REPETE: Lucinda 'Froomes' Price and Psycho

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Gid A, Peter Helly here, Welcome to you Ain't Seen
Nothing Yet? The Movie Podcast. We're our chat to a
movie lover about a classic or beloved movie they haven't
quite got around to watching until now. And today's guests broadcaster,
comedian online personality writer Liscinda Rooms Price.

Speaker 2 (00:26):
All blow, I want to stay here with you.

Speaker 3 (00:37):
Got to the.

Speaker 4 (00:38):
Jobble, Why hate snakes?

Speaker 1 (00:46):
Shuck?

Speaker 4 (00:46):
Why hail could be happening?

Speaker 3 (00:50):
Right?

Speaker 2 (00:50):
So?

Speaker 5 (00:51):
You ain't seen nothing new?

Speaker 1 (01:03):
Today's a special show because I get to hang out
with somebody who I've actually never met before. Licinda Froome's
Price is the self appointed CEO of Frooms World. I'm
intrigued by Frooms I have to say. I came across
her a few years ago. A friended pointed out that
she had posted a picture of me from my row

(01:24):
of Live days.

Speaker 4 (01:25):
I checked it out.

Speaker 1 (01:26):
In the back of my brain, I thought she's probably
taken the piss somewhere. This is probably you know, it's fine,
And I checked it out and it wasn't. And what
I've learned since then is that Froomes is kind of
loves to celebrate Australian nostalgia. She's a really positive person.
She is joyful, joyous, she's bloody, hilarious, and she's just

(01:49):
she's like an entrepreneur who has decided to invest in herself.
She has branded herself the whole Froom's World. Thing is remarkable.
She has a legion of fan who love her. She
does a radio show on the Caden Network called Flex
and Frooms. You can listen daily for the three pm
to five pm. It's also in podcast form. She has

(02:11):
a substack Frooms World which has over eleven thousand subscribers.

Speaker 4 (02:15):
She's performing live.

Speaker 1 (02:16):
She performed at the Melbourne and Sydney Comedy Festivals this
year in the show called Besties, alongside Lewis Hansen. She
started The Pedestrian as a writer and the producer and
the presenter for a few years. And like I said,
she just has backed herself in and I find it
kind of inspiring, to be honest.

Speaker 4 (02:36):
You know, we're very different ages.

Speaker 1 (02:38):
I think she's later twenties and she has recognized the space.
She worked out that you don't have to wait for
a TV network or a radio network to give you
a call. You can just create and build your own thing.
And that's exactly what she has done and is doing.

(02:59):
She's run theseilarious campaigns. She read one as You Missed It,
where she basically there was billboards involved, where she was
basically putting out the word that she wanted to have
sex with Shane warn This is obviously before he passed,
and it was hilarious but also intriguing. It was like,
is this gonna is this gonna play out? What's gonna

(03:20):
happen here? And one he did engage with it for
a bit. She performed the song about it with g
Flip and Flume, which is basically a call out.

Speaker 4 (03:29):
She embraces Australia.

Speaker 1 (03:31):
Nostalgia, pop culture, nostalgia, Shrek, Serena, Tuna, like, there's all
kinds of things and it's always entertaining, it's always positive.
I think she's a really fun person to follow. I
really encourage you to do that. Like I said, she's smart,
she's positive, she's bloody, hilarious, and I'm stoked to be
hanging out with her today.

Speaker 2 (04:04):
My name is Friends, and my three favorite films are
number one Austin Powers.

Speaker 4 (04:10):
Actually my name is Austin Powers. It says your name
danger Powers. No no no no no. Danger is my
middle name.

Speaker 2 (04:20):
Mean girl. That is so fetch, Gretchen, stop trying to
make fetch happen. It's not going to happen. And everything
everywhere all at once. Rock Acony what Rockakony?

Speaker 6 (04:33):
You know, the one with the chef and he makes
bad food point and.

Speaker 5 (04:38):
Then this is raccoon, sit on his head, control him,
and then he cooks good food.

Speaker 3 (04:44):
Do you mean?

Speaker 2 (04:46):
But up until this week, I've never seen Psycho.

Speaker 1 (05:01):
Considered the mother of modern horror films, in nineteen sixty,
Alfred Hitchcock made it quite clear that adult men who
lived with their mothers well a bit weird. Jamie Lee
Curtis's mum, Janet Lee is Marion Crane, a woman we
find in the hotel room having a rendezvous with a
ripped and shirtless divorcee Sam John Gavin, who is suffering

(05:22):
a little bit financially. When an opportunity presents itself to
marry and to take forty thousand dollar cash and skip town,
she takes it, eventually arriving at the completely vacant Bates
Motel run by Norman Gates. Anthony Perkins, a seemingly friendly
enough man with a passion for at taxidermy, who lives
with his overbearing mother. Yes, in hindsight, they're wor some

(05:43):
red flags based on the book by Robert Bloke, from
a screenplay by Joseph Stefano, nominated for four Oscars. It
went home empty handed, but it has lived in the
pop cultural psyche.

Speaker 4 (05:55):
Like very few films have rooms.

Speaker 1 (05:59):
Can you, without writing it down, finish this maths equation
forty thousand minus seven hundred.

Speaker 2 (06:11):
Thirty nine thousand and three hundred?

Speaker 4 (06:15):
Well done? Well done?

Speaker 1 (06:16):
Was that right?

Speaker 4 (06:17):
That is absolutely right?

Speaker 1 (06:19):
And I don't know why Marian couldn't do that sum
in her own head. I'm not sure why she had
to write that down and then flush it down the toilet.
We'll get to that later, but from the get go,
thank you so much for joining us.

Speaker 2 (06:33):
Thanks you, Peter Hellier. It's a pleasure to be here
and to finally meet.

Speaker 1 (06:37):
We have kind of over the a couple of years
now to follow each other on Instagram and message each
other occasionally. Basically started by a publicist told me a
channel tention, do you follow frooms on Instagram?

Speaker 4 (06:52):
This is a few years ago now.

Speaker 1 (06:53):
I said no, no, I don't, and she sent me
these you had sent You'd posted something about wearing a
beret whilst interview in the Backstreet Boys.

Speaker 2 (07:05):
You're wearing a backwards Cagle short cap.

Speaker 4 (07:08):
I went through a little stage where I.

Speaker 1 (07:11):
Wore the canole cap and was feeling kind of fine
about it at the time, and I think I may
mentioned this on this podcast before, and it wasn't until
we had Chris Rock on the show, who also wore
the can goal cap, and our guest producer Paid McGinley
introduced me to Chris when they promoting Madagascar with Ben Stilla,

(07:32):
and she said, oh, Pete wears the can goal cap
as well. I wasn't wearing it in this moment and
he just looked at me up and down and I've
never worn that cap again, he.

Speaker 4 (07:47):
Said, really?

Speaker 1 (07:50):
He really was like, no, I wouldn't be surprised if
maybe he hasn't worn the can goal cap again since
since that moment, I think I ruined it for him,
and it was ruined for me.

Speaker 4 (07:59):
I didn't be Chris.

Speaker 1 (08:01):
I've InterVID a couple of times, and the last time
I interviewed him for that kind of sore, kind of
horror film thing he did, I mentioned it to him.
I said, I this happened, and I'm I'm not trying
to shame you or anything, but I just want you
to know I don't wear the Cano caps anymore.

Speaker 4 (08:14):
And he was.

Speaker 1 (08:15):
He promised me he wasn't judging me, but he was
judging me.

Speaker 4 (08:19):
Yeah, he was judging me.

Speaker 2 (08:21):
I went through a face as well. I think that's
how I found I don't even I can't even remember
how I found the photo of you. But I went
through a period. I was working at Pedestrian, like a
color of news site in Gooda Commons, and I'd be
sitting opposite this guy and I started wearing the little
cap backwards, like I don't know what came home with

(08:42):
me to even consider. I don't even know where I
got it. And he just started calling me Samuel L. Jackson.
I can't be doing this.

Speaker 1 (08:52):
I feel Samuel Jackson does own that look now, like
that's who I think of more so than Chris Roe.
I think of Samuel Jackson. He's the guy who basically
owned is that look?

Speaker 4 (09:00):
I think.

Speaker 1 (09:00):
And you know, a white at twenty five year old
Australian chubby man should not have been wearing a Kego
cap backwards.

Speaker 4 (09:10):
I admit that, and I.

Speaker 1 (09:12):
Moved on, you know, And it's so it's so weird
and like in the way it's I find it really funny,
but it's also if I was a deep, a little
bit deep, a little bit deeper. I've made so few
fashion choices, like like, I'm like, I didn't I didn't
go I'm gonna wear hoodies and baseball caps, you know

(09:32):
as a fashion choice. It's just kind of they just
found me and I just kind of like, you know,
I've never been brave. It's the only fashion choice I
think I've ever made. But it was on TV for
like a year and Chris Rock kind of ended it
for me, which well he did a service I think
for all of us.

Speaker 2 (09:53):
Maybe yeah, maybe, But I'm like, it is hard to
go out of your comfort zone. I always say wear
a hat to try and learn a few can and
kind of like push yourself to be more confident because
people always comment on your hair on your hat. So yeah,
I think you got to take a risk, and you
took a risk.

Speaker 1 (10:08):
I took a risk I thought I've thought of, you know,
people have themed parties. Often thought of having a theme party,
which is like where something you would never usually wear
and that could be anything that could be It could
even be a hat, some people where it could be
as simple as a hat, or it could be you know,
some kind of really fuck off you know design feathery

(10:30):
feathery thing, you know, or pant, golden pants or something.

Speaker 4 (10:34):
I think it'd be a fun night, I think so.

Speaker 2 (10:36):
Definitely a little hot, short, little kyl spitting around hot
pants chat.

Speaker 4 (10:42):
That's it, sure, I mean, yeah.

Speaker 1 (10:44):
Yeah, hey, Psycho, why hadn't you seen this one?

Speaker 4 (10:54):
I mean, this is made in nineteen sixty.

Speaker 1 (10:56):
There's obviously the remake which Gus van Sande with Vince Vaughn,
the Shot for Shot remake. But this is like, this
is a major film, Like this is this is really
a big wee. It kind of dawned on me when
I was watching it, how big this film is. And
this is a real major one, And it doesn't surprise
me that some people haven't seen it.

Speaker 4 (11:15):
But why hadn't you seen it? Well?

Speaker 2 (11:18):
I didn't even know there was a remake. There's a
Vicsfawn remake.

Speaker 1 (11:21):
Yeah, in the nineties is very kind of earliest Vinceful.
It might have been post Swingers. I think it was
post Swingers. Yeah, Gus van Sant did basically a shot
for shot remake which I've never seen actually watching this,
maybe thing I should just go check it out. But
and also there's two there's two sequels which I think
both have Anthony Perkins in it, Psycho two and Psycho three. Yeah,

(11:43):
I mean this is a film that exists in the zeitgey,
so you must have known what were the things you
knew about this film like going in?

Speaker 2 (11:54):
Yes, so I was obviously tasked with finding a movie
for this podcast. And there's so much stuff that I've
never seen because I'm the kind of person that will
watch and when we get into my favorite films, you'll
see two of them I've watched probably more than anything
else in the world ever. But like I haven't even
watched Star Wars, for example, Like the gaps in my

(12:16):
knowledge are so wide preaching. But obviously I knew the shower.

Speaker 3 (12:21):
Scene in Psycho, so that.

Speaker 2 (12:52):
Kind of drew me in, and I guess I just googled,
like what are the best fels of all time? And
that came up. But yeah, I'd never had an opportunity
to watch it until an hour.

Speaker 4 (13:01):
And I think this is actually the surprisingly.

Speaker 1 (13:03):
We've done over near one hundred and twenty episodes of
this and this is the first Hitchcock film we've done,
so I was actually very excited. Yeah, we haven't done
Rear Window or north By Northwest or The Birds, and
I think this is I'm glad this is the first
one we're doing. This is you know, I think when
people think hit, they think Psycho. So yes, I'm very

(13:23):
interested to get into it with you. Let's talk about
your three favorite films. If I was the guest, and
I'm not sure if this is already out there that
maybe you speak about it a lot and it's just
kind of in my head, but I'm not surprised me
and Girls is there.

Speaker 4 (13:36):
It is such a great film.

Speaker 1 (13:38):
We covered it on this podcast with Sam Mack and
I was doing radio in Sydney at the time. I
got to interview Tina Fey when it came out, and
I was just so like surprise because I thought, like,
I'm seeing this Lindsay Loewen film. Okay, we'll see what
it's low and it's just so smart and so.

Speaker 2 (13:59):
Funnytally, it's just I just think it's the perfect field.
So obviously it came out in two thousand and four,
so I was in year four, so I guess.

Speaker 4 (14:08):
So you didn't interview Team Fae when I came out.

Speaker 2 (14:10):
No, sorry sorry, probably one passion could do that.

Speaker 1 (14:15):
The Grade fours weren't given the opportunity, which is which
is a shame.

Speaker 2 (14:22):
So I I think about it the Locks. I still
watch it probably like two times a year, i'd say,
And when it came out, I don't think the humor.
I don't think I really understood the humor beyond kind
of like the slapstick elements of it. Like I didn't
realize that the mean girls weren't cool or kind of
it was the joke was on them. I was just like,
I want to be a mean girl, like I want
to be Ridina George. I love their fashion and the

(14:45):
whole high school experience, so kind of learning later that
it was had to reflect and be like, oh no,
they're actually mean, Like you don't even want to be
like Caddy Heron, you kind of want to be like
the ard freaks. But yeah, I feel like every time
I watch it, it's got that mix of nostalgia as
well as it just yeah, it stands up like it's
funny and it's smart. Yeah, and I love the actors

(15:08):
in it.

Speaker 1 (15:09):
It's everyone's so good it's it's funny watching it now
if you're get a chance to watch it recently, if
you haven't seen it, go see it's it's so good.
But to see Reggie mcadam's play like, you know, not
kind of a sweet Regie mcadam's role, like she's kind
of the she's the queen, mean girl is it's kind
of weird.

Speaker 4 (15:26):
Now.

Speaker 2 (15:26):
It's so weird, isn't it? Because you then watch her
in the Notebook and you like see her in interviews
and yeah, every other character that she plays, it's like
you can't reconcile the two.

Speaker 1 (15:36):
Yeah, yeah, but she I remember seeing her in Wedding Crashes.
I think was the one that I really noticed her
and I thought, oh, she is, like I can understand
why she's cast in that role because she is like
every guy, every straight guy would go, well, that's who
I want to be my girlfriend.

Speaker 4 (15:54):
It's like that that girl. And then and she's kind.

Speaker 1 (15:58):
Of played a lot of those roles, and she's some
diversity in her roles as far as she would strive
for more interesting stuff, you know, later on in her career,
but she certainly had that kind of she was the
golden girl for you know, a long time notebook and
wedding crashes and so yeah, to see her and it's
blonde with the blonde eyebrows as well. Is is really

(16:22):
it's got to take you back a little bit. Amy
Poehler is so so funny.

Speaker 4 (16:27):
Is the cool mum? Yes, yes, the other one.

Speaker 1 (16:30):
Who makes me laugh a lot, like Tina fe is
so good at She's obviously a very good joke writer,
you know, through years of Saturday in my life. But
her ability the pepper that at the right moments, those
assembly scenes with Tim Meadows, you know, playing I think
he's the principal. They're just perfect jokes at the right time.

(16:54):
They're never superfluous, you know, it's all still part of
the plot and character building, and it's just it's so good.

Speaker 2 (17:01):
It's genius. So I would watch it when we had
it on DVD, and I remember being downstairs at my parents'
house and there was this little tiny like this is
obviously before you could be streaming and like kind of
like clicking exactly where you wanted to go in the movie.
And there's this scene when Caddie goes to the Halloween

(17:22):
party and she's dress up as the kind of like
Vampire Bride and she walks out because this guy sitting
on a sense and he sees her and he goes
and like so backwards, Like it's the most stupid slapstick
thing I've ever seen. But I just have to bees
really like clear memories of just going back and like

(17:44):
making the CD go back and back and just actually
physical tunes like rolling down my cheeks. It's it's like
a core memory of my childhood.

Speaker 1 (17:52):
Well, and that doesn't that doesn't surprise me because what
I've observed of you with you the Summer's content that
you put out into the world, that you are like
a celebrator of I think pop culture, you know, and
and and you don't seem to me to be an
overly cynical person. No, you you do embrace You embrace

(18:18):
pop culture and a bit of silliness.

Speaker 2 (18:21):
I love silliness. I can't help myself. I think like,
I've got a show with Flex Mummy on cater It's
called Flex and Frooms, And kind of when we first
started recording, I was like, oh, I've got to be
a bit more cerebral. I've got to come with kind
of like social dilemmas and talk about people's behavior, and
now that we've been doing it for a year, I'm
just like, that's just not my I can't. I find

(18:44):
it really hard to like criticize things. I just would
prefer to find the funny things happening or kind of
like try to find a way to be entertaining as
opposed to to I guess I'm just trying to find
my own way to talk about issues or like discuss
serious things, if that makes sense.

Speaker 1 (19:02):
And I think I think it's really refreshing as people
who and I've said the gravitation towards it, you know,
people like you more recently because it's like I like
people who. There's so much stuff to be down about,
and you know, there's ways of doing comedy and you
know I've done before where you tend to be angry
about something that happens a lot, you know, but to
find somebody who just is genuinely celebrating that doesn't mean

(19:26):
you can't be taking the piss, you know, and all that.
But you like Brendan cow you know, he's a friend
of mine and we made a movie together, you know,
in twenty ten, and he made like he loves his
music and he made like a like little.

Speaker 4 (19:40):
At the end of it wasn't quite the wrap party
was the end the end of shoot party.

Speaker 1 (19:44):
And he made like a mixed kind of tape which
is was on CD at the time, and it had
like bands, and I kind of thought when I saw,
I thought he was kind of taking the piss. I thought, ah,
like it had maybe it had like I'm making this up,
but like Duran, Duran and Kylie and you know, but
also like Midlake and and you know, more recent bands

(20:06):
and Bonavu and stuff like.

Speaker 4 (20:07):
That, And I thought, are you taking the piece?

Speaker 1 (20:11):
Are you kind of saying that Midlake's cool but you
know and Duranda and this is we laugh at that
and then and he's like, no, these are like genuinely
brilliant songs that I love.

Speaker 4 (20:19):
And he's like, and I.

Speaker 1 (20:20):
Kind of thought, yeah, like you don't need to be
cynical about, you know, everything, you can just celebrate celebrate it,
you know, find the things you'd love, and.

Speaker 4 (20:31):
Yeah, celebrate it totally.

Speaker 2 (20:33):
I do sometimes like to. I think people who engage
with the stuff that I've made think that I'm taking
the piece out of everything as well, which is kind
of a fun place to play, like I'll post, Yeah,
I post songs on my story and like, I quite
like the songs, but they're also kind of not guilty pleasures,
but they're like old cuts of Australian pop music in

(20:54):
the early two thousands, and something about them is so
funny because some one missing me saying, I don't know
if you intend to be funny every time that you
post these songs, but it just it hits.

Speaker 1 (21:06):
Yeah, yeah, it's funny. The term guilty pleasures go. I've
kind of almost I've started to kind of rally against
that term in a way, and I think you almost
alluded to it yourself. It's like, no, what, don't take
guilt if it gives you pleasure, And I think it's
part of us growing up. You kind of go, well,
I it's a bit embarrassing that I you know that,

(21:26):
I like, I listened to so much bon Jovi growing up.

Speaker 4 (21:29):
So I'm going to kind of like come to this own.

Speaker 1 (21:30):
I'm gonna put in a little category over here because
I want to. I'd rather people know that I listen
to more of the National now than I bonjo But
I know they can all exist in the same head,
you know, I can I can have you know, the
latest National album in my head and still have space
for living on a prayer.

Speaker 4 (21:51):
You know, it can still it can still be in there.

Speaker 2 (21:54):
I like to think that I'm pretty good at it too,
Like I'm happy to listen to Britney Sears all their
old classics. But I do find when I have people
over for dinner, I struggle because I'm like, I've got
to put on like something really low key but also
kind of a bit R and B and all these
kind of things that I just go back to the same.
I can't even say the band is Karu Kabar.

Speaker 1 (22:15):
Oh yeah, yeah, yeah, I seen. I haven't committed to
learning the pronunciation yet. I'm going to see they hang
around for long enough.

Speaker 2 (22:24):
Exactly. I haven't even seen them live in concert, and
everybody laughs when I say I for some reason, my
brain can't wrap my hand around it. But yeah, I
think I still do have a bit of like, oh
my god, maybe the Brittany. You know, some songs actually
are also just good to listen to on your own,
Like I'm sure there's some Bonjo retracks that you want
to be alone so you can fully kind of daydream.

Speaker 1 (22:45):
With them, you know, yeah, yeah, absolutely, and and to
be honest, well I don't listen to them as much
as I used to, but I will always go to
the concert because the first concert I ever went to
was bon Jovi in nineteen eighty eight, which is probably
you you were born or not even born yet.

Speaker 4 (23:05):
So I kind of have this. I often think of
the like in life, not.

Speaker 1 (23:10):
Just as far as pop culture goes, but like the
fourteen year old me and I kind of always have
these little conversations with the fourteen year old me of
like I think about what he would be thinking about
what I'm doing now and all that.

Speaker 4 (23:21):
So musically, that.

Speaker 1 (23:23):
Kind of you know, is quite prevalent because it is
like that, that's the years where I was learning about
music and falling in love with music, and being my
first concert, I'm like, no, I'm at a duty to
my fourteen.

Speaker 4 (23:38):
Year old self. I will go see bon Jovi, you know,
every time.

Speaker 1 (23:41):
And There's been conscerts where I've gone to and I'm like, oh,
it was all right, you know, I.

Speaker 4 (23:46):
Wasn't into it. But the last love was at the MCG.
It was great.

Speaker 1 (23:49):
I loved it, you know, and I was there with
some of my family members and it was yeah, it
was great. So speaking of celebrating and all your three
films have joy. The next two Austin Powers.

Speaker 2 (24:03):
Yeah, that's my number Well, that's my number one movie
of all time.

Speaker 1 (24:06):
Austin Powers are actually this is what in order one, two,
three these so we stay with me and girls, But
that was number two.

Speaker 4 (24:13):
Number one was Austin Powers.

Speaker 2 (24:14):
Yes, Austin Powers. I think it came out. Did they
covered in like ninety eight? Maybe?

Speaker 4 (24:21):
Yeah?

Speaker 1 (24:21):
I reckon, Oh yes, I reckon around that time.

Speaker 4 (24:26):
I may have thought possibly a touched earlier.

Speaker 2 (24:30):
Yeah. Well it was the first movie that I remember
watching and the movie that is probably the I've probably
watched it, yeah, the most through my childhood. I'd always
come back to watch it. To me, it is the
absolute perfect film. It hits all of my sensibilities in
a way that nothing else has ever been created. Canon.

(24:51):
I love the music sequence, I love the sixties fashion.
I'm a I'm a Mike Myers like obsessive. I I
don't think he's ever done anything, but I don't think
it's funny. I haven't seen like the Love Guru though,
I've only really watched the Austin Powers and Wayne's World.
But I will go back. I went back and watched

(25:12):
All Some Powers about a year ago, thinking oh, would
be really outdated and I wouldn't find it funny by
you know, when you've watched something, are you engage with art?
I will call it art and you're like, wow, I
see how this has impluenced my life. I see how
this influenced my comedy and kind of so much of
my life I haven't been influenced by Austin Powers, like

(25:34):
the poor humor, the blue humor, everything about it. And yeah,
obviously it's got a nossalgic element again, but yeah, it's
pretty amazing when you find something that was kind of
the first thing you ever watched and you realize, wow,
this has had quite a sizeable effect on the stuff
that I make.

Speaker 4 (25:51):
I guess yeah, And.

Speaker 1 (25:52):
I want to pick your up on something because I'm
interested in exploring this. You mentioned poor humor, like, no, no, no,
do not be embarrassed, because I love poo humor and
I was literally speaking to some comedians about it yesterday
and I detest anybody who does not enjoy who humor,

(26:18):
Like I am, get over yourselves. What do you find?
Because while is often like really curious as to why
I find somebody like shitting themselves so funny like you,
in a very wearly kind of why. He wants to
dig deep into my psyche and says, what is it?

Speaker 4 (26:37):
What is it?

Speaker 1 (26:37):
And I say to him because as an adult, it's
less funny for kitschens his pants. But as an adult,
you know this shouldn't happen. So you were going to
remember this day for the rest of your life. Like you,
there's panic involved, there's emotions, there's probably it's triggering probably

(26:59):
from it. You know, a childhood point of view, is
probably trauma involved. But there's a situation that you need
to kind of create an exit strategy, like there's an
escape plane that needs to be hatched.

Speaker 4 (27:10):
There are so exactly exactly.

Speaker 1 (27:13):
I sincerely and I was I and I've spoken to
people who you know, even here in my heart radio,
and you know, I'm not sure how keen they are,
but I am keen to do a podcast called Whoops,
I Shat my Pants And it's just it's just people
telling stories about the time they shat their pants. And
I'm not saying it's for everyone. I've got a feeling

(27:34):
you would listen to it.

Speaker 2 (27:36):
I thought, like count me on as the first guest,
and I'll share everything. Did I appreciate that I've experienced
in my life? Honestly? I saw him to you the
other day, which was like, I don't get people who
don't find sart's funny. It's like you still do them,
but you don't get any joy out of it.

Speaker 1 (27:54):
Yeah, well yeah, yeah, yeah, yeah, it's like it's I
remember I used to.

Speaker 4 (27:59):
I used to.

Speaker 1 (28:00):
One of the joys that I had growing up was
like farting into a phone, which makes no sense because
the other person down the other end, all their hearing
is like a little bit of distortion and you are
left with the futrid smell.

Speaker 2 (28:15):
Yeah, exactly, Pete. I literally yesterday I was on FaceTime
with my mum. It got to a bit in the
conversation where it's like we had nothing to say, so
obviously like I farted into the phone and yeah, she
was like, what was that?

Speaker 4 (28:32):
If?

Speaker 2 (28:32):
I didn't even register? Right, I am twenty eight years old,
Like this is Yeah. I'm kind of at the stage
where I talk about it on my radio show, like
I want to graduate from pusuma, and yet it is
such an integral part of my personality that I think
it's what's it called when something's not fruitful, it's futile,

(28:55):
futile exercise.

Speaker 4 (28:56):
Yeah, I really encourage you not to move on for that.

Speaker 1 (29:00):
Like a good mate of mine, previous guests on this podcast,
Ben Hurley, he's a great New Zealand comedian. He's in
a few more shows, and he said, I've noticed every
every there's always one routine about poo in your shows.
I said, to be honest, sometimes I've got like a
backlog of like Pooh routines. But like because I feel

(29:21):
like if you do too much of it in one show,
like you lose parts of the audience. But if you
if you time it right and it's it's a good
enough for routine, you know you can do you talk
for enough and then you know eventually you move on,
Like you can't kind of you can't keep going back
to the poo well in the same show.

Speaker 4 (29:37):
So I'm gonna.

Speaker 1 (29:38):
Got pool routines locked in until about twenty thirty two.

Speaker 2 (29:43):
That's important. We all meet somewhere to Oh. I actually
find like I find it disgusting. It's weird. When I
think of Pooh, I think of the emoji. You have
quite an immature, like kind of cute kind of relationship
to poo. Yeah, whereas the shitting of the pants, like, yeah,

(30:05):
the reality of it is actually quite terrifying.

Speaker 1 (30:07):
It's traumatic, and it's like if you shit your pants,
you know that day, Like it's never gonna be not
in your memory unless you know, like you psychologically this
can block it out somehow, but it's like, yeah, you're
always gonna You're always gonna know. And there are people
I love, people who speak quite openly about like I'm

(30:29):
gonna say, as an adult, I've never shot my pants,
but I there are people I know. I've got a
brother in law who just he's got twenty stories about
as an adult, him shooting his pants, and he quite openly,
like tells the story. Like you'll meet him and within
three minutes he's telling you about the time he shot
his pants.

Speaker 4 (30:47):
Dinner, over dinner anywhere. It could be in church, you
could be a wedding, or something could be a funeral.

Speaker 2 (30:55):
In his See, I have limits, like no food can
people that don't be a romantic setting.

Speaker 1 (31:02):
I mean there are times sometimes you had to stop
the commedy. You okay, let's not now, not now. I
said something I remember the other day of my one
of my sons when he was like five, and he
said to me, I got a bit of a whiff,
and you know, I was like, oh.

Speaker 4 (31:17):
Mate, do you need to go to the toilet? He goes, no, no, no,
I think it. I think you do.

Speaker 1 (31:25):
I said, give you a look, give me like a
look and there was like shit in his pants. Said mate,
what are you doing? Like you know, you know you
need to go to the bathroom. You're five. And he goes, oh,
it was just a shot. I'm mate.

Speaker 4 (31:40):
No, you give me understood.

Speaker 1 (31:42):
A shot is always an accident. It's not a choice.
You don't go this is a shot. I'm going to
let this one through. No, it's a complete misunderstanding of
what a shot is.

Speaker 2 (31:56):
He needs an education.

Speaker 4 (31:58):
He really does, he really does. All right, let's move
on to your third film.

Speaker 1 (32:02):
Before we get into the film, we're here to talk
about a movie that took all before it won the Oscar,
everything everywhere, all at once.

Speaker 4 (32:11):
I saw this at the cinema with that knowing much.

Speaker 1 (32:14):
I saw the trailer and thought that looks really interesting
and was bloody hell was I blown away?

Speaker 4 (32:19):
What a joyous, beautiful movie?

Speaker 2 (32:21):
I did the exact same. I didn't know anything about.
It was here in Heaps of Hip, so I went.
I just have this memory of feeling like my chest
was being gripped of this kind of like being gripped
by the emotion of that film and the kind of
crescendo of when the mum and the daughter a kind
of like there's this tension of them finding the whole

(32:43):
way through and then when they had this kind of
like juncture junction, they come together and there's this kind
of like fight between them, but this really like deep
love that I feel they had to go through all
of this Redmarold to find it. And I thought as well,
it was like a really beautiful illustration of you know,

(33:03):
the daughter is quite nihilistic and she's depressed, and I
thought it was a really beautiful illustration of her coming
out of it. Or to me, it was a fantastical
just yeah, illustration of so many big emotions in a
way that was so fun and so creative and you

(33:24):
just had to Yeah, it blew me away. I was crying.
I find it really I find crying embarrassing, Like I
struggle with it, especially in public, Like if I'm crying
in a movie I'm like, this is like my shouting experience,
you know what I mean. I'd prefer to shout in
a movie then cry. Okay here I was like I
was a wreck and I just had that emotion of

(33:45):
being like I want everyone to go and watch this movie.

Speaker 4 (33:49):
Yeah, it was such a special movie.

Speaker 1 (33:51):
And when we're watching a game, well, this is a
fun film, Like it's bonkers and it's got some crazy ideas.
And but you're right about like that those moments between
the mother and the daughter, And for me it was
it was her husband and her when she The moment
that got me that I thought this has gone from
like a fun, crazy film to like something that actually

(34:14):
has gotten into, you know, inside of me was when
he said, you see my kindness as a weakness, but
it's actually a strategy. And I think that is such
a beautiful message at this time and and you know,
in history to put out there, because again we've spoken

(34:36):
about cynicism and there's so much vitriol and hate and
and and kindness is often seen as as.

Speaker 4 (34:46):
Oh, you know, like cute and.

Speaker 1 (34:50):
Disposable in a way, and and not as as a
way of actually navigating life. You know, it's just like
you know, almost like, oh, well it's nice to be kind,
but to really get through life you need to be
an asshole or do this and do that. So for
him to point out that, to be honest, it's it's like,
it's not when Kate Lanchett pointed out when she wanted

(35:11):
Anosci years ago that casting women in you know, as
leads and good roles is not just a nice thing
to do. It is actually it is financially rewarding. Like
there's an audience for this, so actually, don't if you
don't want anything to see there's like the right thing
to do. See it as economically, you know, a positive

(35:33):
thing and you know, a forceful thing to do.

Speaker 4 (35:35):
You'll make money.

Speaker 1 (35:36):
And it's like it's like this, it's like, well, if
you're kind, it's not just about oh well, you know,
people will like you. It's actually about it. It's a
way of actually navigating life. It's not just you know,
it's not flimsy. It's actually a considered choice.

Speaker 2 (35:54):
Absolutely absolutely, And often think about people who have like
been to really traumatous experiences or you know that I've
seen in the media or I've seen in my life,
and it always strikes you when they are very very
kind because I think to myself, Oh, you're someone who
you know, should be allowed to be upset with the

(36:15):
world and kind of yeah, put out. And you're the kindest,
most kind of patient person that I know. Yeah, And
that's always very touching and kind of Yeah, it's inspiring
to make you want to be like, oh, you know this,
this is easy and it makes other people feel Yeah,

(36:35):
it's inspiring.

Speaker 4 (36:36):
Yeah.

Speaker 1 (36:37):
I say to Dan McPherson, who's you know, he was
in Neighbors and he's a great actor and lovely, lovely
bloke and one of the best looking humans I've seen,
And remember always saying to him. I say to him,
if I if I look like you, I wouldn't be
as nice as you.

Speaker 4 (36:55):
It would actually get to my head a little bit.
I said, I can't.

Speaker 1 (36:57):
I need to kind of like my kindness is it
has to be a strategy. I can't get away with
being an asshole. So if I was you, then I
would be like, you know, fuck this.

Speaker 2 (37:10):
I don't have time.

Speaker 1 (37:13):
All right, Let's talk about this incredible film from nineteen
sixty directed by Alfred Hitchcock. It is a movie that
has lived in the public psyche since the day it
was released, Rooms did you enjoy Psycho?

Speaker 2 (37:30):
I really, I didn't have any expectations. I went into
this in a work scenario, thinking I don't have any
choice but to finish this movie, and from the first
like five minutes, I was into it. Oh yeah, I think.
So I didn't realize I've got a really bad habit.
I'm sure you've interviewed other people that do this of

(37:51):
like googling through movies.

Speaker 4 (37:53):
Yeah, yeah, it's.

Speaker 2 (37:54):
Really I think because I was watching it by myself,
so I know, I didn't have anyone to be like,
stop doing that, stop doing that. But I googled the
main woman straight away and realized it was Jamie Ye
Curtis's mum.

Speaker 4 (38:08):
Yeah.

Speaker 2 (38:08):
I was like, oh my god, like I would not
have even I don't even really think they look similar.
And I deal with her because I really liked her
performance from the start, like I found her really, you know,
I was intrigued by her, and I thought, I now
I think that I noticed the movie. I was like,
all the acting I think is really great. Yeah, and
I think a lot of the stuff that I've seen
from that era, which admittedly isn't much. I the acting

(38:32):
in those kind of movies feel so different to realistic acting. Now, yeah,
so for it to be kind of believable, Oh this
is this feels modern or something.

Speaker 4 (38:41):
Yeah, it's interesting.

Speaker 1 (38:42):
Sometimes you get sometimes even within a movie, you get
those performances which feel like they are of that certain
acting style. And then sometimes occasionally you get even one
performance within that movie that you're going to go, well
that person.

Speaker 4 (38:58):
I think there's one for me.

Speaker 1 (39:01):
It's a wonderful life where somebody it's not James Stewart,
but it's one of the actresses who just feels like
they are you could you could step into the screen
in twenty twenty three and not have to change that
much about your style of acting.

Speaker 4 (39:16):
But it's very rare. But I agree.

Speaker 1 (39:18):
I think performances here are really good, you know, and
I think they're just you know, unsurprisingly, there are smart
choices made the whole way through.

Speaker 4 (39:29):
So what was really interesting for me was the star.

Speaker 1 (39:33):
So you had this bird's eye view of Phoenix, Arizona,
and there's a we'll get to the bird motif throughout
this film, which obviously is reasonably important, and then you
go into this hotel room and to see this little
rendezvous and they give you a time and which is Friday,
December eleven, two forty three.

Speaker 4 (39:56):
I think it was, which I thought was interesting.

Speaker 1 (40:00):
I musture of you like the Coen Brothers did with Fargo,
where they had based on a true story even though
it wasn't And I thought the reason for doing it
was to make it feel like in nineteen sixty, to
make it feel oh, this is this is like maybe
this is true, and to give it a sense of
time and place and and oh this actually happened, even

(40:21):
though I believe the book was based.

Speaker 4 (40:23):
On on a on a real story, but.

Speaker 1 (40:27):
This is it is the work of fiction. But did
you did you kind of think about what that meant?
Did a meaning thing to you? To give that make
you think? Why is there? Why are they timestamping this
at all?

Speaker 2 (40:37):
I should got this?

Speaker 4 (40:39):
Which is fair enough?

Speaker 1 (40:40):
This is like this is always say always say that
people on this podcast have watched a movie generally once.
Occasionally somebody will give it a second view, so you
are still processing it.

Speaker 4 (40:53):
Well.

Speaker 1 (40:53):
The only reason I can tell you that they actually
had the time stamp because thought it's a really clever move,
because it makes you think, oh, this is maybe this
is a true story. Was when she's driving later on,
in the background, there's some Christmas decorations. So Hitchcock thought, well,
all time stamp, but that's in December and that, you know,
so that they kind of explained. I didn't even notice

(41:13):
the Christmas decorations to be ones, but that's the reason
it's there. But we do go intough this hotel room
and we find maryon crane with Sam and they're having
a bit of a rendezvous.

Speaker 4 (41:24):
What were your what did you think of that?

Speaker 1 (41:27):
And this is this is nineteen sixty, so this is like,
this is these are scenes that we had to be
you know, past the censor, and then there's a whole
story in regards to that. But you know, it was
it was you know, it was was resourced for nineteen sixty.
She's lying on the.

Speaker 2 (41:43):
Bed Brasi air out.

Speaker 4 (41:44):
Yeah.

Speaker 2 (41:46):
But the first thing I noticed from that scene, the
one with the one thing that I remembered that kind
of I thought, oh, maybe this is Obviously I'd heard
Alfred Hitchcock a million times, but I didn't really know anything.
I've never seen any of these other films.

Speaker 4 (41:58):
Did in no way.

Speaker 2 (41:58):
It was so famous that the first thing I noticed
was the panning shot where they panned like directly into
the window and then through the window into the room,
and I thought, oh my god, that would have been
so hard to do at that time to get it
that smooth. So I said, oh, that's a that's a feat. Yeah,
I mainly I'm so I've been watching a lot of
sex in the City, so I think I'm just immune

(42:19):
to any kind of like racy scene, Like everything looks
so pg compared to that. Like I watched Second the
City straight after to like cleanse my mind of the scariness.

Speaker 1 (42:29):
Well what was I thought was interesting because I think
when you first go in there, you think there's some
kind of a sort of affair going on here, like
that there's a it's an affair as far as there's
a third party that is unaware of that this is happening.
But I think that again, he makes these smart choices,
and I guess I've writed did where because.

Speaker 4 (42:51):
We don't have a lot of time.

Speaker 1 (42:53):
You know, this gets going pretty quickly, this whole story,
and we want to like Mary, We need to like
Marian because she's about to do something, you know, criminal,
So I think at first we are. He lets us
for about a middle or too think that this is maybe,
you know, something a bit controversial is happening here, and

(43:13):
then you realize, oh, no, he's a divorcee and he've
got some financial issue issues, and you know, she's she
just wants to this to be the next time we
will have dinner, you know, we'll have lunch with my sister.
And so there's actually nothing controversial really about it as
far as you know, just I mean, and if this
is nine twenty twenty three, wouldn't wouldn't even blink at

(43:34):
the beginning of that, We wouldn't go, well, there's an effect,
you know, we wouldn't worry about what up?

Speaker 2 (43:38):
Did you guys mean on? Give us the tea?

Speaker 1 (43:42):
Yeah, And then so he's kind of like he is
protecting Marian from, you know, the harsh judgments which would
have been harsher in nineteen sixty, even to the point
where the guy who comes in with the forty thousand
dollars is the biggest jerk, like in the world, like
she's about to steal his money. But so he makes

(44:05):
it very clear that we don't like this guy's awful,
he's a sleeze. He's got forty probably doesn't mean much
to him. So we kind of forgive her for that crime.

Speaker 2 (44:19):
Yeah. It's surprisingly at the start though, I didn't think
that she was going to take the money, even when
she was driving away. Oh it was only at a
certain point that I realized, oh, she's actually going to
run away with it. Like it kind of dawned on me,
probably a bit later than it should have. But yeah,
that guy, he I didn't feel bad at all. Yeah, exactly,

(44:39):
because you're like, oh, it's like when someone flaunts money, yeah,
and then he's a tight us. You're like, well, you's like,
I've just gone through the ridden role of like having
to appease your ego, so I should be compensated, you know.

Speaker 1 (44:53):
Yeah, Yeah, And like the difference, like if you can
imagine somebody coming in with hat in hand, and this
is out of last forty thousand dollars and they need this,
they're investing this, so hopefully it works that they can
pay off the you know, pay for the farm or.

Speaker 4 (45:07):
Whatever it might be.

Speaker 1 (45:08):
That's a very different They put you in a very
different headspace towards Marion. But because we're presented with this
horrendous man, we're like, yeah, go for it.

Speaker 4 (45:19):
Taking forty thousand dollars. Where we are on team Marian
right now.

Speaker 1 (45:24):
So and then and also like later on when she's
she's going to leave the hotel to go back, and
and like she even said before her demise, she's actually
kind of said she she's going back to make she
untangle herself in the trap that she got herself into.
So there's even even up until that point, Hitchcock is

(45:44):
you know, we are always.

Speaker 2 (45:46):
On team Marian totally, totally.

Speaker 1 (45:48):
And she gets obviously, she leaves, she gets seen by
the boss, her boss, and then pulled over by the cop.
Which the CoP's not very he's investigation of her. Like
he gets the number five. I'm not sure what he does.
He gets the license, he looks at the number plate,
and then then she just drives off.

Speaker 4 (46:06):
I mean, I know that's what I was.

Speaker 2 (46:08):
I was waiting for him to come back and you know,
put all the pieces together, but he just yeah.

Speaker 4 (46:15):
Always to go. She goes.

Speaker 1 (46:16):
But then he kind of sees her trading in this
car and stands on the other side of the road
just looking over. It's a very quick trading, by the way,
I mean, I wish you can't rent a car that quickly.

Speaker 2 (46:31):
O Life's the live itch is like he's never the
car salesman had like never felt that much pressure on
the had never been on the receiving end. Is that
much pressure?

Speaker 1 (46:41):
I see the miss in I've got a real thing.
I do a return to the show. I think at
the moment, deconstructor O gaming, I'm still playing Perth. Howe
about We're coming to you soon?

Speaker 4 (46:49):
Well?

Speaker 1 (46:49):
I talk about how long it takes a check into hotels,
like considering they all have your everything, everything they could
possibly need is they have when you book the hotel,
and then they take a long time when you're checking in.
But I think the car rental industry have seen that
and gone, I think we can do worse than you
because I feel like when you go rent a car,

(47:11):
it's very simple. Again, you have my details, I booked
the car, I assume the car is there, Just give
me the keys and it's it's like I feel like
to work in the car rental industry, like you can't
type like that. They must like test your typing and
if you type too fast you're not allowed to work.

(47:32):
It's like they will just it's just like one finger
typing at budget or hurts, you know.

Speaker 4 (47:38):
It really it is.

Speaker 1 (47:40):
I've had a few infuriating experiences with car rental places recently,
but I won't let that still time from talking about Psycho.

Speaker 4 (47:48):
Then they so let's get to the Baits, the Baits motel,
hotel motor. I think it's a motel.

Speaker 1 (47:53):
When you met Norman Baits, did you know We'll get
to We'll get to the twist later.

Speaker 4 (47:58):
But do you know like the twist? Did you know,
like you near the shower scene? Yeah, I guess. Yeah.

Speaker 1 (48:06):
The next big thing to know is the twist that
were you aware you? Do you think his mother was
up in the the in that house?

Speaker 2 (48:15):
Yes? I did. I ruined the surprise though for me
because I watched the movie in two parts. I watched
it two nights ago and then I watched it the
second half last night.

Speaker 4 (48:25):
Yep.

Speaker 2 (48:26):
In the bath and my apartment is like a nineteen
forties kind of brick. It's got the bathroom is untouched.
It's the same bathtub since back then. And I think
the motel looks kind of forties ish, even though it
was said in the sixties. It kind of looks like
a rundown, that kind of eric type of thing. And

(48:47):
the reason I don't I don't have a showercun because
of the movie. So obviously it's been deep and less
psyche for a long time.

Speaker 4 (48:53):
Is that is that true?

Speaker 2 (48:54):
Yeah? Yeah, I can't have a showercut and that's terrifying.

Speaker 1 (48:58):
Wow, yeah it is, like and apparently like yeah, like
people having showers. It had like a massive impact on
women having showers. Janet ly I would not have a
shower for years, like really yeah, yeah, oh yeah, I
had a massive impact on her.

Speaker 2 (49:14):
Well, okay, so I figured out that the second twist
because I was looking at Norman Baits and I was like,
he kind of looks samiliar. And my cousin had sent
me a picture of my dad when he was young
the day before and I'll show you just so you
can I can get you or actually picking they were
kind of similar, most kind of dark hair, skinny type looking.

(49:36):
Here we go, So here's Norman Baits, you know, yeah, yeah,
that's him, and then my dad. Look my dad kind
of looks like a serial killer. But that's similar, right, yes, yes,
types look.

Speaker 1 (49:51):
In fact, he's yeah, and you're right, he's giving off
like a Steelia serial killer looked more so than Norman
Baits in that photo. I'm not sure that's Norman Bates
or just Anthony Perkins. I'm not sure if Anthony Perkins's
character there, but wow.

Speaker 2 (50:05):
Also his Anthony Perkkin's like in heaps of other movies
when he's older.

Speaker 1 (50:09):
He didn't have He came back and did Psycho two.
I think Psycho three as well. He's insane. He worked
a lot, but there's nothing, there's nothing that particularly stands
out that that would rival anywhere close to Psycho in
his career.

Speaker 4 (50:26):
So it worked, but nothing that kind of was, you know,
the Norman Baits level.

Speaker 2 (50:32):
Well, that's why, that's how I came to twist, because
then I started looking at photos of this Anthony guy
and I saw him in the other part of the movie.

Speaker 4 (50:41):
Yeah right, yeah, yeah, which is.

Speaker 2 (50:43):
A bit disappointing because I'm not sure I would have
seen it coming. I was a bit like daf through
this meet me to be honest.

Speaker 1 (50:49):
Well, it's so I was so interested because I watched
this when in my teenage years, and I knew there
was something to do with the mother Side. I forget
if I completely saw it as a twist or not,
or like if it worked on me. But yeah, now,
now sixty three years after the movie was made. Yeah,

(51:11):
I wonder how many people will still you know, I
don't know that there's I mean, the fact is that
there are there are You do hear the mother talking,
you know like you do hear And that wasn't Anthony
Perkins talking. That they got I think three different actresses
and they kind of mixed in a mix of all

(51:34):
three of them.

Speaker 4 (51:35):
So there is like I'm sure, I'm not sure if
that's cheating. I don't know. I think it is because
where's the audience hearing that.

Speaker 1 (51:45):
I feel like potentially that Anthony Perkins should be made
to do that voice.

Speaker 2 (51:52):
I think so true. Maybe the one kind of tiny
giveaway was that it was so loud, like Marion hearing
it from down in the thing, but it sounded like
she was in the next room. Yeah, maybe that was
a bit of a giveaway.

Speaker 1 (52:07):
Yeah, listen, actually let's have listened to This is the
mother and the Norman arguing from inside the mansion.

Speaker 6 (52:14):
No, I tell you no, I won't have you bringing
strange young girls and patapa by handlelight I suppose.

Speaker 7 (52:22):
And the cheap paratic fashion of young men with cheap
barotic mind father please, And.

Speaker 6 (52:28):
Then what after Sapa music with Firs.

Speaker 7 (52:31):
Whether she's just a stranger, she's hungry and it's raining out.

Speaker 6 (52:34):
Matter, she's just a stranger as this man though desire
strangers as if Oh, I refuse to speak of disgusting
things because they distrusted me. You understand, boy, go on,
go tell us you'll not be appeasing her ugly appetite
with my boo oh.

Speaker 1 (52:51):
My son.

Speaker 6 (52:53):
Or do I have to tell her because you don't
have the guts a boy, you have the Dutch boy?

Speaker 4 (52:58):
Shut up?

Speaker 8 (52:59):
Shut up.

Speaker 1 (53:00):
There is almost overlap in a weird way, which kind
of I don't know.

Speaker 4 (53:05):
I feel like it's confusing.

Speaker 1 (53:06):
It's confusing that they're like, are we to believe that
Norman Bates is a well, I guess we.

Speaker 4 (53:15):
Find it later on. I guess.

Speaker 1 (53:16):
I guess it's not a performance. It's actually it is
like it is. It's a schizophrenia, I guess. But the
fact that there's almost like a tiny bit of overlap
make you know, I don't like, because it does like
whether it's you know, obviously it's a mental condition that
he has to find out later, but he still can't.

(53:38):
He still needs to be talking as Norman and then
talking as the mother. You can't be doing it at
the same time.

Speaker 2 (53:43):
Yeah. Maybe if he had snapchat back then then it
was like okay, but no one can modulate their voice
like that. Yeah. I was so surprised though with the
movie that the shower scene was so early on. I
think that's what intrigues.

Speaker 4 (53:59):
Me, exactly what I was going to ask you about.

Speaker 1 (54:01):
And this shocked audiences in nineteen sixty generally was a
big star and it was deliberately cast. Hitchcock deliberately cast
a big star because you don't you know, particularly back then,
you didn't.

Speaker 4 (54:12):
This is pregame of Thrones.

Speaker 1 (54:13):
Obviously, you don't kill off main characters and big stars.
And this happens like you through a third of the movie.
Before this happened so often with iconic moments, and when
wee were watching films for the first time, I often wonder,
did the moment that you were waiting for happen when
you're expecting and I would I be writing suggesting you

(54:34):
may have thought this happened in the climax of the film.

Speaker 2 (54:37):
Yes, at the very end, like it ends with her dying. Yeah,
the last.

Speaker 1 (54:41):
Scene i'd seen this film and I knew it happened
like earlier than you'd expect. But even watching it last night,
I was like, this happens really quickly. She said bye,
and were you What were you thinking?

Speaker 4 (54:56):
What was it? Tense? Was it? How are you feeling
watching the shower scene.

Speaker 2 (55:00):
I thought it would be more gruesome than it was.
I quite liked it felt quite restrained, like when no
one walks back into the room to kind of clean
her up. You barely see her. I thought that the
feeling of that was really interesting because she's always below
the camera. But I thought it was well done.

Speaker 4 (55:20):
Well it took it took seven days.

Speaker 1 (55:23):
I can tell you for rooms, it took seven days
to shoot seventy different camera setups. There were ninety edits
or fast cuts. The stabbing sound was the sound of
a knife stabbing of watermelon.

Speaker 4 (55:38):
Well, they used blood. The blood was chocolate syrup.

Speaker 1 (55:43):
And that's one of the reasons why he wanted to
shoot in black and white, because he knew that he
wanted it to be quite glory, and he knew he
would have trouble getting it across the sensor if it
was in color. Generally, he was also supposed to have contacts,
but it took back then it took a long time
to kind of have these contacts made and deliver, so
they didn't have the time because I must if you

(56:05):
notice that when you go, it's a great transition shot
from the plug or the drain of the bath into
her eye she's lying down, it's a great shot and
holds on it for a long time. And they had
no like there's no post production where you back then
where you could kind of like do some tricks. But

(56:26):
there's a tiny little flicker to the point where I
think the first time I saw it, I was like, oh,
she's a lie.

Speaker 4 (56:32):
Yeah, yeah, but she is she is dead.

Speaker 1 (56:35):
It was the first time a nude model, like a
standing model was used a body double, and there was
massive There was massive like when the senses came in.
There were six men who had to kind of decide
whether this was going to be allowed, and three of
them said they could see nudity, and three of them

(56:57):
said they didn't see any nudity. So they sent a
memo back to Hitchcock saying can you remove the nudity?
And Hitchcock did decide not to do it, didn't touch
it at all. Anybody wrote a memo back a few
days later saying yes, I've removed all the nudity. And
they watched it again and the three people who said

(57:20):
they saw the nudity said, yet, no, it's not there anymore.
But the other three who said they didn't see the
nudity were now seeing nudity. What so it was a
weird And it means it scenes working because it's like
the tricks he has played on your mind and what
you think you are seeing is quite incredible. And the

(57:44):
combination of that fast editing and the score which is incredible. Yeah,
it's it's such a it's such a brilliantly executed I mean.
And when you think about the camera equipment, that's what
they said, like seventy different camera setups. You got that
scene of the falling down like you're looking up at it.
This is equipment that wasn't waterproof. They had to design

(58:06):
shower heads that kind of came, you know, like sprayed,
not straight down into the camera, like you can imagine
that shot. Now you might have the you know, water
falling into the camera and you get away with that,
but now you have to like protect the lighting and
the cameras, you know, because seven days you probably shoot
that now in two days, I imagine with the speed

(58:28):
they can move. And the other interesting thing about this scene,
and it's quite a tragic detail, there was a body
double called Marley Renfro who was so she's the body double,
and she became quite famous as a result of this.
She was on the Playboy cover in nineteen sixty. It

(58:49):
was reported that she was murdered in the late eighties.
I believe rape the murdered, but it turns out that
it wasn't her. It was another woman called Mayra Davis,
who was the body standing for the lighting checks. So
not only they had the body double for Janetly, they
also had a body standing for the lighting checks, and

(59:13):
these two women were often people got confused, you know,
they went sure which one did what, and sadly, a
psycho obsessive basically killed Mara Davis thinking it was Marley Renfro.
He wanted to kill the body that he had seen
be murdered on film in Psycho.

Speaker 4 (59:35):
Really yeah, it's really horror.

Speaker 1 (59:39):
Yeah, that's shocking, and another you know, kind of creepiness
still already pretty creepy scene.

Speaker 2 (59:48):
Yeah, And he's the kind of movie that you know,
there's like Alfred hitch stuck. They'd be kind of like
mega fans stuff like people that are obsessed with because
he was kind of like the pioneer of horror or something.

Speaker 1 (59:58):
Yeah, suspense, and this was this was kind of scene
as you know, he wanted this. He kept everything so
quiet and he wanted this to kind of that's why
he started with it like that's you know, we'll call
it the sex scene, because he wanted the people to
think he was just making this tawdry kind of little
you know, b Gray kind of you know, kind of

(01:00:18):
flick with you know, had some horror and some gore
and sex, and you know it was tantalizing and titillating,
and he kept everything really really quiet.

Speaker 4 (01:00:28):
So there's a real kind of appetite.

Speaker 1 (01:00:29):
Even though Paramount, who Hitchkay had to deal with, hated
the film. They didn't think it worked. They kind of
said they didn't fund it. Hitchcock ended up funding a
lot of the film by himself. They shouted at the
Universal a lot which famously now that you can you
get on the Universal tour and the Baits House is
like you wanted the mate, you know that enjoys are

(01:00:50):
probably the two things you kind of remember, and the
flash flood, of course, but so the previews didn't go great.
And then Hitchcock this, you know, he did this thing
where he put out this videos or videos or film
or trailers kind of saying that please do not discuss
the ending of this film. You know, if you've seen it,
we only have one ending. And if you if you

(01:01:12):
were late to the cinema, you are not allowed in.
You know, whether you are the Queen of England, the
President of the United States, if you are late, you
had not And they kind of policed it, they kind
of made sure that cinema owners were actually policing that
rule that you were not allowed in. So and it
opens massively and it becomes, you know, a huge, massive film,

(01:01:35):
and a Paramount executive did say that they were before
it opened that they were relieved that the.

Speaker 4 (01:01:41):
Paramount logo was not on the front of the movie.
It was universal. So lots of egg on a lot
of faces.

Speaker 1 (01:01:49):
So do you you see the silhouette of whoever it is,
you know now it's Norman Bates. Did you what were
you thinking? Were you thinking? You know this stage? Where
were you in your little Google searching?

Speaker 2 (01:02:05):
I didn't googled yet so I suilly thought it was
the mother and no one's cute, like he's got her
a sandwich, and I guess when he looks through the
little peepole at her in the bathroom, that's when I thought, oh,
he's not quite right. But I thought maybe he was
like a bit of a like obviously creep, but I
didn't think he was capable of murder.

Speaker 1 (01:02:26):
Yeah, I mean, does a really good job of blake
like this seems like he seems like a friendly guy.

Speaker 4 (01:02:33):
He seems like a friendly guy.

Speaker 2 (01:02:34):
Yeah, you know, like a little bit isolated.

Speaker 1 (01:02:36):
But yeah, and then they have we won't even play
the conversation they have where we first maybe start seeing
the turning of Norman bas this is he's brought down supper,
like you said, some sandwiches and some milk. He's gone
all out, And yeah, I think generally here, I mean

(01:03:00):
suggests by putting his mother into a harm.

Speaker 9 (01:03:03):
I'm sorry, I didn't mean it to sound uncaring.

Speaker 7 (01:03:07):
What do you know about caring? Have you ever seen
the inside of one of those places? Laughing in the
tears and the cruel eyes studying you. My mother there,
But she's harmless, She's as harmless as one of those

(01:03:28):
stuffed birds.

Speaker 9 (01:03:31):
I am sorry. I only felt it seems she's hurting you.

Speaker 7 (01:03:39):
I meant well. People always mean well. They cluck their
thick tongues and shake their heads and suggest, oh so
very delicately. Of course I've suggested it myself, but I

(01:04:00):
hate to even think about it. She needs me. It's
not as if she were a maniac, a raving thing.
She just goes a little mad. Sometimes we all go

(01:04:23):
a little mad sometimes, haven't you.

Speaker 9 (01:04:31):
Yes, sometimes just one time can be enough.

Speaker 7 (01:04:38):
Thank you, Thank you, Norman.

Speaker 4 (01:04:47):
The red flag would have been up.

Speaker 2 (01:04:49):
That's what I knew she was in trouble. To be fair, Yeah,
you overstep that, Marion.

Speaker 4 (01:04:54):
Yeah.

Speaker 1 (01:04:55):
And so there is this bird kind of motif going
through in the conversation they're having there. They're surrounded by birds.
They've been taxidermied, stuffed, and I'll just walk through some
of the you know, the bird that's all through the movie.
And there's little subtle ones. And you would have taken
these on frooms, no doubt, either knowingly or subconsciously. And

(01:05:18):
I've some of these I've stumbled upon, not stumbled upon,
I've deep dived, and you know, got some you know
that it didn't occur to me either. But so we start.
The movie starts with the birds I view. It's set
in the in Phoenix. Her name is Marion Crane, which
is a bird. There's Norman Bates and which refers to

(01:05:39):
the debating of a trap when they do talk about traps.
Of course, there's there's stuffed birds around. There's there's references
to birds. You eat like a bird. My mum's as
harmless as one of these stuffed birds, and one of
the really and there's pictures on the wall of Marion's
room and they're birds that get preyed upon in her.

Speaker 2 (01:05:58):
Room and one falls when he like.

Speaker 1 (01:06:01):
Yes, so I think, I think, yeah, I think that
is like, yeah, that bird has been you know, taken
down if you like. And there's a really that that
scene you speak of through the peep hole, which I
think by the time he's doing that, we think, Marian, it's.

Speaker 2 (01:06:17):
Not looking good.

Speaker 1 (01:06:19):
There's a really beautiful, beautiful thing which I didn't notice
is only like doing some deep diving that that I
kind of this this point of that.

Speaker 4 (01:06:27):
So Norman's weighing on what to do. He looks and
he and.

Speaker 1 (01:06:30):
He he seems standing up in the background, there's now
which has got its wings out, and it's looking quite
you know, you know, like it's about the swoop almost.
And now, of course it is a bird of prey.
In the foreground there's a turkey, which is not necessarily
a bird of prey. It's more likely to be prayed upon.

(01:06:51):
So you have no one between these two stuffed birds,
a bird of prey and a bird that gets preyed upon.
And then he looks into the heap hole and when
he comes out, the shot is no longer. The turkey
is no longer in that shot. It is Norman with
the owl in the background. And what Hitchcock's saying to

(01:07:12):
us is that Norman has made his choice. You know,
he's a bird of prey and he has his prey
in his sights.

Speaker 4 (01:07:23):
Norman, Yeah, Norman, Norman. By now we.

Speaker 1 (01:07:26):
We we should know now that he is. Like you said,
when when she gets taken in the shower, you still
thought it was the mother, and you know, like and
absolutely you are supposed to.

Speaker 4 (01:07:39):
You're supposed to kind of for quite still quite a.

Speaker 1 (01:07:42):
While, like he comes in and cleans up and you think, well,
you know, he's devoted to his mother. You know, you know,
there's some weird things he does say about you know,
a man's best friend is always his mother, and you
know this, Yeah, here's some isssues obviously, you know, and
he's cleaning up, and then, like you said, it's so

(01:08:04):
interesting that this has happened so early, Like this is,
you know, a third of the way through the movie.
And then the kind of the shifts, which there's very
few movies like this where either shifts to basically a
character who was in the opening scene and that's it,
and a brand new character, which is a sister Lila
who's now demanding answers, and you know, the p I

(01:08:25):
comes in, he goes, Yeah, he gets murder.

Speaker 2 (01:08:28):
He was very kind of nineteen sixties actor vibes to me.

Speaker 4 (01:08:32):
Yeah, he was.

Speaker 1 (01:08:33):
He's almost had like the touch of the film noir
kind of which, you know, a detective in the ninety
sixties movie. Yeah, there's probably one way to play that role,
I feel. And he gets he gets taken. And then
finally Lyla and sand decide okay, well, you know we're
going to let's suss this out. So they go to

(01:08:54):
the Baits Hotel and it ends up obviously with Lila
entering the house. How are you feeling at this point
about how are your nerves?

Speaker 4 (01:09:04):
Did you feel tenseled?

Speaker 1 (01:09:05):
Did we was start watching a movie that you were
you invested?

Speaker 2 (01:09:09):
I was invested for sure. I totally thought she would
be slain, to be honest, did the classic like whenever
people go up or downstairs in like a psychological movie.
I'm like, you've just named the worst Choiceeller, Like, why so?
Why did I just like split up? But I was so.
I found actually the loud noise and music when she

(01:09:32):
made a discovery and that kind of visual that was
scary to me. That was probably the scariest, a bit
more scary than the shower scene. You're right, yeah, something
about the really really loud music and kind of like
suspense movies. I find this is the most terrifying part
of it.

Speaker 1 (01:09:46):
There was one jump scare that I noticed where she
kind of turned around like it but it didn't have
any music on it. And it's like, it was actually
quite weird for me to see like a jump scare
with that that kind of like dramatic music thrown in,
because as you say, there's music all the way through
it and it is building this tension. So when we
saw Norman carry his mother down the stairs. Were you

(01:10:09):
thinking because even when I was thinking, like you I
already seen. I was like okay, and I did remember
reasoning quickly of course the ending.

Speaker 4 (01:10:17):
But what were you thinking? Like, like, were you thinking this?

Speaker 2 (01:10:21):
I'm like, sure she can fight back a little bit.
She didn't want to go down there. It's like you're old,
but like you can do something.

Speaker 1 (01:10:28):
Yeah, we've heard missus Bates argue and she seems like
a feisty a feisty fire.

Speaker 4 (01:10:35):
Where's that fight now, missus Bates when you need it
the most?

Speaker 1 (01:10:40):
It takes her down to the basement, goes out and
he's dealing with Sam in a bit of a clumsy
kind of a little bit of a clumsy wrestle, and
Lylah goes down into the basement. She heads in, and
what what did you make of it? So you see
missus Bates sitting there? What were you expecting to happen?

Speaker 2 (01:11:03):
I at that point had to put my sinking cap on,
and I had an idea what would happen after spending
the movie being my most native self? Always can I say.

Speaker 4 (01:11:14):
Yeah, absolutely, yeah, yeah, yes.

Speaker 2 (01:11:15):
Like any kind of skull situation, I'll always find really
scary at it, so it kind of gave me reminded
me of Michael Jackson's Thriller where it kind of looks
so fake but it's so just like bad and gross.

Speaker 1 (01:11:31):
Yeah, yeah, it's it's so funny because I'm not sure
when the swivel chair was invented. I'm not sure when
they came in, but I didn't find I actually laughed
like the swivel because she just touches the shoulder and
all of a sudden and then the chair does a
complete turnaround, like it does a complete like one to eighty,
and it's like, how how did that happen? I'd love

(01:11:54):
to know what chair they had? And almost not only
there's like a lady, but it almost seems to do
like a bit of a toda.

Speaker 2 (01:12:03):
Yeah, yeah, yeah, yeah.

Speaker 4 (01:12:06):
It's totally there. It's it's it's it's it's the mother.
She screams.

Speaker 1 (01:12:12):
And then, of course, not only that, we have Norman
barging in in his mother's clothes and wig.

Speaker 2 (01:12:21):
That was quite that took me aback, I guess because
he looks quite happy with himself as well. He's kind
of like again a today moment seemed quite like enjoyed
being in the clothes.

Speaker 4 (01:12:32):
Yeah. It was almost his happy place, wasn't it.

Speaker 2 (01:12:34):
Yeah. Yeah, And I thought it was interesting when they
like got to his bedroom when he's in a child's bedroom.

Speaker 1 (01:12:40):
Yeah, that's where he was sleepy, So the peak, Yeah,
I think that's right.

Speaker 2 (01:12:45):
I think that's right in a single bed.

Speaker 1 (01:12:47):
Yeah, and then we have like it's interesting some people
think when we had the psychiatrist who comes in and
explains what was going on, there were some people would argue,
you don't need that. I would argue, in nineteen sixty
that scenes reasonably important.

Speaker 4 (01:13:04):
I think you probably. I think we're maybe.

Speaker 1 (01:13:06):
More across mental health issues, you know, these days, than
they were back in nineteen sixty.

Speaker 4 (01:13:11):
Not that I could.

Speaker 1 (01:13:12):
I wouldn't Sssari watch this film in two down twenty
three and be able to give a diagnosis of Norman's condition,
But I would probably guess there was some schizophrenias and
by Paul were going on. But that just gives us
his I guess diagnosis on Norman basis ever listened.

Speaker 5 (01:13:29):
She was there, but she was a corpse. So he
began to think and speak for her, give her half
his life, so to speak.

Speaker 8 (01:13:41):
At times he could be both personalities carry on conversations.
At other times, the mother half took over completely. He
was never all Norman, but he was often only mother,
And because he was so pathologically jealous of her, he
assumed that he was as jealous of him. Therefore, if

(01:14:04):
he felt a strong attraction to any other woman, the
mother's side of him.

Speaker 4 (01:14:09):
Would go wild. When he met.

Speaker 8 (01:14:15):
Your sister, he was touched by her, aroused by her,
he wanted her. That set off the jealous mother, and
mother killed the girl.

Speaker 4 (01:14:29):
So after the.

Speaker 8 (01:14:30):
Murder, Norman returned, as if from a deep sleep, and
like a dutiful son, covered up all traces of the crime.
He was convinced his mother had committed.

Speaker 1 (01:14:40):
Did you kind of buy that? Did you feel that
that was a that was reasonable?

Speaker 2 (01:14:46):
Yeah? I guess it did seel kind of like the
movie had ended and that was like the credits moment.
It did feel a little bit disjointed to me. Yeah,
but as you said, obviously it's like maybe it needed explanation,
But yeah, it sells a little bit too over explaining
as much as you know, we didn't talk about mental
health back then. I'm pretty sure you can tell like

(01:15:07):
something isn't quite right.

Speaker 1 (01:15:09):
But also back back in those days, often they would
be happy enough to kind of go, well, he was,
he was, he was, he was psycho that he is
a crazy guy. And and and I do find it
interesting that they did, you know, try to explain what
it was. I think you could the film works with
or without this scene. It's interesting that the reference to

(01:15:29):
the transvestite and then kind of and that was again
that was kind of controversial. I think one of the executives,
you know, kicked up a storm about it and maybe
got the idea of transvestites and transsexuals confused, which he
kind of explains when he when you know, when he
kind of explains what the transvestite is in that moment.

(01:15:50):
So we have that scene, and then finally we find
Nolan Bates in his cell and would just have a
little listen to this.

Speaker 6 (01:15:58):
She was always and in the end he intended to
tell them I kill those girls and that man as
if I could do anything except just sit and stare
like one of his stuffed birds. They know I can't
even move a finger, and I won't. I'll just sit
here and be quiet, just in case they do suspect me.

(01:16:25):
They're probably watching me I'll let them, let them see
what kind of a person I am. I'm not even
gonna swat that fly. I hope they are watching. They'll see,
they'll see, and they'll know, and they'll say, why she
wouldn't even have a fly?

Speaker 2 (01:16:54):
Was that that's the way the expression came up? Was?

Speaker 4 (01:16:56):
I don't think so, because I good question.

Speaker 1 (01:17:01):
I imagine I took that as like, not like him using
a well known expression.

Speaker 4 (01:17:09):
I think I'm going to research.

Speaker 2 (01:17:10):
That, please, little sub note.

Speaker 1 (01:17:14):
It's amazing sometimes when you watch these older films and
you kind of go Often what happens in this podcast
is people go, oh, now, I understand you know five
Simpsons episodes that I didn't kind of there's all these
references that you have the Shining or Citizen Kane or
It's a Wonderful Life where there's whole episodes based, you know,
around those things. And I'm sure there's some Psycho references

(01:17:34):
in there as well.

Speaker 2 (01:17:36):
Yes, I think there is with Krusty the Clown, No,
not Krusty Sidcho Bob he tries to yeah.

Speaker 4 (01:17:41):
Oh yes, he's always nice.

Speaker 1 (01:17:43):
Yes, absolutely, yeah, absolutely, that's a famous, famous episode. You mean,
like you're happy you've seen psycho now is it? Is
it as something you can tick off.

Speaker 2 (01:17:53):
It's something I can tick off. For sure. I'd watch
it again, like I'd love someone to show someone who
hasn't seen it before, because I I think often, yeah,
with older films, I feel like they go really slowly.
I liked how it wasn't I feel like nowadays films
go for a long time. So I thought it was good.
It's like one hour, one and a half hours.

Speaker 4 (01:18:11):
Maybe orty or something. Yeah, funny.

Speaker 2 (01:18:14):
Yeah, we definitely watch it again. I enjoyed it, you know,
because I would never have seen it. I think I'm
still not inspired to go and watch Star Wars. That
would probably be the next one. That would be more of.

Speaker 1 (01:18:24):
Like, well, while he took the bullet for you know,
for those who haven't seen Star Wars for this and
this's what's the whole trilogy.

Speaker 4 (01:18:32):
And I got to say he enjoyed it.

Speaker 2 (01:18:34):
I enjoyed it. Yeah, okay, Dan.

Speaker 1 (01:18:36):
So I feel like Stars a pretty big Like it's
funny when I talk about this podcasts of people, I say, oh,
Judith Lucy hasn't seen the Sound of Music, And they're
like what, And I'll say, Todd Samson hasn't seen the
Shawshank Redemption what and so everyone's always surprised if somebody
hasn't seen the movie that they've obviously seen quite a lot.

(01:18:56):
But I feel like Star Wars still is one where
you're going to go, really, how could you not? My
wife doesn't understand that that I'm surprised at people. There
are some people who haven't seen Star Wars. She's never
seen Star Wars.

Speaker 2 (01:19:07):
She's never seen it either.

Speaker 4 (01:19:08):
She's never seen it.

Speaker 1 (01:19:11):
With somebody who loves Star Wars. And I've even said,
let's watch it with me. That's for fun on my birthday.
Maybe killed her in watching up, but she don't know interest,
so be.

Speaker 2 (01:19:21):
Know, Oh that's okay, live and let.

Speaker 1 (01:19:23):
Live, live and let live Hey this is this movie
also featured the very first little fact on the way out.

Speaker 4 (01:19:29):
The very first toilet was in the American cinema.

Speaker 2 (01:19:35):
Really, Oh my god, that's like a perfect little bar
on top.

Speaker 4 (01:19:38):
Yeah, yeah, it's you know.

Speaker 1 (01:19:41):
Not only was it about the blood and the sex,
he also the very first told when she flushes her son,
which I really don't think she needed to do. Staying
school kids. Yeah, that's the first tool that was shown
in American movies.

Speaker 2 (01:19:57):
Wow, that's that's important. That's a good tip that I'll.

Speaker 1 (01:20:00):
Keep it is it is for this podcast comes with homework.
I am so glad you have done it. Thank you
for watching it. Thank you also this for the positivity
you put out into the world, you know, through your
radio Shump podcast and this content you we delight to follow.

(01:20:20):
And it gave me great joy that you you revealed
once that you drove you and your dad I think drove.

Speaker 4 (01:20:28):
Drove. I was doing a cross for Rogue live in
where was his? Mark?

Speaker 2 (01:20:35):
Berwood came out in Melbourne.

Speaker 4 (01:20:38):
Berl came out in Melbourne and what did you do?

Speaker 2 (01:20:41):
Me and my dad drove one hundred kilometers an hour down, yeah,
down towards Camart twenty four to seven, came out and
tried to moon you with both of our bare asses
out of the window. However, by the time we got there,
it was just the team packing on. So I actually
I cried. I cried. I was the biggest road lisan.

(01:21:02):
So it's like a very you know, when you just
want something so badly and you don't get it. That
was that moment for me. So it's honestly crazy to
be here. Thank you for having me Pete.

Speaker 1 (01:21:12):
Oh well, thank you, And like I said, I really
really enjoy the stuff that you do, whether it's celebrating
music or movies or serena tins of tuna, keep it up,
keep the positivity going coming up, and thanks for joining us.
Thank you, and yeah, yeah, hopefully we'll see you again

(01:21:33):
meeting person one day.

Speaker 2 (01:21:34):
Hopefully I won't mean you. I'll be tempted, but I won't.

Speaker 4 (01:21:39):
If your dad moves me. That is that normal baits
be moved by normal baits.

Speaker 3 (01:21:44):
I don't know.

Speaker 2 (01:21:44):
Re laughing that saggy, but.

Speaker 4 (01:22:00):
There we go. That was Rooms with Psycho.

Speaker 1 (01:22:05):
I am glad we ticked off finally a Hitchcock movie.
Taken way too long for us to get to that,
but I'm glad that was the first one. And like
I said in the intro, really glad and thankful and
grateful that Fumes could do that. I urge you to
follow her on Instagram. She's just fun.

Speaker 4 (01:22:23):
Fun.

Speaker 1 (01:22:23):
In this world where there's so much ah, so much
division and news and blah blah blah, is it's good
to have somebody that's putting fun content out into the world.

Speaker 4 (01:22:35):
More of it, I say, for those who are enjoyed
the podcast. Thank you very much.

Speaker 1 (01:22:39):
I assume you are because you're listening to this bit,
and I urge you to go onto iTunes and give
us a rating that helps with our algorithm gets it
out to more people. I recommend five stars.

Speaker 4 (01:22:51):
Leave a review. I really appreciate if you did that,
that would be wonderful.

Speaker 1 (01:22:55):
You can also get in touch with us at Yasni
podcast at gmail, as any podcast at gmail dot com.
I would love to hear from you next week on
the show. A good friend, well, somebody has become a
great friend. Actually only met them this year, met them
in the unlikely place that is the South African jungle.

Speaker 4 (01:23:15):
He's one of my army celebrity camp mates. Will be
joining me next week.

Speaker 1 (01:23:18):
You may know her also from below Deck a massive,
massive global show, massive hit for Bravo. It is, of
course Asia Scott, my Flaming Ducks bandmate, will be joining me.
That's right next week. And you wanted nothing yet, Asia Scott,
I cannot wait. I'm sure it's going to be amazing.

(01:23:40):
Until then, take care and so we leave all Pete
save Mansel and to old friends of the radio audience.

Speaker 4 (01:23:58):
We've been a pleasant two

All Episodes

Episode Transcript

Popular Podcasts

On Purpose with Jay Shetty

Stuff You Should Know

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}REPETE: Lucinda 'Froomes' Price and Psycho

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}On Purpose with Jay Shetty

Stuff You Should Know

Dateline NBC

All Episodes

REPETE: Lucinda 'Froomes' Price and Psycho

On Purpose with Jay Shetty