but I feel like the only thing I wrote down
was sorry about the content reception. Yeah, I wrote sorry
about the content reception and eyes I cancered in the
audience of puppeteering.

Speaker 1 (01:00:45):
That was I really do love that. I'm going to
say to sixty minutes. Speially, I'm not sure it was
sixty minutes. That whole sequence I thought was so was
so good, it was awesome. Were happy with the way
it ended like that, Craig is kind of like this.

Speaker 2 (01:00:59):
Trapped, trapped inside the Little Girl. I'm worried about when
she turns forty four and all those people invade her.
But apart from that, there.

Speaker 1 (01:01:07):
Is a fan theory that get Out the movie get
Out is like a sequel to Being John Malkovich, Oh God,
Katherin Keener Is is a connection, obviously, and Alison Williams
is the grown up Emily. I think her name is
of the Girl. And because it feels, obviously with people

(01:01:28):
being trapped in the saken place, self conscious, so Jordan
people have said he certainly he wasn't on his mind,
but he's happy for people to have fun with that theory.
There are a few Seinfeld characters as well in there.
Litman is one of them. But also I did kind
of feel like it had a Seinfeld vibe in that

(01:01:49):
Katherine Keith Maxine you could almost see us as Elaine.

Speaker 2 (01:01:54):
Oh yeah, yeah.

Speaker 1 (01:01:56):
Lottie could almost be Kramer.

Speaker 2 (01:01:58):
Yeah, her animals, animals. You know, she's so absurd, she's
so surprising.

Speaker 1 (01:02:05):
And then this is a time when you know, this
was a surprising turn for Cameron Diaz, like she was
still making you know, there's something at Merry and like
big kind of comedies and she was always beautiful to
be in this weird film. Yeah, and you know, it
was respect the Cameron Diaz.

Speaker 2 (01:02:24):
She's great. I adore Cameron.

Speaker 1 (01:02:27):
She's When we did Rove Live, one of the first
really really big episodes, it was one of the biggest
episode we've done. The date was when Charlie's Angels came out.

Speaker 2 (01:02:37):
Wow, that's crazy.

Speaker 1 (01:02:42):
And they kind of played I think we're doing like
celebrity charades or we had like a regular segment that
we would do and they came. They played there for
an interview and they were there. They were there to
have fun. You know. They drinking backstage is a bit
of that if.

Speaker 2 (01:02:57):
You wouldn't Australia. You're like doing media in Australia.

Speaker 1 (01:03:02):
And I just remember I remember them all being really cool,
but it maybe particularly Camardya has been particularly cool. And yeah,
I've always just thought she seems to have a really
good head on those shoulders. Yeah, business and perspective.

Speaker 6 (01:03:17):
Yeah.

Speaker 2 (01:03:17):
Yeah, she's just funny and she's smart. Yeah, love her.

Speaker 1 (01:03:21):
Go on, Tor Camrady, as you came to come on this, gee,
maybe you get a chance. Michelle Barrasier. It's a shame
we won't be friends next year.

Speaker 2 (01:03:29):
It is a shame.

Speaker 1 (01:03:29):
Page I know if you didn't listen to the introduction
that came out of the blue. That is your comedy
festival show, which is on sale now or about to
go on sale. Yeah, so is there anything you can
tell us about it?

Speaker 2 (01:03:42):
Yeah, it's actually about so in nineteen ninety nine, this
little boy said to me he was my friend. His
name is Ashley, and he said, it's a shame we
won't be friends next year. And I said, we're going
to the same high school. Actually I think we'll be friends.
And he was like, I don't think people will like
you at high school. And I've never forgotten it. So
it's about the things that people say about us that
we've never forgotten and then what we carry through our

(01:04:03):
lives with that. So I'm going to like talk to
the audience about their stuff. But also I've like tracked
I've tracked him down and asked him what he meant.
So that's what it's about.

Speaker 1 (01:04:11):
Oh my god, Yeah, will he comes here to show?
Do you think?

Speaker 4 (01:04:14):
No?

Speaker 2 (01:04:14):
Because I tracked him down and he lives in Holland, moving.

Speaker 1 (01:04:20):
Holand next year. That's that. That is, That is amazing.
So you're traveling all around.

Speaker 2 (01:04:27):
I assume, yes, traveling all around. I'm doing the malt
House in Melbourne, I'm doing somewhere in Sydney. I'm doing Sydney, Melbourne, Adelaide, Fringe,
all the big ones. I think I'm coming everywhere.

Speaker 1 (01:04:40):
Actually, this year fantastic. And so he should beg steal
then steal a ticket. Actually, just pay for a ticket.

Speaker 2 (01:04:46):
Pay for ticket, pay for a ticket, pay for a ticket,
or borrow. I mean you can beg, you can borrow,
you can borrow a ticket.

Speaker 1 (01:04:52):
Actually, there's got to be a cash transaction at some point.

Speaker 2 (01:04:55):
I'm going to need to recoup, yes, okay, because I
value my work.

Speaker 1 (01:05:00):
Yeah, yeah, okay, congratulations. Oh my brothers Ashes are in
a sandwich.

Speaker 2 (01:05:04):
Bay for everyone for Christmas.

Speaker 1 (01:05:07):
Christmas coming up, extraordinary things you've dealt with, dealing with
and you do. It's such great humor and average Bear
is on Paramount plus two, isn't it.

Speaker 2 (01:05:20):
It's just moved to ABC. I view it free.

Speaker 1 (01:05:23):
Its even easier.

Speaker 2 (01:05:24):
It's for free.

Speaker 1 (01:05:26):
I said in the intro. It's one of my favorite
shows I've seen ever. I think it was it Blew
Me Away a few years ago and if you haven't
seen Average Bear, check it out. Mate. Thank you so
much for it. Finally we worked, we worked out.

Speaker 2 (01:05:38):
Our schedules, and thank you so much for recommending the movie.
I loved it.

Speaker 1 (01:05:42):
I'm so glad I said I was confidable.

Speaker 2 (01:05:45):
You never know, you never know.

Speaker 1 (01:05:47):
You've seen Adaptation, haven't you.

Speaker 2 (01:05:49):
Yes?

Speaker 1 (01:05:50):
And by the way that I've always wondered, Yeah, there's
a little scene in Adaptation where it's behind the scenes.
I've been John Malkovich, ye, and you have Nick Cage
kind of behind the camp And I've always thought, did
they take footage of that from the actual shooting and
then and repurpose it? But they re shot it. That

(01:06:10):
was a whole new sequence there. So must have come
on to reshoot because it's the Malcovich Malkovich Malcovich and
so good on. John Malkovich are coming back.

Speaker 2 (01:06:19):
And that's amazing doing a solid for Spike.

Speaker 1 (01:06:22):
Jones and Charlie Kaufman. Yeah. Wow, But more films like this, please, Hollywood,
More films like this. Michelle Brazier, thank you very.

Speaker 2 (01:06:29):
Much, Thank you so much.

Speaker 1 (01:06:42):
There we go, Michelle Brazier, fantastic. I loved chatting to
Michelle about being John Malkovich. It seemed like a perfect
fit hack because you had not seen the film. It
surprised me, it shocked me. But here we are. Ladies
and gentlemen. Thank you so much for supporting you Ain'
Seeing Nothing Yet. If you want to support it even more,
please get on iTunes, give it a rating. I recommend

(01:07:02):
five stars and leave it a little review. If you
want to email, you can email me at Yasney Podcast
at gmail dot com. Also jump onto our speak pipe
if you follow the links on our page and you
can leave a message if you want to talk about
an episode you've heard, or requests movies or guests, jump
on and we will love to hear your voice on

(01:07:23):
You Ain't Seen Nothing Yet. A big shout out to
Tom Whitty who does he did many years ago now
the opening music for You Aint See Nothing Yet. I
love the theme so much and the closing theme as well. Yeah,
it meant a lot to me when we are starting
this podcast, have somebody who was supportive and could provide
those assets. Tom's are very talented artists. He does street art.

(01:07:46):
He's made earrings recently, by the way, earrings, and they're incredible.
They're called ivy in the clouds, and if you're looking
for a special bespoke Christmas gift, get onto if you
google Tom Witty w h I double t y. I'll
look thro him on Instagram. Check him down there. He's
a great man. Next week on the podcast, we're gonna

(01:08:07):
check the Maggie Luke, who is a writer, a comedian, performer.
Maggie's great. I've worked with her on the project. She
writes on of your favorite TV shows from Guy Montgomery
Spelling Bee. Have you been paying attention to Hard Quiz?
She's awesome. She's also a live performer, comedian, and she's awesome.
And we're gonna tackle this could be another mind bending one,

(01:08:28):
even more mind bending than this week. I suspect mulhulland
drive by David Lynch. Oh my God, help us, help us.
It's gonna be fun next week. And you ain't see
nothing yet. Maggie Luke with my hulland drive until then
by for an hour, and so we leave Old Pete

(01:08:54):
save fan sal And to our friends of the radio audience,
we've been a pleasant

Speaker 6 (01:09:02):
T