SUBCULTURE RADIO SHOW Ep #117

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
In twenty nineteen, hard hitting alternative country rocker Corey Marx
wow the world with his breakout single Outlaws and Outsiders.
Marx is now back with his brand new album called
Sorry for Nothing, Volume Two, which is out now through
Pure Noise Music. So go and grab your copy of
Sorry for Nothing, Volume Two, Corey Marx's brilliant new album,

(00:24):
from the Pure Noise Music website or your favorite streaming platform.
Hello and welcome to another episode of Subculture Meets the

(00:45):
Popcorn Conspiracy. I'm Dave g and joining me right now
is Halle. Welcome mate.

Speaker 2 (00:51):
Thank you Dave, and hello everyone. Another week, another another lifetime.
It feels like full of full of film and music,
and it's funny. It actually does feel like a while,
like has a lot been going on or maybe not.

(01:11):
I don't know, Maybe I've just moved more this week.

Speaker 1 (01:14):
No, no, I'm just saying because like all of the
interviews that I've done this week, but aside from that,
I've been doing breakfast radio at the Royal Melbourne Show.

Speaker 3 (01:25):
So it's like a.

Speaker 1 (01:27):
Strange week. But like I think it's not strange but
a long week because I've met so many people as well,
like being able to go around and meet farmers and
people like that that like have come into Melbourne for
the for the show, and then doing these.

Speaker 3 (01:44):
Interviews as well.

Speaker 1 (01:44):
It just feels like it's been a really long week
because there's been so much packed into it.

Speaker 4 (01:49):
Yeah.

Speaker 2 (01:51):
Ah, well, speaking of packed into it, what it is
packed into this week's episode.

Speaker 1 (01:56):
So I've got a lot of film interviews for today's show.
We're actually gonna chat to the director of a brand
new film called Sovereign, which has become a film that's
been talked about a lot because it's The film itself
is about a sovereign citizen killing two police officers and
it was written a long time before what happened here

(02:17):
in Australia, but it has become a little bit controversial.
So we sat down this week to speak to the
director of that. We also spoke to Lewis Mandelor, who
is the director of a brand new film called Prisoner
of War, and we also spoke to the two stars
of another indie film that's coming out called When I'm Ready.
We've also got a very very big music interview this

(02:38):
week on the show as well. Harley. I'm sure you
know tracks like House of the Rising Sun and we've
got to get out of this place. I'm sure you
know those tracks absolutely, So we've actually got the Animals,
the band who wrote those iconic tracks. They're coming back
to Australia for their last ever tour, so we spoke
to one of the members of the Animals this week.

(03:00):
We also have some new music as well, coming from
All Her Years, who are kind of an alternative folk
indie group. We also have got Gemma from This Space
Is Hours back on the show as well to talk
a little bit about their new single called picture Perfect
Paper people try saying that when you're drunk. And we've

(03:21):
also got some new music today as well from some
bands that we've had on our show throughout the year. Harley,
I'm sure you remember you and I got to meet
the guys from Yellow Card earlier this year.

Speaker 2 (03:32):
Yes, that was a good chat.

Speaker 1 (03:34):
So they've just teamed up with Avril Evin for a
brand new single called You Broke Me, so we're going
to play that in just a moment on the show.
And our guests from last week, the Rasmus, have got
a brand new song out where they've teamed up actually
with Tyler Coline Connelly from theory of a dead band.
The tracks called Creature of Chaos. So we're going to

(03:54):
kick off today's show by actually taking a listen to
these brand new tracks Yellow cod and also the rastmus excellent.

Speaker 5 (04:07):
Middle of the Night and I'm running back what you said.
You're not even here, but you still won't let me rest.

Speaker 6 (04:17):
I'm just so tired all these years.

Speaker 5 (04:20):
Lost in love, lost in love, and I'm hanging on
to every word. When you're gone, follow where you leave me,
But you just leave me on say that you want me.
I know you don't know.

Speaker 6 (04:41):
You don't because you don't.

Speaker 7 (04:44):
Know what.

Speaker 8 (04:56):
You found me out.

Speaker 9 (05:00):
Don't you.

Speaker 10 (05:05):
Broke me too?

Speaker 11 (05:11):
This is all my own fault that you get in the.

Speaker 12 (05:14):
Head, you get the best of my heart, then you leave.

Speaker 8 (05:19):
Me for Dad. Tell me you love me. I know
you won't know.

Speaker 11 (05:25):
You won't slone.

Speaker 8 (05:29):
What I bent, let me, you fell me.

Speaker 13 (05:41):
I was broken, you let her little better have been.

Speaker 12 (05:49):
You wrote to me too, bens.

Speaker 13 (06:14):
Me.

Speaker 14 (06:20):
I was.

Speaker 10 (06:23):
A little band and by nature to.

Speaker 13 (06:44):
Me dead.

Speaker 8 (06:49):
Broke Creature show let me.

Speaker 15 (07:13):
Cycles Scles, Welcome to the Churches, us Ways Rejas Crypto,
how this guts up with this Crito grifts.

Speaker 6 (07:26):
This fittures and twisted sisters.

Speaker 16 (07:29):
Again, cradles we will cast up falling angels, the Shogle
creatures A Cas Sving days we are contains features pass

(07:51):
creatures of Cas.

Speaker 8 (07:56):
You're feeling dressing to.

Speaker 15 (08:00):
Us, mischief, Baker's shuts up, boxing, Misty fats up, nature,
nonchristruction Manitius.

Speaker 13 (08:16):
Yeah, you belong.

Speaker 17 (08:19):
Creatures A chess said something made us real? Pass can
just afraid of us creatures A Chaus belus if you
really take.

Speaker 8 (08:36):
Us so I need to want?

Speaker 18 (08:46):
Yeah, Psycho sicko you who cashed the full.

Speaker 8 (09:06):
Legal creatures of Jay seven three are cos s jes
A three of us.

Speaker 19 (09:19):
Creatures of j.

Speaker 8 (09:21):
Love you Finny Days.

Speaker 19 (09:26):
Seven because its.

Speaker 8 (09:39):
Sets a pretties three.

Speaker 14 (09:43):
Of the.

Speaker 1 (10:03):
Well Harley. We promised you a lot of film interviews
today and we're going to kick it off with an
interview with Christian Swegel, who is a writer director whose
new film Sovereign has created a little bit of a
stir here in Australia because the storyline of this film
is a sovereign citizen shoots two police officers, which is yes,

(10:28):
which is badly similar to something that's happened here in Australia,
but Look, this is a brilliant film. It stars Nick
Offerman and Jacob Tremblay. Dennis Quaet is in there as well.
But we sat down this week and spoke to Christian
about the film. So here is our interview with Christian.

Speaker 2 (10:45):
Right, did you ask him if the incident in Australia
was a publicity stunt to promote his film, because my backfire.

Speaker 1 (10:54):
He actually didn't know about it. Yeah, when you listen
to the interview, you actually hear my first question was
a out about that and he had no idea that
it even happened because this is based on a case
that happened in America. So yeah, dangerously close to what
happened here in Australia. But as you're about to hear,
Christian goes into detail and talks a little bit about

(11:18):
about that, and of course I did ask him about
what happened here in Australia as well. Christian. I want
to start off by saying congratulations on the film. This
is an absolutely magnificent film that I think is going
to resonate with a lot of Australians at the moment
because of something that's happened in Australia over the recent weeks.
But congratulations on such a brilliant film.

Speaker 14 (11:41):
Oh wow, thank you, thank you very much, Natics. I'm
very exciting.

Speaker 1 (11:45):
Yeah, so I have to ask where did this all
start for you? Where did this journey start with Sovereign? Because,
like I said, this is a film now that I
think a lot of Australians are going to be very
aware of because I'm not sure if you realize, but
we actually did have a sovereign citizen here in my
home state a few weeks ago execute two police officers
that turned up at his house and he's currently still missing.

(12:07):
So it's a very current case. Yeah, it's a very
current case here in Melbourne. But where did this journey
start for you with this film?

Speaker 20 (12:16):
Oh?

Speaker 14 (12:16):
Wow, I wasn't aware of that.

Speaker 21 (12:20):
Yeah, it's it's a it's an ongoing you know, it's
kind of an issue that affects people all over the
world weirdly.

Speaker 14 (12:29):
But but yeah, this film started for me.

Speaker 21 (12:32):
I had a family member who became very interested as
part of really a mental health issue. It became very
involved in like anti kind of more conspiracy theory. There's
a thing called QAnon here, you know, kind of anti
government conspiracy stuff, and it wasn't so much a political thing,

(12:53):
is it, as much as it was a mental.

Speaker 14 (12:55):
Health issue that was that was driving on that.

Speaker 21 (12:58):
But as part of really trying to understand that, I
started researching the Sovereign Citizens.

Speaker 14 (13:03):
Movement and then came across this crime. And you know,
even though the crime took.

Speaker 21 (13:08):
Place, you know, fifteen years ago, it still felt very relevant, sorry,
relevant to today and to just what's happening in the
US and obviously Australia as well.

Speaker 14 (13:25):
Yeah.

Speaker 1 (13:25):
I think that's what really hit me with this film
as well, is how you show how it actually affects
family members as well. Because I had a good friend
who went down that rabbit hole during COVID. She went
from being what we all thought was a highly educated
teacher to suddenly someone who today lives in a commune

(13:46):
of sovereign citizens in a different state, and every day
her Facebook feed is just full of conspiracy theories. For
you doing, did you go and do research into not
only the Sovereign Citizen movement but how it affects their
family members as well?

Speaker 14 (14:04):
Yeah?

Speaker 21 (14:05):
Yeah, yeah, I mean, like I said, I had had first,
you know, sort of a similar experience to you, as
as I had someone who first hand, I was very
close to became involved in something kind of tangentially related,
but also met with different sovereign citizens, and there was

(14:28):
there was quite a bit of research about this case
that was available online in terms of academic papers that
were written, psychological profiles. But the thing that was interesting
to me was, you know, with with movements like the
sovereign citizen movement, it's really I went into it thinking

(14:49):
that it had a lot to do with politics, and
it was sort of this right versus left binary of well,
this is sort of a right wing extremist ideology, and
I think that sort of generally holds true, but I
was I was shocked to find out how ideologically diverse
many of the people were that were part of the movement,
and how they'd come to it from really surprising places,

(15:12):
like you know, I met one woman who was kind
of a New Age Earth mother who had become a
sovereign citizen, and then there were people that you'd expect
to be homesteading and growing their own vegetables and you
know that became sovereigns. And then there's sort of aspects
of the religious right, and so I think it had
a lot to do really with community and just a

(15:36):
general distrust of government and of official sources of information.
I think that there's just been such a breakdown of trust,
you know, that people find these information channels or people
like that Jerry Kane or someone that they listened to,
and they can end up really being seduced by that.

Speaker 1 (15:55):
How do you think that the movement's been the view
of the movie and has changed in America over the
last few years, Because I know here in Australia that
during COVID, I think it was almost a people were
laughing at the videos, like police were putting up bodycam
footage online of when they did a traffic stop of
a sovereign citizen and kind of laughing about I look

(16:17):
at this wacky idiot kind of thing. But I think
the events here in the last couple of weeks with
the two police being killed has kind of made people
realize just how dangerous this could be.

Speaker 4 (16:29):
Has that has that?

Speaker 1 (16:30):
Is that how it's viewed in America now as well?
And how did that affect you sitting down to work
on the screenplay.

Speaker 21 (16:38):
Yeah, I think it's one of those things that it's
it's funny until it's not. You know, it's there's there's
certainly like a lot of if you go on YouTube,
there's sovereign citizens at traffic stops.

Speaker 14 (16:49):
Being you know, owned quote unquote or you.

Speaker 21 (16:53):
Know, there's there's a lot of videos online of sovereigns
kind of testing out their theories in county county buildings
or with the police and and it not going well
for them.

Speaker 14 (17:04):
And they're pretty I mean, and they can be funny.

Speaker 21 (17:06):
But but I think what what was interesting to me
is like, I don't know, I think I think the
Capital the Capitol riots here for us were sort of
a big moment for me, at least just in I
don't know if you were aware of it, but here
we have this guy named the QAnon Shaman, and he
was this guy that wore like a big moose hat

(17:28):
and he had you know, or it was like this
big fur hat with horns and you know, and at
first it was kind of, you know, kind of a laughingstock.

Speaker 14 (17:37):
Like who's this crazy person?

Speaker 21 (17:39):
But if you dig into the guy's story, like he
had a it sounds like a pretty significant history of
like mental health issues. You know, a lot of these
stories when you dig into like well, who is this
crazy person that just got dragged out of the car.
A lot of the time, it has like they have
a very sad backstory. This is someone with like documented

(18:01):
mental health issues, This is someone that needs medical intervention
not to be laughed at. Or it's someone that like
genuinely lost their home or suffered some hideous injustice on
the part of either the justice system or the healthcare
system or the insurance system, or something that should be
sort of addressed.

Speaker 14 (18:20):
And I think in the absence of like.

Speaker 21 (18:22):
A compassionate official response or sort of a compassionate response
from society, you have people that are in those desperate
situations that cling.

Speaker 14 (18:31):
To whoever will sort of like hear their grievance.

Speaker 21 (18:34):
And I think they can find community online and with
these sort of subcultures, and so I.

Speaker 14 (18:41):
Think that's kind of what's driving it, at least from
what the people that I'm at with.

Speaker 1 (18:46):
Definitely, Yeah, I mentioned the power of your screenplay. Also
the other powerful part of this film as well, all
of the performances tell us a little bit about the
costing of this film. When down the line, did you
think of Jacob Turnbright and Nick Offerman to play those
two key roles.

Speaker 21 (19:04):
Yeah, there, I mean they've They've both you know, long
been some of my favorite actors, you know, I've I've
followed Nick Offerman's career for a long time and Jacob's
as well. And Nick was Nick was kind of our
first you know, sort of dream cast you know, lead
to land in the film. And it was a real

(19:26):
leap of faith on his part, I think, to sign
up to a movie with the first time director. And
but we were lucky and he did. And and then Jake,
you know, Jake is just one of the I think
he's just one of the most talented actors of his generation.
I think he's going to continue to have a long
career ahead of him. And and and really the chemistry

(19:49):
between the two of them was something that we knew
we had to get right and that the heart of
the movie really had to be there for the rest
of it to work. And and I think the job
that those two did in the bond that they formed
really beautiful.

Speaker 1 (20:01):
How did that bond form? I mean I've spoken to
other directors over the years where they've sent actors away
for a week together and things like that, How did
you get that bond? Because it's you're right, the film
needs that bond and it's so believable in the film.
So how did you get that bond to develop?

Speaker 21 (20:20):
I mean, I wish I could take credit for it.
You know, it was really all credit to Nick Offerman
and to Jacob. They they knew as well as I
did that that needed to be there, and they just
naturally formed that relationship. I mean they're very close and
they're working on other stuff together now. I think they
have a few things in development. But I think a

(20:42):
lot of this came down to, you know, Nick Offerman
being number one on the call sheet and really not
just as a as an artist, but as a leader,
setting the tone for the cast. And you know, for
me being in that situation as a first I'm feature director,
but having written the material, you know, I think everybody

(21:05):
was looking at him like, well do we trust this guy?

Speaker 14 (21:07):
You know?

Speaker 21 (21:08):
And he set the tone. I think he set the
tone that they were all going to buy into sort
of my vision for how to do this, and and
he definitely set the tone in terms of building that
rapport with the rest of the cast and certainly between
him and Jacob.

Speaker 1 (21:25):
Yeah, it's a very intense film. What was the shoot
itself like like for you as a first time director
working with these actors that almost feel like they method
acting at times.

Speaker 4 (21:36):
What was it like on set?

Speaker 14 (21:39):
It was it was a very you know, we were
totally independently produced film. It was it was a quick shoot,
so it was very fast.

Speaker 21 (21:49):
I would say that it was sort of two extremes
on the kind of practical logistical execution extreme. It was
very fast and chaotic. You know, everybody was working hard,
we were moving very fast. It was a lot of locations,
so that part of it felt very fast and sort
of chaotic to me. But what was grounding about it

(22:11):
is that the relationship was the cast felt so safe
and collaborative and solid that it.

Speaker 14 (22:20):
Really made all of it work. You know. It was.

Speaker 21 (22:25):
My experience with the cast couldn't have been better. It
was just a wonderful team of people. And luckily, you know,
I was surrounded with just really really talented filmmakers with me,
you know, my producer, all my department heads, everybody was
I think punching above their weight for this movie.

Speaker 1 (22:45):
We have a lot of young filmmakers who listened to
our show and also read our magazine as well, So
I have to ask, what was you feeling on that
first day on set as a first time featured director,
And what did you learn that you could pass on
to young filmmakers.

Speaker 21 (23:02):
Oh, well, yeah, I mean I just in immense gratitude.
I think on my first day, I just couldn't believe
that I was actually getting Yeah, I kept waiting for
somebody to come and say it's canceled. You know, we're
all going home.

Speaker 14 (23:16):
I don't know, it was.

Speaker 21 (23:17):
It was surreal to get to do it. It was
a lifelong, you know, dream come true. So definitely gratitude.
And then in terms of a lesson, it's probably a
you know, cliche response or something, but I really do
think it just comes down to if your script, if

(23:40):
you've done the work on your script, and you cast
the movie well, and you surround yourself with the right people,
I think that's ninety percent of the job, you know.

Speaker 14 (23:51):
I think you just getting that cast right, because if the.

Speaker 21 (23:56):
Performances aren't working, and if the story isn't really working,
those two things. All of the technical things and the
locations and the meson san and all of that can
be great, but if those fundamental things aren't working, you're
not gonna have a movie. And so I think it
was just sort of realizing that the fundamentals of the

(24:16):
storytelling really still hold true even at a bigger scale.

Speaker 1 (24:20):
Yeah, now, Christian, I know we are running out of
time because we've only got fifteen minutes, but to finish off,
what would you like to say to people out there
who are about to sit down and watch Sovereign on
streaming platforms everywhere right now?

Speaker 21 (24:35):
Yeah, I would just say that, you know, it's a
it's a difficult story, but it's one that hopefully is
thought provoking and engaging, and I think, if anything, I'd
just love for people to leave the movie discussing it.

Speaker 14 (24:53):
You know, I think that there's a lot of.

Speaker 21 (24:56):
Universal concepts and themes and ideas that are questions that
are raised.

Speaker 14 (25:01):
I don't know that we have answers for every one
of those questions.

Speaker 21 (25:04):
But hopefully, hopefully raising the question and sparking discussion is
is what the film does, and and that's those are
my favorite kind of filmed films that leave you with
something to think about.

Speaker 14 (25:15):
So I hope people leave with that.

Speaker 8 (25:27):
You feel men again, a son to.

Speaker 13 (25:40):
Things that simply boy gets to men.

Speaker 8 (25:50):
When the day.

Speaker 5 (25:54):
I didn't know that we should be again, feel Mary
searching man.

Speaker 8 (26:04):
Wheels on far.

Speaker 17 (26:08):
Flowing down the road. There's no pound Stella's.

Speaker 8 (26:19):
Your shine.

Speaker 14 (26:26):
Memory Search.

Speaker 11 (26:27):
You tell I was gonna come to scape my lace.

Speaker 17 (26:34):
And wrap it up in the same snow and hide
it in your.

Speaker 11 (26:40):
Place if I knew was sure that it was your.

Speaker 8 (26:49):
Tail, and you know, let me show.

Speaker 13 (26:55):
Your way search where.

Speaker 10 (27:01):
We're on five.

Speaker 8 (27:05):
Ding down. It's not I'm not start in. This was shiny, you.

Speaker 11 (27:22):
Remember it serving twelve.

Speaker 8 (27:26):
You remember you.

Speaker 22 (27:31):
That come called me to come out. Not to get
into your favor of down you have to pass and
less And that was in the four clown again in

(27:52):
your favorite serve way.

Speaker 8 (27:57):
Its Queens of five.

Speaker 1 (28:19):
Well, listen, as we're going to do something special on
the show now, Harley and I are going to take
a look at our favorite British comedies, the TV shows
that we kind of all grew up with over the years.
But we're actually doing this off the back of something
pretty sad that happened on the weekend, aren't we, Harley.

Speaker 2 (28:38):
Yeah, it's quite unfortunate that you know it was coming
and it was still a shock though.

Speaker 17 (28:48):
Yeah.

Speaker 1 (28:49):
So Patricia Roulige or if you want to use her
official title, Dame Catherine Patricia Ruledge passed away on the
Weekend age ninety six years. And of course many of
you would know her from Keeping Up Appearances, where she
played Hyacinth Buk, but she was in a lot of

(29:09):
other TV shows too, wasn't she.

Speaker 2 (29:10):
Howie, Yeah, she She first kind of got fame when
she just played a bid part on what was it
called Coronation Street, that very long running soap opera from
the UK, and everyone loved her characters so much they
wanted her to stay on, but she wasn't interested. So

(29:33):
for years they were just having oh we just got
a phone call or a letter from such and such,
you know, just to keep her alive, until they eventually
decided to recast to bring the character back.

Speaker 1 (29:46):
And yeah, Hetty Wayinthro, Yeah.

Speaker 2 (29:50):
Hetty Waynethrop. That was like one of my favorite shows.
I'm just I was so sad that there wasn't more
of that.

Speaker 14 (29:56):
Yeah, So.

Speaker 1 (29:59):
I guess that leads us into I know, Keeping Up
Appearances is one of my favorite British shows. So let's
start with you, Hally, what were some of your favorite
British comedies that you grew up watching and loving.

Speaker 2 (30:15):
Yeah, this is so hard because there are so many.
I mean, okay, one of the big ones that I'm
sure most people know. Absolutely fabulous. Yeah, that's a great series.
The characters are amazing, even at their worst, they're brilliant.

Speaker 4 (30:37):
Yeah.

Speaker 2 (30:38):
I never get sick of that show. I've rewatched it
so many times and still love it. There was one
I used to watch when I was a kid, and
I've never seen it kind of repeated since that time.
It's called Metal Mickey, and it's about this family who
had this robot living with them called Micky. It's really

(31:02):
hard to remember much of it now, especially because i've
never seen it since. I mean, I think like they
repeated it at the time, but then since those years.
It was probably like late eighties, early nineties or something. Yeah,
it's just not been back on that I've seen. And
I just thought that was such a fun show. So

(31:22):
if anyone knows how to get a hold of that,
go and check it out. It was a lot of fun,
absolute classic Faulty Towers. That's just brilliant. Like I love
Monty Python Flying Circus, So you know, anything those guys
do usually ends up being brilliant. So John cleees as

(31:46):
Special Faulty, absolutely brilliant show. There's a reason why it's
just universally regarded as a classic. Only like twelve episodes,
but you just want more. But at the same time
it is so good and so rewatchable. That's that's the
mark of a really good comedy show. What was another one?

(32:10):
I was going to mention, Oh, Maid Marion and her
merry Men? Did you see that one?

Speaker 23 (32:15):
No?

Speaker 1 (32:15):
I don't think I did.

Speaker 2 (32:17):
It used to be well here in Australia was on
the ABC like after school.

Speaker 14 (32:25):
It was.

Speaker 2 (32:26):
Taking the Robin Hood and these merry Men kind of thing,
flipping it on its head, where it's Maid Marion who
actually runs the show. But Robin Hood is this complete goofball,
but for some reason he always gets the credit of
being the hero and the leader of the resistance and
all this stuff. You've got what's his name, Tony? Is

(32:55):
it Robinson? He played in Blackout BLACKOUTA, which is another
good one. By the way, I've suddenly blanked on his name. Yeah,
he played Baldric in Black Atta, but he plays the
Sheriff of Rottingham. And you've got you know, the bad
King who's like really punk and everything, and these couple

(33:19):
of knights that work for them, who were completely useless,
all these village people who kind of lived throughout Sherwood Forest,
and instead of Little John, it's a little Ron and
he's like this midget guy who's like, you know, really fierce.
The characters who were just so great. It's so much fun.

(33:41):
I've got I managed to get the first season on DVD,
but not the rest of it, and I'm dying to
see more of it because I loved this as a
kid made Marian and a merry Men. That's that's one
to recommend. And I think there was something else I
was going to mention as well, and it completely We
got on a Red Dwarf. Red Dwarf is a great one.

(34:06):
It's just it kind of came at that time where
you know, Doctor Who had been on TV, but it
was having trouble, so they thought they'd rested for a
couple of years, and a couple of years turned into
like five six and then another decade after that, and

(34:27):
it just goes to show that they could actually have
done stuff because Red Dwarf is a science fiction comedy
and it's really good at what it does. Yeah, it
just kind of sort of took over. It became the
new kind of thing for a while, we're getting into
that it had these elements of being sitted down to Earth.

(34:52):
That's what you know. The the British Populace was kind
of like in these characters, the way they speak and act,
but it was set in the future, and you know,
all the kind of down and out and disfranchised kind
of characters that are in there now suddenly running things

(35:15):
on this ship that everyone just suddenly died except for
one person and a cat that you know, gave birth
the kittens that mutated over the years into humanoid beings,
and it's just a really interesting concept in it. Then,
you know, even after it finished, they brought it back
for more later on to kind of advance it further.

(35:37):
It's really interesting. It's worth a deep dive. But yeah,
those are some of my favorites. What about you, Dave.

Speaker 1 (35:44):
Yeah, Look, I grew up with an interesting family in
that sense that my parents were very much into the
British shows, and my grandmother and was very much into
the American shows. So for me, it was always I
watched all the classic British shows with my parents, so

(36:04):
things like some mothers do have them. I'm trying to
think Robin's Nest, George and Mildred. Are you being certain.

Speaker 2 (36:16):
That was one of the ones I was going to mention, Yeah,
that's my one of my favorites.

Speaker 14 (36:21):
Yeah.

Speaker 1 (36:21):
So I grew up watching all of those and I
think that kind of shaped my comedy in a sense
as well, like because I always found the British shows
were more laugh out loud than the American shows. Like
I loved Perfect Strangers and stuff like that, and I
loved Friends, but I always found that the British shows

(36:42):
were what I would laugh out loud to even today, was.

Speaker 2 (36:47):
A bit more sort of intelligent or something, wasn't it.
There was more to appeal to you rather than just
kind of the surface level. I think that's what made
it so good.

Speaker 1 (36:58):
And I guess Friends did this as well. But shows
like especially Robin's Nest, they knew how to bring drama
and comedy into a show, like so there would be
like a fight between between couples or something like that
in the show, and but they knew how to do it.
But they knew how to do it so that there

(37:20):
was still something there that you could laugh at as well.
And I guess, uh, yeah, like I'm trying to think
I have the name's gone out of my head. Now
are you being served? Was very good at that as well,
where they would touch on things like feminism, for example,
but still put a laugh in there as well. It

(37:44):
was interesting to watch shows like that and then compare
it to what was happening with American television as well.

Speaker 4 (37:50):
I also was a.

Speaker 1 (37:51):
Huge fan of Hale and Pace. I used to watch
that with my dad, and and then of course going
into Little Britain as well, all the shows that you
can't put on television anymore because they're considered politically incorrect,
but even the Goodies, like I remember I used to
watch Home from from school to watch the Goodies. But yeah,

(38:15):
Keeping Up Appearances is probably my favorite ever. That was
one of those shows where even my grandma liked that,
even though she wasn't really into the British stuff. I
just I just remember all the characters, like everybody talks
about Hyacinth, but but even like yeah, Daddy, Daddy was

(38:41):
just a pervert. But like, that was a show that
I felt and I actually went and bought the script
book because of this reason. I thought it was the
perfect way to write comedy in that you did have
this over the top, larger than life character like Hyacinth,
but they surrounded her with so many characters as well,

(39:04):
like Emmett from next Door. I'm trying to think, what's
Emmett's sister's name, the one that can't be in the
room with Hycins without dropping things and stuff. And then
you had the Vicar, like she was always after the Vicar.
And then as you said, yeah, Rose and Onslow and
Daisy like they all had their own thing. Like Onslow

(39:27):
proved to be such a popular character that when Keeping
Up Appearance has ended, they basically took that actor and
put him in Heartbeat, but he was pretty much playing
Onslow in Heartbeat as well, even though they gave him
a different name.

Speaker 7 (39:40):
It was.

Speaker 1 (39:42):
But to me that was the perfect comedy. There was
also Birds of a Feather, which I know.

Speaker 2 (39:46):
That you as well. I was just thinking of it
the other day, I think, probably after we're talking about
doing this, and totally forgot to mention it. Such a
great series.

Speaker 1 (40:00):
Foot in the Grave, which was about a recently retired
man who's just grumpy at the world and his wife
is really nice, and he's yelling at teenagers and yelling
at yelling at like The next Door Neighbor. You mentioned
Red Dwarf, which I also loved. But there was also
another one called Hyperdrive. I don't know if you watched that,

(40:20):
but that was where So that had Nick Frost in it.
That was another comedy set in space, which was a
pretty good comedy. But yeah, I guess, I guess they
are my favorites. But like I said, there's just there's
so many. Like when I sat down to this, like
and because, like I said, we had a very British upbringing,

(40:44):
so we watched things like Upstairs, Downstairs, Step.

Speaker 3 (40:47):
Tomas on.

Speaker 24 (40:50):
All of that.

Speaker 20 (40:52):
That.

Speaker 1 (40:54):
Yeah, but even Benny Hill, which is another one that
you can't show to David.

Speaker 2 (40:59):
Like I grew up watching Benny Hill, and that is
still some of the cleverest, you know, sketch kind of
stuff I've ever seen done. He is an absolute master. Like, yeah,
I want to watch all that again. They you know what,
that's what the British did well. They usually would have

(41:21):
like a comedy character or usually it was a comedy pairing,
like you said, Hale and Pace, French and Saunders. They've
done so much. They have a lot of these pairings
and they're always so good. With all the sketches and
the things that they do and create the young ones,
you know, a lot of them went on to do

(41:42):
this sort of stuff too.

Speaker 1 (41:44):
There's a lot of yeah, crossovers there as well. I
mean you said French and Saunders and of course keeping
up Appearances and the Vicar of Dibley. You've got black
Adder and Mister Bean like as Yeah, and we should
mention mister Bean because that was universal, like for a

(42:04):
character that barely speaks to be able to have a
television show where he just has people in stitches, and
a lot of people don't realize I think there was
only ever seven or eight episodes of Mister Bean. It's
like Faulty Towers. Everybody loves it so much they kind
of it feels like that they were on for years,
but there was only like seven or eight episodes.

Speaker 2 (42:25):
They were repeinted like frequently, and then they did a
couple more episodes and it was like, oh, great new
mister Bean. But yeah, it was never very many. It's
just a handful. That's why you just sort of see
them over and over. But oh you know what, I
just realized, I absolutely forgot one of my all time
favorites Hello Hello, Yes, I even appeared in a stage production.

(42:48):
How could I forget that? But I actually went to
the original cast live stage play of Hello Alo when
they came to Australia. Only the lead actor who plays
Rene was not there because he had unfortunately been caught
in a cyclone and was recovering. So the series wasn't

(43:14):
even on air for a couple of years while he recovered,
and thankfully he did and they came back for a
couple of extra series and yeah, so for those who
don't know Alo Alo, it's set during World War Two.
It's the French resistance trying to you know, fight against
the Nazis, trying to contact British agents to come over

(43:35):
and help and you know, try to win the war.
But unfortunately, this poor cafe owner is dragged into the
middle of things and all he wants to do is
run around and have a bit of fun on the
side with his waitress, you know, without his wife knowing.
But he's been dragged into all this intrigue and fighting

(43:55):
the Germans and the characters are amazing, Like everyone who
took part in that just should be applauded for it
all they did. It's such a great series.

Speaker 1 (44:08):
I've got two more here as well, and one of
them almost rivals Keeping Up Appearances as my favorite. But
first of all the Catherine Tates show.

Speaker 2 (44:17):
Of course, Yes She's Not Brilliant, which.

Speaker 1 (44:20):
Was another for some reason that used to be on
TV here straight after Little Britain, so it was like
he used to get the double schedule. And another one,
I'll give you a couple of hints to see if
you can guess this one. A couple of lines from
the show bus Wankers, the in Betweeners. Yeah, that would

(44:42):
nearly be right up there for me with Keeping Up Appearances,
because it is such an iconic show and like it's
coming back, and I think someone said the other day
that ever since they announced that it's coming back, the
amount of people that have like been searching for information

(45:04):
about it coming back has been one of the largest
things looked for on Google and stuff like that. So
how did you feel about that show? Because I know
it was a show that not everybody liked.

Speaker 2 (45:19):
No, I loved it at the time. I remember not
being able to kind of watch it regularly whenever it
was on, so I I had no episodes here and there.
Maybe I'd seen like the full first series or something.
But it was only when I could sort of catch
it there after, And it was only in slightly more

(45:43):
recent years that I finally was able to find somewhere
to watch the whole thing through, although I haven't properly
watched the movies.

Speaker 1 (45:55):
They even came to Australia to do one of the movies.

Speaker 2 (45:58):
Yeah, I know, and it's so frustrating because every time
they're on, like, I catch bits of them, but I
want to watch the full things start to finish. So yeah,
so I've got to work that one out. But yeah,
I thought it was really good. It's that it's there
different like compared to most of what we've mentioned, it's
a totally different area of humor, but it still works

(46:23):
so well. There wasn't that other show, Misfits. Do you
remember that one? Yeah, all the people suddenly developed superpowers
during this incident and of course they're all a bunch
of misfits and tearorways, And that was such a good series.
I especially loved that, and that kind of had that

(46:44):
same kind of vein with the way the characters were
and everything. Yeah, there's something about it. It's kind of
it has it appears so yeah, I'd be really interested
to see, you know, the new series of this.

Speaker 1 (46:57):
Simon Byrd from The in Between Us also did another
show after The in Between has finished, called Friday Night Dinner,
which is absolutely hilarious as well. It's about two brothers
who every Friday night go back to their family home
to have dinner with their mum and dad, and their
dad's just this guy that tries to be cool all

(47:19):
the time but it backfires. The mom's like this sweet lady,
and then they've got this crazy next door neighbor who
is a little bit politically incorrect because I would probably
dare say that the poor guy's had a brain injury
at some stage in his life, but he always comes
over and makes a mess at the house. Or he's

(47:40):
got the hots for the mum, so he's like he's
always like trying to seduce her, but she's got no
idea what he's trying to do. But yeah, if you
if you get a chance, sit down. And I don't
know if it's got a regular television one here. I
was watching it online and then somebody gave me box
set of the DVDs, but yeah, Friday Dinner is another

(48:02):
classic if you like that in between us kind of comedy.

Speaker 2 (48:06):
Actually, there's a little bit of a share that I
should give as well, because I grew up watching repeats
of the carry On movies. I love those so much.
My mother always gets annoyed that I'm so into them,
and I'm like that you must have introduced me to them, Like,
why do you hate me? I saw them on TV

(48:26):
because you guys were watching them. I'm sure.

Speaker 1 (48:29):
Yeah, I love that about it.

Speaker 2 (48:31):
But they actually had a TV series, Like there was
a carry On TV series where they do installments each
week or something. So if you get like the big
box set of all the movies, you'll get this TV
series along with it. So but the actors who were
in there, like Sid James even had you know, his
own shows and stuff that I used to sort of

(48:54):
catch after school or in the evenings or whatever. And
but there was one that was on a few years back.
Jones sim who was in a lot of the carry
On movies. She was in this series with what's that

(49:16):
guy's name, Dennis Waterman I think, and another guy who
was in the original lineup of a Loolo. And it
was it was a good sort of drama, but it
was also very comedy based as well, and so Jonesy
was like the housekeeper for this guy who would sort

(49:38):
of newly rich. He'd you know, developed a business and
become successful, but you know his marriage is sort of
broken down, and but you're just getting this kind of
relationship between him and the two staff that worked for him.
And I just loved Jonesim in that series. And it's
called on the Up. So if you get a chance,

(50:00):
get on the app really really good show.

Speaker 1 (50:03):
I think the other thing too about British shows is
their their cats phrases and their lines that stick with people,
Like I mean, people always say computer says no, which
of course is from Little Britain. My friends and I
whenever one of us says like I've just got to go,
I'm going to go see my friend. We all did

(50:25):
a bit from in Between Us where it's like, oh
friend like that.

Speaker 4 (50:28):
It's like.

Speaker 1 (50:30):
And my mom, Like even my mom will quote like Hyacinth.
If if you're like being slow at doing something, my
mom will go, come on, Richard, now, don't did it badly?
Like it's lett it's everybody. And of course my dad
likes to do some of the lines from Missus Slocum
from are You being Served, which we probably can't say

(50:53):
in this time slot. That's yeah. I think that's the other.

Speaker 4 (50:57):
Thing to it.

Speaker 1 (50:58):
It stays with people, and I'm sure like that's one
of the things that's been so heartbreaking about Patricia relig
dying this week is that at least she has this
character that's going to live on for generations to come.
And she said that in an interview where someone had
mentioned about how old she was getting and she said, well,

(51:19):
at least I know when I pass away, Hyacinth will
live on. And I think that's true. So vallet to
Patricia Rulich. But Harley, it's been great being able to
talk about British TV, hasn't it.

Speaker 4 (51:33):
Yeah?

Speaker 2 (51:33):
So much fun. I kind of want to binge watch
everything we just spoke about.

Speaker 1 (51:40):
Well, now we've got something very very special for all
the abab fans out there right now.

Speaker 14 (51:45):
So here we go.

Speaker 19 (52:06):
Darling. You are a fabulous one.

Speaker 14 (52:09):
Thank you.

Speaker 19 (52:09):
I remember I've known you longer than your daughter.

Speaker 14 (52:12):
A lovely week.

Speaker 12 (52:14):
Did we finish off the blows, the smoke, salmony, lively
things or whatever?

Speaker 19 (52:18):
I'll finish off the doll's fathers.

Speaker 25 (52:21):
Dolls fathers do time, bloody darning.

Speaker 26 (52:41):
Thank you.

Speaker 19 (52:45):
Chanelle, the longest Belgium.

Speaker 17 (52:48):
Or she got downing names names name farmers, English.

Speaker 19 (52:53):
Folk, American coat friend boat, bloody and bloody, sing and
bloody boat.

Speaker 8 (52:58):
Not what sweet block?

Speaker 14 (53:00):
What crazy?

Speaker 8 (53:35):
Everything?

Speaker 19 (53:36):
Listening, I'm shopping as we speak, I'm shopping as we speak. Oh,

(54:06):
he was just a wind scream water I picked up
at the traffic buns so tight. He was blancing off
the wall. Not what sweety?

Speaker 9 (54:15):
What sweety?

Speaker 19 (54:16):
Not what sweety?

Speaker 14 (54:20):
What?

Speaker 9 (54:33):
God?

Speaker 6 (54:41):
Boys?

Speaker 19 (54:41):
Really that tracking is spit blader.

Speaker 1 (55:06):
Well, listeners, there is a great new film that I
know that you are going to love that's come to
streaming platforms this week. It's called Prisoner of War. And
the man who sat in the director's chair for this
film is none other than Louis Mandelore. So we thought
today we would actually get him on the film to
chat a little bit about it. So welcome to the program, mate,
Thanks David, good to be here. Man, right on, No worries. Now,

(55:30):
we have seen you director a fair bit over the
last couple of years, but I've got to say this
movie really really blew me out of the water. Tell
us a little bit about Prisoner of war and how
you became involved with this film.

Speaker 14 (55:45):
Well, good to know you enjoyed it, man, I appreciate it. Yeah,
I've been building up.

Speaker 27 (55:52):
The director's library, and you know, sometimes they come together
real well. So met Scott on The Dead Collectors. You
knew I was an aspiring filmmaker and he saw my work.
We got to know each other. There was a lot
of trust.

Speaker 14 (56:07):
On the phone.

Speaker 27 (56:07):
One day we talked about a story. He pitched a
really good story. My partner, Mike Kleppenoff wrote the script,
and you know, we went at it. In this business,
it's hard, you know, raising funds is real difficult. But
we raised the funds. We went to work and went
to the Philippines in the middle of typhoon season and
we just we just smashed it. And I'm excited that
it came together. Well, the response has been pretty positive.

(56:28):
So yeah, man, it came together well, and we're happy
we made it through it, to be honest, but it's
great that the response has been wonderful.

Speaker 1 (56:36):
I'll talk to you a little bit about the location
in the moment, but I'm keen to hear what was
it about this film that really attracted you to it?
Because I think this is a film that a lot
of people out there are going to be surprised at
the tone that it takes in a good way, especially
here in Australia where a lot of Australians were kept
as prisoners of war during World War Two.

Speaker 14 (56:58):
Yeah, that's an interesting point.

Speaker 27 (57:00):
So it is a special movie and it came together
differently because we had a vision and we stuck to it.

Speaker 14 (57:05):
And you know, it's a martial arts movie.

Speaker 27 (57:09):
Granted it's a Scott Atkins film, but we designed it
to also be a really wonderful cinematic World War two film.
So the response has been, like you said, a lot
of people are real surprised.

Speaker 14 (57:21):
They're expecting one thing.

Speaker 27 (57:23):
But believe me and for all my fellow IZZI is
if you know, they're supporting the lovers of cinema and
they want to support the action genre, I hope they're
pleasantly surprised as well. There's some wonderful moments of you know,
silence and some great acting and some great action, and
it looks beautiful and for a limited budget compared to
the big boys, you know, we really put it all

(57:45):
on the screen. And yeah, man, the response has been,
like you said, surprising for a lot of people, and
it makes us happy definitely.

Speaker 1 (57:53):
And of course we hear a lot of the stories
here on Anzac Day, which is the Australian version of
Remembrance Day, where we hear from a lot of the
people who either went well in the last few years.
Unfortunately we've lost a few of them, but people who
were kept as prisoners by the Japanese. But today we
hear their stories through their diaries. We know what a

(58:15):
savage time it was. Was that something important for you
to capture in this film as well.

Speaker 27 (58:22):
You know, I've made a few World War two movies now,
and you know the intention is always to honor and
homage to the veterans that sacrificed everything for us man,
I mean obviously, and you know, maybe the movie is
difficult sometimes, you know, most of the times, there's not
enough money in time, and you get the badges wrong
and the uniforms look bad whatever.

Speaker 14 (58:42):
Those things. Sometimes we can help.

Speaker 27 (58:44):
But one thing for sure is sort of the brutal
action and the violence and the you know, the nature
that comes with the horrors of war.

Speaker 14 (58:53):
We definitely homage them and respect them.

Speaker 27 (58:55):
And the response has been real good to that, especially
with Prisoner of War definitively a World War Two film
with let's say a fantastic or martial arts side to it,
but we honor the brutality and the camaraderie and everything
the veterans went through.

Speaker 14 (59:09):
And we're getting some good response, so I hope it continues.

Speaker 1 (59:13):
Yeah, definitely, I can see this being one of those
movies that here in Australia they play on Anzac Day
because I think it does. It does a lot to
show exactly what these men went through. I guess my
next question is about casting. Was Scott always your your
pick to play James or were there are other people's

(59:34):
names that came up at the time, no.

Speaker 27 (59:38):
One else's name, Because Scott and I built it from
ground up. We were talking on the phone and he
pitched me the story because he knew I wanted to
make something with him, and I loved the story, so
I got it to my partner, Mark Klebenoff honestly Motion Pictures,
that's my film company there, and he wrote a beautiful script.

Speaker 14 (59:59):
So Scott was always the guy and he actually was
part of it from its birth thing.

Speaker 1 (01:00:03):
So what was that like for you to sit down
and talk to Scott and flesh out his character, because
his character is such an interesting character, especially the way
that the martial arts side of his character comes into
the film. Tell us a little bit about sitting down
with Scott and fleshing out that character.

Speaker 28 (01:00:23):
Man, I mean, just a lot of work, not only
for the character, but just for every nuance, and you know,
I guess a foundation of reality in a way of
making it feel like everything's justified.

Speaker 27 (01:00:38):
So it's a lot of research and the character development
never stopped. From the beginning we understood who he was
and what we wanted, but that went on all the
way to every single scene.

Speaker 14 (01:00:49):
Discussing and would he do it? And what about this?

Speaker 27 (01:00:52):
And what about that's but it was a great creative process.
We had our hands on who he was, and then
we just kept flowing with the the reality. And you
filming a film, you know, we all know what it's like.
The script is one thing, getting it on its feets another,
and then when you're on set that's a whole nother
ball game too. You just got to roll with what's

(01:01:12):
real and what's happening, and you find a lot on
the day. I like working like that too, and so
did Scart.

Speaker 1 (01:01:19):
The other important parts of this film as well as,
of course his nemesis. How did you go about getting
Peter Shinkotera into the film and tell us a little
bit about developing that character as well.

Speaker 27 (01:01:34):
That's an interesting one, now, Peter and Schinkotto was amazing.
He just smashed it and recommended by Jeff, the wonderful
Jeff Goldberg to my poetner Mirk, and we met and
he was perfect, and we had the script again, we
had the character in mind, but once we got the set.
I love Peter because he trusted me. I told him
we're going to go bigger, broader, violent, We're going to

(01:01:56):
go brutal. I don't want anyone ever to forget you.
Peter and like, are you sure? He's sure, you know,
and I said, yeah, I'm sure. And we just built
him and we took a lot of chances, but it
seems like his character. People love him because we do
have the redemption and we built all the violence on
based on reality that these.

Speaker 14 (01:02:17):
Veterans are very well aware of.

Speaker 27 (01:02:19):
There was some brutal commanders, and we made him brutal,
but we also put that twist in.

Speaker 14 (01:02:25):
You know, you know, you've seen the film, David, you
get it. It's the low iOS a backdrop.

Speaker 27 (01:02:31):
The beautiful part of this movie to me is the
filmmaker is their relationship.

Speaker 14 (01:02:35):
It's pretty special.

Speaker 29 (01:02:37):
Even though Ito is brutal, So we took a lot
of chances, but there's a great redeeming moment that we
put in there and at the end and it all
comes together real nice man.

Speaker 27 (01:02:48):
But yeah, we went all the way with Peter's character
and I think it's it's it's when they're on screen
in that tent, it's just driveting.

Speaker 14 (01:02:56):
I just think that's you know, those are my far
favorite parts of the film.

Speaker 1 (01:03:00):
And I think that touches on something that we quite
often forget about as well when it comes to World
War Two. Australia and Japan have a very very special
relationship now between the two countries, and we've learned that
both sides during the war respected each other a lot.
The same with the Turks and the Australians as well.

(01:03:20):
That's not something that you see very often. Was that
there from the very start with this film, that respect
between the two.

Speaker 14 (01:03:26):
Men well as in the characters.

Speaker 1 (01:03:32):
Yeah, was that there from the very start or was
that something that kind of developed as the story went on.

Speaker 14 (01:03:40):
No, No, we know, very thought out and planned, especially
for me.

Speaker 27 (01:03:45):
Like I said, the whole movie is when they meet,
and it's a beautiful tale of cultures coming together.

Speaker 14 (01:03:51):
And two masters. You see, they're two masters.

Speaker 27 (01:03:53):
But the problem with Itto is that James Wright is
a real master and he's better than him at his
own game. So when they first meet, he underestimated him,
underestimates him. Excuse me, the art of war man. He
made the first mistake and he continued to make mistakes
because the White Man, the Kwi Loo as we say,
kept one being in this poker match of you know

(01:04:16):
whatever they were doing, and I think it's fascinating.

Speaker 14 (01:04:18):
So that was always in there, and we just played with.

Speaker 27 (01:04:21):
The moments and Nu lsdom through rehearsals and again it's
to me as a filmmaker, the action is great and
it's it's it's wonderful, But without these beautiful cinematic moments
of the relationship, I don't think the movie would be
as good.

Speaker 14 (01:04:37):
I'm sure everyone agrees. You know, you still want to
see a good movie.

Speaker 1 (01:04:40):
Definitely, I agree with that one hundred percent. And also
about the rest of the casting as well. How did
you go about casting the rest of the roles around
these two.

Speaker 14 (01:04:51):
Well Mark put together with Brandon, the other producer.

Speaker 27 (01:04:56):
Brandon mentioned he put together a great Japanese cast through
amazing Shane Kasugi and their contacts, so they were all
legitimate Japanese ours. Man, that will just kick ass people
and Thespians sorry, as the Americans. We have worked with
these actors before, and you know we're big fans of
theirs and Cowboys Serrooning I'm a big fan of his
and I've done a few.

Speaker 14 (01:05:16):
I did three days in Malay with the Cowboy and yeah,
he came back to do another one with him with me,
God bless him.

Speaker 27 (01:05:23):
So yeah, it's all previous relationships and the ensemble I
think really worked as well.

Speaker 14 (01:05:28):
They're a good group of lads. It works on screen.
I hope you agree.

Speaker 1 (01:05:31):
Definitely one hundred percent. As I said in my review,
this is one of those movies where there's no weak
links whatsoever at all with this film and that includes
the cast filming in the Philippines during typhoon season. Tell
us a little bit about that and the challenges that brought.

Speaker 14 (01:05:50):
Oh man, I've made a few posts on the old
Instagram and it was brutal. Great to look back at,
it's wonderful. You know.

Speaker 27 (01:05:58):
It's like a It's like a twelve round price fight
and you're fighting a monster and somehow you look back
and think, how did I make it to the end.

Speaker 14 (01:06:05):
It was one of them. But you know, I got
to tell you, I did two.

Speaker 27 (01:06:10):
Years of making World War two movies before this, and
the elements were not as bad, but pretty horrific. Bangkok,
Thailand and rainy seasons reminiscent of you know what we
went through. But you know, somehow you got to work
these curses into blessings, and we did that a lot.
I'm not sure if you know the story of the

(01:06:31):
first day of shooting. We had to take two days
off and reschedule because the typhoon came a few times.

Speaker 14 (01:06:37):
But the hard one was the couple of days before
first day.

Speaker 27 (01:06:40):
Principal and Blue half the set down, so we had
to rebuild a set and build a swing set interior
in a studio. So we lost two three days and
we're dealing with that stuff all the time. But somehow
that made it a better movie, you know.

Speaker 14 (01:06:52):
You know what I mean. It just we had to
roll with it.

Speaker 27 (01:06:55):
But preparations everything, and I am obsessive with my own prepara.

Speaker 14 (01:07:00):
So you know, we're a ready.

Speaker 1 (01:07:02):
When you say that you feel it made a better movie,
what do you feel it improved?

Speaker 4 (01:07:06):
Is it the look?

Speaker 1 (01:07:08):
Is it the resilience that you all had to go
through to make the film? What do you feel what
made it better because of that what you went through?

Speaker 30 (01:07:19):
Well, yeah, man, you have to adjust and through these
things you think is like, oh my god, now we've
got to you know, through adjusting you find new elements.
For example, the first day of filming, the first dojo
scene that was the first day of filming, or one
of the first.

Speaker 14 (01:07:37):
Days where Scott had to do his first.

Speaker 27 (01:07:40):
Fight scene and he ripped his hammy pretty bad on
his first kick, like second shot of the morning, and
you know that was one of the horrors and we
were all white faced behind the monitors, but hey took
two seconds stood aside. And what happened through that is
that instead of you know, Scott's known for his big
kicks and his big moves, so we had to think more, okay,

(01:08:03):
what can he do firstly for the next two or
three weeks of recovery, So we put a lot more
like Judoka and you know, throws and some Chinese jiu
jitsu whatever. It was anything that was relevant that was
realistic at that time period. So even his fans have
commented online how it was a little different for him
and they really enjoyed it because they've seen him do

(01:08:25):
all those cripple spinning back kicks.

Speaker 14 (01:08:27):
But you know, the throws and the locks and you
know this the groundwork. It was really cool.

Speaker 27 (01:08:31):
So we had a blessing from a cursor moment, you
know what I mean, And that.

Speaker 1 (01:08:36):
Happened a lot definitely, and those scenes look brilliant as well.
I know that we are running out of time very
very quickly, so I guess I should wrap it up
for you. But is there a special message out there
that you would like to say to people before they
sit down and watch Prisoner of War now that it's
available on streaming platforms everywhere.

Speaker 27 (01:08:57):
Yeah, sure, I'd say give it a go, because you know,
we all watch a lot of movies and hum one
of them to admit the majority is just like why
did I pay for that?

Speaker 14 (01:09:06):
I'll give you my word you won't be disappointed.

Speaker 27 (01:09:08):
My advice is turn off the phones, crank the sound,
kill the lights, have a drink you know, whatever it
is you do, and enjoy the ride because it's my
homage to old cinema. I'm a lover of home and
I put a lot of symbolism and homages to old
movies in there, and I think people will enjoy it.

(01:09:28):
So yeah, I hope I'm right. Check out the film
and leave the comments below.

Speaker 13 (01:10:00):
She so sense t me he win it.

Speaker 14 (01:10:08):
I think.

Speaker 13 (01:10:11):
She has.

Speaker 31 (01:10:32):
Just put up so you can't fuck serve sid was.

Speaker 8 (01:10:58):
Made blow, she said yes after.

Speaker 11 (01:11:09):
Jena like Echa to.

Speaker 13 (01:11:20):
Think it was the day Jack pass.

Speaker 14 (01:11:39):
My j.

Speaker 23 (01:12:00):
O.

Speaker 8 (01:12:02):
I do know mas.

Speaker 14 (01:12:06):
S t W se.

Speaker 6 (01:12:14):
As man dance.

Speaker 11 (01:12:18):
Crazy your music, talk.

Speaker 8 (01:12:46):
To talk to.

Speaker 4 (01:13:03):
Well listeners.

Speaker 1 (01:13:04):
We're about to play the brand new single from this
Space is Hours on our show in just a few moments.
But we thought, you know what, to find out a
little bit more about this single, we would actually get
Gamma from the band on the phone to chat a
little bit about it. So welcome to the program, Gemma.

Speaker 32 (01:13:20):
Hello, thanks for having me.

Speaker 1 (01:13:22):
No worries now, Gemma. We've had you on the program
before and we know our listeners love your music, so
we know that they are going to love picture Perfect
Paper people tell us a little bit about this single
on how it's come about.

Speaker 31 (01:13:34):
I hope they like it.

Speaker 32 (01:13:36):
Well, it's kind of the third installment installment of this
like era we've got going on, so it's that same
mix of like pop punk, emo, and metalcore altogether. This
one's very anthemic. I would say, like a lot of
people have said it would sound like good in Game
of Thrones, so yeah, you know if you agree. So yeah,

(01:14:00):
it's about kind of like growing up trying to change
yourself to fit in and then like it never working
and just you got to be yourself.

Speaker 14 (01:14:11):
Go with the flow. Yeah.

Speaker 1 (01:14:13):
Was that something that was very close to you because
I know for myself when I was growing up, I
was like that I worked so hard to try and
fit in in high school and never could and then
got to UNI and studied arts and just fit in
with everybody because everybody had the same interest in the
same likes. Is that the kind of thing that you
were talking about, and also was that something that was
close to your heart as well?

Speaker 8 (01:14:34):
Yeah?

Speaker 32 (01:14:35):
Yeah, it was about a specific experience for me growing up,
so it was definitely something I still had to like
process as an adult. So when I was writing this song,
I just kind of channeled that went back to little
twelve year old me and expressed those feelings.

Speaker 1 (01:14:52):
When I was listening to the track, the first thing
that hit me was just how atmospheric it was. Was
that something that you talked about as a band or
did that just evolve kind of naturally as you're working
on it?

Speaker 23 (01:15:03):
Definitely evolved quite naturally.

Speaker 32 (01:15:05):
Yeah, it's got this like we wanted to keep those
verses very soft so that the chorus could kind of
explode through and like of course the ending as well.
See yeah, well naturally, but then became purposeful.

Speaker 1 (01:15:21):
You also worked with Bo McKee on this one as
well as producer. Tell us a little bit about working
with Bow and what he brought to the song as well.

Speaker 32 (01:15:29):
Oh bo I said about this song specifically that it
reminded him of like a guy on a motorbike, like
riding through space. So Bo was trying really trying to
channel that energy, and with.

Speaker 14 (01:15:45):
The breakdown at the end, he nailed Who.

Speaker 1 (01:15:47):
Nailed that definitely? So that over the last couple of years,
you guys have risen in popularity so much. I was
looking through some of the things that you've achieved over
that time. You've had singles, being aired on over one
hundred radio stations worldwide. You had a music video picked
up by Rage on the ABC. How has that all

(01:16:09):
gone for you?

Speaker 14 (01:16:09):
Like?

Speaker 1 (01:16:10):
How have you found that experience of watching this band
grow to the point where it's getting mainstream of attention.

Speaker 23 (01:16:17):
Oh, it's pretty awesome.

Speaker 32 (01:16:18):
Like, yeah, we really work so hard, so having it
pay off in some sort of way makes it all
worth it, all the blood, sweat and tears we've put
into it.

Speaker 1 (01:16:29):
Definitely. Now I know as well, you've got a show
coming up at Stay Gold. Tell us a little bit
about that show. How excited are you about being able
to get out there and play these new tracks live?

Speaker 23 (01:16:41):
Yeah, I'm that excited.

Speaker 32 (01:16:42):
It's an acoustic set that we're playing at this day
Gold one, so the songs are going to be like
a little bit different, but we've tried our best to
like convert it and hopefully it's still will be good
for everyone.

Speaker 1 (01:16:55):
How does that change the performance for you? When you
go from being a band that are quite heavy you
to playing an acoustic set, How does that change things
for you as the singer changes it majorly?

Speaker 23 (01:17:07):
Yeah.

Speaker 32 (01:17:08):
Yeah, there's a lot of like practice we have to
do to kind of like make it a whole different
song really in its own performance. So yeah, to come
packages come separately.

Speaker 1 (01:17:18):
Does it make you think about doing like an acoustic
EP or an acoustic single or something like that, because
I know a lot of your bands have done that
in the past.

Speaker 32 (01:17:28):
Yeah, there's a few songs that just like really hit
their like acoustic versions, and like me and Sam, we're
practicing it last week and we're like, hmm, I wonder
if we could do an acoustic version of some of these.

Speaker 14 (01:17:39):
So yeah, we'll see, we'll see for the future.

Speaker 1 (01:17:42):
Yeah, Now, talking of things that are coming up, what
have you all got planned for the rest of this
year and heading into the summer as well? Have we
got new music? Have we got more shows? What's the
plan going forward?

Speaker 14 (01:17:53):
Right?

Speaker 32 (01:17:53):
There are new music, there's new music and new shows
and we're having a big announcement on Monday, so yeah,
everything will be announced on our socials.

Speaker 1 (01:18:04):
Then awesome, So we will direct all of our listeners
to go to your socials for that big announcement as well.
But Jenma, I guess before we play the track, is
there anything you'd like to say to people out there?
And also about the music video as well.

Speaker 14 (01:18:20):
Is there.

Speaker 1 (01:18:21):
Where can they go to see the music video? And
what would you like to say to them before they
listened to this amazing track?

Speaker 32 (01:18:28):
Just thank you and yeah, please go check out the
music video on YouTube. I directed it myself, made all
the props myself, so yeah, it wouldn't be in the
world if you went and checked this out everywhere.

Speaker 1 (01:18:39):
Now I have to ask before we play the track,
tell us a little bit about directing and making the props.
Where did the idea for the video clip come from?
And what was that like being able to direct it.

Speaker 32 (01:18:51):
Well, we were working with Jackson Bentley, the same guy
we worked on for help Me work with on and yeah,
I came to him with the idea that was just
from my brain and he was like, well, we have
such a clear idea with it, why don't you direct
it yourself?

Speaker 14 (01:19:09):
And I was like, oh, that's crazy.

Speaker 32 (01:19:10):
I've never done that before, so yeah, I just gave
it a go and yeah, turned out all right, I
reckon awesome.

Speaker 1 (01:19:16):
Well, Gemma, we are going to play the single now,
So thank you so much for taking the time to
chat to us today, and good luck with the show
at Stay Gold as well.

Speaker 8 (01:19:39):
It's bad.

Speaker 10 (01:19:43):
It's just like.

Speaker 8 (01:19:55):
Make sure.

Speaker 17 (01:20:00):
Les stop the lover say the crass stay.

Speaker 8 (01:20:15):
Well, just.

Speaker 11 (01:20:43):
Leave the place by say I'm just like you.

Speaker 17 (01:20:51):
And a Thingkay, let's be dragged her to ros Manys
make and read my gay.

Speaker 8 (01:21:11):
That they want.

Speaker 13 (01:21:19):
Well jot.

Speaker 20 (01:21:21):
Dread say.

Speaker 8 (01:21:59):
Listen he didn't.

Speaker 10 (01:22:07):
Check groul oh fast.

Speaker 8 (01:22:13):
The school.

Speaker 6 (01:22:19):
He did.

Speaker 11 (01:22:24):
Roll dust.

Speaker 13 (01:22:35):
And chang shojo s.

Speaker 33 (01:23:02):
Wait Chi, guys, I am Ryan and it's Sean. We're

(01:24:20):
from Yellowcart and you're listening to subculture.

Speaker 3 (01:24:23):
Oh, welcome back to the showing your host, Kyle. I'm
joined by David and we are going to be looking
at him. The new sports film coming out, Well, they
say that greatness takes sacrifice, and very few other places
is that more apparent than in the world of sports.
In American football, you play for a few years to

(01:24:45):
the adoration of millions of fans, but at the expense
of your mind and body. And there's endorsements. But you
might not be lucky enough to be able to tie
your shoes by fifty depending on how how your career goes. Now,
for young football player cam Cade played by Tyreek Withers,

(01:25:08):
big things are in his future, not just greatness, but
legendary status. He's been raised since child and to aim
to be the best, and after a successful college career,
he's the number one draft pick. But it appears all
that potential might fall down the drain after shocking brutal

(01:25:28):
injury could lead to a career ender. Now, his manager,
Tom played by Tim Heidecker, can spin it all he wants,
but the truth is that Cam's dream could be at
an end. But his salvation is at hand in the
guise of his idol and now his mentor, Isaiah White

(01:25:49):
played by Marlon Wains, a man with a record breaking
eight championship rings, a man who brought himself back from
a similarly career ending injury only to become the greatest
of all time. So Isaiah will put Cam through a
week long regime to see if he is ready to
take his crown and become the goat the greatest of

(01:26:13):
all time. But is Isaiah willing to pay the cost so?
And is Cam willing to pay the cast? And is
Isaiah willing to step aside? Now Him is the long
awaited second feature from director Justin Tipping, following his debut
film of twenty sixteen called Kicks. It's produced by Jordan Peterson,

(01:26:37):
Jotten Peel, not Jordan Peterson. That's a completely different guy,
Jordan Peel, and the film is it's part comedy, part horror,
and it's part examination of the history of American football
with a focus on the extremes that sports figures must
go to in achieving greatness. Now, David, I think this
is one of those movies that we go feel kind

(01:26:58):
of differently on to to say it briefly, we'll go
with you first, what did you think of him? That'd
be nice, Okay.

Speaker 1 (01:27:10):
So one of the things about reviewing movies is I
try to see everything that gets released, So I've pretty
much seen everything that's been released in Australia over the
last twenty twenty five years, and this is one of
the only movies that I've wanted to walk out of
halfway into the film. Look, it's difficult because I am

(01:27:34):
the first to admit that this movie looks beautiful, and
if I'd gone to see this being performed as an
opera in a theater, I probably would have kind of
marveled at how they did it. But I just found
this to be had so many holes and flows in
its storyline and not much that interests me in the

(01:27:56):
second half of it. I've got to say that I
really did want to walk out. Like I love sports
movies and I love horrors, so I probably should have
loved this film, but I just thought that it went
way too artistic for what it was trying to say.
And I was talking with a friend afterwards, and it's
like I don't even get what the director was trying

(01:28:18):
to say, like the and with the writers as well.
Is he trying to say that football as are monsters
that can't be trusted or is he trying to say
that they're gods and gladiators that should be fighting in
the Roman Colisseum. It's like, when you're trying to make
such an artistic statement that the audience can't even work

(01:28:38):
out what that artistic statement is, I think there's a
huge problem with what you're trying to do with the film.
And the thing is like I kind of did like
the character of Isaiah, Like I don't I'm not someone
that kind of like looks down on sports players or

(01:28:59):
sports people who who are good at what they do,
Like I don't know a lot of people that hate
on Lebron James. It's like I don't hate on Lebron James, Like, yeah,
there's some stuff about his character that I don't like,
But at the same time, this is a guy who's
dominated the NBA for double the length of a career

(01:29:20):
that what most people would go through. It's like the
guy is now old enough that his eighteen year old
son is playing on the team with him and he's
still dominating. And I admire that in the people, But
it was just the way this film went, like and
so much stuff that didn't make sense either, Like, Okay,
so Isaiah plays for the Saviors, this team that's supposed

(01:29:42):
to be a top team. So going on what happens
with the NFL, there are chances of getting the number
one draft pick would be absolutely zero without trading away Isaiah.
If they won the championship the year before, which is
what I'm assuming that they did, then there's no way
they would have the number one draft pick. They'd have

(01:30:02):
the number thirty two draft pick, and unless they traded
away most of their team, they wouldn't be getting that
number one draft pick. Like, the only way I could
fathom that they would have that number one draft pick
to go after Cam would be if they traded Isaiah. Again,
I don't think that was going to be happening. Well,
it didn't happen because he was still playing for them.

(01:30:23):
It's like, there's so many sports movies out there that
that kind of tell this story. Well, Like if you
want a film about a player playing with an injury
and going through that, then go and watch Friday Night Lights,
go and watch Varsity Blues. If you want a film
that talks about the greed of a sport, then go

(01:30:44):
and look at Moneyball with Brad Pitt or Jerry maguire
with Tom Cruise, Like they all explore that kind of thing.
But I just didn't think this movie went about it
in a fashion that kind of fits its audience. Like
my dad is the kind of person that loves a
sports film. He wouldn't last a quarter or the way

(01:31:05):
through this film. He'd be out the door as soon
as it started going into psychedelic stuff. But to me,
it wasn't not the fact that the movie went into
an artistic side. It was that this movie didn't make
any sense once it did go into that artistic side.

Speaker 3 (01:31:18):
It's understammable I when I was watching it, because I
don't really know. I don't know the first thing about
the NFL or many American sports or Australian sports in general.
But like, I find it interesting. I thought it was
interesting when we were talking about it before recording, that
it was kind of movie that I thought it had

(01:31:40):
a few well, I thought I had a few problems
because certain parts of the whole process of the American
Football League or whatever, they never say NFL because they
get sued all the hell. Yeah, and Saviors is not
a team yah either, so it's just kind of like
a they just say the franchise or or whatever. But

(01:32:03):
it seems like kind of something that I had a
problem with it because I don't know too much about
the actual sport, and you have a problem with it
because you actually know more about it than that. It
seems the people that wrote this movie did so. Like
I was interested in seeing the movie mainly because of

(01:32:24):
Marlon Wains as a performer, and also like there's another thing,
like I thought that this movie. I was sure that
this movie was called The Goat, and then I think
that it it changed titles at some point, like during production.
But it's like I'm sure that for the longest time
when they were first talking about this movie, this sports

(01:32:46):
movie that Marlon Wayns was going to be in it
was going to be called the Goat, and then at
some point they've changed it to the Hymn to Him
and which is just like a confusing title and the Goat,
considering like the iconography in the movie, the dialogue and
the like the entire plot, like it seems like it
should have been called the Goat, And it's like that's

(01:33:09):
just it's like a small issue that just kind of
shows like the problem, like the problems that the movie has.

Speaker 7 (01:33:20):
I think like.

Speaker 3 (01:33:22):
That it's like just like the first, the first of
many issues that I think the movie ends up having,
which kind of destroys its its potential, because I think
that's that's the saddest thing, is that the movie could
have been really good and it just kind of drops
the ball, so to speak, which I'm sure has been
something that a million different reviewers have said about this movie.

(01:33:43):
The reviews that I've seen have been awash with football puns.

Speaker 1 (01:33:49):
But it took a.

Speaker 3 (01:33:50):
Punt, yeah, no exactly exactly, Yeah, this might be a
career and yeah, or a touchdown, yeah exactly.

Speaker 4 (01:33:59):
Like I thought that the.

Speaker 3 (01:34:02):
Like society's obsession, the way that it portrays like society's
obsession with like sports prestige, and like American football in particular,
because like I know that there's like I've heard people
talking about when they used to play football in college
and the way that like now when somebody's injured, when

(01:34:24):
when a player on the opposite team takes a hit
so hard that they like they don't get up straight away,
like everybody gets around and they hold hands and pray
for his recovery. But it's like I've heard people talking about, Hey,
when when we did that in high school, we'd celebrate
that the guy didn't get up. And I've heard that
the helmets, which is kind of the design of the

(01:34:46):
helmets is something which kind of leads to so much.
So many of the problems with I can't remember CTE
or whatever, the brain damage that the players suffer later
in life. They could they could mitigate that, they could
fix that, but then they would take away the layout
crack that the helmets make when they bash against each other,
and that's what the audiences want, you know. So, like

(01:35:10):
the horror of the sport I think is rife. And
there's there's plenty of stuff that they could have made
a movie of, even the I like in the in
the movie, the way that the combining of the rapid
super fans in mascot outfits being kind of reminiscent of
stuff from a pagan or Satanic ritual. I liked all

(01:35:31):
of that, and I also liked the actors. As I say,
Marlon Waynes is great. I haven't seen him in many
dramatic roles since Recreem for a Dream, but like he's
he's incredible in this is like this larger than life.
He's up against people that are like taller than him,

(01:35:53):
and yet he still seems like the bigger personality, you know,
like it seems like this eight time world champion kind
of this this huge guy. And I actually was impressed
by Tim Heidecker and Jim Jefferies as like comedic comedic performances,

(01:36:14):
comedic performers who give like more dramatic performances in this movie,
like especially Jim Jefferies. He plays this.

Speaker 1 (01:36:21):
Jim Jefferies was interesting because I spent like about ten
minutes going is actually.

Speaker 3 (01:36:25):
Yeah, yeah, Like from when I saw him, it was
like once he opened his mouth and he had the accent,
I was like, oh my god, it is actually him,
Like I admit I'm not a huge fan of his comedy.

Speaker 14 (01:36:37):
But.

Speaker 3 (01:36:39):
Helicopter Story, Yeah, but like once he like his role
in the film is actually really good. Like he starts
off with like this belligerent like he's this boisterous kind
of medic, personal medic to Isaiah, and then as the
movie goes on, he actually gets like more and more
drunk and more more boisterous and belligerent even but he

(01:37:04):
gets more and more sympathetic because it's like he's not
one hundred percent okay with what they're doing, but the
and even like cam like it seems bad to not
mention the actual elite actor as his performance, but he's
great in it as well as far as being like

(01:37:25):
this actor that hasn't really done a whole lot of
Tygrek Withers, who hasn't really done a whole lot of
other movies. I think his last movie before this was
the I Know What You Did Last Summer reboot, and
he does like a pretty good, pretty good job as
the star. But yeah, the issues are with the script man, Like.

Speaker 1 (01:37:45):
Yeah, definitely, yeah, And I think that's what frustrated me
the most, because, like I said before, I loved Milon
Wayams's performance. I loved Tyreek Withers performance. I also loved,
like we said, Jim Jeffery's performance, what they did with
the film. It was like, this would have been a
much better horror if they'd just come out and said,

(01:38:06):
Isaiah got to where he was by worshiping the devil
or selling his soul to the devil kind of thing.
And he says to cambell, if you want to get
to where I am, that's what you've got to be
prepared to do, like sell your soul to the devil.
But and even I didn't mind the kind of Shakespearean
part to this. I mean, you probably remember and if
you listen, if you've been listening to our show. A

(01:38:28):
couple of years ago, I went and saw a play
which was basically wrestlers doing the story of Greek mythology,
and it worked so well. And like you said, the
whole thing about the fans being like pagan worshipers and
that I love that, And I think it would have
lent itself even better if it had been that simple

(01:38:49):
horror story. I've no the goat has literally sold his
soul to the goat, Like you've even got that reference
there of like the devil being referred to as the
goat sometimes like it's all there, but it's like it
just felt like it lost it completely. Like I was
in a screening with really serious film critics that would

(01:39:11):
never normally do this. They were laughing hysterically at the
last scene of this movie because of just how ridiculous
it was.

Speaker 3 (01:39:20):
It's like this they give like this kind of massive
just say, because it's not it's like this massive like
gore Field extravagance at the end, which I guess is like,
I mean, there's other movies that have kind of ended
with stuff like that. Once upon a Time in Hollywood did,
and The Substance did, but the film kind of needs

(01:39:44):
to build towards that. In this movie, it's like the
whole like satanic idea and like symbolism of the like
the sacrifice of what people give and what players give
to have a great career and needing to put Basically,

(01:40:05):
it's not it's not God family football, it's a football
family God.

Speaker 14 (01:40:09):
You know.

Speaker 3 (01:40:12):
It's very surface level, like that's the that's kind of
the problem that it's it's just very on the supernatural,
the supernatural twists that the movie goes on, Like it's
just so predictable that you just look at the post
of this movie has Cam like standing like Jesus Christ,

(01:40:34):
like covered in blood on a football field with with
cheerleaders around him, and like you think, Okay, well that's
like symbolism and stuff. No, that's a scene in the movie.
It's just it's that basic, you know, like that's it's
not like they haven't made like an autistic, autistic post.
I know. That's just how basic the the movie becomes

(01:40:54):
by the end. It's like the positive is that it
only takes ninety minutes to get there. If this was
like a two hour twenty minute movie, you'd be bored
shitless because there's no like that. There's not really any
more depth to the to the corruption. I really, I
really don't like saying, oh, a movie should should have

(01:41:15):
done this, a movie should have done that. But it's
like I do wish that the movie was more about
Cam's like willing corruption of his camp, like Isaiah will
like corrupting Cam and Cam being more open to it
than the way they go about it, because it's like

(01:41:36):
other than like the very opening where they established like
his family and his mother and the relationship with his father,
and it's very used, very sparingly from that opening, that
first act, and so there's not really you just know,
no Cam as this footballer like after that, and it's
like there are a lot of footballers that they're into career.

(01:42:02):
That's their plan, and it's like, Yeah, I want to
be the best so that I can basically give my
give my kids generational wealth. Yeah, And it's like, but
that in the idea of this movie is like, oh no,
you can't. Like no, if you want to be the best,
you've got to you've got to you know, throw your
family away. And it's like who does that? Like what
players actually do that?

Speaker 1 (01:42:22):
But the funny thing I also find with this movie
is they talk people are talking about it like, oh,
it really stretches the limits and it hasn't been done
before you go and watch One Tree Hill or a
television show. The character of Nathan Scott gets much more
temptation in that movie of like people telling him, oh, well,
if you want to be successful, you've got to cheat

(01:42:42):
on your wife, Like you can't just have your wife.
He gets involved in like a point shaving thing at
one point because this guy's like, yeah, if you if
you do this for me and lose a couple of games,
I'll make sure I mentioned your name to the to
the right people to get your drafted and stuff like that.
It's like a teenage drama is testing. It's an elite

(01:43:03):
athlete more than what more than what this was like
because I didn't really see that. That's what I said
to you before. If this was a simple story of yeah,
you've got to sell your soul to the devil to
get what you want, then I would have totally been
with it. Of yeah, it is Cam willing to do
that kind of thing, But I don't know. It just
it goes about it in such a roundabout way that

(01:43:26):
our last interest in it like it's I give all
credit in the world to the art director on this,
because I think they did a great job, and the
cinematography did a great job as well. I love that,
But the rest of it, it's just like That's why
I said before. If this was an opera in a
theater and I wasn't relying on a storyline on stuff

(01:43:46):
like that to impress me like I would with a film,
then yeah, I would have been okay with it. It's
like the movie earlier, this year. With that the Weekend
put together, it's like, yeah, that is such a basic story,
but there's twists in it, and the way that they
incorporate his lyrics and the music into it makes it

(01:44:10):
a really really good film, whereas with this it feels
like someone's gone, I'm going to make a sports film
mixed with horror, and I'm going to make it really artistic.
But they've let the artistic side get get way ahead
of the horror or the sports side of the movie.

Speaker 3 (01:44:26):
Yeah, the I have heard. So it's like, yeah, the
body horror doesn't really work because like cam is being
injected with Isaiah's blood, but it's like we don't really know.
It doesn't really work much as a body horror because
it's like, okay, but what's that blood doing to him? Like, yeah,

(01:44:46):
it's just being injected with something. It's not really that gory.
I did find some of the some of the cinematography
I absolutely loved, because like it goes into this kind
of like X ray vision thing where it's like you're
seeing like the bones crunching against each other and the
like I love that. I love those shots. Yeah, but

(01:45:09):
then there's right, yeah, that was amazing, But then there's
other parts where like I was having trouble, like what
the hell is going on? Like there's so the like
the coverage is so like they're so zoomed in that's
like what's actually happening here? But I guess we'll just
have to like to wrap this up. I guess, like
what would you give what would you give him? Out

(01:45:32):
of five?

Speaker 34 (01:45:33):
And why?

Speaker 14 (01:45:33):
David.

Speaker 1 (01:45:34):
Look, I think I'm only going to give it two
out of five. And that's more because of the performances
of Marl and Walians and Tyreek Withers more than anything else.
I almost flirted with giving this one out of five
because of the fact that I wanted to walk out
of the film, but it's and I think also for
me what drags this down even more is I saw

(01:45:56):
The Smashing Machine the day before I saw this, which
is great sports film. So yeah, I'm just going to
give this one two out of five. Unfortunately, yeah, I'm
going to give it three out of five. I enjoyed
it a little bit more. I was never bored watching
it myself, and I was impressed by as saying I

(01:46:17):
was impressed by Marlon Wayne's performance and Tyger went Winter.
Tyger Withers was great.

Speaker 3 (01:46:23):
It was also kind of I got like a newfan
respect for Jim Jefferies and Tim Heideker as kind of
as like dramatic actors. But yeah, there's a lot of
potential that was squandered. And I other than just saying, hey,
isn't the way that rich people, rich white people run

(01:46:44):
the NFL players? Isn't that kind of like evil demon
worshipers running NFL play Like, other than something like if
it had more to say with its with its its fable,
I think it would have. It would have succeeded a
lot better. But yeah, so so three out of five
from me, three out of five from David, And yeah,

(01:47:05):
I guess i'd still recommend. I would, I would still
recommend checking it out. David probably wouldn't, but but yeah,
I guess that's uh, that's that's him or the coach
or whatever the hell the movie's called now, uh, And yeah,
I guess, uh check it out if if it sounds
interesting to you.

Speaker 35 (01:47:23):
From fax laws and holes they brought me from my past,
it's kind.

Speaker 8 (01:47:27):
Of hard to tell from who I am and who
I was.

Speaker 35 (01:47:30):
I played someone the ball my famoe fans at France.

Speaker 36 (01:47:33):
The terrible trying to try me saying I'm the chocking
what what because I'm good shot mcause I'm shot up
high damn because I'm shock YIM because I'm shot jump
high Damn. Guess I'm shock kiln cause I'm shot them
high damn.

Speaker 8 (01:47:48):
Shot cause I'm shot?

Speaker 19 (01:47:49):
Then how's the dam still play?

Speaker 8 (01:47:51):
Practice this shot?

Speaker 36 (01:47:53):
The gifts In my mind, there's the blackapistic devil stopped
to kid.

Speaker 25 (01:47:57):
My magic trick is to convince the world that I
this sut that this the money give it in the
power mb im in the cross sticknuss state hits data,
I you're waking to be more than famous? Off situation
slowly sat I sold my sofa, stated shaprificial, separate legit,
all the divisions don't happen to say the pisa't definitely
says this.

Speaker 19 (01:48:15):
Some motherfucking soul past.

Speaker 24 (01:48:17):
I'm saying, hugs.

Speaker 35 (01:48:18):
They want me for my bulls and it's kind of
hard to tell from more I am and who I was.
I placed on won the ball, my FAMO, my fans
and funds there definitely trying to drop me, saying I'm
the chosing what what why?

Speaker 36 (01:48:31):
That's up a chock m cuts some pig chot M
high damn cuts some h chock am cuts some py
shock M high damn cuts up H chot M cuts
up a shock them high damn.

Speaker 8 (01:48:41):
Cuts up A chock M cuts up pay chot m
high tail.

Speaker 35 (01:48:44):
That become the greatest imax for us suckings like this
generation never exhibited patience.

Speaker 10 (01:48:48):
I'm some running if myself, geting this energy, taking.

Speaker 18 (01:48:50):
Past naked ass, shaking cash making.

Speaker 14 (01:48:53):
Stroll from down gas chamber.

Speaker 35 (01:48:54):
Last thing I seen was demons covid dout none.

Speaker 8 (01:48:57):
Of my money and women that club. I give you
my soul.

Speaker 4 (01:48:59):
Then I took, so I found.

Speaker 36 (01:49:00):
I can't tell the difference between who I was from
then then now because I could fish yourself religious on
the red always that's all on my back, because pH
I am.

Speaker 8 (01:49:08):
I don't need no fucking.

Speaker 9 (01:49:09):
Soul pack bitch.

Speaker 8 (01:49:11):
Ship you knock out there, out look up the God?
He you look up. I gotta look up the God. Hey,
look out, I got look got the godd Now it's

(01:50:01):
off about.

Speaker 10 (01:50:04):
Shake your pick shoes down and shake it out.

Speaker 18 (01:50:10):
Truck consequence, save it O loud.

Speaker 9 (01:50:17):
You out there, but say ask pat it on the round.

Speaker 8 (01:50:23):
There that go watch it massing there.

Speaker 13 (01:50:54):
So the best of down ha it out.

Speaker 8 (01:51:00):
Wall bask.

Speaker 17 (01:51:03):
Around, true consequences, say that out, give a.

Speaker 10 (01:51:16):
Rating around, then that goes.

Speaker 8 (01:51:23):
Watching massic goes.

Speaker 13 (01:51:32):
Then I goes five.

Speaker 20 (01:51:36):
So you have fin.

Speaker 14 (01:52:18):
You go f.

Speaker 9 (01:52:21):
What son.

Speaker 10 (01:52:29):
Watch as.

Speaker 7 (01:52:39):
My son.

Speaker 6 (01:52:54):
Watching as.

Speaker 14 (01:53:26):
Well.

Speaker 1 (01:53:27):
Hally, We've got another film interview for the show right now.
This week I was able to sit down and chat
to the stars of a brand new film called When
I'm Ready. This is an American indie film about two
people that know that the world is about to end.
And this week I was able to sit down and
chat to the stars Andrew Ortenberg, who also wrote the film,

(01:53:50):
and June Schreina. Of course, June will be known by
a lot of people out there if you've watched Chicago Med.
But this week I was lucky enough to be able
to sit down and chat to both of them about
When I'm Ready, this indi American film. I want to
stop by saying thanks June, thanks Andrew for joining us today.
It's an absolute pleasure of having you both here, so

(01:54:11):
thank you so much to both of you.

Speaker 23 (01:54:13):
It's an honor to be here.

Speaker 1 (01:54:14):
Thank you for having us so, Andrew, thank you so Andrew.
I wanted to start with you tell us a little
bit about where this idea for this film first started
for you. Was there something that that kind of triggered
the idea of this movie for you? And where did
it all stop for you?

Speaker 14 (01:54:31):
Yeah, there was a bunch of things.

Speaker 37 (01:54:32):
But you know what's funny is there's actually a local
angle to the actual origin, because what sparked my interest
in the whole post apocalyptic pre apocalyptic genre in general
was an Australian film. It was called The Rover. I
don't know if you ever saw that one with Yeah
Pearson Robert Patterson. Yep, so yeah, I saw that whenever.
That was Ken something years ago when I was a teenager,

(01:54:55):
and I really loved it, And that is really like
what sparked me just being a fan of the end
of the world genre in general. And then a decade later,
here we are, and you know, and then that's so
I actually started writing the thing turn around twenty twenty.
I love end of the world fiction. I you know,
The Rover obviously is a post apocalyptic one. I think

(01:55:16):
I spot you wanted to do a pre apocalyptic one
to show how people were spending their last days together.
And actually another local Angle. There's another Australian film called
Baby Tea.

Speaker 1 (01:55:26):
I don't know if you've seen that one, Yes, I have, Yes, Yep, incredible.

Speaker 37 (01:55:31):
I always say it's like the best like coming of age,
young love, young romance film that I've ever seen, And
so we wanted to make a young love romance story
mixed within an end of the world story. So I
guess you could say it's kind of a mashup of
two of my favorite films ever, which are both Australian.

Speaker 21 (01:55:47):
Yeah.

Speaker 1 (01:55:47):
I have to ask have you seen an Australian film
called These Final Hours, which is another I have? Yeah, Yeah,
another brilliant film. June. I have to ask now for you,
where did this journey start for you with this? What
did you first think when you sat down and read
the screenplay for this film?

Speaker 14 (01:56:09):
Well?

Speaker 23 (01:56:09):
This started when Andrew. Andrew and I knew each other
from a school in Los Angeles. We met in the
hallways of this awesome acting school called the Baron Brown Studio,
and we became friends and really admired each other's work.
And Andrew asked if I'd be interested in reading this
thing that he had been writing, and I read it

(01:56:29):
and I was like I think I am Rose. He
was like I think so too, and then yeah, a
couple months later, it was like, this is the first
day of work here, how are you down? And I
was like, let's do it.

Speaker 1 (01:56:44):
So, Andrew, did you actually write the part of Royce
with June in mind or was it someone that you
thought of after you'd actually finished the screenplay.

Speaker 37 (01:56:53):
I totally wrote our minds just gonna embarrass Herbia. June
was the star pupil of the aforementioned acting studio where
we so we weren't even in the same class. We
were in the same program, and you know, everybody would
see each other's classes, and I was just like, Wow,
this girl is an incredible actress and has a very
you know, magnetic presence, and she just felt like the
character that I was trying to write. Who is this

(01:57:14):
kind of enigmatic, you know, very multi layered, very all
over the place, I mean, the best way possible type
of character.

Speaker 1 (01:57:23):
So, June as an actress, does it make it easier
when you sit down and read a pot and think
this this character could be me? Does that make it
easier for you as an actress or does that make
it more difficult because you are playing someone that's kind
of close to who you are.

Speaker 23 (01:57:40):
It's a very good question, and I think the answer
is yes and no. U. Sometimes it's a lot harder
to play yourself because we're we have blind spots, first
of all, and I certainly did around Rose, and we
have a lot of resistance sometimes to the ways that

(01:58:00):
we are. And then I think when all of your
defenses are down and you're tired and you're relaxed, and
there's nothing you can do but be yourself, it's it's
really amazing when you can fully allow that to take
to take the wheel and drive the character. So it's

(01:58:22):
a blessing, and it can also be really confronting because
there's parts of Rose that I really didn't want to
admit were parts of myself. But in doing the project
and in spending so much time with her and with
Andrew and with the script and the whole creative team,

(01:58:44):
I really learned a lot about myself and also learned
to love those parts of Rose, and you know, love
myself bla blah.

Speaker 1 (01:58:54):
And Andrew, I guess the same question for you as
well as a writer, how did you go about make
this different to any other End of the World movie?
As well, because as you said, there are so many
out there. How did you go about making this something
completely different and how did you develop your own character
along the way as well.

Speaker 14 (01:59:15):
Yeah, totally.

Speaker 37 (01:59:15):
That was really, you know, definitely a priority because, like
you said that the genre is very well filled. We
wanted to make something that was unique within it, and
I think it mostly comes from two fronts. One is
the generational aspect. I feel like most end of the
world movies are always, I would like to say, you know,
backwards facing. It's usually a middle aged man looking back

(01:59:36):
on his life's regrets or the things that he didn't
do when he was younger. In Yadiyada, and I felt
that there hadn't really been a forward facing end of
the World movie where I wanted to make one through
the eyes of two very young people and about how
they're about to be robbed of their futures. It's not
about what they did or didn't do in their pasts
or say, but about the things that they are not
going to get to experience as a result of their

(01:59:57):
lives being cut so tragically. And then the other element
that I think we wanted to make a little bit
more unique and to you know, make it stand out
is that we really wanted to lean away from the
call sci fi like disaster element of a lot of
End of the World movies. Obviously, as you know since
you've seen it, the movie very much, you know is
focused on the more the human experience. I like to

(02:00:18):
call it the ordinary within the extraordinary, you know, just
that a slice of like human story, just with these
really extreme circumstances going on in the background, but where
the foreground of it is actually just you know, I
always used to say, if we wanted to make like
if Rigid Link later made an Then of the World movie,
you know, just like a very grounded End of the
World movie.

Speaker 1 (02:00:37):
June, I guess for you as well, how did you
find playing a character that is about to meet their doom?
Like it's not something that we, I guess get to
think about all that often because death normally comes as
a as a surprise to us. But what was that
like playing a character where you kind of know the
day and time that you're going to die.

Speaker 23 (02:01:02):
It's very difficult, but I think it is difficult. And
going back to what Andrew you said about the ordinary
inside of the extraordinary, I think dealing with something that
is so hard to comprehend, such as your impending doom

(02:01:22):
or even the loss of a loved one. It's so
overwhelming for the system that we actually can't deal with
it all the time. And so I think, having gone
through my own experiences of loss and of grief, I
have that understanding that it will hit you all at
once and then it's like you don't even remember that

(02:01:44):
it's happening, and you go through these waves of really
being in touch with the reality and your body maybe
protecting you from the reality and allowing you to dissociate
or to distract yourself or just to enjoy the moment.
And I think that's what Rose is doing this whole time,

(02:02:04):
is kind of like getting very close to like actually
kind of being able to comprehend what's about to happen,
and then pulling back and being like, but can we
just also have fun and kind of touching and going constantly.
So I guess I've bull on my own experiences of
brief and loss to deal with that. But yeah, it's

(02:02:26):
a really extraordinary circumstances and it did take a lot
of It did take a lot of imagination, I would think.

Speaker 1 (02:02:37):
Andrew also one of the things that makes this film
so special the people, or I guess the characters that
Michael and Rose actually come across on their journey as well.
Tell us a little bit about developing those characters and
making them such an important part of the film, and
had you thought about casting with those roles as well.

Speaker 37 (02:03:00):
Yeah, so, I guess it's a little bit tricky in
the sense that we're not with any of them for
particularly long, you know, usually like ten to you know,
twelve minutes at most, So it was kind of like
a balancing act of like, how do you try to
how do you make them very impactful, how do you
make them feel very you know, important to Rose and
Michael to the story overall, and a relatively limited amount

(02:03:22):
of time.

Speaker 14 (02:03:22):
And again, I think it's hitting the.

Speaker 37 (02:03:24):
Same note of just you know, just trying to make
them as you know, just just human as possible, and
that they're all, you know, they're all very different. And
that was all intentional both generationally. You know, we encounter
a couple like, you know, more gen Z characters, Dermot's
characters kind of you know, the gen X representation, Lauren's
character would be that the millennial representation, So making them
very different, but making them share just like the one

(02:03:46):
quality is that they are just all, you know, a
messy for lack of a better word, you know, which
to me is the most honest portrayal, you know, it is.
They're just all very weird in their own way to me,
in a beautiful way. And I think they all knocked
it out of the park. No, we had not thought
about you know, obviously, I think anybody who's ever written
anything throughout the history at the time, you know, they

(02:04:08):
picture it as various people in their head at various stages.
But I never thought like seriously about it, like all
these kind of get so and so once it was finished,
and once we were playing it all together. We were
very very lucky to get both Dermo Malroney and Lauren
Philhen and the rest of the supporting cast as well.
But it all just kind of came together. This whole
thing kind of just all came together very by strokes

(02:04:33):
of fortune, you know, with and so it was the
same with Derman and Lauren.

Speaker 14 (02:04:36):
Yeah.

Speaker 1 (02:04:37):
No, I know, we're running out of time very very quickly.
So I've got two quick questions I wanted to ask
before I go. First of all, for both of you,
how did you find the shoot. What was it like
filming this film, because it's a pretty emotional film, So
how did you find being on the shoot for both
of you for this film.

Speaker 23 (02:05:00):
I feel like the filming of the movie really was
kind of what Rose and Michael were going through. Andrew
and I were together all the time, you know, we
got our hair and makeup done next to each other.
We ate every meal together, we warmed up, and often
drove home waving on the highway.

Speaker 14 (02:05:19):
I mean we were.

Speaker 23 (02:05:23):
Constantly together, and of course like with the crew too,
And so it was a really intimate and like really
beautiful experience. And it was tough and tiring, but also
a dream come true. And I think one of my
favorite parts of filming the movie was the natural environments

(02:05:44):
that we got to experience in beautiful California, which I
think comes through so beautifully in the movie thanks to
Rachel Cleiman and Andrew Johnson, our cinematographer and director. And
so that's what the movie was like. It was like
this like intense powder keg of artistic personalities and time

(02:06:06):
crunch and absolute stunning natural beauty and like incredible technical
difficulty camera and lighting wise.

Speaker 14 (02:06:16):
So it was it was all of it.

Speaker 23 (02:06:17):
It was intense and amazing and for.

Speaker 14 (02:06:20):
You Andrea, yeah, I would like for those sentiments like
she said, you know, the movie is us on a
road trip together. That's kind of what it felt like.
Very very chaotic, very.

Speaker 37 (02:06:33):
Challenging, but also a beautiful way. You know, we always
talk about how we had very little rehearsal time, Like
you know, usually on a lot of film sets, I
think amount of James prior experiences, it's a lot of
sitting around and waiting and you've got all the time
in the world to really, you know, brew on your
character and the scene that you're about to do. And
this is a complete opposite because you know, we had
a break back pace. We had twenty one locations to

(02:06:55):
shoot in twenty days. We are just going at the
you know, the speed of light. And so in June,
like we had familiarity with each other, which I think
was a huge help because there was a lot of
scenes in the movie you know where like practically, you know,
when we were shooting them was practically their first time
after reading them.

Speaker 14 (02:07:10):
You know, we didn't want the little table reading everything.
But so the very little.

Speaker 37 (02:07:13):
Rehearsal time, there was a lot of just go go, Go,
go go, which you again was challenging, but I also
think kind of match to the you know, the ethos
of the film ended.

Speaker 1 (02:07:22):
Up starving it well, definitely, And I guess to finish off,
do you both have a message that you'd like to
say to people out there before they sit down and
watch the film before it comes to streaming platforms.

Speaker 23 (02:07:35):
Feel all your feelings?

Speaker 37 (02:07:40):
Yeah, I would say yeah, would say that the takeaway
from the film is, you know, appreciate the little things.

Speaker 14 (02:07:45):
You know.

Speaker 37 (02:07:45):
It's it's the End of the World movie with asteroids,
but it's really about picking strawberries in the face of that,
or breaking into a laser type place in the face
of that, and it's about the tiny, little, you know,
moments between humans and world where you know, human connection
seems like it's, you know, on the way out.

Speaker 14 (02:08:04):
I think that's a message on theself. That's great.

Speaker 38 (02:08:07):
It starts with the nerds, Great Birds of Snakes, Scenara Plane,
Lenny Bruce is.

Speaker 39 (02:08:13):
Not a brain.

Speaker 9 (02:08:15):
I am a hurricaneus into.

Speaker 39 (02:08:17):
Your South chairing works of its own nets, dummies of
your own needs.

Speaker 14 (02:08:20):
Beat it.

Speaker 10 (02:08:20):
I'm anno speed run No Street Battle.

Speaker 38 (02:08:23):
Starts to clatter with beer, bike down, pipe wire and
the fire represented seven games.

Speaker 18 (02:08:27):
And it got a number higher as the combat site.

Speaker 8 (02:08:29):
Nothing was to come in in a hurry with the beers.

Speaker 9 (02:08:31):
Bring it down, Yorkys.

Speaker 18 (02:08:34):
See my team reporters, pable trump ten crat.

Speaker 9 (02:08:36):
Look at that the playing by the death.

Speaker 8 (02:08:39):
Of a play bucket. That should come up ya set.

Speaker 9 (02:08:42):
Yourself so miss worlds from the jong Keats.

Speaker 8 (02:08:44):
Is in New York hart breed dummy. If the retro
in the rever.

Speaker 17 (02:08:47):
Is the right right you picture on the patriotic slam.

Speaker 9 (02:08:50):
Pipe, bright light venus, pretty sights.

Speaker 17 (02:08:52):
It's seeds the worlds know it'steed of the world.

Speaker 8 (02:08:59):
That's me know it.

Speaker 13 (02:09:01):
It's deed up the world.

Speaker 35 (02:09:04):
As we know it.

Speaker 9 (02:09:06):
Nice feel fine.

Speaker 24 (02:09:11):
Six a love TV hour.

Speaker 39 (02:09:13):
Don't you cotting boards size a burn return Listen to
yourself churn, I'll give you a uniform burning black mandy.
Every motivescilate at a motor center rate, not a candle
by a motive step down, step down. What's a you know,
cross crossed out? This means no beer, cattle, beer, renegad
steers clear, a tournament of tournament, a tournament of blas.
I'm gonna soluses for.

Speaker 9 (02:09:32):
Me I'll turn this ton Dean Cline.

Speaker 8 (02:09:34):
It's up the world best.

Speaker 26 (02:09:37):
He knows it's.

Speaker 13 (02:09:40):
Up in the world knows it's.

Speaker 8 (02:09:45):
Up the world.

Speaker 14 (02:09:46):
You know it.

Speaker 8 (02:09:48):
Ne mill Far.

Speaker 20 (02:10:07):
It's the.

Speaker 8 (02:10:11):
Whisky stuff. You know, it's.

Speaker 39 (02:10:19):
You know, nice box, the other knownedge of the nice
Continental Trip to.

Speaker 10 (02:10:28):
Buy Mountain said, and I'm like, lend, there's bart Sony and.

Speaker 39 (02:10:31):
Then where's that lady versus lester Bank birthday party, cheesecake
jelly bean book to be got.

Speaker 9 (02:10:36):
A picturech Sam, But that's right right.

Speaker 37 (02:10:40):
It's the.

Speaker 8 (02:10:44):
It's it's distey knowing.

Speaker 17 (02:11:03):
It's see of the world as we know it's Biggy
of the world as we know it.

Speaker 11 (02:11:12):
It's figgy the world as we know it.

Speaker 4 (02:11:18):
Far Well, listener's we've got some more new music for
you today.

Speaker 1 (02:11:32):
There is a brand new single out called the Meadow.
It's from a band called All Her Years. And we
thought today to find out a little bit more about
this amazing brand new track and the EP that the
band's got as well that's coming out. We thought we
would actually chat to Oriyan, So welcome to the program. Oryan, Hey,
thanks sir, coming, No worries now, mate, tell us a
little bit about this brand new track The Meadow tell

(02:11:54):
us about how this track actually came into being.

Speaker 7 (02:11:58):
Yes, sir, the track itself is about but the song,
the song's quite quite old.

Speaker 14 (02:12:06):
I wrote it, I don't know, maybe close to like
six or so years ago. Down it was sort of
one of those ones that kind of.

Speaker 7 (02:12:12):
Never really knew how to figure out.

Speaker 14 (02:12:13):
And then with a lot of the all I used
songs were all sort of songs that I wrote quite
a while ago, and.

Speaker 7 (02:12:22):
Yeah, we sort of with when the band sort of
started back in twenty twenty two, I sort of found
these new ways to play them and stuff. And this
song was actually kind of like a sort of six
minute Bobby sort of dirge that sort of kept dragging
on and on and on.

Speaker 14 (02:12:37):
And then my.

Speaker 7 (02:12:38):
Bandmates were sort of like, we need to sort of
trim this down and you know, make it a bit
more digestible. And I also realized there was a whole
bunch of lyrics that didn't really make sense in the
song that I thought I could probably just chop up
and you know, take away. But yeah, then me and
my guitarist Adam Pilcher, he's in his own project called

(02:13:00):
multic Men, him just sort of sat down and yeah,
sort of worked out the sort of structure a little bit,
and a lot of it was sort of just meant
to be to work out the structure.

Speaker 14 (02:13:10):
And then a lot of what we did in those
first couple of recording sessions ended up being what you're
hear now.

Speaker 7 (02:13:17):
Even the vocals were just the scratch vocals the first
take that I did just to sort of figure out
where where the words would sit in the song. And yeah,
I tried to redo the vocals a fair few times
and it just wasn't really working out. So yeah, we
kept it for the first one and by the first take,
and yeah, so that's sort of that. And then we

(02:13:38):
sent it off to Elaine Decarn up in Iron for
the mixing, and Richard Soden did the mastering up in
Myron as well to two legends of the music industry.

Speaker 14 (02:13:48):
But yeah, sort of, I think that's about it, really.

Speaker 1 (02:13:52):
So how have you found that experience of going back
and revisiting tracks that you wrote like six seven years ago?
How have you found that experience?

Speaker 7 (02:14:01):
It's an interesting one because you know, like obviously we're
all changing constantly all the time, and a lot of those.

Speaker 14 (02:14:09):
Words sort of that I wrote down.

Speaker 7 (02:14:12):
Back then, I guess they meant certain things in and
now there's still parts of it that's still pretty relevant.
I guess the lyrics that I kept with the ones
that were kind of most relevant. But it's kind of
ironic because that's sort of what the song's about in
a way.

Speaker 14 (02:14:28):
It's kind of trying to try to move forward in life.

Speaker 7 (02:14:33):
And not get too stuck up on the past, but
also be aware of it because it's sort of what
made you kind of who you are. But it's nostalgic.
It's definitely a sense of nostalgia to it. So yeah,
I think it's all in all, it's been a good
experience here.

Speaker 1 (02:14:48):
Yeah, I think you just touched on my next question
a little bit. I was going to say in the
press release it says part statement, part reflection. I was
going to ask, could you tell us a little bit
about that?

Speaker 7 (02:15:00):
Well, yeah, I guess that was kind of me trying
to be a little bit cheeky, a little bit sort
of it's a yeah, it's a statement of like sort
of who I guess, like I want to say who
I was, but you know, I feel like I trying to,
I know, I say the words sort of eye a

(02:15:21):
lot in a lot of our songs, but it's sort
of like to make it a bit more personable for
the listener so they can sort of try and relate
to it.

Speaker 14 (02:15:27):
I guess, yeah, it's sort of just yeah, it's just
to be kind of.

Speaker 7 (02:15:38):
Yeah, it's just a statement to like your past self.
I guess, you know, and the reflection is kind of
I guess sort of when you make that statement, you know,
you can end up to the holding up a little
bit of a mirror to yourself. I sort of like
to think of it as sort of reverse mirror. So
it's kind of like you're reflecting the world into your

(02:16:00):
self and vice versa yourself out into the world.

Speaker 1 (02:16:03):
Definitely. So this is part of the upcoming EP. What
can you tell us about the EP? Is this a
good reflection of what we can expect to hear on
the EP? And when is the EP set to land?

Speaker 14 (02:16:15):
Yeah? So we've we've just started.

Speaker 7 (02:16:17):
We've been chugging away a little bit, this pasty sort
of getting bits and bobs and out of which songs
would kind of go together, and it's this one's it's
probably fairly different from all the other songs on the EP.
I feel like I'd like to think that all the
songs that are going to be on the EP will
kind of stand on their own, but also work as
a kind of cohesive.

Speaker 14 (02:16:40):
Sort of.

Speaker 7 (02:16:43):
Sort of stand on their own, but also just melding
together at the same time. So we got a dark one,
a bit of a dark one that's sort of hoping
to put in right after the Meadow, and then yeah,
a couple more sort of poppy sort of one's been
a bit more uplifting.

Speaker 14 (02:16:59):
So yeah, we're sort of we're tracking away at that.

Speaker 7 (02:17:02):
We've finished the drums and the bass, and me and
Pilchy just have to sort of sit down and work
out the rest of it, and hopefully it won't take
too long, because yeah, we live together and he's sort
of set up this crazy sort of studio at ours
where we can sort of sit in multiple wounds at
the house and track and isolate all the sounds and stuff.

(02:17:24):
So it's really just sort of about sitting them, pressing
go and hopefully they should be starting to see the
light of the day maybe around the end of the year.
I would say probably October December, or at least another song,
at least another song from the EP. I think it's
good not to rush things, but also it's sort of

(02:17:46):
good to, you know, give yourself a little bit of
a deadline. So the deadlines I sort of give myself
a very loose in nature. But yeah, the songs are
all very different from each other, I think. But I
think if you listen to the EP sort of start
to finish, it will kind of all make a bit
of sense as well, might.

Speaker 14 (02:18:05):
Give you a little bit of an overarching picture.

Speaker 4 (02:18:09):
Man awesome.

Speaker 1 (02:18:11):
So, apart from working on the EP, what else has
all her years got planned for the rest of this
year going into the summer as well?

Speaker 7 (02:18:19):
Well, we got a we've got a cookbook that we're
getting together, a sort of sort of cookbook poem poetry
book kind of thing that me and my sister are
actually working on at the moment.

Speaker 14 (02:18:31):
And yeah, just going to try to book as many
shows as we can.

Speaker 7 (02:18:34):
And I guess we're, you know, obviously still quite a
bit of like an unknown kind of band.

Speaker 14 (02:18:39):
And we so we're just trying to sort of break
that sort of sort of iceberg.

Speaker 7 (02:18:44):
And yeah, just play as many shows as we can,
try to organize a toll for like the end of
the year, but some dates just weren't matching up and everything,
so you know, yeah, just sort of keep on keeping
on and yeah, make some new friends and meet some
new bands so fully, and yeah, just try and trying
to go to it as many shows as we can

(02:19:05):
as well, to sort of keep that fire alive, because
you can get so wrapped up in your own music
sometimes you don't really go out and see what.

Speaker 14 (02:19:11):
Else is out there.

Speaker 7 (02:19:13):
And yeah, so trying to trying to just sort of
go around and see some gigs and yeah, hopefully play
some as well, and yeah, take it easy, but also
work with intent.

Speaker 1 (02:19:25):
I guess you could say, awesome, Well, mate, we are
going to play the Meadow on our show now for
the very first time. So what would you like to
say to our listeners before they take a listen to
this track?

Speaker 7 (02:19:37):
Just try not to read into it too much, I guess,
and yeah, just sort of pitch yourself kind of.

Speaker 14 (02:19:47):
You know.

Speaker 7 (02:19:47):
A meadow could be a river, or a meadow could
be a sort of library that you like sitting in
or whatever. Just yeah, I guess, just enjoy, hope you
will like it. And yeah, that's that's about it.

Speaker 40 (02:20:00):
I guess.

Speaker 6 (02:20:05):
Memory of my past life streets flowed into my brain.
So the sun.

Speaker 41 (02:20:25):
Was a little.

Speaker 34 (02:20:27):
Brain.

Speaker 6 (02:20:32):
The glass on the other side.

Speaker 7 (02:20:41):
It had.

Speaker 6 (02:20:43):
A steam joy food. The wind is so very up
sea cold. The cold dis old a muchre.

Speaker 19 (02:21:08):
And I got to the clouds like a face.

Speaker 6 (02:21:12):
Fami doneer passed down.

Speaker 19 (02:21:21):
It steals my name.

Speaker 6 (02:21:30):
Has everything I've done.

Speaker 42 (02:21:35):
Just been sedy your needs, kissing your knees at the
board of the pitch sheets.

Speaker 10 (02:21:49):
Why and I wanting to be chasing your tube.

Speaker 8 (02:21:58):
At the end of each very day.

Speaker 6 (02:22:07):
Bis down shadow falls.

Speaker 8 (02:22:10):
Where the ray go.

Speaker 42 (02:22:16):
Bes a metal time bends where wherever it flows.

Speaker 8 (02:22:24):
Still no release crous once heard tea.

Speaker 14 (02:22:36):
And me.

Speaker 8 (02:22:37):
I used to be from Still no release crows once
hurte and meet the.

Speaker 10 (02:23:02):
I used to be free.

Speaker 6 (02:23:37):
Dive. I don't want to eat, to hold so down
in the bowl like you through you, No, darling, I'm
not fixing to lead up yourself so down in the world.

(02:24:07):
I will leave you. There is our house. In your house,

(02:24:31):
nickles rise in so.

Speaker 34 (02:24:37):
He merely all many of our Thank God I knew
I'm known, shout.

Speaker 8 (02:25:05):
My dad did.

Speaker 17 (02:25:09):
My PA's a game back down.

Speaker 6 (02:25:16):
I'm gonna hit you.

Speaker 26 (02:25:18):
I'll mean.

Speaker 14 (02:25:30):
That you.

Speaker 8 (02:25:33):
Game body in a suit tast shut up.

Speaker 10 (02:25:41):
Any time.

Speaker 26 (02:25:45):
Satisfy.

Speaker 43 (02:25:47):
It's way he's hold on the drug mother, Chellian children.

Speaker 24 (02:26:39):
Knocked the door and spain Ye since misery in the
House of the Rise.

Speaker 8 (02:26:54):
It's a.

Speaker 1 (02:27:02):
Well listeners, there is a tour coming up that we
know a lot of you are very very excited about.
The Animals are coming to Australia for one final time,
and we know so many of you have already bought tickets,
but we're hoping a lot more of you will want
to buy tickets after this interview right now, but to
find out a little bit more about this amazing tour,
we've actually got John from the band on the phone

(02:27:23):
right now. Welcome to the program.

Speaker 14 (02:27:24):
John, Thank you, Dave. I should be on your show,
no worry.

Speaker 1 (02:27:30):
So John, I have to ask, how does it feel
knowing that you're coming to Australia but it's going to
be for the final time with the band. How do
you feel?

Speaker 14 (02:27:40):
Well? I feel mixed up. I feel pretty mixed about
it actually because.

Speaker 40 (02:27:51):
I feel that I'm playing as well as I've ever
played in my life, that the band have got around
me are the best line up since the original Animals
back in the day. It's going to be a hard
thing to stop doing so get through the yeir and

(02:28:13):
and see what I'm feeling. But right now I think
I'm going to miss this so much. I don't know if.

Speaker 14 (02:28:21):
I'll just imagine I might just bopy late drop, you know,
we'll see how it goes.

Speaker 1 (02:28:26):
Have you got something lined up to do after you
stop playing? Like, have you got a hobby or something
that you want to really jump into or what are
your plans once you retire.

Speaker 14 (02:28:39):
Well, I'm in the process of.

Speaker 40 (02:28:47):
Selling up my property here in the northeast England and
moving down south to the South Coast where my daughter lives.
So I'm going to be spending a lot of time
hanging out with her, and she she knows the local
scene down and Hastings and Cinelana. It's well, there's a
very lively music scene. So I would imagine how I

(02:29:07):
going to get myself get myself involved in the local
music scene down there once that making the move.

Speaker 1 (02:29:14):
So, talking of Australia on this tour, have you got
fond memories of your previous trips to Australia?

Speaker 14 (02:29:22):
Oh? Very many. I mean, it really is.

Speaker 40 (02:29:26):
I'm not just saying this, it really is our favorite
counry for touring in ever since the first time. We
just love being in Australia and we love the The
vibe is good, the hospitality is good, and well it's
good because usually when we when we play, it's you know,
springing or someone starting, whereas here it's starting to get

(02:29:49):
it's very autumbnal out there already. It won't be long
before it's just middle of winter. So yeah, there's lots
of things going for it that makes us have you
have you to be in Australia and.

Speaker 1 (02:30:03):
You're also getting to do a very very big farewell
tour here. So many bands who come to Australia these
days seem to do Melbourne, Sydney and Brisbane and that's it.
But you really are going right around Australia. But you're
also playing a lot of regional towns as well. Tell
us a little bit about that decision, because it's something

(02:30:24):
these days that the people in regional Australia welcome so much.

Speaker 40 (02:30:30):
It's fun for us, it really is. You know, we
we've done before and we will love traveling around and
we don't have to. We're not not a stadium band.
We we get to play in theaters, you know, small clubs,
all kinds of venues plus plus outdoor festivals and things.

(02:30:54):
It's a lovely range of things. And it's such a
big country and it's such a friendly and that everywhere
is good for us, so we were this time. We're
really going from we're over as far as first on
the Western Australia, as you say, all around the town

(02:31:16):
and in between.

Speaker 14 (02:31:17):
So it's it's good fun.

Speaker 1 (02:31:20):
I love the fact that you're getting to play in
my area of Australia as well, little area called Gippsland.
You're doing two shows here in Warregal and also One
Thaggy as well. Because we seem to get forgotten by
a lot of musicians out there.

Speaker 4 (02:31:35):
But are you ready for the.

Speaker 1 (02:31:38):
How the Australian audiences are going to embrace you? Because
I can guarantee for when you're playing in a country
area like Warrigal or One Thaggy, the locals are very
very friendly.

Speaker 14 (02:31:50):
That's all.

Speaker 40 (02:31:50):
That's all I was trained, you know, and that's why
we're quite happy to play. We play where they want
to say, where they want to hear us, and that
that's plain by us. We're just wherever we go, we'll
give them a good show anyway.

Speaker 1 (02:32:04):
Definitely. So John, I have to ask, you've got so
many amazing tracks in your back catalog. How do you
pick a set how do you pick a set list
for your final tour of Australia.

Speaker 40 (02:32:16):
Well, obviously the major hits we're put in every every night.
You know, It's is my Life, don't bring me down.
We've got to get out of this place, inside looking
out of course House, the Rising Sun, we got to
get out of this place.

Speaker 14 (02:32:36):
Bring it on home to me.

Speaker 40 (02:32:38):
All of those songs were great hits around the world,
so they're all included automatically. But then we've got a
lovely selection of B sides and album tracks that we
can choose from, which we do because we don't play
the same set necessarily every night. It's not a cabaret act.
We play you know, let's try yes tonight, Let's try

(02:33:01):
that tonight. What about we haven't done for ages, we
haven't done.

Speaker 14 (02:33:05):
You know.

Speaker 40 (02:33:05):
And that's the way we work, and so you're not
necessarily going to see the same show. You if you
go to several see us several times.

Speaker 1 (02:33:15):
Definitely. Now I've got a very very personal story for
We've got to get out of this place because on
my last day at high school in my senior year,
somebody broke into the main office of the school and
put on and it was a cassette in those days,
so I'm showing my age. They put on a cassette
playing that track. So it was the last song we

(02:33:37):
ever heard playing over the loud speakers at our high
school as we left on our final day. Do you
find that people right around the world do have stories
about different tracks of yours and what it means to them.

Speaker 40 (02:33:52):
Absolutely, that's particularly. That's one of the particular songs that
does that everywhere. It doesn't matter what scroup you are,
but what what what you do for a living, whether
you're just leaving school or leaving the job or whatever.
People people around the world saying we go to get
out of this play speak of a kind of an And.

Speaker 1 (02:34:16):
We mentioned before how many great tracks you have in
your back caddalog. When you were writing those tracks, did
you know that those tracks were going to be something special?
Like I know a lot of artists say that sometimes
they'll record a track and they just know that that
track is something that fans are going to love. Did
you find that when you were recording those classic tracks

(02:34:36):
that you knew that they were going to become anthems
like that.

Speaker 14 (02:34:41):
No, we didn't. We didn't at all back in the day.

Speaker 40 (02:34:46):
I mean, the first recording studio really ever worked in
London when we moved from from from Newcastle was so
Delane Lea Studios and Boben and it literally wasn't one track,
do you you know? You didn't have multi tracking, you
didn't have anything like that, nothing sophisticated. It was just
one room, one control room and the toilet.

Speaker 14 (02:35:10):
And that was it.

Speaker 40 (02:35:12):
And that's where we recorded House of the Rising Zone.
And we recorded that song in one single take. We
just we just set up, got a balance for sound,
played through it at once and then the producer Makeey said,
come in and listen to this. So we trooped into
the control room. Engineer pressed the button and we listened
to the playback. Andy said, that's a hit, and it

(02:35:36):
was in the can one single trick. And I'm not
making that up because I've told this story before. But
I wrote a letter to my girlfriend at the time.
I wrote a letter a couple of days later on
further updown the road, and she kept home with my

(02:35:57):
letters and in that one I said, we did record
and if I Ready, Steady Go did Arec Johns song,
But we also recorded Rising Sun and we did it
in one takes and that's in that letter. And I
still got that letter because we staid stick pushed they
together for fifty five years.

Speaker 14 (02:36:17):
Wow.

Speaker 1 (02:36:18):
And House of the Rising Sun you told you mentioned
that that track also became very iconic for you, But
it also became a track that not only did you perform,
but it also inspired a lot of other artists. So
I was reading the other day that bands like Green Day,
bands like You two, even Metallica, have taken inspiration from

(02:36:39):
the House of the Rising Sun, from your from from
you playing it. What does that mean to you as
an artist that so many other bands in other genres
have taken inspiration from that track.

Speaker 14 (02:36:53):
It's wonderful. And the biggest one you didn't mention was
Bob Dylan. Yep, I mean we nicked to start.

Speaker 40 (02:37:00):
We nicked the song from Bob Dylan's debut album he
recorded in ninety sixty two, and that's where we got
that song from. And when we had the number one
hit with it and we went to America, he was
one of the first guys we arranged. We wanted to
meet because we were big fans. Yeah, he had about
three albums out by that time, and we managed to

(02:37:20):
arrange a.

Speaker 14 (02:37:21):
Meeting with him, and he.

Speaker 40 (02:37:24):
Took us out on a pooktrol around Greenwich Village and
he told us the story. He said, I was drowning
the car listen to the radio, and I heard your
version of the song, and it was like a light
bulb went off and right there and then he was
he was busy in the studio recording his first electric
folk rock instead of just a brilliant purely acoustic which

(02:37:45):
was before.

Speaker 14 (02:37:47):
And he said that that that song made me go
in a different direction. And so.

Speaker 40 (02:37:54):
I mean that just that just knocks me out that
we nicked that song from him, and then you know
how that song caused him to go in a different
direction musically.

Speaker 1 (02:38:09):
Can I ask what it was about that track that
that made you want to nick it?

Speaker 40 (02:38:18):
It just appealed to us that we had to change
it because the original songs about a prostitute in New Orleans,
you know, and in those days you couldn't sing it
some of it that would get and get on the radio,
you know, So we how to rewrite the lyric and
make it a gam a gambling a gambling man.

Speaker 14 (02:38:35):
But it's it's still a song that that wasn't you know?

Speaker 40 (02:38:41):
The inspiration was Bob Dylan's version of the song was
was what what? What made us call you with it
and make some something of it? When something of it
it became to on all over the world and everybody,
everybody recognized that song.

Speaker 4 (02:38:56):
John.

Speaker 1 (02:38:56):
We've talked about the tracks that your fans love, and
I know this might be like asking someone about their
favorite child, but did you do you have a favorite
track that you love to perform live?

Speaker 4 (02:39:07):
Of all of your hits, ah, they're all good.

Speaker 14 (02:39:14):
You know.

Speaker 40 (02:39:15):
There's there's not one song that we recorded that I
can think of that that makes me cringe and say
I wish we hadn't done that, you know, so I
just get it check out of any of them, so
it could be a different song every night. But I'm
just proud to have been part of the band that
made those songs and the defended, you know, the definitive

(02:39:37):
version of those songs.

Speaker 14 (02:39:39):
We had. We had a bit of we had a
bit of a route with Nina Simone Ons.

Speaker 40 (02:39:45):
We met her in the States because we did don't
let Me be Misunderstood, which she had previously recorded a
very very good version of it, and we met her
in a CV studio and she was furious, what do
you doing messing out with my music? And Eric said,

(02:40:07):
it's not your song. It was written by Beny Benjamins,
so we have we are every much as much right
as you to just to record that song. And anyway,
howe version is a bigger hit than yours.

Speaker 1 (02:40:25):
Oh John, I could talk to you all, David. I
know we are writing out of time very quickly, so
I guess to finish off, what would you like to
say to all of your fans out there who have
already bought tickets to these shows or are planning on
buying tickets to these shows?

Speaker 40 (02:40:41):
Well, all I can tell you is as I said,
it's the best lineup that I've worked with since the
original band, the great musicians, and we get along really
well together, so it's a lot of fun. We enjoy ourselves.
There's no friction with us. We just go out there
and give it everything we want. In this faces live
there's nothing pre recorded, there's no trickery. It's just a

(02:41:04):
good live band and you're gonna have a good night
because we always have a good night anyway in this still.

Speaker 9 (02:41:09):
The old part of the city, when the sun refused
to share.

Speaker 6 (02:41:16):
People tell me their het you skin.

Speaker 26 (02:41:19):
Try now, my girl, you're so young and pretty. And
one thing I know is froo.

Speaker 6 (02:41:32):
You be dead before your time.

Speaker 14 (02:41:35):
It's to.

Speaker 9 (02:41:40):
Watch my daddy in bad time. Watches happened turn rive.
He's been working his slave in his life away oh years.

Speaker 14 (02:41:52):
I know.

Speaker 13 (02:41:57):
He's been working so hard.

Speaker 8 (02:42:02):
I've been working down.

Speaker 13 (02:42:03):
Here every.

Speaker 17 (02:42:07):
Yeah, yeah, we gotta get out of the space. Get
miss elas we ever do. We gotta get out.

Speaker 10 (02:42:20):
Of the space.

Speaker 9 (02:42:22):
Is a benner life for me and.

Speaker 26 (02:42:25):
You, now, my drill. You're so young and.

Speaker 7 (02:42:38):
And one thing I know is true, you'll be dead
before your time.

Speaker 26 (02:42:44):
Miss dun know it.

Speaker 38 (02:42:49):
Watch my daddy had been inside. Watch his hand been
a turning, a clam. He's been working and sleep and
in lie no way.

Speaker 8 (02:43:01):
I don't.

Speaker 4 (02:43:01):
We've been working so hard.

Speaker 10 (02:43:05):
I've been working.

Speaker 14 (02:43:06):
To me.

Speaker 9 (02:43:09):
Every tape, we gotta get out.

Speaker 8 (02:43:22):
Of the space. If it's elastic we have.

Speaker 9 (02:43:28):
We gotta get out of the space.

Speaker 10 (02:43:31):
We got in a manner life for me and you.

Speaker 18 (02:43:37):
Somewhere baby, somehow I know.

Speaker 17 (02:43:43):
We gotta get out of this space. If it's elastic,
we able to we gotta get out of the space.

Speaker 10 (02:43:55):
Life for me, and you.

Speaker 8 (02:43:59):
Leave me mad.

Speaker 2 (02:44:02):
I know it made you know it too.

Speaker 10 (02:44:11):
Cold inside.

Speaker 8 (02:44:22):
Money?

Speaker 33 (02:44:23):
Oh boy, God, I know.

Speaker 10 (02:44:28):
I'm cry on my daddy on the jelfphone.

Speaker 8 (02:44:35):
How long.

Speaker 41 (02:44:38):
Until the clouds on the roll and you come down
the line way? But the shadows still remains since your descense,
your decen.

Speaker 44 (02:45:07):
I CBS my daddy on the telerphone to the BOTTI
come on Bland, but.

Speaker 8 (02:45:19):
The shadow sound remains since your descents.

Speaker 11 (02:45:22):
Your de sales.

Speaker 17 (02:45:27):
Chap, the size are coming, the size come, I say
no matter, Chap as sbout size, I come in the
size coming.

Speaker 8 (02:45:45):
I say no matter. The talk blases.

Speaker 6 (02:46:17):
Yourself as a dip street how.

Speaker 17 (02:46:22):
Jillo weather change to damn Scully hollow.

Speaker 8 (02:46:28):
When the Watchman.

Speaker 13 (02:46:32):
Watch?

Speaker 6 (02:46:35):
Oh sa.

Speaker 14 (02:46:42):
Say?

Speaker 1 (02:46:46):
And that is it for this episode of Subculture Makes
the Popcorn Conspiracy, Holly, It's been an absolutely huge show.
Enough next week it's going to be a huge show
as well, because we want you guys to put together
some music lists, whether it be best Indie band of
all Time, best Tracks of nineteen eighty seven, best whatever,

(02:47:10):
and for those that's lists, make it onto the show
over the next few weeks. We're actually going to give
you a double pass to a brand new movie coming
out called Familiar Touch, which is directed by Sarah Friedland.
And we've got a few passes here to give away
thanks to our friends at Potential Films. And we've also

(02:47:31):
got some gift bags as well from Subculture Collectibles, which
includes a voucher that you can use to get twenty
percent off heading into Christmas, which is always great. So
we're going to give away those over the next few
weeks on the show. But we want you guys to
write in lists. You heard today Harley and I did

(02:47:53):
a list of best British comedies of all time. We
want you to do some music ones for us so
that we can play some music on our show. What
do you think, Harlie, Is that a good idea?

Speaker 2 (02:48:05):
Yeah, that's a very good idea because you know, everyone's
responses to what we've done over the recent few episodes
has been really positive. So yeah, you guys seem to
like this, so let us know what you like and
what we should discuss as well, and.

Speaker 1 (02:48:25):
We might hold on to some of those lists as
well and play them over while we're on the summer
break as well. We can still get Subculture Collectibles packs
out to you people, so they they want to do that,
but yeah, just keep them coming in and we'll keep
them there and some of them we might even use
for over that holiday period while we take a little

(02:48:46):
bit of a break. But Harley, it has been a
huge episode. But of course there's been a lot of
stuff that we haven't been able to cover on today's
show that's been online. So where can people go to
find the stuff that hasn't been on the show today?

Speaker 2 (02:49:01):
Come and stalk us at www dot subculture entertainment dot com.
There's tons and tons and tons upon tons of more material,
more interviews, more reviews, more everything.

Speaker 14 (02:49:19):
You know.

Speaker 2 (02:49:19):
Every time they've get some news, he'll chuck it up
there ready to go out for you guys, who are
you know, eagerly anticipating so you don't have to wait for,
you know, every Friday for the radio show to drop.
But yeah, if that's not enough for you, and believe me,
there's a lot there. You can also check out Patreon.

(02:49:40):
If you haven't heard of Patreon, it's where you can
support creatives who are putting out different kinds of content.
There's all kinds of people up there doing amazing work.
So for subculture, we have extra content and you get
to also hear these shows and podcasts earlier than everyone else.

(02:50:03):
So go to Patreon dot com and look for Subculture Entertainment.
Also check us out on the social media sites where
we're all over the place. Dave is always there dropping
news about what's coming up and asking questions. We get
a lot of good feedback from you guys, so if

(02:50:25):
you have ideas, there's the place to go. So Dave,
why don't you tell them this time where to find
subculture on the socials.

Speaker 1 (02:50:33):
Yeah, so you can go to Subculture Entertainment on Facebook, x,
Blue Sky, and TikTok. Look for subculture Dave, somebody else
took subculture Entertainment on Instagram and threads. And also keep
looking at our website at the moment as well if
you're an AFL footy fan. Because of course, with the

(02:50:56):
trade period going on at the moment, Alex and I
have been not only sharing the news that's been going
on with that, but because we have our AFL podcast,
we've also been analyzing some of those trades as well.
So make sure you jump onto the website to do that,
but I guess before we go. Just if you want
to win one of these double passes to go see

(02:51:16):
Familiar Touch or one of some culture collectibles gift sets,
then definitely keep sending in music lists of and it
can be anything, best American band of nine to eighty two, whatever,
just do it. And yeah, well if we use your list,
we've got something special for you. But Harley, we better

(02:51:36):
get out of here. So for now, I've been Dave G.

Speaker 2 (02:51:40):
And I've been Harley, and perhaps next time we'll be
someone else, but probably not. So tune in next week
to figure out who we are and if we figured
it out ourselves,

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SUBCULTURE RADIO SHOW Ep #117

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