REPETE: Brendan Cowell and Broadcast News

Episode Transcript
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Speaker 1 (00:00):
Get a Pete Hally He welcome to you Ain't seen
nothing yet? The movie podcast where I chat to a
movie lover about a classical love film they haven't quite
got around to watching until now. And today's guest actor
author poet Mike Brendan Cow.

Speaker 2 (00:19):
You ever dance from the Devil of the Dale of Light?

Speaker 1 (00:30):
I'm walking ahead, walking.

Speaker 3 (00:33):
Ahead of all the gin joints in all the towns
in all the world.

Speaker 2 (00:44):
She walks into mines.

Speaker 1 (00:47):
Haven't any rife?

Speaker 4 (00:48):
No, you ain't seen nothing new.

Speaker 1 (00:59):
One of the lovely things about sticking around long enough
in this crazy business is you sometimes become mates with
someone you're a fan of, and that happened with today's
guest and me, Brendan Cow. Between two thousand and four
and two thousand and seven, my wife and I fell
in love with the Australian series Loved My Way. Brendan
was a massive part of the show's success, not only

(01:21):
with his betrayal of Tom, but he also wrote on
the series, which set a new benchmark for screenplays on
Australian television. I urge you if you haven't checked out
Loved My Way, it will break your heart. It'll make
you cry. It will make you laugh as well. It
is absolutely brilliant. Brendan has continued to put his unique
stamp on stage, screen, and indeed literature. Brendan has a

(01:41):
main line into the suburban Australian male experience his playturn
movie Reuben Guthrie, which starred Peter the plum Lum, who
is beginning to feel the effects of age and concussion.
And when he begins interacting with the great poets of history,
he has given a chance to change his life. Only
he can just somehow muster enough courage to do so.

(02:03):
I cannot recommend this book anymore. Brendan's credits also include
Game of Thrones, Avatar, to Noise, the and with Francis
O'Connor and Harriet Walter. Brandon is emotionally present as a
crystal clear social insight is hilarious and bloody stokes to
have my mate with me today? Gooday.

Speaker 3 (02:31):
My name's Brendan cow And my three favorite films are
The Blues Brothers, Wake In Fright.

Speaker 2 (02:40):
And Punch Druck Love.

Speaker 3 (02:45):
And up until this week, I had not seen broadcast news.

Speaker 1 (02:57):
A TV anchor, man and news reporter and a producer
are living their perfect lives. They've gotten exactly what they've
wanted ever since they were kids working on a big
news network in New York. But now that they are adults,
can they get what they really want? Or will the
burden of their own ambitions cost them? It all a
classic love triangle, combining substance and style in ways few achieved.

(03:20):
Broadcast News released in nineteen eighty seven, is romantic and comedic,
but not quite a romantic comedy. Holy Hunter. William Hurt
and Albert Brooks are dynamite in this funny, smart dramedy
about professionals who can't stop getting in each other's and
their own way. All three actors were nominated for an Oscar.

(03:41):
All three sadly lost. James L. Brooks comes off terms
of endearment and rights and directs this gem, which was
nominated for a total of seven Oscars. Sadly no wins.
Brennan CaAl, Have you ever sweated that much throughout any
performance in your life?

Speaker 3 (03:58):
Wasn't that amazing? I mean the sweat, the sweat coming
out of his head. I was just thinking, how did
they create that? Did they have some kind of little
balloon that released water? Because there was these thip thick drips,
wasn't it.

Speaker 1 (04:11):
It was like and it was not perfectly timed creative
when they cut back to him when they kind of
fixed him up, they kind of mopped him up a
little bit, and then a couple of seconds and then
there it is. So I was saying the same thing.
I thought the makeup makeup should have been nominated for
an Oscar.

Speaker 2 (04:27):
I was phenomenal.

Speaker 3 (04:28):
I don't know how they did it, like that Billie
Eilish film clip where the black ink comes out of
our eyes and you see in the inner documentary how
they did that, and it's just amazing.

Speaker 2 (04:38):
They must have had something. But you know, we.

Speaker 3 (04:41):
Always lord actors for whether they can cry on cue,
and perhaps we need to switch our attention to anyone
can cry on cute?

Speaker 2 (04:51):
That's easy. Who can sweat?

Speaker 1 (04:53):
Who can sweat? Yeah, like that's the next level.

Speaker 2 (04:55):
Who can drop a leader from the forehead?

Speaker 1 (04:58):
Well, Albert Brooks obviously? Is there somebody now that you
if you had to pin your life on somebody backing
somebody in to sweat on cue? Christian Bale?

Speaker 3 (05:09):
Yeah, Christian Bale, who they said he's done every transformation
in Hollywood other than get shorter.

Speaker 2 (05:15):
You know, pretty much. That's the only part he's got left,
you know.

Speaker 3 (05:17):
And Christian Bale's got this park he's three foot, he's
three ft, he's just done it.

Speaker 2 (05:22):
Yeah, he's got shot. Well do you know how he
got short? I have no idea.

Speaker 1 (05:25):
Well Brad Pitt did that. Benjamin Button somehow manage that
so it has been done.

Speaker 2 (05:32):
Was extraordinary in this film.

Speaker 3 (05:34):
And he's such an interesting because in the rom com setup,
you know, it's often he's the guy, you know, that
that you kind of hope that they're with, and then
there's the sexy guy that might not hang around that
they're drawn to, and and it was kind of flipped
in this movie.

Speaker 2 (05:50):
Well, William Hurts the kind of.

Speaker 3 (05:52):
Morally dubious and command and this guy is the good guy,
but he's actually a little scary in the way that
he loves it. So I love the way they kind
of subverted the rom com tradition.

Speaker 1 (06:04):
There are so many I think brilliant choices James L.
Brooks makes, and the screenplay level, and then at the
directing level, and we'll get to all of that because
there is so much to talk about this with this movie.
Why hadn't well, why did you nominate I know there's
a few movies you nominated. Yeah, and you said which ones,
And I think I came up with two that you
were on the list. I think Paper Moon might have

(06:26):
been the other one in Broadcast News. Why hadn't you
seen broadcasting and what did you know about it?

Speaker 3 (06:31):
I think the other one was Lord of the Rings
that I was and I think I tried to watch
that and I got forty minutes in.

Speaker 2 (06:38):
I'm like, they haven't even left the cave.

Speaker 3 (06:41):
Bago Baggins or whatever his name is, Bill Goo Bogans,
They're still in the bloody cave.

Speaker 2 (06:46):
Forty five minutes in, I am and I fell as,
I'm out of here. Rings. Yeah, well, there's not it.
Where's the Ring? There's nothing crazy happening.

Speaker 1 (06:55):
You nominated that a while ago, and I was like,
and I was up for it, and I think we
should definitely.

Speaker 2 (07:00):
I've been shooting in New Zealand.

Speaker 3 (07:01):
I've gone on so many tours of wedder and stuff
and they're like, this is where the famous Sword of Thing.
I'm like, oh yeah, and they look at me like
you should be blown away. You're touching the sword of
the Thing of Gandalf, Like it's a good sword mate,
Well well done, Kevin.

Speaker 2 (07:18):
Did you build that? Did you? You know? I'm hungry.

Speaker 1 (07:22):
I don't know how you were able to film in
New Zealand for two years and not have seen Lord
of the Rings. I know. It's an incredible achievement.

Speaker 2 (07:30):
Thank you.

Speaker 1 (07:30):
It is.

Speaker 2 (07:31):
It is maybe my finest.

Speaker 1 (07:33):
Possibly now you've got some credits. You've got some credits, yes,
so broadcast news.

Speaker 3 (07:37):
I'll tell you why. I've never seen it, never heard
of it. Really, I'd never heard of it. And when
I look through that, I thought, is this like Network
or maybe I've you know, It's one of those movies
you get twenty minutes in you went, oh, watch this
with dad when I was ten, watching this at Yuni
studied it, you know, and you go, okay, you know,
like I watched The Last Supper again the other day. Oh,
I've seen the Last Supper and the movie starts to

(07:58):
remind you. But I drank so much in my thirties,
I can't remember most of the things that I've done
or seeing, you know what I mean. So I was like,
but I've never seen it, and I couldn't believe it,
and that was what was so exciting. Well, this podcast
is so great. It's like I just get to experience it.
I didn't read up anything. I just pressed plays, sat back,
turned the phone off and when it hit me and
it was just beautiful, so funny. And the connections which

(08:22):
you can't buy with rom coms. The connection between Holly
Hunter and William hurt In it is palpable, and where
that which guy's better option and her kind of situation
that she's in, being this high powered, slightly anxious producer,
and what it means to her to choose either of
those men.

Speaker 2 (08:38):
It was really real.

Speaker 1 (08:39):
The casting is brilliant. And what I suspect has happened
with me with broadcast news is I tried to watch
it around the time it came out, certainly none of
the cinema. I mean, I was my favorite film I
think comes out of that year. It was really just
playing strains and automobiles, well my favorite comedy. The fact
that this was an adult, you know, dealing with their
own neuroses wasn't really capturing my attention. I reckon. What

(09:00):
I did is I tried to watch it maybe on
video or even when it was on TV, and I
couldn't quite It didn't hold my attention because I do
remember and maybe this has just been replayed over the years.
The famous in my mind is famous Joan Cuzak running
through and diving under the filing cabinet and an amazing scene.

Speaker 2 (09:22):
Hitting a knee on the water fountain and yeah.

Speaker 1 (09:24):
Yeah, So there were parts throughout it that were familiar
to me, but I had no idea where it was going.
So it was a lovely I guess rewatch or I've
really felt like I was watching it for the first time.
So there's so much to talk about with broadcastings. I
want to talk about your three excellent nominations. I think
officially Blues Brothers has gone past Princess Bright as the

(09:44):
most nominated favorite film in this podcast. Now.

Speaker 2 (09:49):
Yeah, and I thought, come on, be edgier than that.

Speaker 3 (09:52):
Choose a subtitles one show that you're d Then I thought,
you know what, this is movie that I've watched most
in the world, because when I was I think twelve
to twenty, I think I watched it two hundred times,
you know, I mean two hundred, Like I just it
was just kind of always on and when Sean Batman
my best mart you know, primise, like whenever, it was

(10:13):
just have Blues Brothers on It was just on and
I knew every single line from it. And it was
also when I was developing a passion for blues music
that I just couldn't believe how good the music was.
And it's kind of wild. Those movies in the nineties,
like that Ferris Bueller movies and Say Anythings and those
color you know, the sixteen Can some of those movies

(10:36):
all of a sudden, you know, Blues Brothers and Ferris
Bueller both suddenly are these tiny movies that then break
into song and the whole city is in a dance piece,
you know, Ferris Bueller, the Beatles song shakesa twister, shower
and then and then it just goes back to them
in the car, and you could do that in those
nineties movies, and Blues Brothers just has that with you know,

(10:57):
Ray Charles, shake tail feather, all of a sudden, that
was city's dancing. Then you're back in the car. But
those two actors together unbelievable. The love story, the adventure.
Suddenly you've got Nazis chasing them. It was completely bonkers.
It's an adventure, but it's a sibling story. Aretha Franklin's

(11:17):
in it. It's it's incredible and wild that it even happened.

Speaker 1 (11:23):
Yeah, Yeah, there's a great book that I think I've
mentioned a couple of times when whenever Blues Brothers gets mentioned,
which I recommend to you and to anyone listening, called
Wild and Crazy Guys, and it's about that generations focuses
on like Belushi, Ackroyd, Chevy Chase, Eddie Murphy and Bill Murray,

(11:43):
I think, the Ones and Steve Mauttin. Yes, so, and
the focus is on there, like transition from Saturday Night
Live to movies becoming movie stars, and it's it's a
it's a great it's a great read. It was on
the other it is one of those movies for me,
it's like Princess Bright. It doesn't quite hold the same

(12:03):
emotional real estate in my heart. And then a lot
of obviously friends and movie lovers, but I really, I
really love it. And when I watch it, I don't
necessarily watched it. If it's on, I always watch, always
watch it until the next set piece. For example, the
other I watched it and it's well's coming up. Yeah,

(12:24):
I'll watch Aretha.

Speaker 3 (12:25):
And I know the bits like I know when Belushi
looks at the camera in the shopping mall, you know
what I mean, right on the drum beat, it looks
at the camera like when the car crashes into the
makeup store, and like, I know, all these funny little
blueberry bits and I you know, and and the Peter
Gunn thing boooo.

Speaker 2 (12:44):
It's just like unbelievable right at the end.

Speaker 3 (12:49):
And they finally get to that bank for the end
up the car chase and which I often feel like
this car but they get out of the car and
then the car goes. The car just crumbles, yeah, and
they look at it and go, yeah, fair enough. But
also such great timing and comedy in that movie and
four hole fried chickens and a coke and all that stuff, you.

Speaker 1 (13:11):
Know, And the car chase is legitimate, like it is.
It is up there with French connection and bullet and yeah,
you know.

Speaker 3 (13:20):
And Princess Leia trying to shoot him with the berzooka
in the tunnel because she loves him.

Speaker 1 (13:25):
I remember I hadn't Twiggy. I remember, well, I hadn't
seen it for such a long time, Twiggers.

Speaker 3 (13:29):
And then I was like, oh ship, that's princes Layer,
princess in love with John belus. She's got out of prison,
she's waiting for him, and because he yeah, they have history,
she goes to shoot.

Speaker 2 (13:40):
Him with a cannon in the tunnel.

Speaker 1 (13:42):
When what he was his brothers made you know. So
this is post Star Wars, wasn't it. It was Star
Wars seventy seven. Yeah, incredible waking fight. We we discussed
this with Ross Noble. Really great chatter about Ross about
waking for it.

Speaker 2 (14:01):
I was more original, No.

Speaker 1 (14:03):
No, but no, that's he was watching for the first time.
I'm not sure if anyone's nominated as the as their
favorite film. I love this film and I love watching
it again. I had seen it and I love watching
it again. For that episode. What a punch to the

(14:24):
Australian male psyche that.

Speaker 3 (14:26):
Is, yeah, which you know is on brand for me,
if not my brand. So I'm kind of envious to
this movie and also the fact that you just couldn't
make it again. I mean the kangaroo sequence, the reu
hunting sequence that you go, is this really taking place?

Speaker 1 (14:44):
Yeah? Right now, it's funny you hit the director talk
about it now and I think he's he's playing his cards,
got a little bit close to his chest. So he's not.
He's kind of saying, oh, we obviously we shot it differently,
like because the idea is that they went and shot
that the kangaroo's being slaughtered on an actual kangaroo like

(15:06):
culing thing. So the shots and then the shots are
shot separately and the reverse shots which we will get
to during broadcast news obviously, but so it's done separately.
But it's still can't get away from the fact. I mean,
and there's two issues, isn't It is one that you
can talk about. The issue is like, is that should

(15:27):
we should sinly be going those areas and having that.
But then there's the the visceral response you have as
an audience when you disregard that and kind of go
wow that that is fucking full on. Yeah.

Speaker 3 (15:40):
And then when they finish that, they go back to
a pub and they get drunk and they kind of
have the most homo erotic bar fight. Yeah, you know,
and the whole thing is homo erotic between these men
that they can't have sex with each other. So they
go out into the wild and they challenge kangaroos and
then they fight each other and it's so hot and
so sweaty, and he kind of does go home with

(16:02):
the doctor who says I'm the local doctor and alcohol,
you know, and the what.

Speaker 2 (16:08):
The globe is swinging and you're like, what exactly happened
on that mattress that night after the fight?

Speaker 1 (16:15):
How good is They're also good? Donald Pleasants is just
same performance. It is just remarkable. But he's where is
it at a bell and Gabba? But what's the town
called the Yabba? The Yabba?

Speaker 2 (16:30):
Yeah?

Speaker 3 (16:31):
An English school teacher trying to get to the city
to meet this girl that he keeps having fantasies about
whether she exists or not, who knows, and he, you know,
starts his game of two up, thinking it's harmless, gets
a bit into it, suddenly loses money.

Speaker 2 (16:47):
He's stuck.

Speaker 3 (16:48):
The pub's only got men in it, you know, the
cops drinking four beers at once.

Speaker 2 (16:52):
Everyone just chips Jeep's.

Speaker 3 (16:54):
Rafferty and suddenly he's out on He's like, I'm stuck here,
and he just starts to lose his sanity, which I
imagine is what would happen to an englishman out in
the middle of Australia after a while, you know, and
what's real and what's not? Starts to kind of dissolve
in his head as he becomes more and more carnal
and starts to realize he ain't going to get that

(17:15):
beach fantasy with the girl. He's going to have to
do it here tonight, you know.

Speaker 1 (17:19):
And and he's probably never get getting out.

Speaker 2 (17:21):
He's never getting out, and you can't.

Speaker 1 (17:24):
It reminded me that when I watched it. I went
and saw Parasite not long after in the cinema son,
and I just said to my son, I said, they
make really I want, I want you to watch this
film because and I hadn't seen it, but I said,
you know, it was literally just out in cinemas, and
I said, they do things very differently the way the
Americans do cinema. Look at the opening scene without knowing

(17:46):
what it was, and I guarantee you it'll say something
about what this movie is about. And it does. It's
that basement kind of half basement shot. And I thought
of that because when I watched Wake in Fright, the
opening shot is that kind of three sick this shit
they do you know of that that town, and it
just for me, that just foreshadows the this guy's in

(18:09):
a loop.

Speaker 3 (18:10):
And well he wakes up he's going to get druck
thinking I'm there. Yeah, I mean Sidney's like.

Speaker 1 (18:15):
Oh no, I in yeah.

Speaker 2 (18:18):
You know, and it's like, yeah, Australia, you can't leave.

Speaker 1 (18:21):
You can't.

Speaker 2 (18:21):
We got your buddy. So settling, settling, And and.

Speaker 3 (18:28):
Part of the argument is the best films about Australia
are made from outside directors.

Speaker 2 (18:32):
Walk about, wake and fright.

Speaker 1 (18:34):
You know. And he's the Canadian director. Yeah yeah, and.

Speaker 3 (18:37):
I mean the director made Weekend Bernie's You believe that
is it is because they come in Australia and go, you.

Speaker 2 (18:43):
Guys are crazy. You know, this place is mad, it's
really hot, You're all really weird.

Speaker 3 (18:48):
You're disconnected with the original inhabitants of this land, Like
what is going on here? You drink forty beers a
day and you think it's normal and we can't say
They were like, oh, yeah, this is We're just doing
the thing, and outside directors come in and going.

Speaker 2 (19:02):
You guys are nuts. We're going to make a film
about it, you know.

Speaker 1 (19:05):
Yeah. So for those who aren't really aware of it, one,
I think the Paldi or yeah, in car it's based.

Speaker 2 (19:12):
On a book based on Lacey can.

Speaker 1 (19:14):
That's yeah, that sounds roughly right now and then, and
it didn't do big business outside of France. The French
loved it, yeah, and then it just disappeared. They lost
the print and they only found the print in like
and they restored it, but only about twelve years ago.

Speaker 3 (19:34):
So it's right because they started to release it on
thirty five again in like the cremorn Orphium in Sydney,
and I did a quote for the book for the
re release of the book, so they must have had
a resurgence.

Speaker 2 (19:43):
Of the book and the film. Yeah, they can get
your hands on it.

Speaker 3 (19:46):
I've got a really good original poster of it in
my place in London.

Speaker 2 (19:50):
It is just priceless and Australia. It's Australia in a
movie to me.

Speaker 3 (19:54):
Yeah, yeah, and it was well when I made Ruben Guthrie,
that's what I tried to kind of work on that time,
kind of just a wild, hilarious but kind of ominous.

Speaker 1 (20:04):
Kind of like that's really interesting.

Speaker 3 (20:05):
Actually, Yeah, I when I want that unsettling yet hilarious set,
like a holy shit, what's going on in the waters here?

Speaker 1 (20:12):
Feeling well Ruben Guthrie because it's it's you can look
at waken fright and kind of go, that's them and
that's the outback and that's what they do out there.
And what is great about Ruben Guthrie, and what I
really connected with it is that, oh no, this is
this happens in our cities, in our in our suburbs,
in our households. You know that that that pool of light.

(20:33):
You're not going to stop drinking, are you, mate?

Speaker 5 (20:34):
Yeah?

Speaker 1 (20:35):
Your dad doing that too.

Speaker 3 (20:36):
Just have one and and and that's what some of
the criticism of Ruben Guthrie was, Oh, a white, middle
class advertising guy with drinking probably, And I'm like, no, no,
But that's the point is there's no reason for this
guy to be this way.

Speaker 2 (20:49):
You know that that it doesn't matter.

Speaker 3 (20:51):
You know, this is how it is in Australia, and
I wanted to show that that it's not just about
having a bad news story. And you know, and and
from a difficult place, this is in built even with privilege.

Speaker 1 (21:04):
You know what a fight club's almost about, isn't it.
It's like Damien Power made a good point that you know,
it's important that those characters in fight club are white
and in middle class, because that's that is the point.

Speaker 2 (21:15):
And succession, you know, all those kind of Yeah, absolutely.

Speaker 1 (21:19):
I'm glad you said Punks Drunk Love. We will be
doing Boogie Nights this series with Beck Childhood and Mith
Forhurs had a great chat about Magnolia that was one
of her favorite films, but nobody yet has nominated Punch
Drunk Love, and I still don't know. I love Paul
Thomas Anderson so much that I still I can't completely
commit to which one is my favorite film, but Puns

(21:39):
Drunk Love is definitely in the conversation.

Speaker 3 (21:43):
Yeah, oh, I'm glad you feel that way because I
did too. And everyone's so hardcore with Magnolia and Boogie Knights, which.

Speaker 2 (21:51):
I think he was twenty nine when he made Boogie Knights.

Speaker 1 (21:54):
The Bastard incredible like and.

Speaker 3 (21:58):
But something about Punch Drunk Love. Adam Sandler in the
lead role, who knew this is not a silly movie,
and he just holds the emotional gravitas of this really
disturbing film about falling in love.

Speaker 2 (22:09):
I just love this guy because he tells it the
way it is.

Speaker 5 (22:12):
He's not a phony, and these and these guys, and
this guy calls up and he's talking about his senior
and so TJ.

Speaker 2 (22:20):
Justice says, what was your senior pool? What was all
great about it? He says, I.

Speaker 5 (22:23):
Stole an ancient proverb and so he says okay, and
he says confusion. Say DJ Justice is confusion or confusions,
And it was just so comical if DJ Justic just
cut you down the sides. You know, that's that's my
favorite part of the show. I laugh, I laugh and
laugh even when I'm alone.

Speaker 3 (22:43):
Yeah, And you know, you've got other movies like Blue
is the warms color that make you go feel sick
with that falling in love feeling.

Speaker 2 (22:52):
You know that it's it's it's so pleasant, it's unpleasant.
The first love, you.

Speaker 3 (22:57):
Know, and the harmonium falling off the truck out the
front of the warehouse in this weird spontaneous crash that
makes no sense. And then this harmonium comes into the
building and Adam Sandler starts pressing the buttons on it, going,
what is this?

Speaker 2 (23:14):
That's love?

Speaker 1 (23:15):
You know?

Speaker 3 (23:15):
And that's what I love about What PTA does is
his films not only tell the story of something, the
film itself embodies it in music, form and structure. You know,
the movie is love. When they're at the height of
their love, where do they go Hawaii? Yeah, because when
you're in love, Pta, like they said to Pta, why do.

Speaker 2 (23:34):
You go to Hawaiian? And goes, well, you know, when
you're in love, everything's Hawaii, you know.

Speaker 3 (23:38):
And Adam Sandler has that line. He looks around and
he goes, it's just so Hawaiian, and it's true. You know,
love is a Hawaiian street festival. And they were Lucky
Palel when they were shooting the street festivals on they went,
oh my god, this is ridiculous. And you've got their
moving through it and that's what it's like. Nothing can

(23:58):
go wrong and you're in love at that early stage,
you know. And the soundtrack to this is spectacular. I
love the fact he's got all those sisters because I've
got two sisters and you know, and they have these
opinions on what's wrong with you and everything, and even
in the you know, in the warehouse, the forklift, the walls,
the boxes, everything falling over and unsteady, you know, and

(24:22):
everywhere he looks that's love too, you know. And then
Phillips my Hoffmann he represents the past, which is when
you fall in love, some shit might come and take
it away that you used to do that you did once,
and there's phone calls that might come and they might
find out about who you truly are and how you
didn't treat someone well or your own money or whatever.

Speaker 2 (24:43):
You and you're like, no, I've changed, I've changed. I've changed. Like, no,
you haven't.

Speaker 1 (24:47):
There's an a strange cricket captain who might want to
check out Punchtruck Love at the moment. But seriously hard,
sorryto biography, there's a lot of pain there.

Speaker 2 (25:00):
Anyway. What is the opposite of that hilariously hard.

Speaker 1 (25:03):
Hilariously hilariously hard, very fluid? Is I'm hilariously hard anyway?
Punstrung Love. What I love about puns Strung Love is
that Adam Sandler's character is hiding away. He's hiding away
in that warehouse, and that that harmonic what do you
call it.

Speaker 2 (25:22):
I think it's a weird organ.

Speaker 1 (25:25):
Yeah, and that comes to him, Emily Watson comes to him.
He's not out looking for love, he's playing. He almost
doesn't feel like he's deserving of it, I feel, you know.
And then and his sisters, you know, pushing him into
like meet this, you know, they bring Emily Watson to him.
So it's like when you are watching a wedding speech

(25:48):
made by you know, the father of the bride, and
it's completely against everything in his fiber to get up
in front of two hundred people. And those moments make
me anytime I see his speech, I don't necessarily want
to see people like me. I don't want to see
comedian making speech at the wedding. I don't want to
go see the guy who's like, you know, the funny
guy in the group. I mean, you know, I have

(26:08):
a laugh. And but what I love, what gets me,
what punches me, and what pulls my heart strings, is
a discomfort of like going this has taken me, This
has taken courage for me to write these words and
now have to perform. And the hands are shaking, And
that's Adam Sandler throughout punstrung love that when they go
on a date. And I had the absolute pleasure. And
I think I've mentioned it on my podcast. I forget

(26:30):
what I mentioned when I haven't. I had the absolute
One of my bucket list moments was I had dinner
with poor Thomas Anderson and our friend Joel Perlman, and
and I was like, he was out here for the master,
and I was like, I can't, I can't, I can't
just geek out. I need to come, you know, just
ride the waves and all that. But but the one

(26:51):
conversation we had about was it was about puns Strung
Lab and that scene. I just love the scene where
Adam Sandler is quoting the f the breakfast DJs and
just saying how funny he is. And he you know,
DJ Justice, I think his name is DJ Justice. He
just really gets to them. He doesn't, he doesn't get them.
He doesn't let him get away with anything that I'm paraphrasing,

(27:12):
but it's like, it's so it's so funny that he's
The conversation he's having is its basically saying how somebody
else is, how charming and funny somebody else is, you know.
And then he goes to the bathroom and he tears
it up, and then he comes back and he gets
comes over the way to come. The manager comes over
and he says, did you just tear up the bathroom
and he's like, no, I don't, I don't know. Eventually says,

(27:34):
fuck off, mate, you did, and he's gone.

Speaker 2 (27:36):
It's that anger that he has. It's really interesting.

Speaker 3 (27:39):
That kind of makes the movie surprising, yeah, you know,
and their combination and like one of the most beautiful
love scenes I think I've ever seen the movie is
when they're staring each other, going, you're so I'll go
I want to punch you in the face. Yeah, you know,
and there's just this weird like they're spitting into each
other's mouths in a way, there's this kind of like
I just want to you know, and and saying these

(28:00):
horrible things, but it's love. It's like, I'm so angry
at you. I'm so scared, I hate you for doing
this to me. I'm so in love with you. Why
have you come and ruined my life because now I'm
never going to be the same again, and you can
see me and I'm really worried this is going to
kill me, you know. And it's like that understanding of

(28:23):
love like that. Also, you know, movies like In The
Mood for Love and Blue is the warmest color seem
to get the illness, the darkness and the rage inherent
with true love.

Speaker 1 (28:35):
I thought it was just, well, we are so used
to seeing films about people really searching for love and
needing love and having love before and now wanting it
again and being on the rebound or whatever. This is
about those who weren't looking for it, you know, from
Adam Sandler's perspective.

Speaker 2 (28:54):
You can't do anything about it.

Speaker 1 (28:57):
Yeah, it's got its claws in you. Yeah, that beautiful sequence.

Speaker 3 (29:03):
And there's the proscenium march and all the commuters walking past,
and they just move towards each other and kiss. So
he has all those kind of old nods to those
classic Bogardi kind of you know actually like all those
old movies, has all those nods those movies. Yeah, I
listened that a lot when I'm writing, Like, I listened

(29:24):
to a lot of scores. I'm writing on the mood.
But that's that's a fantastic thing to listen to. And
and the scene where he runs up to Hoffman and says,
I have so much is it? I have so much love,
so much power or strength in me?

Speaker 1 (29:41):
Yes?

Speaker 2 (29:41):
Yeah, he has love.

Speaker 3 (29:42):
Yeah, so I can tackle my past, I can tackle
my demons, yeah, because I've got love in my heart.

Speaker 1 (29:49):
Yeah. And this runs just runs through the streets and then.

Speaker 2 (29:54):
Yeah, like is that when Hoffman does the phone shut up,
shut up, shut up, shut up, shut up, shut up,
shut up. Fuck you a right to take shut up.

Speaker 5 (30:02):
Well, shut up, shut up, shut shut shut shut shut up,
shut up.

Speaker 2 (30:10):
Now are you threatening me? Which you know would have
been Hoffman improvising?

Speaker 3 (30:16):
Ah, because when I worked with Hoffman, he tracked me
in True West, you know, which changed my acting game
and my life. And and he if anyone doesn't know this,
Philip Hofbin's obsessed with one thing, and that's the truth.
And he just says, do not ever lie to the audience.
And he does stakes and status. So he's obsessed with
scenes and breaking down scenes to You're a status of

(30:38):
ten here and the stakes are eight. Your status are
two here and the stakes are four, you know, so
you break it down in numbers. And if you look
through all his performances, you can see when he is
playing stakes in Boogie Nights, he's playing status of one.
It's like so in love with Markey Wall but the
stakes are ten.

Speaker 1 (30:57):
Yeah.

Speaker 3 (30:57):
This is the most important conversation in my life, talking
about how much I bench with Mirk Wahlberg's character.

Speaker 1 (31:02):
How much do you love my car?

Speaker 3 (31:05):
But my status is won, you know, and then the
stakes and then the status that he has in Boogie
Knights it's ten.

Speaker 2 (31:12):
Yeah, shut up, shut up, shut up. You know what
I mean.

Speaker 3 (31:15):
And the stakes of it is probably ten as well
because of the money, you know. And you can see
in all his performances how he's adjusting his stakes and
his status, you know, from being the king in the
in the Hand of Cards to the dance the one
you know, and you can just that performance him playing
the ten is amazing.

Speaker 1 (31:36):
That sma Hoffmann, not just because he's my doppelganger, but
I could just any anything, even the films where he's
not disappearing, you know, or like well he always disappears though,
doesn't he I mean, like even Moneyball, the mistake you
would make his thinking that was walking the park for him,
and like I'm not sure if any performance was walking

(31:57):
the parking. That's that's not giving him enough credit for
the work under preparation he would do.

Speaker 3 (32:01):
No, you kind of like I remember telling his wives
that you can't be around him when he's acting, like
because he's there, yeah, you know what I mean. And
when he did true West John c Riley be reading
the New York Times Phillip by scrape, scratching his head
against the wall till the bled to go on stage,
you know what I mean, Like he's he's the real,
real deal when it comes to getting into that space.

Speaker 2 (32:25):
But yeah, he's extraordinary in it.

Speaker 1 (32:26):
Yeah, all right, let's talk about the movie We Are
We Are Here for Broadcast News nineteen eighty seven. James L. Brooks.
He wins three oscars for Terms of Endearment in nine
and eighty three, so he has to back it up
with something pretty special, and I reckon he has done
the job. And speaking of interesting choices, don't you think
there's this interesting choices all over all over this movie.

(32:49):
But the very fact that like the Tom goes, you know,
to Jane's hotel room after they meet, after that Q
and A.

Speaker 3 (33:00):
And then straight away and she tries to have X
with him, yeah, instantly, which is completely in opposition to
her character.

Speaker 2 (33:09):
Yeah, which is like, but you believe it, you believe it.
She's kind of mad.

Speaker 1 (33:14):
It feels like there is some writer and directors like
port I think, like James L. Brooks that understand that
adults and people make sometimes choices that go against We're
not we're not consistent.

Speaker 3 (33:28):
That's what we call behavior, Yes, And I think that's
what we go to watch. We go to watch human
behavior that shocks us. But we understand it, we connect
with it and go, oh, she's not she isn't. I
cannot or don't keep doing it. And because we know,
you know, and humans are opposite creatures. You know, animals
are like hungry kill, you know, horny root, you know,

(33:51):
scared hide, and whereas adults are like hungry confused, like
we do the opposite. We cry at a wedding's laugh
at funerals where human behavior contradicts because of our conditioning
and our luggage and everything, we don't always behave in
the right way, which is why there's more than one
documentary made abouts we can have all these movies, yeah,
you know, because we keep doing stuff that doesn't make

(34:12):
any sense, but that we connect with.

Speaker 1 (34:15):
Movies and let's let's clean all this up. Yeah, And
it's the great movies and the great writers and the
great directors and the great actors who see through that
and kind of go, no, it's messier. Yeah, trust the
audience to go with it, because it's we all know
deep down, even if we're not articulating it, that we
have made decisions that maybe go against our own sometimes

(34:37):
even moral code sometimes.

Speaker 3 (34:38):
And people can come into your life and suddenly you're
behaving in a really strange way.

Speaker 2 (34:43):
Yeah, you know, and you become the.

Speaker 1 (34:46):
A's almost every movie, though, isn't it, Like yeah, yeah, yeah,
you suddenly this is your life and something's going to
come along that's going to change your life.

Speaker 2 (34:53):
And suddenly you're the ten year old in the school
yard again.

Speaker 3 (34:55):
Yeah, even though you're the high powered producer, which she is,
you know, anxious.

Speaker 2 (35:01):
Overworked work, a whole killer, you know.

Speaker 3 (35:04):
And but at the same time, she is worthy, she's earnest,
you know, she's about stuff. And that's what the movie
kind of gets to in the end, is she has
a moral decision to make with William Hurt, which if
you look now at the way news is what William
Hurt does. And I don't know if we're doing spoilers
on this podcast, but.

Speaker 1 (35:25):
What we can do spoilers, I mean, I don't want
to get to the ending too soon, so we might
park that because I'll go back to the idea of
you got the hotel room and then he leaves, which
is a great scene. And I want to ask you
to talk to the flow of scenes. I think you'd
be a perfect person to I'd love to hear you
talk about it. But then he calls her from a

(35:48):
a you know, his pre mobile, which I love the
fact that it was all premobile mobile fanes and he
says that I'm actually I work, I'm working with you. You
know I didn't tell you that, which is actually, you know,
whatever reason me shitty thing to do, maybe not to
declare that, to go back to somebody's room and not
declare that. So you think then when he goes to

(36:10):
work on the Monday, that this has been set up.
There's a version, many, many, many versions of this film
where they hate each other. You know, they can't stand
each other because this is how they met and this
is how they clashed, and it's awkward, and Holly Hunter's
maybe a bit kind of like job focus, which is
true to a character, and she's a bit you know,
she keeps him at a distance. But they don't necessarily

(36:31):
go to war with each other. And I think they
would have been such an easy decision to make.

Speaker 2 (36:36):
No, they don't. And when they have that, no, I
think it's a Libya war.

Speaker 3 (36:43):
And suddenly they have to jump into a story together.

Speaker 6 (36:47):
In the summer of nineteen eighty one, two Libyan jets
suddenly attack to American f fourteens point.

Speaker 1 (36:55):
Golts claim them.

Speaker 6 (36:57):
You do know that the golf is part of Libya's
territorial water to you and I shared by other nations,
including the US. After a brief dog fate, both Libyan
Judds were down by the American fighters. Nathan Bentley is
at the Pentagon, So that's great, Commander. It must have
been a bit tougher today shooting down the Med twenty one.
The one you got was Nesu twenty two.

Speaker 2 (37:19):
Was it like at the moment's confrontation.

Speaker 6 (37:21):
What's it like to be in a real dog fait?

Speaker 2 (37:23):
That's the love dance, Yeah, you know of the movie.

Speaker 3 (37:26):
That's the that's the moment where they go the two
of us combined in this beautiful way. But at the
same time, he's threatened by the fact that it was
her brilliance in his face and you know, and he
is threatened by the fact that she's brilliant and she's
a woman, you know, and he's got to come to
terms with that, and he wants to do his own thing.

Speaker 1 (37:47):
But he does know what's great about it. He knows
he needs her, Like, yeah, the whole way through, Like
I love to set up as the kids said, I
thought it was so Yeah, I really enjoyed that. I
really felt like, Okay, I think I'm going to enjoy this.
But he is like he doesn't He says he doesn't
understand a lot of the news stories. He he doesn't write.

Speaker 3 (38:07):
He's not the brightest crayon. He's so charismatic and he
does care and he wants to make great stuff. And
the tension they have, which you can't buy, Like, I
don't know if you've ever seen the auditions for The
Notebook and you see Rachel McAdams and Ryan Gosling just
in a rehearsal room, you know, look at and they're
three feet apart, and you're like, just have sair, you know,

(38:29):
and let me wase like there is and often in
Hollywood you know, I've done it before. You have the
chemistry test and it is a thing. And the tension
when big tall William Hurd is standing there in a
tiny little office between a desk and a door and
she's looking up at him but she has all the power,
it makes you breathless. You know there's something in the

(38:52):
writing there and what they're talking about. And there's also
two people not unlike punched drunk love who don't want this,
and they want to stay with how they're doing, which
his career focused money and burying their truth and burying
their emotional wellbeing in work and just you know, don't
look up, just keep keep going ahead with what you're doing.

(39:14):
And they can't, you know what I mean. There's such
a palpable attraction for them. And you know the plot
it weaves brilliantly by with the use of Albert Brooks
coming in. Who you can tell is that guy that
you know didn't get laid at high school? He really cares,
He gets forgotten in the conversations, and he's just so
in love with Holy Hunter's character and always has been.

Speaker 2 (39:36):
Yeah, you know, and.

Speaker 3 (39:37):
He's probably the good guy, but he doesn't have the
charm or William Hurt, the effortless charm.

Speaker 1 (39:43):
Yeah, despite being funny. And that's what I love about
the scenes. We see him being beaten up, and even
as he's been beaten up, he's still throwing out one
liners and yeah, yeah, he can think. He's way through.

Speaker 3 (39:52):
You'll never make more than nineteen thousand dollars a year,
and I'm going to travel the world.

Speaker 1 (39:57):
That's it. That's it, And It's really interesting because it
is this love triangle. At first, you kind of think, well,
Albert Brooks, Aaron's obviously in the friend zone.

Speaker 3 (40:09):
I reckon Albert Brooks was totally in with the shot.
That would be my controversial opinion.

Speaker 1 (40:13):
James Ler Brooks did not know who Jane was going
to end up with, and the actors didn't know. You're right,
you are true smack bang on the money that I
only found that out through doing some research.

Speaker 2 (40:25):
She doesn't it.

Speaker 3 (40:26):
We don't want to give it away, but that he
is so effortlessly charming, but he's too not predatorial. He's
leaning on her too hard because he doesn't raid himself
because of his bully, you know, because of that kid
that was bullied in the yard. He thinks his dickhead
is never going to get the girl. And he actually
would have if he just stayed respectful and enthusiastic and

(40:49):
supportive and curious about her instead of almost trapping her
in his flat. Because of his jealousy towards William Hurt,
he became Macavalian almost kind of really unhealthy, unwell looking
man in front of her. He declared his spite and

(41:10):
and Holly Hunter's like No, that's not you.

Speaker 2 (41:12):
Why are you doing that?

Speaker 1 (41:14):
Yeah?

Speaker 2 (41:14):
Why are you behaving in that way?

Speaker 3 (41:15):
But it's because the effortless swagger guy had rolled into
town that all his demons school yard demons comes out.

Speaker 2 (41:24):
He was probably going to get there.

Speaker 1 (41:26):
You have all these complicated relationships with the characters because
they all do really kind things and they all do
really shitty things. Like it tries the kind things. You know,
Tom teaches gives Aarronos tips about how to be you know,
the jacket, yeah, and punching words and angles and this
is your good angle.

Speaker 3 (41:45):
But like William Hurt, some of the scenes you imagine
put trying to put in a movie now.

Speaker 2 (41:52):
You know.

Speaker 3 (41:53):
He goes into Holly Hunter's office, grabs her chair, pulls
her chair towards him.

Speaker 2 (41:59):
Yes, you locking in my ear.

Speaker 3 (42:02):
It's like great sex, you know, and you think, hang on,
I don't think that would fly.

Speaker 2 (42:07):
In a movie, now you know. And like when they're.

Speaker 3 (42:10):
Outside, she she skips that fancy dinner and they go
outside and have a wine on this.

Speaker 1 (42:14):
Because she doesn't want to go through to the security
scanners because she has condoms packed in her.

Speaker 3 (42:19):
Handbag, which it's a great detail, and she yeah, they
go through, they have a dinner outside and then he
kisses it once. He basically just puts his hand inside
a blouse straight away and she's like, are you going
to kiss me while you're doing that?

Speaker 2 (42:35):
Yes? Whoa.

Speaker 3 (42:36):
But it's also a declaration of who he is, which
is a result driven man, you know, And that's what
the revelation is in the denument of the fact that
he doesn't care how he gets it as long as
he gets it, which is the shot at the end,
you know, how he gets the story. Yeah, as long
as you get the shot doesn't matter if it's real,

(42:58):
you know. And you can see Brooks is about no,
it's this is this is journalism here, this is human
beings and that's Holly Hunter as well.

Speaker 2 (43:07):
It's this human beings on off of here.

Speaker 1 (43:09):
And we see both sides. We see, Yeah, we see
the acts of kindness, but we also see the odd
behavior like what we just spoke about, but also the
shitty things they all do, Like Aaron tells Jane about
that you know that that you know, like knowing that
his best friend that we now know is in love
with that Tom only had the one camera, so he

(43:33):
basically spoils that moment Jane sends Jennifer to fucking Alaska
to cover Alaska, Like, well, it's not sending somebody to
the outback the cover the serial killer, because Tom and
her are starting to you know, and now you know,
early stages of a relationship.

Speaker 3 (43:50):
So it's Romeo and Juliet, isn't it's it's it's rome
and Julia. It's something such a deft hand. The letter, yeah,
you know. And then the poison, No, it's not real poison.
She's not dead. She's faking it from the fryar. And
if and if Romeo, if the letter Romeo sent wasn't hidden,
it's the notebook with the mum destroying the letters. Yeah,
you know, it's it's a standard love story trope of

(44:12):
like if only you got that information, why was it thwarted?
You know, if he didn't declare about the camera, she
would have gone to William Hurt's house and they would
have had sex, and they probably would have gone on
that holiday at the end, and all those kind of
you know, star cross lovers and it's actually the world
that has more of a problem with them than they do,
and all that kind of stuff. But in the end,

(44:33):
she's dating someone. Yeah, Albert Brooks as a kid, yep.
And William Hurt's still interested in her. But he's still
William Hurt's character, you know, he hasn't changed, Yeah, you know,
and it's it's I love the ending because it's sad,
but it's beautiful.

Speaker 2 (44:51):
And James L. Brooks cared so much about his characters.

Speaker 3 (44:54):
He did not And I imagine that in those we
wouldn't have been zoom meetings because there wasn't him. But
you know, in those production meetings, I imagine the investor
and the network would have gone, oh, come on, we
need a wedding here, you know, and we'll have the
news and they'll do it and they'll be on Staten
Island or you know, come on, guys, and this.

Speaker 1 (45:16):
Is where this is where, you know, in the movie
making business. The fact that he won three Oscars for
Terms of Endearment probably gives him the power to have
the ending that he actually wanted. He did shoot an
alternative ending, did he with William jumping in the cab
and the airport And they basically just improved this dialogue.

(45:36):
It's available online. You can easily YouTube it, and it
goes about three minutes and they kiss quite passionately, and
then they kind of they talk and William her just goes,
you make me crazy, you know, and all that.

Speaker 2 (45:47):
So he's going to get on the plane. Yeah, and
he gets off the planet. She's sitting on that chair
going what is my life?

Speaker 1 (45:52):
She's in the cab at this stage.

Speaker 2 (45:53):
Yeah, yeah, And then she gets in the cab.

Speaker 3 (45:55):
Yeah right, and and she goes, you can take the
three Highway.

Speaker 2 (45:59):
It's quicker. Oh sorry, you know, so.

Speaker 1 (46:02):
Let's let's talk about We can even go back and
talk about other stuff. But so the big one of
the big things that happens here is that Tom does
an interview with a victim of date rape and it's
it's it's quite a powerful thing obviously, just with the
woman's account. But then it cuts to a shot of
Tom doing an interview and he's crying. The newsroom is

(46:26):
watching it. It seems to me that Aaron Aaron has
a problem with it immediately for many reasons, both on
a professional level, this is crossing a line and on
a personal level that he actually sees that the women
in the office seem to be responding to this, and
Jane seems to be, you know, responding to it. Or

(46:47):
at least he's trying to maybe cut it off at
the past that you know, this is not this is
this is no good. So and Jane says something that's
I think really important, particularly for later on, where she
says when he when he asked, what did you think
of it? She says, it was real and it got me.

Speaker 2 (47:05):
Yeah, you got me.

Speaker 1 (47:06):
Yeah. And I think that's important because later on because well,
and you talk about now when you watch it in
twenty twenty one, and there's a great line that I
think is really prevalent today that Tom says, he goes,
I keep moving the line. Well, the line from nineteen
eighty seven to twenty twenty one has been shifted kilometers miles,

(47:27):
you know. It is like, that's just not And.

Speaker 3 (47:30):
Also there's a different relationship with the line now, yes,
you know. And I think that's what's hard for people
like yourself comedians and myself artists, is like the line
that we push, which is our role, and it's also
what's funny and interesting. People are now going back, going
that was bad what you said, and you're like, yeah,
but the line was in a different spot, you know.

(47:52):
And our role storytellers is to arrive at the line
and question it, or not question it, but arise things
from within. Comes from being in a relationship with the line.
The line keeps moving. You can only really question people's
relationship with a present.

Speaker 1 (48:07):
Line, you know what I mean.

Speaker 2 (48:09):
And if you look at him, he fakes tears basically
for this story because there was one camera. She wasn't there.

Speaker 3 (48:16):
You know, when he did the tears, they turned around
on him and he just kind of wet, you know,
he just he didn't sweat like Albert Brooks. He had
swept from the eyeballs, and so he manipulated something. And
you think, now, in terms of modern day news and storytelling,
you like, is sorry, is that a problem?

Speaker 2 (48:34):
We are so morally barren now with what it takes.

Speaker 3 (48:38):
I mean, people, there's now a concept called fake news,
which is like we decide whether that actually happened, not
only whether it was crying on everyone cares if he's
crying or not. Get the story, get the clickbait, get
the link, push it out there, whether it's real or not.

Speaker 2 (48:56):
Nobody's cared about that for years.

Speaker 1 (48:59):
Everyone's got their new service in their own head now
in my herman's head news service, you know, And I
mean What I like about it, though, is there's a
gray area of because the when it was the camera
person or whoever was said to him when they said
they're the reversal shots. So Tom explains to the interviewee

(49:21):
what that means. And then the woman who's kind of
setting up the whether it's the lighting, she goes, oh, wow,
I thought you were about to cry. That wouldn't that
have been a great shot or something like that, And
that puts the idea and he said, so somebody has
recognized that he was close to tears. Oh that wasn't
on camera, though, Let's reflect what I was feeling with
a little bit of mayo on it. So it's kind

(49:43):
of like.

Speaker 3 (49:44):
And do you know what, maybe this helps the story?
And the story is the thing? Yes, if I make
this more powerful, am I doing more for victims of
this issue, if this gets.

Speaker 2 (49:55):
More and more interest globally?

Speaker 3 (49:57):
Yes, you know, if I do whatever it takes to
make this a huge story, am I helping victims? And
it's like, what is the moral fire are inherent in
that ultimatum?

Speaker 2 (50:09):
You know? It's and that's him, He's willing to do
what it takes.

Speaker 3 (50:13):
But the fact that Holy Hunter has such a high
ground at that point, which in that period completely justified.
I mean, that's what thwarts her ability to be with
him and go on this funny holiday. And he says
that sexy line, let's just have six days and see
what we're like together out of this place.

Speaker 2 (50:28):
Yeah, And it's such a great sentence.

Speaker 3 (50:30):
It's like that is their only chance because their tension
is this uncomfortable workplace and the tensions in the offices,
and the excitement and the fact that anything could go
wrong on such an enormous level. In news, and I've
been watching The Morning New Morning Wars Morning Wars, which
I think has three different names depending on what country.

Speaker 2 (50:52):
You're watching it in.

Speaker 3 (50:53):
I think, you know, and you see that kind of
cutthroat billy crowddup character, and you're like William Hurt's characters
come along way, Yes, Billy Kradit basically says, I hate myself,
I have no soul, life is meaningless.

Speaker 2 (51:07):
Will you do this for me?

Speaker 1 (51:09):
Yeah?

Speaker 2 (51:09):
You know, And that's his every line of dialogue.

Speaker 1 (51:11):
It's funny because breakfast broadcast news. I was expecting it
more to be blasically romantic comedy and have less to
say about the news like Network famously has a lot
to say about the news when news is heading, but
this has got a lot to say.

Speaker 3 (51:26):
But the fact that it involves Libya and it involves
date Ray, which were issues at that time. They were
like whoa, and he plants these massive issues that clearly
he wanted to bring up.

Speaker 2 (51:35):
Yeah, come on, guys, let's have a little chat about this.

Speaker 3 (51:38):
He hit them in a very Shakespearean way, like how
the fool pops up in Macbeth, you know what I mean.
And the fool can speak about anything because everyone's laughing
at them, but they get to say the most kind
of disturbing stuff about the political situation at the time.
And that's the Shakespearean notion of the fool, you know.
And he does that really really well in this movie
You've Gone. This is a bouncy, romantic comedy with people

(52:02):
in a sexy job in New York who are high flying.
Will they have sex or won't they? Underneath I want
to say stuff about the.

Speaker 1 (52:08):
World, yeah, and about the performative nature of news, and
that's becoming performative and that Aaron actually says, oh, of course,
because it's all about us now, isn't it all? You know, like, yeah,
it's saying absolutely saying something the other important thing I
feel like. And the first time I was I was like,
I was like, holy Jane, are you really giving up

(52:29):
this relationship because of this? Like really you can't get
over that? And then I thought, well, hang on. There
was the moment which I mentioned before, when she says,
you know, you got me. It wouldn't be what I
would have done, but it worked. You got me with
a tear. So that's the moment for me, she emotionally
falls in love with him. There's been any like a

(52:49):
thing more of a physical infatuation with him that up
until then, So that moment that the tear is tied
to her falling in love with him. And the other
thing that I think is really ever is when they
go to South America and the guys trying to put
on his boots and Jane goes over there and you know,

(53:10):
there's the camera guys saying this, put on your boots
and will film it. And she runs over and goes, no, no,
we are not here to interfere. You do exactly what
you do, and the guy thinks about it, and then
this puts on his boot and she's so proud and
so happy with that footage, and it's like, well, this
is what's brilly about James A. Brooks. It plays as
a comedic moment, you know, it's just a small little

(53:31):
moment and that yeah, okay, she's great. Great, you've got
a shot of somebody putting a boot on. But then
at the end when she is tying herself to this
moral post, it makes sense because I've seen her in
the South American jungle kind of stop something and kind
of going, no, this is important. We cannot impact the news.
We are not the news. They're the news. Let's just
put it.

Speaker 3 (53:51):
We put our agents or catalysts to information, and that's
you know, wiki leaks, you know what I mean.

Speaker 2 (53:59):
It's like what is information? Who owns information?

Speaker 1 (54:02):
You know?

Speaker 2 (54:02):
And they were kind of tapping on a back then.

Speaker 3 (54:04):
I mean, it looks so dated and funny and hilarious
the way Tho's gone in and her running through the
room with a big beta tape going we've.

Speaker 2 (54:12):
Got to get it in there, you know.

Speaker 3 (54:14):
But he's obsessed with character, Brooks, and character is action
in all these movies, and that's where all the drama
comes from. Human behavior. The character's behaving and you question,
did William Hurt come up with this victim date rape
news story to get Holly Hunter to cry and see

(54:35):
that he is a beautiful, complicated man, you know what
I mean?

Speaker 2 (54:39):
Like, was that is he?

Speaker 3 (54:41):
And he plays that fine line of grayness, and grayness
is for me the greatest world for movies to be
made in where audiences you're giving audiences a go, you're
giving them a you're crediting them with intelligence, and you're saying,
I don't know, it's messy.

Speaker 2 (54:56):
Isn't it a bit like life?

Speaker 1 (54:58):
You know?

Speaker 3 (54:58):
And you're like, is William Hurt did he do that
to get laid or does he actually care about those victims?

Speaker 2 (55:06):
Who is this man?

Speaker 3 (55:08):
And when he goes for the the you know, when
he goes to touch under her blouse after the first
kiss and wants to get her home, but then and
then once ago, and you're like, is he a normal
alpha male or is he really really like does he
have all these preordained thoughts?

Speaker 2 (55:24):
Is he quite manipulative in a way?

Speaker 1 (55:27):
You know?

Speaker 3 (55:28):
And he does that with Brooks. Brooks is this great guy,
but at the same time he's so desperate and urgent
and full of jealousy. You know, and and then Holly
Hunter's like, you know that great romantic question for women
in romantic comedies.

Speaker 2 (55:44):
His life only complete when.

Speaker 3 (55:45):
There's a guy, you know, which is in so many
of those movies, like oh my god, when am I
going to find mister rait?

Speaker 2 (55:53):
What I like about this she's deciding whether to be
that woman. Yeah, because and that's why I.

Speaker 1 (55:57):
Really like that one. She is the one pursuing him. Yeah,
And I like the fact that it's initially it's about sex, like's, yeah,
she's not. She's not that one woman who is working
out can she have it both? I don't think it's
like I just want I've got something. There's a chemistry
between us, and I need to explore that sexually and
then and then that's what with the date, rape story

(56:20):
and the tear, it becomes something else. And that's why
it's like, I'm okay, I think I actually have feelings
with this guy, and that's going to complicate things. I want.
I want to play a scene in two parts, and
this is the scene where after they kiss and they're
big kisses, aren't they They're big over mouth kisses.

Speaker 3 (56:41):
I remember those days you just used to hash off Yeah,
full nineties, tonguies just rip right in. But there was
a one kiss where their mouths were both open for
about twenty seconds, and I thought, what goes on there?

Speaker 2 (56:56):
Yeah, and that you only.

Speaker 3 (56:57):
See those pashes in TV because I wouldn't know how
to do no, because the mouths are like frozen, and
they just twist their head kind of eight degrees each
way back.

Speaker 2 (57:06):
And forth, and you're like, what's what is happening? Are
they just breathing? Is this like that you John ambulance
course kind of?

Speaker 1 (57:13):
You know, it's not COVID safe. It's not COVID safe.
She goes back to Aaron's place, and you know, like
again a good friend, like I promise this is going
to happen. By the way, how how how funny is
and brilliant is Aaron's debut of reading the news the
sweating and well, my faure apart was somebody knocks the
set in the background and their hands holding it, somebody

(57:36):
else you going go your hand, your hand, your hand.

Speaker 3 (57:39):
And shut and the map starts fading and rip tearing
down the middle. And everyone can relate to that moment
where you go, I can actually be the front man.
But then all your greatest fears manifest where you realize, no,
you're just ordinary. Yeah, you know, and you're like, why
do I ever think that I can go to this level?

(57:59):
And He's world starts deteriorating in front of him. He
doesn't have it.

Speaker 1 (58:02):
And again another great choice when Holly Hunter goes back
and she asks how it went and she doesn't know
and Aaron Aaron's responses and now what Brooks is such
a funny guy. Like there's a version where it's like
in most movies, did the whole it was? My career
is over?

Speaker 2 (58:17):
It was a contrast. I can't believe it. Yeah, why
didn't they press star?

Speaker 1 (58:21):
Yeah it's there were calls, you know, I sweat so
much I lost six six kilos. Yeah, there were calls,
a really nice ones. They thought I was having a
heart attack.

Speaker 3 (58:32):
But that's the character, isn't he He's the like, you know,
it's a very woody Alleny kind of trope that.

Speaker 1 (58:38):
Well, he's trying to stay upbeat and positive. But the
one thing that will drag him back is the idea
that when Holly Hunter's Jane, he wants to get back
to Tom. So let's let's have a listen to the
first half of this scene where Aaron starts laying down
a bit of a law for it for Jane.

Speaker 4 (58:56):
I've never seen you like this with anybody. So don't
get me wrong when I tell you that Tom Well,
being a very nice guy, is the devil.

Speaker 2 (59:09):
This isn't friendship.

Speaker 4 (59:12):
What do you think the devil's gonna look like if
he's around God? Come on, No one's.

Speaker 2 (59:16):
Gonna be taking him.

Speaker 4 (59:17):
By a guy to the long great point he tail
Come on, what's he gonna sound like? A No, I'm
semi serious here, you're serious. He will be attractive, he'll
be nice and helpful. He'll get a job where he
influences a great, god fearing nation. He'll never do an
evil thing, he'll never deliberately hurt a living thing. He'll

(59:40):
just bit by little bit lower our standards where they're important,
just a tiny little bit, just copes along flash over substance,
just a tiny little bit. And he'll talk about all
of us really being salesman, and he'll get all the

(01:00:00):
great women.

Speaker 1 (01:00:01):
What a great line to finish on. Yeah, it's it's
it's a it's a cracker. And I want I want
to ask you I mentioned earlier. I want I want
a lot of that here. You talk about people, you know,
listeners who may not you know, most of our listeners
don't write movies, they don't make movies. They love movies, though,
and they they're aware, obviously, even subconsciously, of there's an

(01:00:22):
emotional flow that goes through movies, that there's a journey
that the hero must go on over over the period
of that film and arrive at a different place. But
what we having haven't spoken about much on this podcast
is the idea that that that's happening also in every
single scene. There's an emotional journey happening in every scene.
The idea that you cannot arrive at the same place

(01:00:47):
wherever you start that scene the end of that scene
cannot you cannot have your characters in the same emotional
space unless to a degree.

Speaker 3 (01:00:56):
With Holly Hunter, it's running, you know, and she does.
You know, characters walk down the street, they fall in
a hole. The next time they go, oh, I better
go round it, And then the third time they fall
in it deeper.

Speaker 2 (01:01:08):
Then they really learn how to go around it.

Speaker 3 (01:01:10):
They build something that goes over the top of the hole,
or whatever the metaphors may be, you know, and so
you need your characters to not learn things too quickly,
and that has to you know, torture your characters, which
is the ultro absolutely back them into a corner where
you think they can't get out of this, challenge them
till they until it seems impossible, and then at the end,

(01:01:31):
you know, have them face their their deepest fear. And
I think for holy hundreds, it's intimacy. But she has
a decision to make about what she values more, you know,
in her work and in a relationship.

Speaker 2 (01:01:47):
Would she prefer to.

Speaker 3 (01:01:49):
Remain alone a spinster, you know, and be someone she
can go to sleep at night knowing that she's doing
her job for the goodness of humanity. Or is she
willing to accept this guy and maybe just glaze over
a few of the things that irked her in order

(01:02:10):
to not be alone, you know. And that's a pretty
hefty conuntrum.

Speaker 1 (01:02:15):
For a movie James Abrook's. Apparently, two years after it
he finished making it, watched it again and said that
he realized the film was about three people who lost
their opportunity to have intimate relationships.

Speaker 2 (01:02:34):
Yeah it's really sad, Yeah it is.

Speaker 1 (01:02:36):
It is. And what's interesting about that is the idea.
There's your relationship with your work change over the years.
Have you reflected on something and kind of gone, oh,
there's something in that that I can see that I
was actually working through or dealing with, or saying something
that I wasn't even I didn't know that I was
saying at the time. I think people had this idea
that when author sit down, they know they are in

(01:02:57):
complete control of the messaging and what is going on.
That's true to an extent, but there must be I
always find there's something else going on when you reflect
on something down the track.

Speaker 3 (01:03:08):
Absolutely, And I would say I'm the opposite of the
writer who writes what he knows. I write what I'm
trying to know. I write what I don't know, and
I think what stops me in my tracks and goes ooh.
I think this is an idea is when I've had
something happen to me and I don't understand who I
became in that situation, and it threw up so many

(01:03:31):
questions that brought out what we caught what we're talking
about before human behavior. I behaved in a really strange way,
and so did the people around me. And I think
there's got to be something in this. But I'm absolutely
working on a question and I look back and I see, oh,
you were wrestling with that and then you got through it.

Speaker 2 (01:03:47):
And I think I probably also write less.

Speaker 3 (01:03:50):
From biography now, like a lot of my stories with
the Reuben Guthries and how it feels were definitely even
love my way, you know, in theacter of Tom being
a fucked up young man and who even go through
dealing with drinking in Australia and trying to work out,
you know, how to manage being sober, which is an
issue that I know longer and lost about, and how

(01:04:13):
it feels dealing with why we're also angry in Crenulla
and why so many boys took their own lives and stuff.
And now with Peter Lum, yeah, I'm fascinated. I think
a little less with myself and more with others than
human behavior. But in the same way, what Peter Lum's
going through is something that I've been going through the
last five years, which is how do you change your

(01:04:35):
life as a bloke? And can you have a second
chapter that doesn't look like the first one, you know,
and how do you change in Australia And what is
the effect on all your relationships, and how do you
share and stuff like that, how do you share your
confusion and your pain and your stress. So absolutely I
think writing, you know, when you're coming from a really

(01:04:55):
personal place, affects everybody.

Speaker 2 (01:04:58):
The more honest you ah, even in the smallness, the
absolute smallness.

Speaker 3 (01:05:03):
Which is what broadcast news does so well, that's what
makes it universal. Chekhov never lift his village, larsvon trere
Belly leaves his village. But they speak about America, they
speak about the world still, you know what I mean,
because they're so personal and precise about their own experience.

Speaker 2 (01:05:18):
I think.

Speaker 1 (01:05:19):
And how important is it and broadcasting news has it?
How far ahead of your audience do you like to be?
Because I think I feel like it's something I remember
writing It's a date BC. And we would always meet
with the actors to discuss any ideas they had and
just you know, we're really collaborative process. And the Dean Gardner,

(01:05:39):
the one from the Dean Gardener said to me, she
is you need to be ahead of your audience, like
as soon as your audience catches up to you, you
are dead in the water. And the Dean is brilliant
and she can be intense, you know, she's you know,
and I remember looking at me straight in the eye,
and because we're taking her through, and I think she
just thought maybe the audience is with us, you know,
like two with you know, you know, maybe they're even

(01:06:01):
in front of.

Speaker 3 (01:06:02):
Us or just involving the audience, which I think is
what James L.

Speaker 2 (01:06:07):
Brook starts of going, what do you think is happening?

Speaker 1 (01:06:10):
Yeah?

Speaker 3 (01:06:10):
You know, do you think he's an asshole? Or do
you think he's just like every other horny guy. Do
you think he'd be a good boyfriend. Do you think
they're well matched? Do you think it's just sex? Do
you think she's always going to be alone? Do you
think that's okay? You know, and he's kind of going
here go, I'm not going to tell you. I'm going
to ask you constantly with my blurry human scenes that

(01:06:35):
are so funny because they're so uncomfortable, because you know,
we don't know as humans.

Speaker 1 (01:06:42):
Well. It's often people think movies, even filmmakers would think
movies are about giving answers, but they're more about raising questions.

Speaker 3 (01:06:52):
Active questions, yes, you know, questions that are happening live
in front of you that you are completely awoken by
from your own life, but they're not, you know, and
we see it now in so many films and TV shows.
You're thirty seconds in and you go, oh, so, I
guess they'll have the fight, he'll go there, and then
they'll end up together. And also, what pisses me off
about those five minute trailers that you see now? You know,

(01:07:14):
I think when we're coming through watching movies nowadays nineties,
they just give you this forty second verse and you're like,
what the fuck is that?

Speaker 2 (01:07:19):
I've got to see it?

Speaker 1 (01:07:20):
Yeah, I don't know what it is, but.

Speaker 2 (01:07:22):
You just gave me a taster. And now you know.

Speaker 3 (01:07:24):
I watched PTA's Midnight Pizza or whatever it's called, Licorice Pizza,
Lekriash Pizza.

Speaker 2 (01:07:29):
I got to the end of the five minute trailer
and went, oh, I've seen that.

Speaker 1 (01:07:33):
But if you notice, if you notice there's a twenty
second trailer before the three minute trailer. Yes, yes, they
say this is the there's a trailer before the trailer,
a trailer teaser, a trailer teaser, which is immediately before
the trailer. You go immediately into the then you go.

Speaker 3 (01:07:49):
To the movie and they're like, this is the thirty
seven minute cut down. If you want to see the movie,
you have to go down the road, and then you
go down that.

Speaker 2 (01:07:56):
We'll show you an hour, but we'll speed it.

Speaker 1 (01:07:58):
Up, you know, like, where can I what's a movie
I want to want to be? Actually I forgot because
it happens. It's not audible, But what a reaction and
what a choice Holly Hunto or Dan jel Brooks, probably
in collaboration makes when Aaron says I love you, she winces.
You know, I'm not.

Speaker 4 (01:08:20):
Because I think we have the kind of friendship where
if I were the devil, You'll be the only one
I would tell, well, you were awfully put to run
after time's help with.

Speaker 1 (01:08:28):
All right, want have.

Speaker 4 (01:08:31):
And things have gone well for me tonight that I
probably wouldn't be saying any of this. I grant you everything,
but give me this. He personifies everything that you've been
fighting against and I'm in love with you.

Speaker 5 (01:08:52):
How do you like that.

Speaker 2 (01:08:55):
I buried the lead? Yeah?

Speaker 1 (01:09:01):
I mean that's there's a really tough line as well.
Earlier when before she goes up to the Correspondence dinner
where she's getting ready while he's there and he says,
can you at least pretend this is awkward for you,
which is both funny and heartbreaking. Is like, oh, well,
you are in the friend zone, aren't you.

Speaker 3 (01:09:22):
Yeah, And she is slightly she has she's verging on
her personality disorder.

Speaker 1 (01:09:31):
Yeah, she doesn't entertained this idea. She doesn't like Listen,
I'm just not you're my friend. There's never that scene
where she goes, you are a great friend, and you
are my friend, you know, I just don't feel that
way about you. And I love that that scene doesn't happen.

Speaker 2 (01:09:44):
But she that's what's wonderful about her character is that
she kind of she doesn't need a guy to be
complete in the eighties, and that she she's just completely
besulted with this man who's just you know, he's just
stopped her life. And it's the attraction and stuff like that.
And and she said, who does she say it to you?

(01:10:05):
She goes, I think I'm in love with them. She
says it to Brooks doesn't.

Speaker 3 (01:10:08):
Yeah, Yeah, I mean, what a strange because normally that
would be with the gay friend or the sister at
the bar gay.

Speaker 2 (01:10:15):
I think I'm in love with this guy.

Speaker 3 (01:10:16):
I don't know what to do, what should they do Yeah,
And instead she says it to the guy who's in
love with her. Yeah, you know, And that's great riding,
isn't it. It's like she confides in him, yeah, to
break his heart.

Speaker 1 (01:10:26):
And then and then she calls Tom to kind of
know what's going on. And it's a really interesting again.
It's it's asking questions of like is he being passive aggressive?
Is he is he happy that she's not on his way?
He says, oh, my dad's coming through in the morning,
But he's also saying like that sounds like an important
that he knows what's going on. He taped the newsballer

(01:10:48):
than the sweating news. He knows that sounds more important.
You stay there, I've got stuff to deal with. And
he says something. He says, I'm not I'm not one
of your chores you need to tick off. Yeah, which
is slightly passive aggressive, but absolutely, but it's it's still
he's still wondering is he is that fair enough? Like
who's being unreasonable? You did go off to you know,

(01:11:11):
your friend's house, you know, after a massive.

Speaker 2 (01:11:14):
And when she's walking down the corridor, like I totally
had that.

Speaker 3 (01:11:17):
Moment of like just keep going have sex, Go and
just enjoy us, or go and have love. Don't get
caught up in this guy's resent, this guy's unhappiness, you
know what I mean. And and but because she's a
people pleaser, because she loves him, because she can't leave
a guy.

Speaker 2 (01:11:35):
You know, she does love him as a friend.

Speaker 3 (01:11:38):
You know, she comes back into the room and gives
up on her own love story, you know, and you're.

Speaker 2 (01:11:42):
Like, no, bust through the door.

Speaker 3 (01:11:43):
Totally different movie if she leaves down that corridor and
those great New York apartments, you know, like the New
York apartments. Just it's a character. It's so extraordinary, the
role that plays. And he sits on the couch, she
comes around. It's just perfect cinema. In those corridors. Remind
me of you know, how Woody Allen stoles so much
of that stuff from Bergmann. You know, I've used in

(01:12:04):
those corridors and that apartment to tell so much of
the story. And Woody Allen, I think, you know, Hannah
and her sister's Annie Hall. He kind of, you know,
around the same time, was doing the slightly ambiguous romantic
comedy as well. Annie Hall's a film about two people
that kind of become friends at the end, you know.

Speaker 2 (01:12:26):
You know, Okay, we tried. You're weird, You're weird.

Speaker 3 (01:12:31):
I don't think this is going to work out, but
I'll I'll always be in your life because you are amazing.
And it's like this kind of slightly melancholy romantic comedy,
you know, And the same with Hannah and her sisters
was like that.

Speaker 2 (01:12:45):
And what was the other one?

Speaker 3 (01:12:46):
I was just thinking about a kind of a similar
nineties romantic comedy that kind of ends in that kind
of kind of way. And I thought about Spotlight actually
while I was watching it, because I thought, that's another
news movie said in Boston about you know, the pedophile
ring within the Catholic church, and and just how different

(01:13:07):
that kind of the tone and aggressiveness of that movie is.
And I love movies, you know, back in that time
that gave characters so much time, and I think, you know,
I talked to my nephews about films and stuff like that,
and you know, and a lot of young people like.

Speaker 2 (01:13:21):
Why is it taking so much time for them to
get into it?

Speaker 6 (01:13:24):
You know?

Speaker 3 (01:13:24):
And we used to build movies through character and world
and just give the audience more grayness and time and
now we're like smack bang.

Speaker 1 (01:13:32):
You can see the influence James L. Brooks has had
on someone like Judd Apatow. Yeah, because you always say,
why does Jad Appetel's films need to be over two hours?
And you know films are over to our listen sometimes
and sometimes I feel the criticism may be warranted with
jud Apetel's films when it's just an ad lib fest,

(01:13:53):
when it's just like I reckon, there's there's sharper stuff
throughout this movie that you know, and sometimes you know
there's there's some lovely moments and that's those that's creative.
But I feel like I'm okay. I'm personally okay with it.
But I yeah, I remember up about our saying people say,
why are your films so long? It's up because I'm
dealing with the biggest things in the world. I'm dealing
with love and loss and you know, like these James

(01:14:16):
similar things that James L. Brooks I think deals with
UH And I think I think James L. Brooks has
more to say, though I think I certainly broadcast.

Speaker 2 (01:14:26):
Know.

Speaker 3 (01:14:27):
I still think Abata's films often run out with thirty
seven minutes left and then it just goes to kind
of penis jokes, and.

Speaker 1 (01:14:33):
I feel like there's some films like This is forty,
I feel like so funny people. I think was one
film where I think probably Jadapeta had James L. Brooks
in the back of his head, like I feel like
he was trying to say something yeah a lot more.

Speaker 2 (01:14:46):
And which he did knocked Up, like, and I know that,
you know.

Speaker 1 (01:14:49):
I think Je's films have more in them some people
give him credit for.

Speaker 3 (01:14:52):
Because he was talking about, you know, when him and
his wife got pregnant and they were living in this
house with stoners and they had no idea, you know,
like what do we do? And that has that film
and knocked Up, Yeah, and that has that sense and
you can tell it comes from an authentic place.

Speaker 1 (01:15:06):
What does that seem I think it's knocked up? Is
that this is what he is that I think it's
knocked up with Paul rud and Leslie Man a married couple,
because I think they're married in that movie and then
they yeah yeah, And there's a great scene in the
driveway where it's like she thinks he's having an affair,
but he's going off and doing fantasy football. Yeah, and

(01:15:27):
he has to admit that's what he's been doing. And
he's just like, sometimes I just want to you know,
the kids and all that. It's so hard and I
just want to go. And you know, last week I
watch Spider Man by myself and she's and she's almost
like there are times where I want to watch Spider Man. Yeah,
and I like, I remember watching that and I almost
cried because I know I was going through a stage.

(01:15:48):
I young kids, and I often leave work early. When
I was working on on Rod, leave an hour early
and go see you and go see a film just
because I like I needed something that wasn't home. And
it wasn't because my mind am I So.

Speaker 3 (01:16:01):
That you think it is grade at home? Yeah, so
that you can do because you love them so much.

Speaker 1 (01:16:06):
But that's a hard discussion to have. I need this.
It's not because you know bridges at home. You know.

Speaker 2 (01:16:14):
One of the you earned a massage joint.

Speaker 1 (01:16:17):
Not that time, not that time. I'll see Spider Man.
But how good? Yeah? And James J. Brooks is just
there's all these details in his movies that could easily
be taken out in an out. But you can imagine
people saying over your shoulder, Do you need that? Which
sometimes yeah, it's always worth asking, but sometimes a character, Yeah,
it's like it's all these little moments, her looking at

(01:16:40):
the when she hears the door and she thinks, you know,
William Hurts walked through and she he hasn't. And and
William Hurt holding the kettle with his with his sleeve,
and the older guy we've never seen before calling home
asking his wife's there or something, and you know.

Speaker 3 (01:16:56):
Her storming in and abusing William Hurt and his dad's there,
and then the dad said, I don't think that woman's
ever going to be affectionate to you.

Speaker 1 (01:17:03):
Yeah, you know, it's like, what, yeah, you take that
out of the movie and nothing happens, No exactly, but
it's there and something happens.

Speaker 3 (01:17:10):
And there's that great comedy trope of just keep surprising
the audience every five pages with something, just another big moment,
big revelation, big twist.

Speaker 2 (01:17:21):
You know that.

Speaker 3 (01:17:21):
You go, oh god, I thought I was watching Oh
I thought I was watching that all I thought I
was watching that.

Speaker 1 (01:17:26):
How good is Holy Hunter? By the way, the three
of them are fantastic, but how good is it? And
this is a very rare role for a woman in
the nine to eighty seven I had this complicated center
at this absolute send, not necessarily in a movie that
says she will only be whole once she gets together

(01:17:47):
with a very handsome American successful man.

Speaker 3 (01:17:49):
Yeah, yeah, you know, pretty ahead of his time because
rom Gons had to catch up again ten years ago,
you know, and they're still doing it.

Speaker 1 (01:17:57):
But how satisfying is that when there is a sexiness
to a character that comes from who they are as
a person, as opposed to they're looking hot in a shot,
you know, a shot skirt or something, you know, like
whatever it might or a sex scene. You know, like
it's like she's sexy because she is good at her
job and complicated and real vulnerable, all exact flawed and

(01:18:23):
actively flawed, yes, you know, and active flaws driving drama.

Speaker 2 (01:18:27):
Yeah, like it's just that's writing. That's great writing.

Speaker 1 (01:18:30):
Yeah, she gets the role. She hadn't done much. She
did she did Raising Arizona the same year.

Speaker 2 (01:18:34):
Oh is that wrong?

Speaker 1 (01:18:35):
Yeah, in nine eighty seven, Raising Arizona, of course with
the Coen Brothers. She did a voice in Barton Fink.
She did some TV credits and yeah great, Yeah, let's
not get started on button, I think, but she she
Basically they Debra Winger was the first choice for the
role share the pull out. I think she was pregnant.
They did a massive search. They went through all the

(01:18:56):
Alis actors though three days out from shooting apparently, and
these stories, like.

Speaker 3 (01:19:02):
I remember, I was telling me the fatal Attraction story,
you know, because she'd done.

Speaker 2 (01:19:06):
Well that so that that big chill and they were.

Speaker 3 (01:19:09):
Like, you know, you're warm, You're warm in a cashmere jumper.
You're the loving warm woman. She's like, let me, let
me and beg for the audition. I think turned up.
I think Santa Tapean turned up. And when you will
see me and they're like, no, you're warm, wholesome, you know,
big chill. And she's like, give me a shot. And
then she sat there and did that scene where she

(01:19:29):
turns the lights on and off, and they went, oh,
my god, changed your career forever.

Speaker 1 (01:19:35):
She got nominated that year eight So in eighty seven,
one eighty, I'll get to the Oscars that year because
it's quite an interesting thing. But your Holy Hunter goes
to the audition. Basically, they've seen everybody else, They said,
is there anyone else? And she arrives the person who

(01:19:55):
greets people thought she was a PA and she goes, actually, no,
I'm here to She hit an audition. She gets the
role almost immediately. She starts rehearsing. The next day, she's filming.
Three days later. At the end of the first week filming,
she I think has she actually has a breakdown. She
blames on the medical illness and and and bronchitis or something,

(01:20:19):
and William Hurt says to her, no, you're scared, and
Holy Hunter said, it changed everything. It changed the dynamic
between her and William Hurt because she said, in that moment,
William Hurt saw through her. He wasn't saying her yeah,
he saw her, and he wasn't saying as in like.

Speaker 3 (01:20:36):
A condescending way, condesce anyway. It's like, it's okay, he's
probably saying I'm scared too.

Speaker 1 (01:20:40):
Yeah. Yeah. And it's like and that and that is
where that you talk about the chemistry between them. It starts.
It starts from that.

Speaker 3 (01:20:47):
That's why I never get nervous in front of other
movie stars. Not other movie stars, movie stars and actors,
no matter who. I've met Hoffman's and I was a
bit nervous in front of Hoffman, but he's directing me.
But yeah, Brad, you know whenever I met because I
just go, I know that you're just as scared as
I am when the movie rolls, and I know that
you're just as scared with your next part. And I

(01:21:09):
know you're trying to be brilliant, and I know you're
trying to do a good job and make sure everyone
thinks you're believable and that the next job is the
most scary one you've ever done. And every actor is
the same, and so I never get nervous because I
look in their eye and go, yeah, I know.

Speaker 1 (01:21:23):
I literally, I literally listened to an interview with George
Clooney on Make Marin's WTF podcast yesterday and he was
saying exactly that, Well, George Clooney, he's intimidated by other actors,
you know, and you know, he's been wiped off the
floor by young actors, you know, act that he hadn't
heard of it had come along, and yeah, and he's.

Speaker 3 (01:21:45):
I don't know if I'm saying that. I'm just saying, like,
I don't, I know, not to revere them because they're
so vulnerable. And that's you know, our feelings are on
the surface, and we live in a state of fear
that we'll get it. We're going to get it right,
and we'll be able to expose it, We'll be able
to are we going to be able to nail it
and tell the story? And I don't necessarily worry if

(01:22:09):
an actor is going to wipe the floor with me,
because I don't think of it in those terms of
who's better. I'm just like, I know you are just
as shit scared as the guy coming out of film school.

Speaker 1 (01:22:20):
And good actors I assume I and you've worked with
a lot more actors and done a lot more acting,
by a whole country more than I have. But I imagine
good actors know that we're we're in we are in
this together like we are. We are trying to create
a piece of work here. And if you're if I'm
no good for you and you're not good for me,
this is not going to work.

Speaker 3 (01:22:39):
Yeah, and if you come into an acting job going
so I just want to let you guys know I've
kind of got this nailed.

Speaker 2 (01:22:45):
I know my character.

Speaker 3 (01:22:47):
I know I'm going to do this funny walk, I'm
going to throw those looks so I don't know what
you guys are doing, but I'm sortied.

Speaker 1 (01:22:53):
Like there's no discussions.

Speaker 2 (01:22:55):
Yeah, so you have to be vulnerable for it to work.

Speaker 3 (01:22:59):
Yeah, you know, Whereas when I'm around musicians, I'm so nervous.
I'm like, how do you do the thing you do
because I'm a failed musician, you know. With actors, I'm like,
hey man, how you going?

Speaker 2 (01:23:09):
Yeah?

Speaker 1 (01:23:10):
Yeah, I know. I love seeing actors like on set
who are comfortable, like not like coming into going I've
got all this, you know, like yeah, yeah.

Speaker 3 (01:23:20):
Like comfortable in the vulnerability, yes, comfortable in the unknown, yes, yeah.
And the best actors are like, the best actors are
kind listening, scared, yeah you know, and you say, and
then I'm talking about the really successful ones. Really really
they're bloody lovely, they're bloody curious.

Speaker 2 (01:23:38):
And it's like it's their first day on set. Yeah.

Speaker 3 (01:23:40):
But I mean they're confident, yeah, absolutely, but they're open, yeah,
you know, and that's why they're good.

Speaker 1 (01:23:47):
Yeah, mate, Pete thinklige is did you know who's doing Sereno? Yes?
I was nearly in that, which basically it'spectially especially a
sequel to I Love You Too, isn't it isn't it
has that been around for a bit longer. I mean
it's about basically.

Speaker 2 (01:24:02):
Because he's putting the words in his mouth.

Speaker 1 (01:24:04):
Yes, well, sir, and I was, you know, an inspiration
for I Love You Too. And now.

Speaker 2 (01:24:11):
Steve Martin does a great one, doesn't.

Speaker 1 (01:24:13):
He Broxne and yeah, it's great. Now he's got to
look forward to seeing that. I just thought I quickly
mentioned it, but I want to talk about it before
we let you go. The nineteen eighty eight Oscars hosted
by Chevy Chase. Do you know who won the Best
Picture of You? It's a film that nobody is seen,
like nobody like. It's a well regarded film, but like

(01:24:33):
it does, it doesn't go expert, It doesn't get I
don't know when you're in a team or teh.

Speaker 2 (01:24:43):
What was it.

Speaker 1 (01:24:44):
Last Emperor BERNARDOUCHI that nominally for nine Oscars, that it
was up against broadcast News, Fatal Attraction, Hope and Glory
and Moonstruck and Glory. I must say it wasn't It didn't.
It doesn't feel like a banner year for the Oscars.
The good character good movies, yeah, good good good adult

(01:25:05):
good adult movies.

Speaker 2 (01:25:06):
Hope and glory.

Speaker 3 (01:25:07):
That's not Matthew Broderck. Yeah, Matthew Roderick on a horse. Yeah,
it's Matthew broder gonna.

Speaker 1 (01:25:12):
Hold no, hang on a secon. That's glory.

Speaker 2 (01:25:14):
Yeah.

Speaker 1 (01:25:15):
I I was thinking it was Matthew.

Speaker 2 (01:25:18):
Broderck and horse in glory, which just looks because what's
fairest doing on a horse in the war.

Speaker 1 (01:25:23):
It was a big shift, Yeah, maybe too big a shift.
I love Matthew Roderick.

Speaker 2 (01:25:28):
You can count on me how good is he?

Speaker 3 (01:25:30):
And you can count on me as the boss who's
upset with all the fonts on the screen.

Speaker 2 (01:25:35):
So into my office? Yeah, what fun to are you using?
He's amazing in that?

Speaker 1 (01:25:41):
And ruffo ruffle is that isn't Lord Lenny, Lord Lenny
laud Lannie is so good in that. So their brother
brother sister, No, no brother sister. It starts ruf car crash. Ye,
parents died in a car crash. They were in the back.
They survived. He's trouble. She's got a son, a mccaulkin,
a Coulcin. They're everywhere now.

Speaker 3 (01:26:03):
She's got a Colkin son. Yes, and she's a bit
She's working at a bank. And this is Kieren Colkan
isn't it. It's Kieran Con He's amazing, Yeah, because.

Speaker 2 (01:26:12):
She's like, you got your backpack, it's a knapsack. It's
not a backpack.

Speaker 1 (01:26:14):
Mom's knapsack.

Speaker 3 (01:26:15):
And she and he just falls in love and he
Marc Ofolo comes back from Alaska. He's got to get
some money, I think to post back to a girl.
Something's happened. He's been out in jail.

Speaker 1 (01:26:26):
Yeah, he's like a black sheep.

Speaker 3 (01:26:27):
Brother admits to her and he smokes the joint before
he has lunch with her.

Speaker 2 (01:26:30):
And it's so beautiful.

Speaker 1 (01:26:32):
That it's Kenneth long Agan. It's Manchester recently my weekly.
My seventeen year old son has seen it, like watch
Manchester to see like a few times now and just
loves it.

Speaker 3 (01:26:44):
It's what you can count on me if you haven't listeners.

Speaker 2 (01:26:48):
It is incredible, It really is.

Speaker 1 (01:26:51):
But literally wins the James Job. Brooks does not get nominated.
This is the whole comedy being judged differently, even though
you're got to argue that there's a lot more. This
is not a straight out comedy broadcast news and then
like a lot of directors who wouldn't be necessary household
names for our listeners. Adrian Lynn for a Fatal Attraction
gets nominated and he has done nine and a half weeks.

(01:27:14):
He's done Flash Dance. He went under those indecent proposal, unfaithful.
He obviously had an area that he was comfortable. Yeah,
but it's interesting because there is a bias against movies
outside of Europe. I think that deal with sex. Do
you think like that? It's hard. I feel like any
movie that looks at sex and it's like, you know,

(01:27:37):
at the forefront, feels like they get kind of derided
a little bit that come out of America. Well, those films.

Speaker 3 (01:27:47):
Maybe videotapes changed that a lot. One Sun Dance and
people went, well, a movie about sex. Yeah, completely kind
of rocked to America. Really small movie about sex really
rocked American. But American sexuality is so weird.

Speaker 1 (01:28:03):
Yeah, you know, they are freaks. And then John Borman
wants It's hope and glory. He made the Tailor of Panama.
Later on the exos to Norman Jewison had had he
had made. He'd been nominated for the Heat of the
Night and Filler on the Roof. He did Moonstruck and
Lassie Halstrom. Of course, My life is a Dog Swedish starling.

Speaker 3 (01:28:25):
He's just making a film now with from my friend
Maeve Dermody's in it.

Speaker 1 (01:28:29):
Oh really Yeah, he's making a.

Speaker 2 (01:28:30):
Film in Sweden.

Speaker 1 (01:28:31):
Yeah, awesome, so you'll know his filmed or he's more
English language film. Side of House rules shock a lot,
and what's itating gilber Great Michael Douglas win to Fatal
Attraction up against.

Speaker 2 (01:28:42):
How does Glenn not win?

Speaker 1 (01:28:44):
Well, Glenn Glenda Glen does not win close for Fatal Attraction,
she loses the share So Share one for Moonstruck beats
Holy Hunter Glenn Close, Sally Kirtlin for a film called Anna.
She played the title role.

Speaker 2 (01:28:59):
Look if I good turn back time, I would give it.

Speaker 1 (01:29:03):
He would give the oscar to Glenn. Yeah, if you
would give the oscar Glens and Sean Connery wins for
The Untouched was which I have no problem with. Adolf
for Best Supporting Actor beats Albert Brooks, Morgan Freeman, Vincent Gardenia,
and Denzel Washington for crist Freedom. And just before we go,
one thing, we should mention Jack Nicholson in.

Speaker 2 (01:29:20):
This Why that's what I meant to mention? How crazy
is that Jack Nicholson's in this.

Speaker 1 (01:29:24):
Movie was not credited in any of the marketing or
poster and in fact refused to be paid for it.
Did it as a favorite obviously in terms of indeement,
but like.

Speaker 2 (01:29:32):
What did you what was he coming out of at
that time?

Speaker 1 (01:29:34):
Was he big? Well, he wasn't mean, but he did
terms of indiement, he must have made like you know,
this is he's something shining.

Speaker 2 (01:29:40):
It's you.

Speaker 1 (01:29:41):
He's done this Jack, He's on all those seventies films.

Speaker 2 (01:29:44):
He's done forty.

Speaker 1 (01:29:45):
Yeah, he's on one flo floor of the Cookie's Nest.
He's done. He's done, you know the last detail. He's done.
Like some of them aren't necessary massive films, but he's done.

Speaker 2 (01:29:54):
He goes to work with this director and I think he's.

Speaker 1 (01:29:57):
Under a fab in ninety seventeen years later, ten years later,
so it.

Speaker 2 (01:30:03):
Hasn't done and you can handle the truth that's later.

Speaker 1 (01:30:05):
That's about five years. I reckon it's ninety two. But
did you find it? Did you? I found it distracting.
You have to when one of the acts is too famous,
So why And it's not a massive problem, but I
just think I was expecting more when he comes back
to the retrenchments and He's like, I'm going to take

(01:30:26):
everyone out. Okay, that's going to be He's going to
have He's going to impact our story. Yeah, this doesn't
impact the story in any way. Like that could have
been played by a character actor.

Speaker 2 (01:30:38):
But it's the gravitas.

Speaker 1 (01:30:39):
Oh he does that, and you understand why I.

Speaker 2 (01:30:41):
Think it's with another actor.

Speaker 3 (01:30:44):
You go, Okay, there's the news there's the news man.
When it's Jack, the stakes are higher, and the fact
that they're trying to get his approval and he never
likes anything, and he says to her, why don't you
come up to New York. She goes, I didn't right
the whole story. I just worked on it. And he
goes call me, you know, and you go.

Speaker 2 (01:31:04):
He liked it. He liked it.

Speaker 3 (01:31:05):
And the fact that he's the god and he's the
one that kind of says to you know, his minions,
I accept you.

Speaker 2 (01:31:12):
We will do this.

Speaker 1 (01:31:13):
You know. Jack gives that, and and that scene where
he talks to Holy Hunter but not Albert Brooks, and
then that beautiful actor where Albert Aaron whispers to Jane,
yeah my heart is broken, but just sathingly funny and
laugh out loud, and she does it in such a
great way. And then it's it's so it's so beautiful, but.

Speaker 2 (01:31:33):
They would have gone in for half a day, two days,
two days.

Speaker 1 (01:31:36):
They get and kept all his suits. The one other
little I think think I want to go about The
Holy Hunter is the crying. Like, you're such a brilliant actor,
what like, explain how hard that is one just crying?
But she's crying with no external provocation.

Speaker 3 (01:31:58):
But female actors are insanely good at it. Like, and
what I like about her crying is it's not poor
me crying. It's I'm so invested in this and I'm
so lost and I'm so passionate about it. It's like
it's it's almost comic in the way that she cries
in different moments, and her crying is active and it's

(01:32:19):
got story in it. Yeah, while she's crying, you know,
whereas we see so many crying scenes where I go,
I'd love to see another choice. You know, I think
there's way too much crying.

Speaker 1 (01:32:29):
You know.

Speaker 3 (01:32:29):
I remember seeing that show The Sinner Jessica Biel. She
cries in every scene. I think it should have been
called the Sobber. She's just crying, and I'm like, come on, guys,
let's have some other scenes that doesn't have crying. I
know it's a tough time, but also when you get
a bit more used to tragedy, you do stop crying

(01:32:50):
and you're hard en up, and you know, that's more
interesting for me to watch people trying not to cry.

Speaker 1 (01:32:54):
It's really interesting people see people trying not to cry
is way more powerful than seeing people crying. Yeah.

Speaker 3 (01:32:58):
I love it in Shine where where Noah hits the
ground and this single tear comes out of his thing
his head and he knows where he's you know that
the rest of his life's already ordained, and like really
interesting choices with crying, I think good not choices.

Speaker 2 (01:33:13):
Maybe it's just what happened. But I'm not a great crier.

Speaker 3 (01:33:17):
I can work myself up by putting the headphones on,
getting the cat power playing, you know, channeling heart.

Speaker 1 (01:33:29):
Bro're behind a curtain now.

Speaker 2 (01:33:31):
Yeah, channel Yeah, we're in the actor studio.

Speaker 3 (01:33:36):
And I can go, okay, I'm ready and roll camera
and I'll fucking go and I'll get to sobbing and
there'll be snot and that's but then once that takes done,
I'm probably done for the day.

Speaker 1 (01:33:49):
You know.

Speaker 2 (01:33:50):
I can't like I'm cried out.

Speaker 3 (01:33:52):
If that's Monday, I can maybe cry again on Thursday and.

Speaker 2 (01:33:57):
That's me done.

Speaker 3 (01:33:58):
So if you want one, give me half an hour
and then I'll come at you as a noise canceling headphones.

Speaker 2 (01:34:04):
You know, it's canceling headphones.

Speaker 3 (01:34:06):
And then you know, I'll need to go for a swim,
and then I need to go see my mom and then.

Speaker 2 (01:34:11):
You know, But these actors can, they can whack it.

Speaker 3 (01:34:16):
I remember Patrick Bramble and Ruben Guthrie telling the story
of his friend died. He just went bang bang fourteen
takes in a row, like yeah, yeah.

Speaker 2 (01:34:26):
I can't do that.

Speaker 3 (01:34:27):
Yeah, I'm guilty of grabbing the tear stick and rubbing
it under the eyes, no problem.

Speaker 1 (01:34:31):
I spoke to a director a little while ago who
said they worked with an actress who was wonderful, like
a really gave a stony performance, but but she literally
cried in every scene. Like they're not scenes where there's
no reason they had to c g I out.

Speaker 2 (01:34:52):
Yeah, does it all the time. She loves to cry.

Speaker 3 (01:34:56):
But it's like it's not their fault, it's director, and
it's just like don't smile on every seen like let's
have some different stuff, you know. And and but I
don't think it's anyone's fault because I think people have
been told that that's what acting is.

Speaker 2 (01:35:07):
Actings crying. How often do you cry as a human,
like not heaps?

Speaker 1 (01:35:12):
I've had three crists today.

Speaker 2 (01:35:14):
Yeah, you're doing a podcast with me, you know what
I mean?

Speaker 1 (01:35:19):
So?

Speaker 3 (01:35:19):
Why why are we seeing someone's crying when crying is such.

Speaker 2 (01:35:22):
A rare thing in life? Yeah, you know, like it's
and I.

Speaker 3 (01:35:25):
Think sometimes I cry, you know, text him a nephew
and he got a job of McDonald's in the nugget section,
and I'm like.

Speaker 2 (01:35:34):
I'm texting you know sometimes I have an amazing apple.

Speaker 3 (01:35:37):
You look at the stripes on a beetle and you cry,
and you go, fucking hell, how good are beatles?

Speaker 1 (01:35:41):
Is that weird tear? That this comes down with no
no reason.

Speaker 2 (01:35:45):
That's interesting to me, Like, what's going on there? Why
did that come up? Maybe you're happy?

Speaker 1 (01:35:51):
Yeah, there's tear that falls down.

Speaker 2 (01:35:54):
It's like.

Speaker 1 (01:35:55):
There's no sadness that I'm aware of in me at
the moment, and.

Speaker 2 (01:35:59):
It just just meant something.

Speaker 1 (01:36:00):
Yeah, you know, mate, it is so good to see
you in the flesh I'm glad we were able to
do this. Person. Thank you so much for doing your
homework and watching. I know it comes with homework broadcast.
It is great homework. I gave it a big plug
at the start. But your book Plum, which I have
spoken to you personally, well, so I was quarantining with COVID.

(01:36:21):
I ripped through it and it is extraordinary. It is
another extraordinary addition to a conversation about masculinely in Australia.
You have a main line into what it means to
be an Australian male battling demons in suburbia. And it
is and it is funny, it is heartbreaking, It pulls
at all the right things and it's wholly original.

Speaker 2 (01:36:43):
Oh thanks man.

Speaker 3 (01:36:44):
Yeah, it's out there in the bookstores now. And you know,
I got a DM from a lady this morning who said,
you know, I know what to do with my boy
who's in year eleven. Now I'm going to give him words.
I'm going to talk to him about words. And it's
just like a suck. Start crying at that because I'm
like that, really, at the end of the day, I've
got a bit of money, I'm okay, I've got a house.

Speaker 2 (01:37:06):
If I can do that, like I really am, just
like you know.

Speaker 3 (01:37:09):
And a guy said he listened to me on ABC
Conversations and he played it to the Year nine boys
and said, this is how men can talk to each other,
Me and Richard Weidler, and it's like, you know, plumb Peter,
the plumb lum rugby league play with concussion issues. He's
probably going to die, and he's like, how do I
not die? I've got to change? How do I change?
I might have to not do what I've been doing

(01:37:30):
my whole bloody life. Oh shit, do I reach out?

Speaker 1 (01:37:34):
No?

Speaker 2 (01:37:34):
I Hi drink run? That didn't work. What do I
do share?

Speaker 1 (01:37:38):
Now?

Speaker 3 (01:37:38):
I can't do that? Hi drink run? Okay, maybe I'll share.
How do I do that?

Speaker 2 (01:37:43):
Write some stuff down, you know, and some dead poets
come in and help him.

Speaker 3 (01:37:46):
And it's really hard and not just men women, you
know what I mean, like humans, human behavior.

Speaker 2 (01:37:52):
It's so hard to share our confusion.

Speaker 3 (01:37:54):
And maybe that's right and down, maybe it's you know,
whatever it is for different people.

Speaker 2 (01:37:59):
But I love that.

Speaker 3 (01:38:01):
It's you know, the reviews are great that you know,
online and print and people are loving it. But I
just love hearing from people the actual effect that it's had,
and they've that it's.

Speaker 2 (01:38:12):
Been of use.

Speaker 3 (01:38:13):
Yeah, you know, and that's really more and more just
what I want my art to be.

Speaker 2 (01:38:18):
I just want it to be of use to people.

Speaker 1 (01:38:19):
Well, it's fascinating because it's it's a it's about a man.
They're trying to make a big change in his life.
And I feel like you do get to an age
where you're like, oh, well, this is who I am,
and it could be as simple as you know, the
way what you weigh or the way you dress, and

(01:38:40):
you're going to go, well, I can't. I've just like
this my whole life. I'm not going to I wrack
up in a Hawaiian shirt now. Yeah.

Speaker 3 (01:38:46):
And it's kind of a coming out story Peter Plum love,
Yeah it is. He's not going guys, I love her.
He's going all write poems sometimes.

Speaker 1 (01:38:53):
Yeah, I expectence.

Speaker 3 (01:38:54):
You know, he's got a barret on, he's having a
gabinet instead of the schoon. That's you know, it's just
like it's really hard to change, you know, but he
has to or he'll die. And are those guys that
are with you on the punt and on the piss.
You know that we have those mates? Are they there
and not when life comes a knocking because you're in trouble, mate,
can you use those mates?

Speaker 1 (01:39:13):
You know?

Speaker 3 (01:39:13):
Who can you use? Because you can't do it alone
in this world. You need connection, connections the opposite of fear.
You know, when you connect, the fear goes away. When
there's other people you know who are going through what
you're going through and you can share it with them,
Suddenly you've got muscles in.

Speaker 2 (01:39:28):
The game, you know. And that's what I'm kind of
trying to say. It's okay to admit your confusion and
your weakness and your fear.

Speaker 1 (01:39:36):
Here here it is. It is brilliant. I highly recommend
Plum in all the bookstores check it out or order
book book Type is always a good place to order Melbourne.

Speaker 3 (01:39:46):
I've just gone the Reddings, Carlton and Avenue and the
leaf Shop and yes, the Saurs, so there should be
some Sewing copies all around Melbourne.

Speaker 1 (01:39:54):
Brilliant mate. I love you, Yeah, you.

Speaker 3 (01:39:56):
Too, my brother, Well do this every week if I could,
I'll bring you back Lord of the Rings.

Speaker 2 (01:40:05):
Bloody Bagging's still in the cave. Big finish.

Speaker 1 (01:40:20):
That was fantastic Brendan Calee, bloody Hell. I love that
movie Broadcast News. I really really enjoyed revisiting that, and
I'm glad Brennan loved it as much as I did.
So yes, just to repeat if you if you skipped
through the first bit, we are coming back later in January.
I just wanted to get this episode out one just
to give you something to get you by, and also

(01:40:43):
to promote Brennan's book Plumb. It is a fantastic book.
Check it out. It's great for Christmas if you're looking
for something to read over summer as well. So Plumb
by Brennan cale in all good bookstores now. It is
absolutely brilliant, already been nominated for various awards. And so

(01:41:07):
we leave Old Pete safe and south, and

Speaker 3 (01:41:10):
To our friends of the radio audience, we've been a
pleasant good night

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