Sammy Petersen and Silence of the Lambs

Comedy man Sammy Petersen finally watches Silence of the Lambs, for the very first time. 

Was it terrifying, thrilling, or just totally not what he thought it’d be? Hear his hilariously unfiltered take on the cult classic he somehow dodged… until now.

Feel free to drop us some comments, feedback or ideas on the speakpipe (link below).

Keep it fun and under a minute and you may get on the show.

https://www.speakpipe.com/YASNY

 

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Give a Pete Haley. He welcome to you. Ain't seen
Nothing Yet the movie podcast where I chat to a
movie lover about a classic or love film they haven't
quite got around to watching until now. And today's guest
comedian podcaster Semmy Peterson, all below.

Speaker 2 (00:18):
I want to stay here with you. He's the jobber.
Why hate snake shuck, why hail?

Speaker 1 (00:39):
It couldn't be happening right now?

Speaker 2 (00:42):
You ain't seen nothing new.

Speaker 1 (00:52):
Sammy Peterson has been around the Comedy Traps for a
long time now. He's He's much loved around the Traps.
He does a great podcast, Confessions with Sammy Peterson, and
it is a podcast that I've enjoyed. He has asked
me many times for quite a few years to come
on the podcast. I will admit this podcast takes a

(01:13):
fair bit of my time, so if I don't you know,
once I'm in on the podcast, I really enjoy it.
I tend to go back a bit, but it takes
me a while to say yes that first time. I
admit that, and that's why I really appreciate people coming
on my podcast, because there's homework to do here. But
I did his podcast. I've finally done his podcast, it
probably comes out. It took me out by now and
it was a really fun episode with bron Lewis format
yasmy guest as well. But Sam's gone you his first

(01:36):
debut solo show and it's called Why the Long Face.
Sam in twenty eighteen collapsed on stage and quit stand
up comedy after seven years. He felt, obviously that's the
quite a dramatic thing to go through. Also, some of
his comedy mentors, both were dealing with addiction themselves, had
let him down time and time again. So Sam walked

(01:59):
away for it while really got into the podcast seeing
he's had a huge success. But now, like I said,
he's back with a new show, Why the Long Face,
So go see him if you get a chance, not
just because I've told you to, not just because he's
on ya, hasn't it because he's a funny guy, a
lovely guy, and these are the kind of guys that
you really want to support. In fact, some quotes from

(02:20):
the show. Will Anderson has seen it and he says,
this is not just a great first show, This is
just a great show, highly recommended. And Tim Mitchell says,
I love Sammy. What sort of fuck features doesn't love
Sammy Tim Minchin what a quote Missy Higgins said is
a very fine, funny human being. Well done, Missy, as
are you. So go see Sammy Peterson wide the Long Face,

(02:41):
playing around festivals and listen to his podcast Confessions. He
is wrapping it up, so get in. You're getting in late,
but get in and also your two drunk arts. I
think it's called with bron Lewis is a fun podcast
as well. Really really has been fun to hang out
with Sammy today, both recording his podcast and my podcast.
I'm Stoked to be hanging.

Speaker 2 (03:04):
My name is Sammy Peterson. My three favorite films of
all time are King of Comedy.

Speaker 3 (03:11):
I know it's an old, hackneyed expression, but it happens
to be the truth.

Speaker 2 (03:14):
You've got to start at the bottom.

Speaker 1 (03:16):
I know that's where I am.

Speaker 3 (03:17):
At the bottom.

Speaker 1 (03:18):
That's a perfect place.

Speaker 2 (03:19):
To start goodwill hunting.

Speaker 4 (03:21):
I ask you about love probably caught me a sonnet.
But you've never looked at a woman and been totally vulnerable.
You know I'm someone that could level you with her
eyes feeling My God put an angel on earth just
for you.

Speaker 2 (03:38):
And a piece of work, the Joan Rivers Story. Why
am I going to Wisconsin. I think our money. They're
so desperate to get me to pay me. That's why
I'm going to Wisconsin. But up until this week, I've
never seen silence of the lambs.

Speaker 3 (03:54):
See the one we want most refusers to cooperate. I
want you to go after him again, to Daniel Solon,
who's the subject, the psychiatrist, Hannibal Lecter, Hannibal the cannibal.
I don't expect him to talk to you, but I
have to be able to say we tried. So if
he won't cooperate, I want just straight reporting. How's he look?

(04:17):
How's his cell look? Is he sketching? Drawing? If he is,
what's he sketching? Here's a docier elector copy of our
questionnaire and a special ID for you. Have your memoy
on my desk by oh eight hundred Wednesday. Okay, excuse me, sir.

Speaker 1 (04:42):
Why the urgency lector has been in prison for so
many years now?

Speaker 3 (04:46):
Is there some connection between him and Buffalo Bill?

Speaker 5 (04:48):
Maybe?

Speaker 1 (04:49):
I wish there were.

Speaker 3 (04:51):
I want your full attention, Starling. Yes, sir, be very
careful with the Annibal Lecter. Doctor Chilton at the asylum
will go overall the physical procedures used with him, do
not deviate from them for any reason whatsoever, And you
have to tell him nothing personal. Starling, Believe me, you
don't want Hannibal Actor inside your head.

Speaker 1 (05:12):
Yes. FBI Agent in training Clarice Starling Jodie Foster, collecting
another Oscar who first been the accused in nineteen eighty nine,
is calling to HQ with a special mission to interview
fame the serial killer Hannibal. The Cannibal Lecter oscar winning
performance by Sir Anthony Hopkins. He's first and the other
coming in twenty twenty two for the father, a former

(05:33):
psychologist now serving a lifetime prison sentence in a maximum
security cell. The purpose the glean information for an ongoing
case for active serial killer Buffalo Bill, a man targeting
women before killing and skidding them in order to make
a skin suit for him, mistakenly believing this will complete
his gender re insignment after ever to do so through

(05:55):
official channels failed due to him being mentally unfit. Animal
agrees on one condition he will provide Clarice with insights
into the Buffalo Bill case if Clarice provides him with
personal information about her past, in particular how she was
orphaned at a young age, and how the screaming of
the spring lambs being led to their slaughter still haunts her.

(06:17):
A rare film, winning the Big Five Oscars Best Film,
Best Director, Jonathan Demi, Best Actor, Best Actress, and Best
Screenplay Ted Talley, It Happened One Night and One Flew
Out of the Cookoo's Nest nineteen thirty four and nineteen
seventy five, respectively, are the only other two. Sammy Peterson,
when was the last time you wore a skin suit?

Speaker 2 (06:38):
What a great question? Yeah, just last night, last night,
just a regular Monday night, and.

Speaker 1 (06:43):
You will you wore it? Well, you streamed live, and
I appreciate that.

Speaker 2 (06:47):
Always. I always record myself doing and send them to you,
even though you've asked me not to.

Speaker 1 (06:53):
It's not weird if you're putting it out there. I
think when you try to keep it private, that's when
it becomes weird.

Speaker 2 (06:56):
That's when it becomes a weird thing. If it's a secret,
this is my dog is attacking.

Speaker 1 (07:04):
Well, I was about have mentioned that this is a
different you answering nothing yet because you've kindly. I'm also
going to be recording your podcast Confessions, which I'm excited
about you said why not while we're recording that one,
because I asked you to come on. Yes, let's do
both in your apartment. So there's a dog the size
of a horse, a huge He's fine, he's fine. So

(07:24):
you may hear, you may hear some.

Speaker 2 (07:26):
Yeah, it's always. I always, I have got a big dog.
And even when I say that, people still rock up.
And is Tom Tom Gleason when he came just went whoa.

Speaker 1 (07:35):
It's surprising, it's a surprising. But he's settling down. I
think he's getting used to my scent. Folky smells my
border Collie on me, which is a much smaller, daintier dog.

Speaker 2 (07:44):
Can I say, so, are you coming on my podcast?
My podcast is wrapping up after seven years, and you
are a very important guest to me. And it's been
seven years of doing this podcast, and I think of
send your messages, but don't know if I had your
right number a lot of the time as well, so
I think I was messaging other people just to come
on my podcast. I had a few random people like that.
But you were an important person to me because you
got me into radio. You and you're listening to you.

(08:06):
Judith Lucy on on radio and I used to call up.
I used to like get on the phone and call up.
And I remember once Judith Lucy answered the phone herself,
and she wasn't really liking Sydney Radio at the time.
I think she's actually spoken quite a bit about that
in the time, but I remember her answering the phone
once and I was so excited I got put through.
I was probably like fifteen years old. I got put

(08:26):
through and I loved you because I've watched you on
Rove and I was so excited. And then I was
on the phone with you to Lucy and I started saying, yeah,
it was a funny call. Whatever it was. It was like,
when's the last time you fell down the stairs or something?
And then I called up. I don't even think I
had a story, but I was like, oh, call up,
I get to speak to Peter Halley or Judith Lucy.
I was so excited and she got on the phone
and she went, oh, sorry, I just drifted off. What

(08:47):
did you say.

Speaker 1 (08:51):
I mean, the hours are a killer?

Speaker 2 (08:54):
Oh my god, I can imagine.

Speaker 1 (08:56):
No, but I do know. I do know. You have
reached out a number of times, and I have said
I have said I will do it. I will do it.
And I think the last time was that we were
at the Comedy Republic and I said you and I
think I had a few as well, but I said,
I'm doing I'm.

Speaker 2 (09:09):
Going to do your podcast.

Speaker 1 (09:10):
I'm definitely going to do it. Just don't don't stop asking.
And no, I was, I don't stop asking, don't stop asking,
and then I and yeah, and then and I thought, well,
you know, if I'm going to do yours, I love
you who mine and here we are, so I'm thrilled
to have you.

Speaker 2 (09:24):
And I have finally got a call to when I
fell down the stairs, and that was probably a Comedy
of Republic that night, to be honest. I woke up
the next day and I went I embarrassed myself so
much in front of Pete Hallier. But I also did
not hold I didn't have number to contact you, so
I was calling radio stations.

Speaker 1 (09:38):
No, my most.

Speaker 2 (09:39):
Embarrassing story because you and Tom Gleason with it. And
Tom came on the podcast not long after that, and
I was like, oh my god, the last time I
saw you, I think I just spoke at you for
so long. And then it was a story that I
had for a week. I think I mentioned it on
the podcast a lot, just like I think I just
spoke at Pete Halley for a long time.

Speaker 1 (09:56):
You did not, you did not. You're absolutely fine. I
remem a night quite well because it was.

Speaker 2 (10:02):
You can fill my gaps.

Speaker 1 (10:03):
Yeah, Ei Rod was there that night. Yeah, we just
had It was a good night. It was a good night.
Let's talk about your well. By the way, someone's of
the Lambs. This is a big one. But this is
not all the film. They're all classic films that we
can have, but not necessarily you know, they're not all
equal in like the shock value or just what this

(10:24):
is like.

Speaker 2 (10:25):
Yeah, this is real classic, big Yeah.

Speaker 1 (10:27):
Yeah, it's won the Big Five. It's considered one of
the great psychological when the Tony went the log somehow, somehow,
it's well, maybe the most iconic villain of all time.
Why hadn't you seen someone of the Lambs.

Speaker 2 (10:42):
I think because my dad loves movies in that he
loves the film Danny deck Chair and probably nothing else.

Speaker 1 (10:49):
But he has a projector which we haven't covered yet.

Speaker 2 (10:53):
I would love to do Danny deck Chare and bring
on my dad.

Speaker 1 (10:55):
But I know somebody actually I'm working on Peter and
the Starcatcher at the moment. Maybe by the time this goes,
maybe maybe us wrapped it up or maybe about to
wrap it up. But John Batchelor, he's a great Australian
actor who has been in the whole bunch of stuff,
from Sea Patrol to you know, just everything. But he
was in Danny dec.

Speaker 2 (11:15):
And he told me that agraph for my dad kid.

Speaker 1 (11:19):
I definitely will I'll get you a floating chair actually
balloons and balloons. He because Reese Ifans.

Speaker 2 (11:27):
Is in that and from notting Hill and so.

Speaker 1 (11:31):
Playing an Aussie. Yeah.

Speaker 2 (11:32):
Yeah.

Speaker 1 (11:33):
So he said that John likes to improvise, and Reee
also likes to improvise, but couldn't really improvise with an
Australian acts because he basically had to learn his the
words that are on the page and that was it.
So every time that was out there's still a bit
of improvised. Reges would just shut the fuck up and
John would just be like, okay, just it's just me
tap dancing over here.

Speaker 2 (11:52):
There was no yees and it was nobody.

Speaker 1 (11:54):
Yeah. So there for mister Peterson, there's a little bit
of Danny deek Cheier trivia for you.

Speaker 2 (11:57):
But he is a He just loves watching film. He
got a projector. It was always watching films. My dad
didn't have a lot of friends growing up. When I
was growing up, my dad didn't have any friends, and
my mum used to sit up dates for him to
like have one of her friend's husbands come over and
spend time with Dad. And I remember he'd always played
Danny deck chair always and he'd always offer a mint slice.
I just always remember walking past the projector and we

(12:18):
go mince lights and go no, and you go, and
he put it back and he'd wait to see if
they laughed at the same bits he was liking. And
I remember he once told me about science of lambs,
and I thought it would have been because he always
said one of the funniest lines he's ever heard. And
this is my dad's humor. For some reason. The funniest
line is the last line of the film that Hannibal says.

(12:39):
It said such a funny line. I'm like, it's not
laughed out loud funny, sure, but it is. I guess
it is a witty line.

Speaker 1 (12:44):
But my favorite, the funniest line is I can smell
your count. That's the funniest line.

Speaker 2 (12:50):
Or do you want to fuck it? Would you fuck me?
But it was so funny. I had a call from
a friend the other day and I was saying, I'm
gonna do the podcast. The Great Mark Humphreys was calling
me and he goes, He goes, oh, you're watching we
want to watch on a lamp tonight. I went, yeah, yah,
I'm gon watch it to go on Pete Halley's podcast,
really excited about watching it finally, and he goes, would
you fuck me? Because without context, I haven't.

Speaker 1 (13:13):
Watched it yet.

Speaker 2 (13:13):
I haven't watched it. Don't say you'll eat me or
you're having me for dinner.

Speaker 1 (13:17):
If you watch a film in that one didn't come
up my company as well as just proposing.

Speaker 2 (13:22):
But I always just thought it would be a terrifying film.
And I'm not a scary film guy, so in my
head I've always kind of thought, oh, this is this
is a horror film. And it wasn't until I started
looking at it and going, oh, but I've seen enough,
and it's a film that you've heard so many things from.
I mean even that you know I can't even do
it obviously that's me trying to do it. Improvise an
American accent, that's my equivalent. But I just could not,

(13:45):
Like I had known so much from this film and
watching it, it's like everything made sense. I was like, oh,
I know this reference, now, I know this reference now, but.

Speaker 1 (13:57):
Nice kyant.

Speaker 2 (13:58):
Yeah yeah yeah, that's even the.

Speaker 1 (14:01):
Look of like the being transported and it.

Speaker 2 (14:04):
Rubs the lotions on its skin. Like you know, there
were so many iconic bits from it and when you
watch it, you go, oh, you can understand why it
is such a classic.

Speaker 1 (14:13):
Yeah yeah, yeah, yeah, I can't wait to work and
find out what you thought of the whole thing. Let's
all about your three favorite films and good ones here
The King of Comedy, de Niro and Score says you're
doing what they do. Obviously. It's kind of almost come
back into the zeit GUIs because there's Joker, Yeah, yeah, Joker.
Where did you discover or when did you discover the

(14:34):
King King of Comedy?

Speaker 2 (14:35):
Kim Comedy was it was like maybe like let's say
six years ago or something, and I just had always
heard the name King of Comedy and there was something
about it where I was like, oh, this seems really fascinating,
and then finding out it was. It was Robert DeNiro
like kind of being like, oh wow, him doing a
kind of a comedian character. And it's not really funny
to watch films about comedians because the stand up is

(14:59):
always so in interesting to me, because I go, was
this meant to be good? Because it's it's really hard?
Oh my god, have you ever seen a film that
they've nailed it?

Speaker 1 (15:07):
Oh, it's a good question. I don't. I don't think so,
but because often you're not, I don't think it can
be so funny that it's distracting. I just have to
believe the audience with laughing at and then that's it's
not quite the same. I think I reckon if I
was writing a piece where comedian, which I think I

(15:30):
think we don't read to date actually, but it was
a very kind of didn't specific thing because Steve Curry
playing yeah, and he.

Speaker 2 (15:38):
Was in a wheelchair.

Speaker 1 (15:39):
He wasn't in the Will chain in real life, but
he's doing that as a you know, as a persona
as a character, which became a big story.

Speaker 2 (15:46):
Will Anderson acted played himself. But yeah, it was something
that I was like, how are they going to do this?
How are they going to pull this off? I think
there's a there's a great TV your Hacks that I
was like, Oh, that's kind of the closest. Maybe it
comes to that because it's more of a like a
Joan Rivers sort of character. But just watching it, I couldn't.

(16:08):
I was like, Oh, Susan saran Not Susan Sarandon, Sandra Bernhardt,
a very different actor going. She's won, She's won the
Academy Award, I think for it, Robert de Niro. It's
one of the lesser known Martin Scorsese films, and Robert
de Niro's in and I remember just hearing a lot
about it, and there's a lot of noise kind of
about it being a classic for some people but not

(16:31):
a lot of people. The great Tony Martin I remember
just saying how incredible the film is. He was really
into that film anyway, And I started. I just I
just sat down and watched it, and I will watch
it at least once a year, maybe twice a year.
I love the film and it's so funny. I've probably
shown it to like twenty people. And it's a real
mark of like my dad with Danny deck Chair in

(16:52):
the Mint Lives. If if someone isn't loving King of Comedy.
I get so upset, like they're not upset, upset like
throwing stuff, but I go and have a big nut
at Comedy Republic and talk at you after. I just
I hate it when people don't like it because I
want them to like it so much. But it's such
a slow, weird film in a lot of ways, and

(17:13):
I think you have to have an understanding of kind
of Jerry Lewis as well, and a lot of Grace
Good in it.

Speaker 1 (17:19):
And Jerry Lewis, it's funny He's made that film when
I was really young. I quite like the Jerry Lewis movies.

Speaker 2 (17:27):
Really silly and really yeah.

Speaker 1 (17:29):
Yeah, and the two performers. I really like it from
Jerry Lewis, a King of comedy, and also one called
Funny Bones.

Speaker 2 (17:34):
I haven't seen that right.

Speaker 1 (17:35):
He plays Oliver Platt, a plant or Pratt. I always
forget which one of these. Yeah, he is a Jerry
Lewis plays a legendary comedian, yeah, and Oliver is his son,
and he's trying to kind of be a comedian, yeah,
but he can't quite. It's just not as Good's a
heartbreaking scene where Jerry Lewis has to say to his
son against this kills me to say this, but you

(17:57):
just don't have funny bones, you know. And I haven't
seen it for years. I may watch it again, and
I've said it a couple of times, but it may
may change my mind on it. But that scene is
just one of the most heartbreaking. Imagine having to tell
your son who's trying to be a comedian.

Speaker 2 (18:14):
Like you funny you don't have it.

Speaker 1 (18:16):
You don't have it. I mean to tell anyone that
would be heartbreaking, you know. But I mean so I
think part of me, like my sons don't look like
they're going to heading to entertainment. I'm reasonably grateful.

Speaker 2 (18:27):
Do you never have to say that?

Speaker 1 (18:30):
Can you imagine? The King of Comedy isn't the kind
of movie I think you sit down on the couch
if somebody like your dad does. It's a bit slicing
down in that chair, just just looking over at them,
going like laughing at that interesting.

Speaker 2 (18:44):
And I always do that really annoying thing of watching
just because I know so much about it as well,
when even though I said Susan random was in it
a second ago, when I am watching it, it's like
Jerry Lewis says that there's a part in it where
the door doesn't work when he's trying to open the door,
and it wasn't part of the script. It was meant
to open, and he gets frustrated, and he's actually frustrated.
Apparently Jerry Lewitz is quite a difficult person to work with,

(19:05):
and he was trying to open the door. It didn't work,
and he got really annoyed at it. So he's really
angry in the character when he comes into the house.
And I just tell people that when I'm watching the
film with him, it's like, you didn't need to know
that you're even enjoying it.

Speaker 1 (19:16):
I'm just taking you out of the film here, reminding
you that you are watching a film.

Speaker 2 (19:20):
Let's bring the fourth wall. When someone says after a
stand up bit, they go, if that didn't work, you
know I didn't. But we know that we're well aware
that it didn't work.

Speaker 1 (19:28):
Goodwill Hunting is a classic has appeared on many people's
top three films. Did you watch it? When did you
catch it?

Speaker 2 (19:37):
I watched it quite early on because I remember loving
One Hour Photo with Robin Williams, and I kind of
wanted to see what else, what other kind of serious
films he did. And I remember loving the monologue so much.
Rob Williams monologue in it is just incredible. I haven't
watched it in quite a few years now, but I
just remember loving it and watching it kind of consistently,

(20:00):
like like that, and and the lines from it, like
how do you like these apples?

Speaker 1 (20:03):
Like, you know, have you seen Louis c Ks? I'm
not sure we're still But all the other stuff aside,
he does do a great routine about how Damon writes
this film and he's a genius, and he gives himself
the best lines, and of course all his mates love.
He's so funny and those apples, and it all hinges

(20:26):
on the other guy liking apples, you know, and he
can't lie. He goes, I do like apples. I can't lie.
I can't lie.

Speaker 2 (20:38):
It's like doing crap work.

Speaker 1 (20:41):
Yes, and.

Speaker 2 (20:44):
That is a very funny bit. But I have watched
that bit recently because it made me laugh so much
just thinking about that scene, because I've never really thought
about it like that. That There is so much in
that film as well that really does hinge on it
were just going with his genius's supposed to genius the film.

Speaker 1 (21:00):
Apparently there was a whole I don't think they shot it,
but in the original script maybe like where they end,
he's almost like halfway through the movie. He goes on
and becomes like a spy or something. He works for
the government, and that I think William Goldman that he
had a famous screen rod and screen doctor kind of
came in and said, you don't you don't need that.
You don't need that.

Speaker 2 (21:20):
Him driving off at the end, exactly so.

Speaker 1 (21:22):
To Elliot Smith, who this movie kind of got me
to Elliott Smith. Yeah, right, he's no long with us obviously. Yeah,
Willing Goldman actually plays a part in Someone at the Lances.
You'll get to later on as well. But yes, it
was an incredible and Gus vind sand direction in that
Many Drivers is really great.

Speaker 2 (21:40):
Really great. Yeah, that great joke she tells about the blowjob.
It's really funny, Like it's really funny film, but also
just dark and strange and kind of just beautiful as well. Like,
you know, Ben Affleck's character is kind of you know,
you're kind of realizing he's probably not going to leave
the town. But if he had skills and if he
was as smart as Matt Damon's character, and there's a

(22:02):
lot of frustration from him. I think it's just a
really well done film. And also the fact that they
wrote it and I think Robin Williams like slashed his
fee for the film, like really wanted to do it,
and they couldn't have made it without him, Like it
was a really like he had to I think, kind
of attach himself to the to the film for them
to get the green light to actually make it.

Speaker 1 (22:22):
And you're right, like there's so many people emotional ins
like the idea Ben Affleck's character, he's not going to
leave this down. He's not going to springsteen out of
there because he doesn't have He's going to be, you know,
laying brick his whole life. And he says, if you're
if you waste your talent, yeah, I will kill you.
And then you know the idea of Rob Williams character

(22:42):
and and and Matt Damon not understanding at his age
and grief is and what what really caring for somebody
is like and the whole scene about the you know
you're going to see you know a girl about a
what did he say the line of it he missed

(23:03):
the baseball game, you.

Speaker 2 (23:04):
Know, yep, yep, and he'll hurt you.

Speaker 1 (23:07):
Yeah.

Speaker 2 (23:08):
Yeah, that scene as well. And also like, I just
love the idea where and I don't think it's overdone
in the film, and I think it can be kind
of overdone when he says, I hope every morning when
I knock on your door that you won't answer and
you won't be there, something like that. And then so
it's such a beautiful moment when it's so understated at
the end when he knocks on his door, like he
doesn't act like it is such a beautiful moment because

(23:29):
it's not overexplained. He just kind of smiles and walks off,
and it's not like he doesn't look around, and there's
no like quick like cuts of him going there's no
bad moment bang bang bang bang. But it's just a
really nice, nice moment in the film. And I was like, Oh,
that's actually a really nice moment where they didn't kind
of force feed you what this moment was and what
it meant and where he was going. It just kind

(23:51):
of features him driving off in his car. I'm very
glad they didn't do the spy thing. Oh, that would
have completely ruined the film.

Speaker 1 (23:58):
It's sometimes like, so I'm excited to learn those little
facts that this is. Yeah, sometimes that's scary if that version, yeah,
I had to watch Yeah, yeah yeah.

Speaker 2 (24:10):
Something that also relates to this loosely relates to Ted
ted Levine, who is in chance Lance. He is in
a so I like Ted Levine a lot. The thing
that I know him from is monthly obsess and compulsive
detective was the Lieutenant. I always really liked him in
that and I watched that growing up, and that character
played by Tony Shaloub was going to be and was

(24:31):
made for Michael Richards. Oh really, And he's such a likable, lovable,
kind of curmudge and sort of character, and I just
don't think it would have worked with Michael Richards. I
don't think Michael Richards is likable enough to be and
certainly now a lot of the stuff that he said there,
there was a moment when they were trying to make
it for him, and then and then when well Tony

(24:52):
Shalub's going to do it. Who was incredible in that role.
And that kind of started a long string of film
US or TV show where detectives were like blind or
deaf or I just was like they had something different
about them that made them really good at solving crimes.
There's like ten after that. But yeah, it was really
interesting to kind of go, oh yeah, imagine that one

(25:13):
little decision, and I don't think I would have liked
the show, or it would maybe it wouldn't have been
such a hit if it was that one person that
came in last minute.

Speaker 1 (25:21):
I think films I've been lucky enough to. I've got
one made repeated, Dnklice and Vonstrowski and lots of people,
and it was amazing, fun and proud of it. Things
I would do differently if I make it again. We
had Dana Reid who directed it on recently.

Speaker 2 (25:38):
Hamish Blake playing a concierge.

Speaker 1 (25:39):
Hamish Blake playing a concierge. Rose Byrne was yeah, yeah,
we had an amazing, amazing cast, and I remember being
on set and it's kind of going, it's a it's
a miracle any film gets made. Oh absolutely, the people
when people are so kind of las about fatiquing films.

Speaker 4 (25:57):
And and.

Speaker 1 (25:59):
You know, you go watch a film, you get to
you know, but just try to watch it with your arms,
you know, oh yeah, your heart open and with an
open mind, because like there are so many choices that
gets made to make it. Yeah, yeah, one bad choice,
you know, the wrong actor in the lead role that

(26:20):
you know the wrong even getting the film financed and
all of that. It's it's completely insane.

Speaker 2 (26:27):
I watched a film last year where I hated the
editing so much, and I was like, this could have
been such a funny film. Like the writing was great,
it was a really funny film, but the editing was
so bad. For some reason, they left the you know, obviously,
I think a lot of the time. I've made one
comedy film and I was like, oh, Like the editing
was so important to me because it's like it's like

(26:47):
writing again. It's like you edit again and you go
you go, great, No, I'll find another take or cut
it here or cut it here. It's way funnier if
you know, if Genevieve Morris is talking here and she
starts yelling at you, then you cut to someone just
staring at her that you haven't seen before, Like just
little cuts like that where you're like, oh, that that
is funny in the edit that I didn't realize was there.
And I watched this film, I was just like, oh,
they're just like lagged after a joke for way too long.

(27:10):
Like it was like someone it would be a funny
ending to the scene and then there'd be a dolly
shot just going around them and they're just both sitting
at the table looking at each other. I was like,
but nothing's happening. Well, we paid for the dolly, I
guess I do. Its something really odd about watching this
and going, oh, the editing was the thing that stuff
that thing up.

Speaker 1 (27:28):
It's funny sometimes when you take something out and doing
in the edit is doing a whole new draft of
the film. You can completely remake a film. Yeah, yeah,
an episode of a TV show in the edit sweep,
and I think in it you don't realize how much
you write almost writing the film again. Yeah, it's a
lot of fun. A piece of work by Joan Rivers.
I have seen this stocko. It is fascinating. It really

(27:50):
is documentary into the world, well, not only to show
his legend, but this comedy.

Speaker 2 (27:55):
In general and longevity.

Speaker 1 (27:57):
Yeah.

Speaker 2 (27:57):
Yeah, there's a great line where her manager says, I
think Billy says she will have claw marks down the
red carpet. She is never leaving, And I was like,
that is such an interesting thing. So I grew up
loving comedy, obsessed with comedy, cold radio stations. I won't
tell you that story. It's a boring story, but it
was for me comedy. I just love comedy so much

(28:19):
and loved the history of comedy. I was obsessed with
the history of Australian comedy, loved it so much, and
then never really watched American comedy really ever. Growing up.
My parents didn't really like American comedy like English comedy
and Australian comedy. But then I've found out about Joan
Rivers and I probably would have been about seventeen years old,
and I was really wanting to start to do stand

(28:40):
up and doing film on the side, and I watched
this film and I was just like, wow, this is
such an inn and it showed you that there is
no glitz and glam like. What I loved about it
was I think sometimes people outside the comedy world sometimes
kind of go look in and go, oh, wow, that
must be amazing. It must be you know, like the
show business. You go, no, you're walking down a dingy

(29:02):
like staircase, you might fall down. You're kind of going
up into a tiny little area backstage where you're pushed
up against tables and that's your green room and you're
just shouting and it's the best, Like it's great, but
watching that with someone who had joy in that. So
I made a documentary years later, I'm about Fiona Lachlan
called Lady Lachlan, and I followed her for three years.

(29:23):
It made it and I kind of thought that she
was really Australia's Joan Rivers. And I took a lot
of inspiration from that film because it was like, how
do you have an inn with this person? How do
you get to know someone that always has a guard
up like Fiona? Like always on stage, she's always had
a little bit of a guard up where she was
her dinner party self on stage, But how do you
kind of see the other side of it? And I

(29:45):
realized it was in the pauses rather than it was
in the making of it. Like her talking, she could
just talk a way out of any situation and always
ended everything with a joke. But then when she didn't
know I was filming, when it was just her having
a cigarette, just staring like what's on her mind? And
I found that that was the interesting thing with the
Joan Rivers piece. Of work. It was like, what are

(30:07):
you thinking? What is really going on? She was emotional
in the film, but I found the most important bits
when she was kind of just walking to a club
and they just kind of filmed her walking and it
was like, I don't know, there was something, There's something
more interesting about such a powerful figure that I think
always has a guard up, and it's really hard to
do in documentaries to do it well. I don't know

(30:28):
if you've ever seen any that you remember just kind
of going, oh, I feel like I got a very
different side of that person that I wasn't expecting.

Speaker 1 (30:37):
The one the comedy docco that jumps out of me.
I really do love piece of work, and I want
to come back to it. But the comedian by Jerry.

Speaker 2 (30:42):
Sider Any Adams, is just when.

Speaker 1 (30:46):
He basically the series is done, one of the biggest
sitcom of all.

Speaker 2 (30:51):
Time called Everybody Loves Raymond, Friends.

Speaker 1 (30:55):
Friends, and he decides to throw out basically all the
material and start again. And we've all been there. I
know you're doing your first our show wide the Long Face.

Speaker 2 (31:08):
And I'm already throwing it out, throwing at all my material,
but I know.

Speaker 1 (31:13):
It's like to and you would have gone through this
with the show, like look up and kind of go
I'm at zero minutes right now, and I'm looking up
at now now that's sixty minutes and I need, you know,
I need to get to there, and I've got nothing. Yeah,
and what it's like to That's when people say, is
it hard being a comedian to get nervously? No, not really,

(31:34):
but but it's hard to kind of go out to
a club and do fifteen minutes of new.

Speaker 2 (31:41):
It would be hard for you. I think I think
it's hard. I think it's quite easy for someone who
people don't really know to get up and talk, because
I think you can impress them sometimes when if you're
like good at what you do, do you find it hard?
As like a bit of a you know you and
you're a bit of a comedy legend, Pete, did you
do find it? Do you get a bit of lee
late at the start and then you find in.

Speaker 1 (32:02):
That Lors Black who says it or somebody said that
they have you still got to be You're still going
to be funny, Jack Nicholson. They used as an example
the most reverd man in Hollywood at the time still
is if he got up at an open mic night.
There'll be a reverence for maybe three to five minutes,
and then after five minutes be like, come on, Jack,
make us laugh. Laugh. So there's certainly that, but I

(32:24):
kind of I'm comfortable in like that that I will
I will get you, I'll get them. I mean, that's
not to say I haven't had to get gigs that
have been disappointing, or you're going to go I felt
a bit rough to you know, and that you know,
I'm always honest with myself. I go, what did I
contribute to that not being a good like the best

(32:46):
experience it could be? And I did one recently and
I hadn't done the gig for a couple of months
because I've been doing the play. And I raced out
from I did the project that night, and I raced
from the studio about an hour drive out there. I
didn't really have time. I think I was recording my
podcast before I got through the projects. I had no
time during the day. This let's just sit with it
a bit and kind of go okay, And you know,

(33:07):
you know, it's like you hadnt done a gig for
a week or so, a couple of months, and I
got out there and the audience were lovely and they
were nice and we had a nice time. But I
felt in myself that my transitions were all rusty. I
do a lot of thinking in my own head, how
long have I been on stage four? Can I get
off now? Or like so it just felt a bit.

(33:30):
But then I did one of the next night as
one of the best gigs I've probably done.

Speaker 2 (33:33):
You know, yeah, yeah, it's but you.

Speaker 1 (33:37):
Do get I guess there's some excitement for people to
see you on stage. When they've seen you, you still
have to hold them and deliver, and you want to
be I agree with you what you're saying. And I
used always say when I was coming through saying the
power we have as new comedians is surprise factor when
they're driving home in their car after in the you

(33:58):
but I wouldn't say that guy, the second guy.

Speaker 2 (34:01):
They might yeah, the second guy, you know, the third guy.

Speaker 1 (34:05):
Yeah he did that routine, you know, because they remember
like two or three jokes from the whole night.

Speaker 2 (34:10):
Yeah, yeah, yeah, And.

Speaker 1 (34:12):
If they're quoting you know, one of my jokes. Yeah,
you know, that's great, And that's how you build and build.

Speaker 2 (34:18):
And I always think it's so nice when someone comes
up to you after it and they go, I don't
know you, I haven't seen you before, but I thought
you were really good, Like you know, people lovely, lovely people.
I also like it when someone comes up I was
talking to Bron about this the other day. Bron Lewis
when when someone came up to her the other they
we're doing a gig together and someone came up to
her and when I loved your set, and I was
just standing there just like because it's so funny. I

(34:41):
don't think people know sometimes because it is such a
jarring thing. I think sometimes to go up to someone
and say I really liked what you did, and then
you look at someone else who was also on the
lineup and I'm just there as well, and it was
such an awkward moment because then I had to kind
of just kind of turn away. I just kind of.

Speaker 1 (35:00):
Everyone. I mean both sides of it, you know, like
the or somebody will come up to you and ask
for a selfie or an autograph, and like hughs he
sitting next to standing next to you, and they won't
the worst one because he like he like loves all
of that stuff. I remember that happening once in Adelaide
that they came up to me and they just didn't
recognize they didn't quite know he was there.

Speaker 2 (35:22):
He was crashed.

Speaker 1 (35:24):
It is. It is funny. I had won recently, not
you know, last year, where it was weird because I
had one of the loveliest compliments. There was two sisters
who came up to me and said we and it
was a great gig. It was a great gig. They
said thank you so much. One of one of them said,
thank you so much. We really needed that. It's the

(35:46):
first time I've left the house in months our father
passed away, and it was the timing was perfect. You
were just unbelievable, like, thank you so much for doing that.
And there's another sister who was like sitting back a
little bit, and and then Billy Styles was on. Billy's
great Yeah.

Speaker 2 (36:03):
Really, it's really funny.

Speaker 1 (36:05):
I think, you know, I hope he kind of starts
getting a bit more recognition and I think he's doing
I think last year's had a really good last tew
years where I can see he's really you know, yeah, yeah,
developing stuff, and and and the others him she goes
and she kind of came past to me and she goes,
you were you were great, but you were.

Speaker 2 (36:26):
And it's like I didn't need I didn't need that.

Speaker 1 (36:28):
I didn't you just give me a job like almost
like life affirming, like the power of comedy.

Speaker 2 (36:36):
I should be doing this with my life.

Speaker 1 (36:38):
My jokes. And then it's like okay, now, okay, not
fair enough, fair enough, so and that's why I mean,
it's kind of great as well because it also keeps us,
you know, pretty grand a lot. I think we did
a pretty good job.

Speaker 2 (36:50):
But that was a great thing about still like watching
like comedian and a piece of work. Even watching Joe
Sign felt you're going like the biggest star in comedy
probably ever, like one of the biggest at least bombing
and rooms. And also like, you know, the thing is
a woman in the front crowd that goes, who are
you or what have you been doing recently or something,
and it's just like and it just it's a funny

(37:12):
line for her to say, but it's just like he
kind of in that moment is just standing there going
what am I doing this for?

Speaker 1 (37:18):
Ye?

Speaker 2 (37:19):
And then he's like walking up the back and there's
a there's a great juxtaposition of characters in that with
with Ornie Adams, who is an American comedian who just
comes across as the most arrogant person, quite ungrateful. And
I've tried to listen. I think he did a Mark
Maron years ago because I've just been so interested in
how you can be portrayed in a documentary. It's all

(37:42):
in the editing as well. I'm sure he wasn't as
bad as he comes across in that documentary, but that
would have ruined a lot of opportunities for him, I imagine.

Speaker 1 (37:51):
Yeah, I was always curious, like what the fallout was,
and he's.

Speaker 2 (37:56):
So angry at Seinfeld, where like if I'm at a
night and you or Dave User on, it only adds
to it. It's great. You're like, oh my god, there's
a really famous comedian here. I'm going to there's going
to be a bigger crowd for me. So it's going
to it's actually gonna be great, and they're going to
be great, and then you can go on before them
and be great as well.

Speaker 1 (38:12):
Again, like you said, be the surprise, be the surprise.
I completely agree. We can talk about stand up and
comedy all day, but you've got some horror to get. Yeah,
that's right, Sammy, So let's find out. Let's talk about
this movie we're heren't talk about for ninety ninety one years.

Speaker 5 (38:29):
Oh, agent Starling, you think you can set me with
this blond little tool.

Speaker 1 (38:34):
Oh? I thought that your knowledge?

Speaker 4 (38:37):
You are so ambitious signed to you?

Speaker 5 (38:39):
Do you know what you look like to me? With
your good bag and your cheap shoes? Do you look
like a rube, a well scrubbed hassling, a robe with
a little taste. Good nutrition has given you some length
of bone that you're not more than one generation from
poor white trash?

Speaker 1 (38:56):
Are you Agent Styling?

Speaker 4 (38:58):
And that accent you've tried to desperately to.

Speaker 5 (39:00):
Shared pure West Virginia? What is your father? Is your
calm man? Just this stingable lamb? You know how quickly
the boys find you, all those tedious, sticky fumblings on
the backseats of cars, while you could only dream of
getting out, getting anywhere, getting all the way to the end.

(39:25):
You see a lot of doctor.

Speaker 3 (39:28):
When are you strong enough to point that high powered
perception at yourself?

Speaker 1 (39:34):
What about it?

Speaker 5 (39:34):
Why don't you why.

Speaker 3 (39:35):
Don't you look at yourself right down?

Speaker 4 (39:37):
What you see?

Speaker 1 (39:38):
Okay, Sammy? Peterson, Jonathan Demi directed this Sir Anthony Hopkins,
Jodie Foss at both nab Oscars. You got Scott Glenning
there from not a ninety one Silence of the Lambs.
Did you enjoy it?

Speaker 2 (39:52):
I loved it? I really, I really liked it. I
guess because I also didn't really know what to expect
in a way as well, like I knew I like
I was talking like it's a very familiar film in
a lot of ways because you know so much from it,
and you know references over the years from it as well.
But watching it and going, oh, Anthony Hopkins is not

(40:17):
in it as much as I thought he would be.

Speaker 1 (40:19):
In its he wins the Oscar for it. Yeah, it's
the second least matter of screen time in the lead. Wow.
Probably should probably should have been supporting supporting actor. Yeah,
but he is in it. I wrote this down. He's
in it for a total of Is it.

Speaker 2 (40:38):
Something like twenty minutes twenty Yeah? I felt like it
was something like that.

Speaker 1 (40:43):
It's twenty four minutes and fifty two seconds. The shortest
is David Nevern in a movie called Separate Tables. I
have not seen it in nine to fifty eight twenty
three minutes and thirty nine seconds and he only has
four scenes of Jodie Foster.

Speaker 2 (40:58):
That's amazing. I think it was really I mean, I
think the opening shot is really good. I think Jody
Foster just running.

Speaker 1 (41:08):
It's so funny because you're talking about it a lot. Yeah,
and I agree, I'd love it. But yeah, it's just simple,
so simple. Yeah, there's not much to it.

Speaker 2 (41:16):
It's really good. And it was like obviously in a
time period when opening credits actually are opening credits, they
take their time with them. It's really good. And then
getting called away. Jodie Foster is so good. And I
know she's a great actor. I've always though she's a
great actor, but she's just so I don't know, there's
something really normal about her. You can kind of relate

(41:37):
to her in a way, even though she doesn't really
give a lot away.

Speaker 1 (41:40):
Well it's interesting you say that because I agree, like
when you're watching her, she's not giving, she's not doing
too much.

Speaker 2 (41:48):
No, yeah, it's.

Speaker 1 (41:49):
All pretty kind of you know, like subtle. Yeah, but
you're not feeling like.

Speaker 2 (41:54):
She's holding anything back really or like.

Speaker 1 (41:58):
She's so flowery speeches as No, it's it's a really
restrained performance, but it's what the role needed.

Speaker 3 (42:05):
Yeah.

Speaker 2 (42:05):
Yeah, And I think her going I think it was
really great watching her go in to the place as
well for the first time. So how scary that moment
is when you're about to meet a psychopath, You're about
to meet someone who is in this kind of confined
space for a reason. Quite horrifying moments just happen after that,

(42:27):
when when the guy is kind of you know, he's wanking,
and you know that is quite horrifying that he's quite
a terrifying scene.

Speaker 1 (42:37):
The glass in front of his calas the most disgusting
glass in you love.

Speaker 2 (42:44):
But watching him for the first time Anthony Hopkins when
he appears on screen, there is something brilliant about the
way that they stage it, where he is standing up,
he is ready, and he just it kind of sums
up a lot about the character so quickly, where you're like,
he's confident, he's really intelligent, and he's he's calm, and

(43:07):
I think there is something so much scarier about people
that are calm. I think, like I think the reason,
like you know, Heath Ledger, the Joker and so many things,
the way they walk instead of run. I always think
that there's something really kind of more terrifying about someone
who walks after you than runs after you. There's something
that the pacing, the the I'm not afraid to die,

(43:28):
so I'm just going to go helpful, leather and do
whatever I can here. I don't really care like I
might die in this situation. I might not. There is
something really terrifying about his performance where he doesn't do
too much either. It's not like digs sorry, digs, digs digs.
There's something a little bit.

Speaker 1 (43:49):
I don't know.

Speaker 2 (43:50):
He's so restrained in his performance. It's the like the
way he says certain things, his accent, everything about it
is not this hammy villain, which it could have been. Yeah,
I think you know, if Michael Richards did it again,
if anyone else did it, I can imagine it would
be a little bit hammy. Yeah, but for some reason

(44:11):
this film and his performance. Now watching it for the
first time, I was like, I can see why both
of them won Oscars. They're both incredible and some of
the best acting I've ever seen. But also the suspense
and how hooked eye was. I always think, you know,
if I'm watching a comedy show, sorry to bring back
to comedy. If I'm watching a comedy show or a film,

(44:32):
anything really, if I'm watching anything a play, I stop
naming stuff now. I if I'm watching catalogs, if I'm
not looking at my watch, it is the best thing
in the world. And I did not look at my watch.
Once I watched the whole film, it was two hours
and or just under two hours, just under two hours.

Speaker 1 (44:52):
I there's a whole scene which I mentioned were Goldman
and they would google Hunting earlier. Yeah, there was a
twelve minute scene which they shot which I think begins
the third act, and it's basically Starling being kicked off
the force and the boss kind of coming down the
DA coming down and down their necks and having a
go at Scott Glenn's character. And that was that was

(45:16):
in the film, so that that would have put it
like two hours and ten minutes or so. And they
had a screening and WILLI and Goldman went and saw
it and said, great films, it's a masterpiece. You know,
just consider getting rid of that scene. And then you
can't get rid of that scenecause they all thought this
was the scene that kind of the third act coming

(45:36):
hung on, and they got rid of it. So it
goes up until Clarice driving to the house and then
the swat team again to the wrong house. Great misdirection.
They will get to that later. And they took it
out and it was just like, oh, fuck, this works,
this is a better Yeah. Yeah, it's twelve minutes because
you're right, the film.

Speaker 2 (45:52):
It flies long, and it's not a fast film either,
like some of it is. But the film, the scene
where he's in the next high security place and the
guards are bringing him food, it goes for a long time,
but it is so tense and it's not it's not
the music. It's not that a lot of the time,

(46:13):
I think, especially if you're watching something like a Stephen
King film or something, the music is so like the shining.
The music is so it builds, it builds, it builds,
it builds. And this is probably the first film I've
seen where I didn't really notice the music. I didn't
really notice that sort of stuff. I was just so
gripped by Anthony Hopkins and Jodie Foster that all of

(46:33):
it seemed to fade away. And I just don't think
i've seen a film, you know. I think Kim Comedy
is like this for me, a film where the acting
is so good that everything else is just like, oh shit,
like like the script was amazing, that the film was amazing,
and I'm kinda I looked at it after going oh,
I know, I know he's played Anthony. I know Anthony

(46:56):
Hopkins has played Hannibal a few times, and I know
that the other probably won't be as you know, as
amazing as actually yeah, yeah, because I know that Jodie
Foster wasn't in the next one. Yeah, But I don't know.
There was just something so gripping about the pacing of
it as well. It was it flew by, but it

(47:16):
didn't feel really.

Speaker 1 (47:17):
Quick when you watch it again. The music, certainly it
plays a part and probably do it subconsciously for you
because you yeah, which is great, but I reckon if
you watched it again. The music is I think particularly good,
both in the score and some of the song choices
that the American Girl when.

Speaker 2 (47:35):
There was Soul Sister imagine.

Speaker 1 (47:38):
Well the song where Ted Levine sings along of course
the Old Tuck. Obviously, I think it's aged incredibly well.

Speaker 2 (47:49):
I think so for the content as well, Yes.

Speaker 1 (47:51):
Because obviously the trans community, some of the trans community
upset that you know that the Buffalo Bill. Sure, but
I think the film actually is quite clear insane that
he's he believes he's strength, but he's not like from
a from a psychological point of view, lect if we
can blame if we take on his word, I think

(48:13):
a good psychologist with some moral gray areas.

Speaker 2 (48:17):
But they say, yeah, my view of the whole film
animals are.

Speaker 1 (48:22):
Right, it's fine. Well, it's funny how we do kind
of have a soft spot for Lector because he does
one he is really good at what he does with
characters in films. When they are good at what they do,
we do kind of want, of course, and there is
a weird kind of caring side of him towards he
kills Megs Mes, Yeah, kills Megs because Megs through jeers

(48:44):
actually clarice and even Lector, notice you.

Speaker 2 (48:47):
Don't you don't throw gears at women. Do I have
to say it again?

Speaker 1 (48:51):
It's not Chivalrouss is dead. I'm not sure how he
got to Megs.

Speaker 2 (48:56):
No, that's fascinating as well, that that's not even explained
in the film, but you just kind of go with, yeah,
he probably he probably had a way to get him
if he needed to.

Speaker 1 (49:02):
I guess there's like a part of yea that they
have dinner together or yeah he got to him and
and we're all the better for it. But there is
a there is a weird kind of respect he has
towards Clarice, even at the end when he's saying that
you know, like you're you're you're safe and not coming
for you. That will better with you in it, Yes,

(49:24):
And Clarisse actually even says as far as like, you know,
trans people tend not to be aggressive and more placid
than aggressive, and so I think they cover their bases
pretty well.

Speaker 2 (49:39):
It's not like an ace Ventura. No, it's not that
sort of thing. Like I think I didn't really notice
that even as a thing. I remember watching it kind
of being oh, is that But I was like, no, no,
it's actually I don't think that it goes into those
territories really at all. And I think Buffalo Bill is
such an interesting character really, Like, I mean, there is
so much to that character that is horrifying. But I

(50:02):
think that is not even a thing that I would
even counter into it.

Speaker 1 (50:05):
Really. I did see a theory that is on the net,
which which yeah, you've been always hanging ten on that
makes you super highway. But that's that kind of suggests
that this has been a long play from Hannibal Lecter.
So to remind you everyone, everyone, Hannibal Lecter. Buffalo Bill

(50:28):
is a patient of Hannibal Lecter. Or his name Jane Gunn.
I love the fact that it's a Jane instead of James.

Speaker 2 (50:34):
I'm not a plural, I'm just one.

Speaker 1 (50:36):
It's a tiny that probably led to all of this,
the amount of times he would have had to say
to someone it's it's just James. Just actually every time
he said his name James, no, no, no, s s
and Jan and now he's skinning women. So this is
a long play from Lector that he kind of that

(50:56):
he kind of groomed him in his therapy to become
this serial killer, knowing that there's a chance that he
may get caught at some point and if he did
he was going to get put away for a long time,
that he could use this as a bargainship that this
is a long play. I don't mind the theory because
let there is all.

Speaker 2 (51:16):
Knowing that's right.

Speaker 1 (51:18):
Yeah, yes, he's calculating, he thinks through. I don't think
you're enjoyment of the film hinges on whether this theory
is true or not.

Speaker 2 (51:29):
But no, I was not going did he become it
because of him?

Speaker 1 (51:31):
Or what?

Speaker 2 (51:32):
I was not thinking about it at all.

Speaker 1 (51:34):
To be honest, I did you actually think before you
saw it we were you surprised there was another serial
killer involved? Or did you just kind of think I
knew that this is a film about like they're killing
people and then starling.

Speaker 2 (51:47):
That's what I thought it was. Yeah, I thought there
was going to be about that, But then I had
always heard that when I always heard it, no one
was saying this to me all the time, but it
rubs its loction. Yeah, i'd heard that line a bit.
And the Well scene is quite a fame a scene
as well, Like you know, there's quite a few Well
scenes in there, but that was quite famous as well.
So I was going, oh, there must be another person involved,
but I didn't know how that would And it makes

(52:09):
so much sense to get a character profile of this
person from someone exactly like that.

Speaker 1 (52:14):
Yeah, what did you make this to go? Looking back
to the start of Jack Crawford Scot Glen, his decision
to send Clarice.

Speaker 2 (52:23):
It was so strange. It's a big call it is
a big call. Yeah, but he obviously thought, you know,
there was a profile of her that probably fitted someone
that Hannibal would talk to. But it was interesting that
she was a student.

Speaker 1 (52:35):
Yeah.

Speaker 2 (52:36):
I can't imagine me as a student if I was
in that field of someone going you'll do it, won't
you going to this high security place and a guy
will throw jigs at you. That's just not a good
day at the office.

Speaker 1 (52:46):
No, you really need to get the glass on me,
but I do. Yeah, you watch it, and they do
a great job. And you mentioned how great is when
we first s the stillness of him compared to yeah,
the inmates. But they also do a great job of
setting him up before you see him, of the saying
do not letting nothing personal, do not let him into your.

Speaker 2 (53:09):
Head, do not get near that.

Speaker 1 (53:12):
And then when they get to the and it's doc
doctor children, the creepy doctor children. He's asking I mean,
when we get to all the male gaze stuff, as
far as how use the term, but he is, I mean,
he's creepy. He's asking her out for dinner and you're
in Baltimore for water than the night.

Speaker 2 (53:33):
It's really gross.

Speaker 1 (53:35):
It's really gross. And and but even he says to her,
he tells her the story about how he killed somebody
they ate their face or whatever he did, and his
heart race.

Speaker 2 (53:49):
Heart rate never went.

Speaker 1 (53:51):
A certain thing. So already had this portrait of a
man that's been drilled into you by basically in two
scenes with Scott Glenn and then.

Speaker 2 (54:00):
With yeah, he's terrifying before you even seen him. Yes, yeah,
which I like to think about.

Speaker 1 (54:05):
Myself whenever you walk into a room terrifying. I'm just
so still gets a little bit hotter. But doctor doctor Chiltern,
who is creepy. And then there's this weird relationship between
Jack Crawford and Clarice as well, because and Hannibal puts
a to it. Do you think he met fantasizes about

(54:26):
you and and and all that, But it's a weird.
It's a slightly weird like I like to think he's
the one who hasn't like, isn't looking at Claricus as
any anybody but a you know, an FBI agent of
promise and talent and and all of that. But then
there's a slightly weird handshake at the at the end

(54:47):
of the closer to the handshaking that he's.

Speaker 2 (54:49):
Strained, isn't It kind of reminded out of that you
know in Russell Couoy when he shakes someone's hands and
the cuts are so bad, it's always someone else's hand
kind of. I didn't know what that was. I couldn't
really put my thing on what that was. It was
really strange.

Speaker 1 (55:04):
It was weird. But him sending her in I do
think it works because I think I think you're right
that he saw something in her profile that he hasn't seen.
And then when doctor Children mentions to him, Ey, it's
a smart move by Jack Crawford to send a young
woman in because yeah, yeah, and maybe that that was it.
You have all these things throughout the movie. You know,

(55:25):
the cops just her in the elevator, surrounded by against
giant men them and they're looking at her and.

Speaker 2 (55:32):
And almost them not wanting to go in with her. Yeah,
there is that kind of thing as well. Best of that.

Speaker 1 (55:39):
So you're on the way out, Yeah, and and doctor
Chiltern saying all these weird things and cracking up the
doctors who he cracks under her and yeah, freely admits
that he does. You know, she feels less threatened by him,
but it's still it's still a bit weird. When they're
oppened in the garage thought to the storage, the guy says,
my son doesn't like doing any heavy left, but you know,

(56:00):
maybe we can give them help tomorrow, and and you
know she's more than capable of you know.

Speaker 2 (56:04):
Yeah, yeah, that's so funny as well, when she goes
to the driver, will help and he goes, no, yeah
it's hard. Yeah, we'll come back tomorrow. That's easier.

Speaker 1 (56:12):
Yeah, yeah, yeah, it's it's it's so weird. And then
the they have that chat. It was even an extra
at the airport who kind of like walks in front
of her and then like, look just like doing this
if they've been directed to do it. Yeah, so many
people that this copping looks at Clarice all the way

(56:33):
through the film. And then there's the the scene where
all the cops in the in the in the uniforms
are there's room full of men all staring at her
or judging her, not respecting her, and Crawford says, I
want to have this chat about his sex crimes, but
it needs to be a private chat. It's not it's

(56:53):
not you know, for it not stuff for everyone. Mean,
we're not going to have this discussion in front of
this lady.

Speaker 2 (56:59):
Yep.

Speaker 1 (57:00):
But then what I love is Clarice on the bus
says to you know, he says, you know, I hope
you didn't mind. I just you know, they're probably not
going to divulge information in front of you. And and
she says, yeah, but your words matter. They look up
to you.

Speaker 2 (57:17):
Yes, yeah, yeah, he.

Speaker 1 (57:18):
Says, yeah, I get it, you know. Next time, which
again was a conversation. It was probably reasonably progressive for
a ninety ninety one movie.

Speaker 2 (57:26):
I think so. Yeah, absolutely, yeah, it doesn't. Yeah, I
don't think it has aged badly at all in that way,
Like I feel like it has really stood up. I didn't.
I didn't feel like it was an older film in
that way.

Speaker 1 (57:36):
No, even to be honest, there's no mobile phones. That's
probably one thing. Yeah, you may notice, but even from
a you know, sometimes you know there'll be a high
shoulder pads or something that will stand there.

Speaker 2 (57:46):
But there's there should have been more.

Speaker 1 (57:49):
They should there should be more. I think everyone's stress
in a way that doesn't particularly date the movie.

Speaker 3 (57:55):
Yeah.

Speaker 1 (57:56):
No, I like it's all pretty.

Speaker 2 (57:58):
Yeah, it could be made today, and I think it
would be pretty thick to what it is now.

Speaker 1 (58:01):
Yeah, I think so. I think so. There's a great
advice I use as well. With the actors are talking
often to the camera, like directly to the camera. Yeah yeah,
I think that kind of takes you really It really
draws you in, doesn't It feels like you're in there.

Speaker 2 (58:13):
Yeah, yeah, No, I really like that. I really like
how they're kind of talking it kind of like you know,
a show like peep Show or something, how they did
it like much much, much much later as a comedy.
It is so interesting to have that like direct insight
to what is going on. And it really is a
bit more jarring as well. It doesn't. I didn't feel
like I was taken out of it at all, but
it is. It kind of is a little bit more

(58:34):
startling when you see it and you're like, what is
going on? I'm looking right at this person.

Speaker 1 (58:37):
Well, I really think you take the information on because
they're using that to really set up Hannibal Lecter particularly.
I think you really take it on like you're being
told not to get too close to the glass to
divulge personal information. Yes, yeah, no, I think it's it's great.
It's it's for a Invertakoma's horror film, yeah, which I
don't consider it consider to be a horror film. It

(58:59):
is to consider the horror films as when there was
a question recently and compared to Danny deck Chair, it's
much scarier than Danny deck Chair. I'm not sure how
many minut slices you're gonna get through eating signs in
the lamps, But yeah, for me, it's psychological thriller for sure.

Speaker 2 (59:18):
Yeah.

Speaker 1 (59:18):
Yeah, And I think the horror is that he escapes
at the end, Like that's yeah, to be honest, take
away all the all the the bloody stuff that he does. Yeah, yeah,
the fact that he walks free at the end. Yeah,
it's kind of like the horrifying thing about it.

Speaker 2 (59:37):
It really is. I mean the way he escapes and
everything as well horrifying, Like that is such a horrifying moment.
And then he kind of doesn't he's not in the
film for a long time, and like, what the hell
happened down for Lecter, Like he was such a pivotal
part of the film and then he's not in it
for ages, And I kind of loved how they ended it. Yeah, look,

(59:58):
I kind of love that he was just free and
now he's going to go and get someone that you
didn't like anyway in the film, like that was set
up early on to be like, oh okay, and his
disguise and everything does not look believable at all, but
he's just he's just walking freely, and just to have
that shot of him walking off freely. Yeah, I thought
it ended. I thought it ended perfectly well.

Speaker 1 (01:00:20):
Like you say something, it's scarier when somebody's just walking.

Speaker 2 (01:00:23):
Yeah, he's so chill.

Speaker 1 (01:00:24):
Yeah, running after you? Yeah, I think that. Yeah, yeah,
absolutely right. So he's got a based on I think
Buffalo Bill is based on three different serial killers, Ted
Bundy being one of them.

Speaker 2 (01:00:34):
Oh right, okay, I.

Speaker 1 (01:00:35):
Think you used to lure women by the odd furniture
moving furniture.

Speaker 2 (01:00:39):
He did, didn't he? Yeah, And he had like the
didn't he have like a I don't know, like a
bandage or something over his arm. So it was people
feel a bit sorry for him, and yeah, yeah.

Speaker 1 (01:00:47):
So that was. And then there's I don't know the names,
but one serial killer I used to have the victims
in the pit, you know, the way Buffalo buildings, all right.
Another one who would skin their victims.

Speaker 2 (01:00:58):
So there was a gay. See. I think maybe one
of them was based on John Wayne. Maybe. Yeah, I'll
just start naming serial killers. Do your best, Greig flat
just having some fun. Shout out to Flatie, Come on you, Flatie,
thanks for riding in.

Speaker 1 (01:01:15):
Yeah, if you let me go home, I won't press
charges up hunt.

Speaker 2 (01:01:22):
See, my mom is a real important woman.

Speaker 1 (01:01:25):
I guess you know now.

Speaker 2 (01:01:27):
It places the lotion in the basket.

Speaker 1 (01:01:30):
Please please, oh God, please.

Speaker 2 (01:01:39):
It places the lotion in the basket.

Speaker 1 (01:01:42):
I want to see where please. Another detail that I
loved was when she's doing the training early on. And

(01:02:05):
by the way, we spoke about the start of that
film being just her running, you know, isolated. Yeah, the
cameras behind it almost like she's being followed and watched
and stalked. That was Jodi Foss's idea. She convinced Jonathan
Demi to change to start this that was going to
be the a drug bust. Really they went in and
then it was revealed once you know they went in there,

(01:02:28):
it was just a training drill, and Jodi Fic made
the point, I've seen that scene so many times, so
you know, how about we do something. Yeah. I think
it starts in like you know, when she talks later
about the lambs and then like it kind of feels
like it does for shadows that a little bit and.

Speaker 2 (01:02:44):
The grayness of everything as well is really good.

Speaker 1 (01:02:46):
Yeah yeah, I really like it. But there's a so
in that where they're doing the training and she gets shot,
you know, hypothetically shot because she didn't check the corner.
You need to check the corner. And when she goes
to Buffalo Bill's plays and finds h Jamee, she goes

(01:03:07):
in and the camera just pans a little bit to
the corner and there's a picture of a butterfly on
the corner and she had to check the corner. She
was told to. She would have pulled the gun earlier
and probably didn't have to go through all the night vision.
Yeah yeah, yeah, being so close to being being killed.

(01:03:28):
So I love the fact that because she's so good
at so many of the things, there's so many interests
in this movie. I'm not sure if you felt the
same way where she sold things very quickly, very quickly.
Thing is she put that together that she was able
to go and I'm happy to go along with that
and go, yeah, she smiled an I am, And she
works it out Yeah.

Speaker 2 (01:03:48):
There is such a like the moment of him just
kind of you a buffalo bill, just like grabbing her
hair instead of killing her. I do. I felt like
that was a very real moment. There is something very
funny to me though about scenes like that where you're
just like, well, there's a lot of luck come on
your way here. I mean, you know, like like at
the great moment in the classic film Team America where
they're about to blow up the world and he says,

(01:04:11):
and the world will end in ten minutes whatever it is,
it's like, you know that the countdown is just way
longer than it needs to be. It's like, you can
do it now ten minutes. So someone could potentially say it.
There was something really kind of gripping about the way
they did this where it was like he he wants
to be so close to her and he's kind of
his fetishization or whatever it is, takes over so much

(01:04:35):
that he can't kill her right there, and then he
wants to kind of almost feel her hair first and
be because you know, the thing is he wants to
make a skin suit. It's like he wants to feel
connected to her as a woman in a way.

Speaker 1 (01:04:48):
Yeah, well, the fact he still has the woman down
the well.

Speaker 2 (01:04:51):
Yeah, so don't we all still got that woman down
the well.

Speaker 1 (01:04:57):
I haven't seen in your house. Have a snooper round
figure out which room the well is in.

Speaker 2 (01:05:03):
I did say to you when you're go where's I'm like,
there are three rooms, So good luck.

Speaker 1 (01:05:10):
But even even the fact that you know the woman
who's kidnapped I'm going to remember her name actually was
a Republican senator's daughter. That leads to this, No, they're
not releasing or transferring Hannibal Lecter or offering this idea
of like you can get to be on the island
and yeah, day a month, you'll get to go and

(01:05:32):
have a swim.

Speaker 2 (01:05:32):
Yeah yeah, yeah, yeah yeah.

Speaker 1 (01:05:35):
Tied to politics, yes, which is a good smart move.

Speaker 2 (01:05:40):
And how Hannibal was just not frightened at all by
the threat of her mum. Like he was just so
like okay, like he was so awful about to the senator. Yeah,
he's like okay, yep, he's not He's not going to
help in any situation, even though they brought him out
there for that. It's like he's not going to help.

Speaker 1 (01:05:57):
Really, It's pretty incredible. Did you feel when the movie
was did you get ahead of yourself? Were you trying
to work out what was going to happen? Did end
up where you thought it might?

Speaker 2 (01:06:10):
It ended up better because I kind of thought that
they would try and wrap it up in a neat
little bow, and that Hannibal would be caught, that Buffalo
Bill would be obviously caught in there. I thought the
clarice going to the correct house, I thought that was
scary and tense, and that was exactly what it needed
to be.

Speaker 1 (01:06:29):
Yeah.

Speaker 2 (01:06:30):
I think the original bust was great. And then you know,
and then kind of linking up and going nowhere found
the guy thank you for all your efforts here, and
it was like, oh, you're done. I really liked that.
And I also really enjoyed Hannibal walking free at the end.
I thought, you know, while I don't agree with him
in every I will make this very clear. I don't
agree with everything he's done. I thought it was great

(01:06:51):
the way that he It didn't feel like a regular
film where everything is finished. Yes, and I really enjoyed that.
I'm sad that the sequels wasn't as good, but it
was a nice film in a way that wrapped up
I thought I thought that was just so well done.

Speaker 1 (01:07:08):
Yeah, yeah, I agree, and we should just talk about
the escape we briefly mentioned, but I think it's worth
giving a bit more time too, because an extraordinary sequence.
I do often like I mean, the cops, you had
one job, get him his meal.

Speaker 2 (01:07:26):
That's all you have to do.

Speaker 1 (01:07:27):
I that was one one piece of it where I
kind of thought, Okay, we know Hannibal's brilliant, and yeah,
he's got a great mind, and he's in control and
he's very calm, But is he physically able to do
all all this stuff even though he's done, it's done
in the way where he's kind of done it behind

(01:07:48):
their backs because he's got his hair clip all of
a sudden and I don't know. And then it's like, but.

Speaker 2 (01:07:54):
The body of the police officer on the lift, like
you know, stuff like that. There's a lot of heavy
lifting stuff.

Speaker 1 (01:08:00):
I want to see, like how it happened, How it happened.
How long does it take for nobody to be checking in.

Speaker 2 (01:08:07):
On because one is hoisted above.

Speaker 1 (01:08:10):
But one yeah yeah in a crust like pose, and
and and then there's one of the elevator and then
so he's his skin's somebody and wearing their face.

Speaker 2 (01:08:22):
Yeah.

Speaker 1 (01:08:23):
Yeah, it's just time consuming.

Speaker 2 (01:08:26):
Really is. And it was only police officers looking downstairs
looking at the numbers of the floors. It wasn't it
wasn't a long amount of time.

Speaker 1 (01:08:33):
I think it was all the security of this guy
gets and all the warnings and the legend and this
guy has created just to have two cops to bring
their meals and not have any other people checking.

Speaker 2 (01:08:46):
In, no and no other system. It's like for the
food to get in there. Yeah, you could have just
left it out there. You could have there could have
been like it could have been a little bit out,
a little bit of a raised thing where you could
slide it under.

Speaker 1 (01:08:57):
Like you sound on the other side of the cave. Yeah,
you stay there, Sell, We're gonna put your meal on
the outside. We're going to put a little paper plate
in there. No cutlery, sorry, get that.

Speaker 2 (01:09:07):
Sorry, you're having lamb chops.

Speaker 1 (01:09:09):
So, which is also a nice touch, obviously, haven't the
lamb Clarice has told him the story? What what? What
did you think the silence of the lambs meant before
you saw it? Because when Anthony Hopkins was sitting the script,
he thought it was a Kid's film right name of
the Silence of the Lambs. Did you have any inkling
of what that could No.

Speaker 2 (01:09:28):
I thought maybe it was more about Yeah, I thought
it would have something to do with slaughtering or something.
I really did like that aspect of it. The story.
I thought it was quite nice and it kind of
did sum up everything. The quiet I think was really
was really good and I like him kind of bringing
that back at the end as well. I thought that
was really nice to bring back and kind of be like,

(01:09:48):
you know that one thing of going are they quite
the Lambs quiet? Now? I thought was a really nice touch.

Speaker 1 (01:09:54):
Yeah, and then not overdone at all. Yeah, But the
taking of the of the masking the ambulance, I.

Speaker 2 (01:10:01):
Think, oh, that was a scene horrifying.

Speaker 1 (01:10:03):
Yeah. That was also when when Clarice comes in to
save the save Catherine Martin. She comes in to save
Catherine and Cavin. Obviously Catherine's going through a bit, you know,
she's been down. Then she try she's she's lured precious down, Yeah,

(01:10:24):
but that hasn't quite worked to get her out. And
then she's saying, yeah, helps on its way, and she's saying,
come back your fucking bit.

Speaker 2 (01:10:33):
I know, it's so full on. Don't have to go
at her.

Speaker 1 (01:10:38):
She's the one person trying to help you.

Speaker 2 (01:10:39):
I thought that was so jarring. You're like, okay, it's
got no friends in the industry, in the world.

Speaker 1 (01:10:44):
Yeah, no exactly, but so so good, like so like,
ye don't have have her respond is a little bit different,
but you don't normally. But yes, I do hope she
took her of our pressure in the ens you walk away.

Speaker 2 (01:11:00):
Full pressures, an update and pressures just that time at
the end of the film to go. Precious is now
living in.

Speaker 1 (01:11:04):
Miami, Precious appeed in pet food.

Speaker 2 (01:11:07):
Commercials, doing just fine.

Speaker 1 (01:11:09):
Yes, but yeah, I'm really glad you enjoyed it.

Speaker 2 (01:11:14):
I love it.

Speaker 1 (01:11:14):
I think this is one of those films that is
pretty perfect.

Speaker 3 (01:11:18):
Yeah.

Speaker 2 (01:11:19):
Yeah, absolutely.

Speaker 1 (01:11:20):
There's not many things that I you know, I had
had an issue with the tiny things that are almost
more from a you know, a comedian taking stuff slightly
out of context. Like when she does go into the
room and she's talking at the music box and she
just rips into it and she finds these nude polar polaroids. Yeah, yeah,
she's taken, but then she just leaves it, just leaves

(01:11:41):
it for dad to find.

Speaker 2 (01:11:44):
It's so weird. Just leave that for now.

Speaker 1 (01:11:47):
That's slightly weird, but there's just so much. There's so
much alike about this this film. A couple of quick
fun facts where we wrap this up. Gene Hackman actually
had the rights for this movie for many years. Jodie
fostered one of them in quite about them that Gene
Hackman had them. But after he made one of my
favorite films, Mississippi Burning, and he saw at the Academy

(01:12:07):
Awards some of the clips play for Missisi BURNI he
this decided he didn't want to make any more violent films,
so didn't do anything with the Silence of the Lambs.
I think he had plans to possibly play Handable Lecter
is a part in the movie where Elector kind of
mocks Clarice's accent. This is kind of sudden accent. I
think it's like West Virginian and Jodie Foster kind of

(01:12:28):
took offense to it, like she's just like a younger actually,
even though she's experienced taxi driver through the Oscar Winner.
But also you know this Revere kind of theater actor
who is playing it pretty scary, astimidated by him. I'm
not sure if Hopkins stayed in character the whole time,
but yeah, he kind of mocks her accent in character

(01:12:51):
and she was a little bit offended and the kind
of like you know, changed the way she did the scene,
and she later actually thanked.

Speaker 2 (01:12:57):
Him SA that actually that was That's amazing smart move.

Speaker 1 (01:13:02):
It did help. Hopkins kind of saw Lecterre's combination the
voice of Trimman Capodi and crossed with Katherine Hepburn and
also like the a bit Hell from two thousand and
one in space ob see almost I can see I
can even hear.

Speaker 2 (01:13:16):
That in the voice totally. Yeah, yeah, yeah, like the.

Speaker 1 (01:13:19):
Trimy Capodi and Captain Happann think I'm like, okay, sure,
but I'm hearing Hell.

Speaker 2 (01:13:23):
Absolutely yeah. I don't know when you say that, that
totally makes sense.

Speaker 1 (01:13:26):
The cocoons that were in the in the Throats were
made from tutsi rolls and gummy bears. Of course, quite tasty,
should have marketed.

Speaker 2 (01:13:33):
Though, quite nice.

Speaker 1 (01:13:35):
Great nurse something in that. Jonathan Dammy, who, by the way,
two years old, wins another oscar for Philadelphia and also
made a great film from about two thousand and eight
with Anne Hathaway called Rachel Getting Married, which is an
underrated film worth checking out. One of Michelle Phiffer for
the role, but Michelle Fife one of two million dollars. Wow,
they went no, thank you that much. Jennie Foster got

(01:13:57):
it wrong. He's very happy when he met for Jennie
Foster because she mark straight up to him, you know,
walking down the corridor to meet him, and she the
way she walked and the way she shook his hands, like.

Speaker 2 (01:14:07):
You got it. Yeah, you're right.

Speaker 1 (01:14:08):
If every audition was like so easy. And Scott Glenn,
who played the Jack Cowford, I like Scot Glenn. He
was working they all worked very closely with the FBI
and behavioral science people. And he was told, if you
really want to get into this guy's head, you should
listen to this tape of two serial killers murdering these
two teenage girls. Wow. And he listened to like a

(01:14:31):
very brief amount of time. He goes it actually like
had a massive impact.

Speaker 2 (01:14:34):
But this of course.

Speaker 1 (01:14:37):
Great listening to it. I didn't need to there you go.
There is silence of the lands mate, and I'm thrilled
that you.

Speaker 2 (01:14:45):
Oh absolutely loved her. This yeah, I think, And it
was a great actually a really good deadline to make
me watch the film. Finally, it's a really good thing.

Speaker 1 (01:14:53):
Like, good luck with this show. Go check out Why
the Long Face? Playing around the festival, traps all around.

Speaker 2 (01:14:58):
Yeah, doing Adelaide, Perth Commic Festival, Melbourne Comedy Festival, Sydney,
Brisbane and hoping to do Cambra and Hobart as well.

Speaker 1 (01:15:06):
First debut kind of song the show. We've been around
the chats for a long time, mate, so I know
everyone's hoping it all goes really well. And thanks get
to get to the show see Sammy live and mate,
thanks for joining us. And let's hopefully you get some
sleep tonight because it's a pretty scary film.

Speaker 2 (01:15:22):
Yeah, absolutely, thanks having me on tape. Where are you doctor?

Speaker 4 (01:15:26):
Let I have no plans to call on you, Kerries.

Speaker 2 (01:15:29):
The world's more interesting with you in it, So.

Speaker 5 (01:15:33):
You take care now to extend me the same courtesy.

Speaker 3 (01:15:36):
You know, I can't make that promise.

Speaker 5 (01:15:39):
I do wish we could chat linger, but I'm having
an old friend for dinner.

Speaker 2 (01:15:47):
Bye.

Speaker 1 (01:15:51):
There we go, Sammy Peterson. Like I said, it was
a different kind of podcast because weren't in a studio.
Very rarely do we shoot outside of our studio we
shot it. He was all set up, so that was awesome.
There was a massive dog as big as a horse
roaming around. Occasion you've got a bit before, right, whatever,
let's move on. But Sammy, what a great guest. Silence
of the Lands. What a great movie to revisit. I

(01:16:11):
loved it so much revisiting it knowing I was going
to talk about it, and it's I think it's a
perfect film. I think it's a perfect film. Great performances.
Jodie Foster this apparently did not hang out like, did
not talk to Anthony Hopkins at all during that was
scared of him. And on the last day of shooting
they came together and they finally admitted that they were
both kind of intimidated by each other and now a

(01:16:33):
great a great mate. So if you haven't seen Silence
of the Lamps, obviously check it out. Thank you for
listening to the podcast. I love to hear your voices
on it Speak parte. Follow the pages and the links
that get your voice on this show. Would love to
hear your voice. Would love it also if you kept
it around a minute And Yesny podcasts, if you just
want to know ask a question or give me your thoughts.

(01:16:53):
I love getting feedback from the podcast. We see the
amount of people listening. We'd love that. But we want
to hear thoughts that you have about guess, movies, that
you want, that you that you love, whatever, love to
hear from you. And so we leave old Pete, save

(01:17:19):
Fan Soult, and to our friends of the radio audience,
we've been a pleasant good night.