All Episodes

October 28, 2023 53 mins

It's 1900 in Australia. A group of students from a girls' boarding school, brimming with the enthusiasm of youth, embark on what's supposed to be a carefree Valentine's Day outing at the iconic Hanging Rock. The ambience is idyllic, and the laughter is contagious. But as the day unfolds, this innocent trip takes a dark turn. Four girls, drawn inexplicably into the rock’s embrace, venture deeper. By sunset, only one returns, memory erased, and a teacher is mysteriously gone.

Behind this masterpiece is director Peter Weir, who, fresh from his first full-length feature film, The Cars That Ate Paris, crafts an atmosphere that is seen and felt. The cast, led by talents like Anne-Louise Lambert as the ethereal Miranda and Rachel Roberts as the stern Mrs Appleyard, breathe life into Joan Lindsay's iconic novel.

But this film isn't just about the mystery of the missing. At its core, "Picnic at Hanging Rock" delves into themes of nature versus civilisation. The untouched beauty of the Australian wilderness stands in stark contrast to the Victorian-era restraints and societal expectations the girls grapple with. Themes of time, both its palpable passage on that fateful day and the metaphysical aspects, play heavily throughout the film. It challenges us to consider sexuality, the mysteries of adolescence, and the clash between the known and the unknown.

This isn't just a movie; it's a mood, an atmosphere. It's a dreamlike state that lingers, asking viewers to grapple with the line between reality and the ethereal, the known and the unknowable. The haunting soundtrack and the Australian landscape's cinematic beauty craft a visceral and cerebral experience.

And today, as we traverse this intricate cinematic landscape, we're joined by Tab. With her unique insights and deep appreciation for film, we're set to embark on a deep dive into this masterpiece. So, listeners, join us as we explore, analyse, and celebrate the intricacies and enigmas of "Picnic at Hanging Rock."

Follow Tab and the Stiletto Banshees:
Instagram: https://www.instagram.com/thestilettobanshees/
Web: https://www.thestilettobanshees.com/


Like what you're hearing? Let us know!

Support the show

A Dingo Ate My Movie Socials:
Website
Bluesky
Facebook
Instagram
Letterboxd
Email

Music from the movies featured on the podcast:
Spotify
Apple Music

Support Me At BuyMeACoffee

Please note that this podcast often explores topics and uses language from past eras. This means that some of the discussions may include attitudes, expressions, and viewpoints that were common in those times but may not align with the standards and expectations of our society today. We'd like to ask for your understanding as we navigate these historical contexts, which are important to appreciate the e

Mark as Played
Transcript

Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 2 (00:01):
You're listening to Monster Kid Podcast.
It's 1900 in Australia.

(00:49):
A group of students from agirls boarding school, brimming
with the enthusiasm of youth,embark on what's supposed to be
a carefree Valentine's Dayouting at the iconic hanging
rock.
The ambience is idyllic and thelaughter is contagious.

(01:13):
But as the day unfolds, thisinnocent trip takes a dark turn.
Four girls, drawn inexplicablyto the rocks embrace, venture
deeper.
By sunset only one returns, hermemory erased, and a teacher is
mysteriously gone.

(01:39):
Behind this masterpiece isdirector Peter Weir who, fresh
from his first full-lengthfeature film, the Cars of Eight
Paris, crafts an atmosphere thatis seen and felt.
The cast, led by talents likeAnn Louise Lambert as the
ethereal Miranda and RachelRoberts as the stern Mrs Appell
Yard, breathed life into JoanLindsay's iconic novel.

(02:00):
But this film isn't just aboutthe mystery of the missing.
At its core, picnic and hangingrock delves into the themes of
nature versus civilization.
The untouched beauty of theAustralian wilderness stands in
stark contrast to the Victorianera restraints and social

(02:21):
expectations.
The girls grapple with Themesof time.
Both its palpable passage onthat faithful day and the
metaphysical aspects playheavily into the film.

(02:41):
It challenges us to considersexuality, the mysteries of
adolescence and the clashbetween the known and the
unknown.
This isn't just a movie, it's amood, an atmosphere, it's a

(03:09):
dreamlike state that lingers,asking viewers to grapple with
the line between reality and theethereal, the known and the
unknowable, the hauntingsoundtrack and the Australian
landscape.
Cinematic beauty, craft, avisceral and cerebral experience
.
And today, as we traverse thisintricate cinematic landscape,

(03:33):
we're joined by Tab with herunique insights and deep
appreciation for film.
Were set to embark on a deepdive into this masterpiece.
So, listeners, join us as weexplore, analyze and celebrate
the intricacies and enigmas ofpicnic and hanging rock.
G'day and welcome to a didn'tgo ate my movie, a podcast that

(04:02):
celebrates the weird andwonderful world of Australian
film from the 70s, 80s andbeyond.
As ever, I'm your host, pete.
Today I'm joined by tab fromthe stiletto badges podcast to
discuss picnic and hanging rock.
How are you tab?

Speaker 1 (04:17):
Thank you so much.
I'm great.
I'm excited to talk about thismovie because I I feel like I
try to talk to people about itand they've never seen it before
.

Speaker 2 (04:26):
Isn't it funny?
It's interesting, even justtalking to like friends of mine.
We had some friends over lastnight and they were just asking
what we're going to coming up isit on doing a podcast recording
tomorrow?
And we're doing picnic fromhanging rock and they're like oh
, we haven't watched that foryears, I haven't seen that for a
long time and even myself Ihadn't seen it for years.

(04:46):
Like I saw this.
The first time I ever saw thisfilm I was.
It came out in 75.
I saw it I think in 77 or 76 ona school excursion and I think
at that age I was probably 13,14, something like that.
It just went right over herhead.

(05:08):
So I think for that age groupthey're not really gonna not
really gonna understand a lot ofit, right?

Speaker 1 (05:14):
it's vibes.
The movie is how I described itto my friend Micah, because it
is very visual first of all, andit's about the atmosphere of it
.

Speaker 2 (05:23):
It has a loose plot, but it's not super dependent on
that no, I know, and much hasbeen said about it, it has no
ending.
Nothing wraps up and there's awrap up but there's no clear in.

Speaker 1 (05:36):
I don't think we're spoiling anything, because I
think at the very start youpretty much know that's gonna
happen yeah, I don't think youcan really spoil this movie,
other than some girls on aschool trip disappear, but that
happens at the beginning that'sright.

Speaker 2 (05:51):
There's no spoiling this movie.
So anyway, picnic at Hang Rockwas released in 1975 and was
directed by Peter Weir, filmstars and Louise Lambert, rachel
Roberts, dominic Guard andHelen Morse.
It also features again in mypodcast a very young John
Jarrett yeah what was his secondfilm role?

Speaker 1 (06:11):
she's so young in this I think the youngest I had
seen him prior to this was nextof kitten and he's probably in
his early 30s and that yeah,he's really young.

Speaker 2 (06:20):
I can't remember.
I was looking yesterday and Ithought I've got to write down
the name of the first film and Iforgot.
I'm sorry about that.
It's his second feature filmand he said he's so young.
But you can see, he can see thetalent in him in this movie.
He's not yeah, billing but he'she's quite good in this film, I
think and I think he's.

Speaker 1 (06:40):
His character is supposed to stick out this way,
but everyone else is so likeposh and upper-crust, and that's
really sets him apart from yeahfrom everyone else, and I think
it's supposed to, because yeahlike a servant or a worker for
one of the rich families he'sthe larrican Aussie guy in the
movie.

Speaker 2 (06:59):
So the movie was based on the book of the same
name written by Joan Lindsay,and it was first published in
1967.
I've not read it.
I actually just bought it onApple Books last week and I try
and read it and I knew Iwouldn't get through it before
this, so I started to read it.

Speaker 1 (07:16):
It's very similar, it's very have you read it?

Speaker 2 (07:18):
have you read it?

Speaker 1 (07:19):
yeah, a small copy came with my criterion, dvd so I
read it several years ago so.

Speaker 2 (07:26):
I'm looking forward to reading it and I think, if I
think about the start of thebook, even I think she writes at
the start of the book that shesays because the big thing about
this movie is, they kept askingher all the time is this a true
story or is?
This something you made up andshe never really answered the
question and she was told sheused to tell people.
I think when Pb we first wentto meet her, he was told by her

(07:51):
publicist or publisher not toask her whether it was a true
story or not.
But he couldn't help himself anddid, and at first she said to
him I hope you're not gonna askthat question again.
But then she said it's shedidn't really.
Say she didn't really answer itstraight and the start of the
start of the book.
It actually basically says itdoesn't matter whether this is

(08:12):
true or not, because so muchtime has passed.

Speaker 1 (08:14):
The people in this book are dead yeah, it's
presented almost like a truecrime book in the way that it's
written.
It's written as if it is a realthing that people talk about,
at least yeah not everything in,it, is true, but urban legend
kind of.

Speaker 2 (08:29):
Thing so I'm looking forward to getting into it and
reading it.
It'll be really good.
So where to watch it?
So it's a weird one, because inAustralia I didn't find it on
any streaming service for such aseminal Australian film.
Yeah it's almost it's really.
I looked on places where Ilooked in all the regular places
, but then I looked in placeswhere I thought I'll absolutely

(08:51):
be on ABC I view, but no it'snot there and then I thought
I'll be on the SPS one.
So ABC is like our nationalbroadcast and.
SPS is like a.
It used to be mostly alwaysforeign films and foreign TV and
stuff like that, and it's stilllike that.
But they have a lot ofAustralian content as well and I

(09:12):
thought it'd be on theirstreaming service for sure
because they have a lot toAustralian stuff and so does the
ABC and I thought I'll be onthere for sure.
So I don't know if there's arights thing in Australia at the
moment, but it's not an anystreaming service.
You can buy it, like on Apple Ithink, and things like that, or
rent it right there's.
I ended up having to order a DVDfrom a cellar on eBay and wow,

(09:37):
because I was gonna order itthrough Amazon.
But it might have been a bit,might not have made it in time
and I know there's a 4k onAmazon, I think that's second
site released which looksinteresting, and there's a
couple of other few versions.
Funnily enough, I only foundout the second viewing and
watching a documentary, becausethe DVD I got is Super Bear

(10:00):
Bones.
It's the movie, it's thetrailer and that's it and
there's nothing else on it.
So I found a documentary onYouTube that's split into two
parts, which I think is off oneof the later umbrella releases,
and I found out that the versionI watched that I got on DVD was
a director's cut when he had asecond go at the movie a few

(10:22):
years later.
Oh, wow, okay and took somescenes out and things like that.
So, yeah, so it's.
There's not really much there.
There's a rumor that umbrellaare releasing a new, fully
restored 4k before the end ofthe year.
There was a an interview Iwatched with one of the guys
from umbrella it was last weekand he mentioned that they're

(10:44):
working on a 4k of a belovedAustralian film.
So I'm thinking maybe it's that.
So if that comes to fruition,I'll definitely pick that up as
well so where have you been?

Speaker 1 (10:55):
able to watch it so I noticed that it is currently in
the US at least on max, whichwould be HBO max.
So, yeah, I saw that it was onmax or HBO max.
When I was trying to, I wasactually trying to find the mini
series to look at and then Ihave it as a criterion DVD and I
checked the criterion websiteand they do have a blu-ray

(11:16):
available, but that may only be.
I think it would be region Afor the US so it would probably
be region locked, unfortunatelyyeah, yeah but if you're a US
listener, there's a coupledifferent ways you can get it,
which is surprising.
Usually it's the other wayaround.
Usually.

Speaker 2 (11:31):
Europe or.

Speaker 1 (11:32):
Australia has it when we don't.

Speaker 2 (11:34):
Yeah, if you're an Australian listener and you do
want to get something fromEurope.
So if you get something, Ithink anything from Britain uses
the same region as we do, soyou can safely buy stuff, I
think that's from the UK.
So if you get it off the AmazonUK store or something like,
that.
So, yeah, it's funny because,as an aside, when I was looking
for this movie I was looking onABC I found this Nick Cave and

(11:59):
Warren Ellis concert at HangingRock.

Speaker 1 (12:01):
Oh nice.

Speaker 2 (12:02):
And it was really cool, and so I ended up getting
totally sidetracked for 30minutes.

Speaker 1 (12:07):
It's watching that we just went and saw Nick Cave in
Milwaukee a week ago.
I know.

Speaker 2 (12:12):
I saw Micah mention.
That Was it great.

Speaker 1 (12:15):
Oh, he was awesome.
It was on the level of Iimagine seeing somebody like
David Bowie or.

Speaker 2 (12:20):
Tom.

Speaker 1 (12:21):
Weitz or Leonard Cohen, and unfortunately, like
Leonard Cohen and David Bowie, Iwouldn't be able to see them
because they're from now.

Speaker 2 (12:28):
But Nick Cave was amazing.

Speaker 1 (12:30):
It was just him and a piano, and then the bass player
from Radiohead was accompanyinghim.

Speaker 2 (12:35):
Oh wow, that would have been good.
Yeah, it would have beenexcellent.
So the movie had a budget Ithink I missed.
I mistyped this.
I put $443 million to get it.
It was $443,000.
And its box offers.
It made $5.12 million in theshow.

(12:57):
It's actually not too badtheatrically.
Yeah, I don't think it cost$443 million.
Imagine a copy.

Speaker 1 (13:03):
Yeah.

Speaker 2 (13:03):
It'd be quite extravagant.
On Rotten Tomatoes it's 91% andthe audience score is 83, which
is really high, which is great,and the IMDB rating is 7.4.
So I forgot the letter box, butI'm assuming it's pretty high,
so it's a very well loved film.
I even watched a Siskel andEbert review of it yesterday and

(13:26):
I can't tell them apart whichones were, but one of them
really loved it.
The bigger guy Is that Siskel.
That's Ebert Ebert right, hereally loved it and Siskel
didn't really.
He liked cinematography, lovedeverything else about it, but he
hated the fact and I guesswe'll probably come back to this
again that there was no endingto the movie.

Speaker 1 (13:47):
Yeah.

Speaker 2 (13:48):
He described it as like having somebody give him a
present in a beautifully wrappedbox, and when he opens the box
up, there's nothing in it, andyeah, I feel like Americans are
very literal and so if you don'thave a set, three act, story
structure and an unambiguousending.

Speaker 1 (14:07):
They're like what is this?

Speaker 2 (14:09):
Yeah, well, if you look at the documentary on
YouTube or on one of the DVDs orBlu-ray releases which I'm sure
it's on I think it's one of theMcElroy's one of the producers
basically says when they sold itinto the US, a lot of the
reaction they got was what thehell's is?
It doesn't have an ending?
Yeah, and so, yeah, it's veryinteresting.

(14:30):
I think that's what really makesthe movie, though, is the fact
that it's so open-ended, becauseyou end up watching the movie
and again and I've said thisbefore on this podcast there's
you watch this movie and thenfor the next few days it's
actually milling around in yourhead.

Speaker 1 (14:46):
Oh yeah.

Speaker 2 (14:46):
And you're sort of going, oh, what did happen, what
actually did happen to thesepeople?

Speaker 1 (14:50):
So and it's not that it's a realistic movie, because
I don't think that's theintention, but in real life
there are just things that don'thave an ending or don't get
solved.
It's super common, so whywouldn't you have a story that
doesn't?
It's a mystery that it's notsolved.
Yeah, that's more realisticthan mysteries that are solved

(15:13):
in some respect.

Speaker 2 (15:14):
True, and the only logical ending this movie could
have is they find the bodies, orthey come back, or something
like one of them did right, butyou know they're going to happen
.
I think I like it.
For that reason it's good.
The novel was originallypublished in 1967.

(15:34):
And after reading the book fouryears after it's released, pat
Lovell who at the time was anactress she did daytime TV and
other sorts of things andsoapies and stuff she thought it
would be great, would make agreat movie and eventually
secure the rights for a total of$300 in 1973.
I think she paid.
I think I read that she paid$100 a month for three months or

(15:55):
something and that got her therights to the book.
And then she hired Peter Weirto direct it and he bought with
him Jim McElroy to help producethe film.

Speaker 1 (16:03):
That team.

Speaker 2 (16:04):
I think one of them in particular has produced a lot
of these films in Australia,Like I think Razorback was one
that they produced as well, sothey've got a long history with
these sort of movies.
So Pat Lovell originally wantedDavid Williamson screenwriter
David Williamson, very wellknown in Australia as a writer
of screen and stage to write theadaptation.

(16:25):
However, he could never get hisschedule to sort of match up,
so he suggested Cliff Green, whowas a noted TV writer, and he
ended up writing the screenplay,and I think it's a good
screenplay, yeah would have beeninteresting trying to adapt the
book right.

Speaker 1 (16:40):
Exactly.
I read an interview with PatLovell where she talks about how
she had to go to Hanging Rockfor the shooting of the film and
she said it was so eerie thatshe hated being there.
And I think she said shewouldn't one other time.
And it was.
She felt the same and she'snever been back and she's
actually very scared to be there.

Speaker 2 (17:00):
That's really interesting.
I'd love to go there one day, Ithink, next time I get on.
Melbourne for a holiday orsomething.
It'd be really good to go checkit out, Because it looks
fantastic, like just the rocksitself.

Speaker 1 (17:11):
Yeah, I think it's the perfect place for something
that feels otherworldly, becauseit does.

Speaker 2 (17:16):
It's beautiful, but the rock is very imposing yeah
yeah, they started filming inFebruary 1975 and principal
photography last around sixweeks.
The locations for the filmincluded Hanging Rock in
Victoria, Martindale Hall nearMentaro in South Australia and
the studio of the SouthAustralian Film Corporation in

(17:37):
Adelaide.
So bits here and bits there,and because South Australia is a
different state to Victoria,obviously and so they moved
between the two.
But yeah, it's an interestingshoot.
The part of Miranda wasoriginally given to Ingrid Mason
.
However, after a few weeks ofrehearsal we decided that it
wasn't working out, so he castAnne Louise Lambert in the

(18:01):
pivotal role.
From what I recall, from thedocumentary as well, he
mentioned that he originally wasgoing to hire Anne Louise
Lambert to play the part, but hefelt she was a bit too worldly
and he wanted them all to bevery innocent and when they
started rehearsals and whatnot,he was thinking back to her and

(18:22):
actually thought that she wouldbe a better fit in the way that
she was that worldly sort ofperson.
And because when you look atthat character with the other
girls on the college she iscompletely different in a way in
regards to she seems moreworldly and she seems she's
almost like the I don't know theprobably the wrong word to say,

(18:47):
but the alpha woman, alpha girlof the whole group sort of
thing.
She's someone they all look upto, someone they all like and
that sort of thing.

Speaker 1 (18:56):
Yeah, even the French teacher seems to be sort of
fascinated.

Speaker 2 (19:00):
Yeah, yeah, exactly Right, and so she ended up
getting the role.
When I think about the film, itoften looks like an
impressionist painting.
It is certainly a lot of scenes, especially that scene with the
girls all just sitting, thatlong shot with the girls all
just sitting around the rock,the base rock.
That reminds me of a few piecesof art I've seen over the years

(19:23):
, and Peter Weir andcinematographer Russell Boyd
achieved this kind of dream likelook by just draping very
thicknesses of bridal veilfabric over the camera lens,
which is quite I'm not sureexactly how that works, but it
certainly makes a difference.

Speaker 1 (19:42):
Yeah, I've read that as well and I was like I.
They must have just been ableto focus the right, where we
were creates almost like aninterglow for everything, and
not actually see the lace.
But I was really impressed bythat.

Speaker 2 (19:54):
Yes, great.
What are your general thoughtson the film?

Speaker 1 (19:58):
So this movie is so beautiful I'm a big fan of Anne
of Green Gables and particularlythere was a Canadian miniseries
that they did several of thebooks and smashed them together,
and the way everyone wasdressed really reminded me of
that.
So I was instantly on boardbecause, oh, I know this time

(20:19):
period through other things thatI've watched.
But it was just beautiful andthe way that they were all sort
of reading poetry to each otherI think it was from Valentine's
Day cards that really set theatmosphere right away.
It was very dreamlike and Ithink it sets it up to be like

(20:39):
there's something off aboutwhat's happening right away
before they even get to the rock.
So I felt like the atmosphereand the setting were really well
established.

Speaker 2 (20:50):
I think there's also a lot of themes in this movie,
like there's this sort ofoverarching, almost not sense of
dread, but there's that bit ofputting, there's it feels a bit
strange.
There's also a lot of reachingforwards here, like looking at
relationships between the girls.
Sarah's relationship orinfatuation with Miranda is

(21:14):
really interesting part of themovie as well.
There's a lot of that going onin the film and I think it's
quite interesting.
And the teachers that are thereand then, of course, the what
would she call like theheadmistress.

Speaker 1 (21:29):
Oh, mrs.

Speaker 2 (21:29):
Avilio, yes, it's really interesting watching her
character go from very uptight,upright sort of in control
headmistress at the start of themovie and just watching her
descent into kind of not madness, but just like this massive
descent into, just likedisrepair.

(21:50):
She's out of control anddoesn't really know what's going
on by the end of the movie.
It's just amazing, and she'sreally well played as well.

Speaker 1 (22:00):
Yeah, and her relationship with Sarah too.
Just the almost like sadistickind of relationship she has to
Sarah, where she's punishing forher for things, but it seems
more like she is offended by thefact that she's lower class
than the other girls.

Speaker 2 (22:18):
Yeah, that's what I took from it.
That's really what's motivatingit.
Yeah, I took that as wellbecause I think all the other
girls seem to come from fairlywell to do families and she's a,
you know, an orphan.
And I think the sadness, one ofthe sadnesses in this movie
that I never picked up until mysecond viewing, is that her

(22:39):
brother is actually close by andneither of them know.

Speaker 1 (22:44):
Yeah, neither of them know.

Speaker 2 (22:45):
They just never cross paths.

Speaker 1 (22:47):
I thought that was so cool because basically it seems
like she comes to him in adream after she's died, yeah,
and that was reallyheartbreaking.
And they are so close.
If she had gone to the picnicshe would have been within like
feet of him.

Speaker 2 (23:00):
Yeah.

Speaker 1 (23:00):
But also I loved the way that they distinguished her
from the other girls using anAustralian accent, because the
other girls have more Englishsounding accent, at least to me.
And then she was really theonly girl that had an actual
Australian accent and that sortof seemed like the way they were
indicating that she waspossibly of a lower class or

(23:22):
separate from that.

Speaker 2 (23:23):
So I thought that was really interesting.
She's such a tragic figure too,through the whole thing yeah,
it's so sunny.
So there's a whole lot going onin this film that's good of
like in parallel with the mainstoryline.
To me, that really struck and Icouldn't believe it.
I didn't pick it up at firstviewing.
I obviously didn't pick it upwhen I was a 14 year old kid.

Speaker 1 (23:43):
Right.

Speaker 2 (23:44):
Back in, whatever.
I was back in 1976 or whateverit was.
And even the first time Iwatched it, I didn't really pick
it up and I was like, hang on,what's going on here?
Oh, it's his sister.
And I was like, oh my God, thisis so sad and tragic.

Speaker 1 (23:58):
And it's really sad.
What was sad to me also wasthat she was so defiant and
clearly wanted to be anindividual and she was just
being like squashed down andthey indicate that she may have
died by suicide.
But I also read that there's atheory that Mrs Appley Yard
killed her because she clearlydidn't go away with her guardian

(24:19):
the way that Mrs Appley Yardsaid.

Speaker 2 (24:23):
I'm not sure about that, because I thought, because
to me what I took from it isshe was so infatuated with
Miranda and Miranda goes missing.
When Mrs Appley Yard says toher that we're basically kicking
you out of here and you have togo back to the orphanage, there
was almost like to me, almostlike a little smile.

Speaker 1 (24:45):
Yes, yeah.

Speaker 2 (24:46):
From her when she was told and I was like, okay, this
is where she made the decisionthat she was going to kill
herself to be with Miranda, andthat was where she got the smile
and I think that's my take.
But this is a great thing aboutthis film is you can see it so
many different ways.

Speaker 1 (25:01):
Yeah, it's open to interpretation, for sure.

Speaker 2 (25:04):
Yeah, like I said, such a tragic figure.
The other character I reallyliked was the French teacher
played by Helen Morse.
She was a great character andwhere Mrs Applebee was firm with
the kids that were there, thegirls that were there, she was
almost like their friend morethan anything, and she was very

(25:25):
close to them and nurtured themand was a really good sort of
character.

Speaker 1 (25:31):
I felt like that.
A lot of that was because shewas so much closer and aged to
them.
And then she's also.
She looks right Like she lookslike she should be sitting with
them, where they even have MissMcCraw in a dress that is very
richly colored, so it sets herapart from everyone wearing
white.
She looks like she's in thewrong picture.

(25:51):
Yeah.
When they're moving the cameraacross everyone, like she really
stands out because she'swearing red.
And isn't this beautiful younggirl?

Speaker 2 (26:01):
And it's also interesting that she goes
missing as well.
But you mostly just concentrateon the three girls that are
missing.
There's a couple of times inthe movie where you forget that
she went missing as well.

Speaker 1 (26:12):
Oh yeah, I did laugh when they were.
When Edith says, oh, I saw her,but something was wrong, and
then she can't say to the policedirectly that she was only
wearing her underclothes.

Speaker 2 (26:24):
Yeah, it's quite the whole thing's very strange.

Speaker 1 (26:27):
Yeah, yeah.

Speaker 2 (26:29):
I guess we start talking about this.
One of the features of themovies that's very open-ended,
the theories and the was itsupernatural or logical, like I
think.
In the movie, one of thecharacters I think one of the
gardeners or groundsmen says oh,maybe they just fell down a
hole or something like that.
And you don't know whathappened.
I'm like, well, did they justpass into some other realm?

(26:51):
Or was it as simple as therewas some big hole there that
they fell down, or somethinglike that?
But one of them came back?

Speaker 1 (27:00):
Yeah, to me, I think, especially like the first time
I watched it, I just assumedthat it was sort of a like a
gateway place to maybe anotherdimension or some kind of
supernatural realm, and the waythat they were sort of in a
trance walking to it, and thenthe humming that the rocks made,

(27:22):
and then the way that theyreacted when they got to that
circular area where they allfell asleep and then walked up
into the crevice and that Edithis the only one that's like what
are you doing?
We can't go up there.
So I felt like it wasDefinitely.
Yes, there was some sort ofsupernatural element, but it
seems to be something.

(27:42):
It's tied to Miranda too,because she, where they leave,
she's I'm not coming back.

Speaker 2 (27:50):
Yeah, there's a few times where she says things in
the film and it's almost likeforeshadowing.

Speaker 1 (27:56):
Yes, yeah.

Speaker 2 (27:58):
I think early.
I'm trying to remember what shesays.
She says something very earlyin the film.
I think she says to Sarah thatshe's not gonna be here for long
.
There's one thing.

Speaker 1 (28:06):
Yeah, yeah.
She says you're gonna have tofind a new love because I won't
be here much longer.

Speaker 2 (28:10):
Yeah, and does that mean she's leaving the school or
does that mean she knows thatshe's about to pass into
something?
And Then the way that she waveswhen they're leaving to go on?

Speaker 1 (28:19):
the walk.

Speaker 2 (28:20):
It's all very it's all very interesting and, yeah,
it's great how it's open forthat interpretation.

Speaker 1 (28:28):
Yeah, even the thing that she says about all things
begin and end at the right time,or something like that, that
felt very tied to some sort ofunconscious knowledge of what
they were going into and thenwhen Michael's searching for her
later which is was a reallygood scene as well he almost
gets taken as well, I think,because he does the same thing.

Speaker 2 (28:50):
he comes to the circular area and falls asleep,
and he gets found eventually bywhat's the guy?
What's John Jarrett'scharacter's name?

Speaker 1 (28:57):
Is it?

Speaker 2 (28:58):
No, I forgot the name .

Speaker 1 (29:00):
He gets Albert.

Speaker 2 (29:01):
Albert, that's right, yeah, I think that's right and
he gets found by John Jarrett orAlbert and he looks like he's
in some sort of comatose state.
Right, he's had a very closein-game encounter with this
thing, whatever it is.
Yeah, but it's shown that he'sgot a piece of one of the the
dresses in his hand and so hegot very close and obviously we

(29:23):
find out later that when Albertgoes back and Finds one of the
girls and brings her out andthey don't know what happened to
her, she doesn't rememberanything.
She's really interesting.
And then the connection withMiranda and the swans.
All the time, did you rememberthat bit?
You see, when Michael's lookingat different times and he'll

(29:46):
see Miranda, we'll have athought of Miranda and then
he'll see a swan.
I'm like, is there some sort ofconnection here, or I?

Speaker 1 (29:53):
thought maybe it was just because swans are
considered really beautiful andsort of regal and aloof birds.
I don't know.
I guess it fit that way.
I don't like birds, so I Idon't like swans, and swans are
mean.

Speaker 2 (30:12):
So, I never think of them as being really graceful
things, but I think that's theway they're viewed by everybody
else with those scenes as well,I believe, because the version I
saw there's scenes.
Is there scenes existing whenMichael is interacting with
Miranda, because it seems likehe knows her more than just

(30:34):
infatuated with her, just seeingher on the day, because in the
version I watched all he's doingis sitting with Albert having a
drink and he sees the girlscrossing the little bit of river
.

Speaker 1 (30:47):
That's yeah, that's the version that I watched and
he, like imagines her being athis house Looking over her
shoulder.
Yeah she's not really there,obviously any sort of has these
Almost, as if he is in touchwith her telepathically, where
he has these memories of thingsthat were said the day that she

(31:08):
was at the rock, but that's morewhen he's in that circular area
.
So there's some sort ofsupernatural Connection there.
I just know that, like SophiaCoppola was inspired by this
movie to make virgin suicidesand there's a the big plot point
of that is that there's theseboys that watch a group of
sisters that live across thestreet and they've never talked
to them, but they create thisfantasy version of them and

(31:31):
their heads based on the littlebit that they do see, and I
almost think he's doing that.
I think he's he's creating thisfantasy version of her based on
seeing her that for that briefperiod of time.

Speaker 2 (31:44):
So he's, he's actually looking for her at the
rock, obviously, and he'sobsessed with that kind of thing
, or Fractuated, probably abetter word, obsessed is
probably a pro word.
But yeah, and the same waythey're crossing the river is
quite funny because it's gotthat line From John Jarrett
where they're crossing over andJohn Jarrett says something
about their legs going right upto their butt or something Like

(32:04):
that, and Michael says zoom, oh,I wish you wouldn't talk like
that.
And he says I talk if you justthink it, or something like
right.
Yeah, and the other thing, whenthere's a lot of themes of
femininity in this film, yeah,which I think is really
interesting, which obviously asa as a older bloke, I probably
don't really understand as much,but from this I see there's

(32:28):
Themes that run through it.
They're quite interesting inthe whole femininity side of
things.
There's a first, obviouslythere's that Infatuation Sarah
has with Miranda and then, andthe way the girls Turn on one of
their own when she comes backand sees them again.

Speaker 1 (32:46):
Yeah, there's some interesting stuff there, because
I think that the hanging rocklocation itself represents a
sense of freedom for them,literal freedom from the school,
because they're in a differentlocation and their headmistress
isn't there.
And Then also, like she makes acomment like once you get past
this point, you can take offyour gloves.

(33:08):
You're having, where these are,heavy white cotton gloves in the
middle of summer, I imagine andthey get to take those gloves
off once they're away fromsociety, which they're very
excited about, and I would betoo, because that doesn't look
fun.
And then, when the girls go upto the actual rock once they are
sort of In the trance thatthey're going to go through the

(33:30):
crevice, they take off theirstockings and shoes, yeah, and
tie them around their waist, andEdith is horrified by this.
But it is like this sense offreedom, like where we're going,
we don't need this stuff, andwe can also just be ourselves
and we don't have to cover up.
So yeah.
I think there's elements of that.
I also think that somehow thethe rock represents this Lack of

(33:54):
oppression that they've beenfeeling at the school or just in
society in general.
When Irma comes back and To saygoodbye to everyone, she is
dressed like a grown-up, likeshe has her hair pinned up and
she's wearing very grown-upclothes and they're in a very
rich red.
And the rest of the girls arewearing their school uniforms
and look much younger.
So that struck me when theywere.

(34:15):
What happened?
Where are they?
And they attack her.
Yeah she is, she physicallylooks separate from them too.

Speaker 2 (34:23):
That scene is amazing because like she comes back and
I think she's half expectingthem to just be happy that she's
back.
Yeah to fauna over her and yeah, and really what happens is
they kind of Sounds like theyblame her for what happened or
they just want to know whathappened and there's like this
hysteria, yeah there's like theshot of one of the girls

(34:45):
screaming and shaking her headlike in a real hysterical way.

Speaker 1 (34:48):
I Think it is the not knowing.
I think they're like we have toknow.
You can't you were there tellus what happened?

Speaker 2 (34:57):
Yeah yeah, it's great .
And then there's that wholescene once again, that that
scene is topped off With seeingSarah basically tied to this
apparatus that's supposed tohelp us stand straight, or
something, it's just so terriblethe whole.

Speaker 1 (35:11):
thing, yeah, oh yeah, and I think we get a glimpse
that maybe she's been other eyesfrom the other girls the whole
time yeah because clearly thisis not the first time she's been
tied to that thing.

Speaker 2 (35:22):
Yeah, yeah.

Speaker 1 (35:23):
And she also.
She's one of the few girls thathave dark hair.
Most of the other girls areblonde or have lighter hair and
she has very dark hair, and sothat really sets her apart
visually as well the music inthis movie is fantastic.
Yes, yeah, it was beautifulscore.

Speaker 2 (35:38):
Oh yeah, the score that the George Sanfair Pan-Pied
piece.
It's so tied to this film inAustralia, If you hear that
piece of music in Australia thefirst thing you think of most
people, especially my generationthe first thing they think of
is this movie and Because it'sjust was it's so Connected to
this film.
But the music is fantastic.
There's bits of music where thegirls are climbing the rock.

(36:02):
And some of the music to me isalmost goblin.

Speaker 1 (36:06):
Yeah.

Speaker 2 (36:06):
Dawn of the dead.
This there's that string that'skind of string sound that do
and the boob that goesunderneath.
All that I was like yeah justlike goblin right.

Speaker 1 (36:18):
It reminded me almost a come of a combination of that
.
And then the score for hauntingof Julia is a really early
synth score I can so it soundsvery otherworldly because it's
not quite the synth that you'reused to, you from the 80s.
Yeah but it's got elements ofthat.

Speaker 2 (36:34):
Yeah, it's fantastic.
The sounds just amazing and themusic's night.
The piano pieces are reallynice and there is a lot of stock
music.
There's some some classicalmusic in there that they use,
but it's.
The soundtrack to this film isgreat.
I really like it.
I've been.
Actually there's no soundtrackfor this film officially.
There's a playlist on Spotifythat's called picnic of man rock

(36:56):
and it's got most of the piecesin it.
And it's really no.
It's really nice to listen towhere you're working actually.

Speaker 1 (37:03):
I watched a movie again last night and I had it on
the surround sound and turnedup really loud and I'm like man,
this score rule.
Yeah, the score is great, it'sreally good.
I love the score.
It's just a really good film.

Speaker 2 (37:15):
Yeah, what else was I gonna talk about?
Like I said, it just the wholemovie is just so open for
interpretation, the whole thing,there's so many questions in
this movie it's actually, in away, almost not difficult to
talk about.
It's easy to have thisconversation, but it's difficult
because you there is no end tothe movie, and I think that's

(37:37):
the big thing, right.

Speaker 1 (37:39):
Yeah, and the story structure is very loose too,
like beyond the girls going tothe rock and then going missing,
everything else is sort of justLike what is happening to to
the people at the school and,yeah, the folks and yeah the
fallout from that, but it's verynebulous, I think.
I think it is hard to talkabout because so much of the

(38:01):
storytelling is really visual.
Do you have an idea of what youthink happened at the end?

Speaker 2 (38:08):
I don't really know.
And then there's the whole bitwith Mrs Appleby right.
What happened?
Because there's a whole endingthat isn't in the version I
watch, which was in the original, where she actually walks up
the up to the the rock as well.
Did you have that ending inyours?

Speaker 1 (38:23):
The ending that I had ends with her sort of in what
looks like morning clothes, yeah, and then a voiceover comes
over and that's what I had aswell, but yeah, original
apparently had her going up therock Herself, like you see her
going up the rock and oh wow,top, and then they have the
voice over.

Speaker 2 (38:41):
At the end there's like a free swing.
But I think the ending onobviously what's like the
director's cart is much better,because that look on her face Is
just just amazing and becauseit's and this is where I think
you get the idea of did Sarahjump or was she pushed, kind of
thing- because, she knows what'sabout to happen and she got all
the bags packed and everything,because obviously everyone yeah

(39:02):
.
And all the bags are packed, sheknows that Sarah is dead.
She must know, right, becauseshe was she told everyone she
saw her go off and she obviouslydidn't go off right.
Yeah and she's just sittingthere in these morning clothes
and it's just, and it's a greatlast scene and I can see why,
peter, we Changed it to that andbecause it looks I don't know

(39:27):
it's just like in the voice over, where it explains what
happened to her, and it's areally good ending.
And there's a screaming outsidethe door before yes, yeah the
guy comes in.
I'm wondering who thatscreaming is, whether it's I.

Speaker 1 (39:43):
I assumed it was one of the teachers.
Yeah, he came and said hey, Ijust found this girl outside and
it's her reaction.

Speaker 2 (39:50):
Yeah, and that whole lead up to that scene where the
guy the, the green keeper.
Goes into his greenhouse andsees the broken glass first and
then sees the bit of wood.
Eventually they just see herbody there and it's really well
put together.
But that last scene is great.
It's really good, love it.
Yeah, there's really I don'tknow.

(40:11):
You just got to see the movie.
I think if you haven't seenthis movie, it's definitely
worth checking out.

Speaker 1 (40:17):
Yeah, I agree, and I think, especially for if you're
in the US, it's on max and ifyou have a subscription it's
right there for you.
And then also the criterionCriterion also always package
things beautifully.
I think there is a littlemaking a feature out on the
second disc of the one I got andmine came with the book that
that's a pretty good deal.

(40:38):
It is a good.

Speaker 2 (40:40):
Yeah, it's really good.
I'm really liking it.
I'm liking Looking at some ofthese films.
When I think about where mypodcast started, where I am now,
I was like I would never havethought of doing picnic at here,
right, because right at thestart I was like, oh, I'm just
gonna do all thesehospitalization stuff and blah,
blah, blah and all this Otherstuff, and I'm like, yeah, you
get to a point where you go,well, I would just want to
expand things a little bit.

(41:00):
Then you expand it a bitfurther and be further, and then
we end up talking about youngEinstein and we talk about, yeah
, rock and what's next?
Crocodile and not at the momentI don't think.
Yeah, it's a really interestingbit of the few ten.
It's not ospoitation as such,but it's been that the style of
that like new wave sort of.

Speaker 1 (41:23):
Australian art house, which was definitely something
that was a big deal in the 70sand 80s.

Speaker 2 (41:30):
Like that's where Mad .

Speaker 1 (41:31):
Max comes from and all.

Speaker 2 (41:32):
Yeah, and they call this there's a lot of people
that call this a strain gothic,this film.

Speaker 1 (41:36):
Oh, really.
Oh, that's good, yeah it feels,very much like a gothic story.

Speaker 2 (41:42):
The other thing I didn't realize until I was
having a look around just theylooking at some different things
is there was a stage productionof this back in 1970.
Really I wonder how they woulddo that 27, 8, 20, 18, they
showed bits of it.
It was like a little promothing of people's reaction to it
.
It looked really interestinghow it was done.
But most people they wereinterviewing when they were
coming out of the play wassaying that it was eerie and it

(42:06):
was like quite scary and itwasn't what they expected.
And I was like, oh, this wouldhave been really good to see at
the time yeah, that's cool, thatsounds cool.
And that was back in 2017.
So there must be a.
There's obviously a treatmentfor stage for this hanging
around.

Speaker 1 (42:19):
It'd be interesting to see some revive it, or and
there's also a mini series from2018, although I think it has a
very different feel, like Istarted watching it, just to
compare.

Speaker 2 (42:30):
Yeah.

Speaker 1 (42:30):
And it's.
I think what works about themovie is that it is this sort of
brief snapshot, yeah, into thisarea and these girls' lives,
and the mini series obviouslybecause it's longer goes much
more into Mrs Affleard'sbackstory and the backstory of
some of the girls.
I don't even know if you needthat, I think the way that it

(42:54):
works as a mystery is that youdon't really know anything, and
that's what makes it interesting, right, that's what makes it
good.

Speaker 2 (43:00):
And yeah, I think sometimes that's a scene of
remaking or turning things intolonger series.
Yes, yeah Is that you get toomuch information and you're like
I don't need all this and itdoesn't ruin it because the
original movie is always thereto return to, right, but it
takes away something about thefilm.
And to me, when you go too deepinto these sort of things I

(43:23):
know some do it well, like Iremember seeing Bates Motel,
which I thought was quite good,yeah, but because I think in
that case the story of whathappens with Norman Bates and
this is the lead up to see howhe got there, so there's always
an interest to see, ok, how dowe get to this point?
But with and like I said, Ihaven't seen it, you've seen a

(43:46):
bit of it but with a remake or aseries for this movie and
they're going to start lookingdeeply into each of the
characters.
To me that's a bit of a turnoff.

Speaker 1 (43:57):
Yeah, and especially the way that they present Mrs
Afflehard she's.
I don't want to give anythingaway in case people want to
watch it, but she's almostpresented like a con woman.
She's not who she says she is.

Speaker 2 (44:08):
Right yeah.
And, and so the mystery becomesmore about who she is than like
the central mystery of thegirls disappearing and once
again I don't think it's a filmthat would be Worth remaking.
I'm sure one day someone'sgoing to go, let's remake Picnic
and Hanging Rock.
I don't know how you Get thatthe feeling and the atmosphere

(44:34):
from the original and put itwith.
I don't know.
Sometimes when I look at theseolder movies and they remake
them, the biggest problem to meis the equipment they're using
now versus what they're usingthen.
That's true, yeah, and that'swhat gives it a lot of the feel,
especially those 70s movies andthe 80s movies.

Speaker 1 (44:52):
Yeah.

Speaker 2 (44:53):
And they remake them and they're all made with
digital cameras and digital thisand digital that, and to me
that just makes it Just like aplastic toy.

Speaker 1 (45:03):
Yeah, it doesn't have the same atmosphere, for sure,
but I think it's like Suspiria.
I never thought they couldremake Suspiria, because it's
such a singular thing and reallythe only way they were able to
remake it as successfully asthey did is they changed.
They kept the basic story andthey changed almost everything
else.
Like it's not the same feel orthe same atmosphere and they

(45:29):
took it a different way and allthis stuff.
I think you almost have to dothat, because with something as
iconic as Suspiria or a picnichanging rock, if you try to
remake it exactly it's, you'realways going to have it being
compared to the original,because the original did it
right the first time.

Speaker 2 (45:45):
Exactly Like when they remade Psycho.

Speaker 1 (45:48):
Yeah, exactly.

Speaker 2 (45:51):
The summary makes it work and I know we're getting
off the subject here, but youknow, when I look at genre
remakes, that for me worked.
With things like Evil Deadworked because I think they
tried, they took a slightlydifferent bent and different
look at it.
But that really wasn't a remake.

Speaker 1 (46:07):
That was definitely just like a reimagining or a
Right or something like thismight not be a popular opinion,
but I thought the Fright Nightremake did some interesting
things with the Fright Nightstory.
I don't think it was better,but at least it felt like a
successful remake.

Speaker 2 (46:26):
But back to this movie.
For me it's definitely a mustwatch If you've got access to it
.
It's really worth watching.
If you're expecting it to belike a scary movie, it's not a
scary movie, definitelyunsettling right.

Speaker 1 (46:39):
There's lots of unsettling and there are sort of
horror elements to it, but Iwould not say it's a horror
movie.
It's not even really a thriller.
It's like an episode ofUnsolved Mysteries.
It's a drama right, it's adrama.
Yeah, it's a drama, withsupernatural overturned.

Speaker 2 (46:57):
That's the way I'd put it, and it seems like people
have been trying to figure outwhat's going on, figure out what
is the ending.

Speaker 1 (47:04):
Because there was a book in 1980 written by a woman
named Yvonne Rousseau, calledthe Murders at Hanging Rock,
where she explores the differenttheories people have put out
about what happened to the girlsand there's a parallel universe
UFO abduction, the fact thatthey were murdered by two men
and their bodies are still theresomewhere.
And then the actual author ofPicnic at Hanging Rock wrote a

(47:27):
book called the Secret ofHanging Rock.
It was actually the last chapterthat her publishers made her
cut off the end, and if you wantto know what the ending would
be some people just want topreserve the mystery you want to
know what the ending would be.
I would look that up because itexplains how Joan Lindsey
thought the book should end.

Speaker 2 (47:46):
OK, that's interesting.
I might have to check that out.
Maybe, I don't know, some partof me doesn't want to know.

Speaker 1 (47:53):
Yeah right.

Speaker 2 (47:55):
That's what.

Speaker 1 (47:56):
I had it written out.
But I was like I don't know ifI want to tell people because
some people might not want toknow.

Speaker 2 (48:00):
Anyway.
So that's Picnic at HangingRock.
I hope you enjoyed listening tothat.
It was like I said, it's aninteresting one to talk about.
It's definitely not one ofthose movies we can sit here and
talk beat by beat, because Ithink we just get really boring.

Speaker 1 (48:12):
Oh yeah, and it would never do it justice, so you
just got to watch it, you justgot to watch it.

Speaker 2 (48:16):
So tell me a little bit what's going on with you,
Tab, and where people can findyou.

Speaker 1 (48:21):
Okay, if you want to listen to me talk about horror
movies, I have a podcast calledtest pattern.
That just ended last year, butthere's tons and tons of
episodes, so it's the back logof that.
And then I currently have apanel podcast with a bunch of
other people where we talk aboutfemme representation in media
and we're a intersectionalfeminist podcast.

(48:43):
So we have a lot of differentviewpoints in that and that's
called the stiletto banshees andit's been really fun.
We only have a couple episodesout right now, but we're putting
out more and we're also hostingmonster kid marathon this year.
So we're doing a lot of horrormovie lists.
But, yeah, you can find me athorror flick tab on Instagram

(49:04):
and you can find the slidobanshees at the stiletto
banshees on Instagram andthreads.
And then we just got on bluesky, thanks to Pete, and I think
we're just slido banshees onthat.

Speaker 2 (49:16):
So it's a bit quiet over there, but I'm hoping it'll
pick up.

Speaker 1 (49:19):
Yeah, I think, because it's invite, only it's
hard, yeah, they haven't reallyopened it to everyone.

Speaker 2 (49:25):
I only got in through an invite and it seems like
once you've been it almost seems, once you start interacting and
doing things, after a few weeksyou usually get an invite to
hand out to someone.
But yeah, I hope it takes offor hope it works, because
Twitter, or whatever it's calledthese days, is like a cesspool

(49:45):
and I'm only on there becauseit's full day.
I'm only on there because youhave to be in a way to do some
promotion.
I still do a favorite throughFacebook with the page, but it's
hard and all the monster kidshave gone, or there's only a few
left and there's not muchconversation there anymore, like

(50:06):
it used to be.

Speaker 1 (50:07):
Right, it's sad.

Speaker 2 (50:09):
So I think when I sent you the invite I was like
I'd be great if we couldeventually get everyone over
there again and, yeah, if thatcommunity happening again,
because yeah, exactly.
It was really great.
Yeah, I love the stiletto.
Banshees is great.
I'm probably most the waythrough the carry episode of the
movie.
Oh yeah, so that's really good.
I'm really enjoying that.

Speaker 1 (50:28):
Oh, good yeah.

Speaker 2 (50:30):
So it's interesting because the way you position the
podcast, it's almost you wouldthink and don't take this the
wrong way, please that it's justfor women.

Speaker 1 (50:39):
Right.

Speaker 2 (50:40):
But it's not.
If you're a bloke, you can geta lot out of this.
And it's really good getting,like you said, this feminist
perspective on things Right yeah.
Which and this is part of thething that's wrong with Twitter
there's nothing wrong withhaving these perspectives that
are not your own right.

Speaker 1 (50:59):
I understand Exactly it's exactly how you learn.
Yeah.

Speaker 2 (51:04):
And all these people have put that stuff down and
really bugged me.
But yeah, it's really good andjust listening to you guys talk
about Carrie is really great.

Speaker 1 (51:12):
So yeah, exactly, we are just talking about the films
the way we would on testpattern to.
We just all happen to be funpeople or have an experience
being perceived as a FM person.
We also have a trans man on theshow, so it's more just about
like how we see these things aswomen within a conversation

(51:35):
overall about whatever we'retalking about.

Speaker 2 (51:37):
It's really good.
I really enjoy it.
It's great fun, yeah, yeah.

Speaker 1 (51:42):
I'm hoping we get a very large audience.
So, like you said, it's notjust for women, it's for anybody
who wants to see things from adifferent perspective and hear a
bunch of FM people talk aboutmovies.

Speaker 2 (51:52):
So what do you give you?
Got anything interesting comingup that you can talk about?

Speaker 1 (51:56):
Yeah, we just recorded an episode on the
lesbian vampire trope, so wetalked about Daughters of
Darkness, the hunger, and amovie that came out more
recently called bit.
And so with our trope episodeswe usually talk about the trope
as a whole and then we do adeeper dive using a couple of
examples, and so that was areally fun episode and we got to

(52:18):
talk a lot about.
A lot of it was just gushingabout how beautiful the movies
were, like picnic hanging rock.
So, that was really fun.

Speaker 2 (52:26):
Great, excellent.
It's always great having you on.
It's always so good having yourperspective and I know you put
a lot of.
Even when I asked you to comeon to this show, you put a lot
of work in the background, so Ireally appreciate that.
It's fantastic.

Speaker 1 (52:38):
Oh, thank you.

Speaker 2 (52:39):
I love talking about movies, so now not to say that
all my other guests don'tprepare.
It's very obvious with you.
I share the notes with you andthere's always extra bits in
there and things like that.
It's really good, all right.
So thanks so much for coming on.

Speaker 1 (52:56):
Yes, thank you for having me.

Speaker 2 (53:02):
Thank you for taking the time to listen to this
episode.
Thank you to all my guests whogive their time to make this
podcast possible.
A special thanks to you forlistening.
Don't forget you can follow adingo eight, my movie, on social
media.
We're a dingo movie on Twitter,dingo movie pod on Facebook and
Instagram and we're on the webat dingo movie podcom.

(53:24):
If you'd like to support theshow, leave us a rating or
review on Apple podcasts orshare the show with your friends
.
Of course, you can always buyme a coffee over at.
Buy me a coffeecom slash dingomovie pod.
Once again, thanks forlistening, stay safe and I'll
see you on the next episode of adingo eight, my movie.
Advertise With Us

Popular Podcasts

Crime Junkie

Crime Junkie

Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.

24/7 News: The Latest

24/7 News: The Latest

The latest news in 4 minutes updated every hour, every day.

Stuff You Should Know

Stuff You Should Know

If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.

Music, radio and podcasts, all free. Listen online or download the iHeart App.

Connect

© 2025 iHeartMedia, Inc.