February 28, 2025 • 14 mins
David Wenham is an Australian actor who has really made his mark.
From Lord of the Rings, Van Helsing and Lion, he has a new film out, ‘Spit’.
The film is a sequal to the 2003 movie ‘Gettin’ Square’.
David Wenham talks to Jack Tame about the role.
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Episode Transcript
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Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Team podcast
from News Talks at B.
Speaker 2 (00:12):
David Wenham is Australian acting royalty. You'll know him from
the likes of Lord of the Rings, Van Helsing and Lyon.
But back in two thousand and three, David played the
hilarious side character and an Aussie film that had a
modest release but went on to be an absolute cult classic.
That film was called Getting Square, and his character, Johnny Spitteri,
(00:35):
a goonish small town criminal, is back in his very
own spin off, which is simply titled Spit.
Speaker 1 (00:44):
John Francis Spetier who lock him up?
Speaker 3 (00:48):
This is Australia.
Speaker 2 (00:49):
It's still a free country, isn't it.
Speaker 3 (00:51):
Oh mate, there's used a tragic case of mistaken identity partners.
Speaker 2 (00:58):
This is your driver's license.
Speaker 3 (01:00):
No, he's got squinty eyes. I don't have squinty eyes.
You're run for a restaurant.
Speaker 1 (01:07):
Why are you in jail?
Speaker 3 (01:08):
I'm going to get out of you. When I do,
I'm going to look out there and aloe.
Speaker 1 (01:12):
John Francis Battiri has been located alive.
Speaker 2 (01:16):
Disaster John Francis SPATII is played by David Winhem and
David's Withathers this morning.
Speaker 3 (01:22):
Calder, good morning, Good to be with you, Jack.
Speaker 2 (01:24):
It's so good to be speaking with you. Now, tell
me about your position with all of this. You have
worked in massive name Hollywood blockbusters, major franchises. What drew
you to Spett?
Speaker 3 (01:39):
Back to spit Because Speaker was a character that was
in a movie twenty three years ago or twenty two
years ago called Getting Square. None of us involved in
that film ever thought that we'd be revisiting that world again.
It was just it started from a conversation about eleven
years ago I had with a good friend of mine
who's a filmmaker, Robert Connolly, and we were talking about
the fact Robert's known me for a long time, the
(02:00):
fact that one of my strongest suits is comedy and
I never get the opportunity to exist that very often.
And he brought up the character of Johnny's Pateria from
Getting Square, and I started a riff on a whole
heap of scenarios that you could drop Johnny in and
then you know, potential hilarity may ensue. And he said,
you know there's something in this, There's something in it.
(02:22):
So I rang Chris Nice, who wrote Getting Square, and
he said, well, your timing is interesting because he'd been
working on the film centered around Spit with the director
Jonathan Taplitsky for some time and he said, you want
me to send it over to you. I said, yeah, sure,
and I read it the very first draft about eleven
years ago. Ten eleven years ago, I thought was absolutely inspired.
(02:44):
Because none of us wanted to do Getting Square two.
There had to be a reason for Spit to come back,
and it had to be solid enough that, you know,
the audience would be completely engaged for you know, ninety
to one hundred minutes. And he nailed it pretty much
straight off the bat, and then that obviously the hardest
part then was to get the film up and that's
(03:05):
another story. But we did and now it's finally reaching
the cinema, which is great.
Speaker 2 (03:09):
So what is it For people who haven't seen Getting Square?
What do you think it is about Johnny Spatiri's character
that made him such good fodder for a stand alone film.
Speaker 3 (03:19):
It's funny, actually, because he's the most unlikely sort of
character in a way. For those who don't know the
original film Getting Square, it was a comedy crime caper
and the character of Johnny's batteria is a really he's
an outsider. You know, he's in getting squeed. He's a junkie.
He's a small time criminal with a lot of quirks
and idiosyncrasies. Christinized the writers said, you're not sure if
(03:44):
he's the dumbest person in the room or the smartest
person in the room, which is really quite interesting.
Speaker 2 (03:49):
Because he's interrupting, he's sort of he's sort of he's
sort of dumb in some respects, but incredibly cunning as well.
Speaker 3 (03:56):
Is that Yeah, that's right, Yeah, that's right, Yeah, street smart.
And the other thing about him is and I think
for both you know, Australians and New Zealanders, we champion
the underdog, and he certainly is the underdog. He's as
Chris would describe in the ride, he describes me as
you know, he's just a little bog trying to do
his best. And that character did endear himself to people.
(04:19):
And you know, a couple of decades later, I still
about every second day I have people coming up to
me talking about the character and quoting lines, specific lines
from that film. So and now you know, I've had
the opportunity to sit in cinemas during the last three
weeks just we've been doing one off screenings with questions
and answer sessions and to get here the absolute joy
(04:43):
that people get from seeing the return of Johnny's Bateri
and people who haven't even seen Johnny embracing this character
and giving so much, so much laughter, but with this
film as well a good deal of poignancy as well,
and people get a little bit more than they think
they're going to get in this There's added extras in
(05:04):
this film which has made it much more rich for
the audience.
Speaker 2 (05:08):
Yeah, I mean it takes on some as well as
being very funny and very entertaining, it takes on some,
you know, some pretty pressing social kind of issues and
even even the scenario in which Spit finds himself he said,
you needed to have a good reason to bring him back,
And I mean it's literally bringing him back to Australia
and dumping him an immigration detention center to kick things off.
(05:29):
I mean, this is these are these are you know,
topical subjects.
Speaker 3 (05:33):
They are they are you know, it isn't a political film.
It is out now the comedy. Having said that, though
basically at the end of the film it's a film.
It's a film full of hope. It's a film that
brings people together. It's a film that celebrates the best
in humanity. It celebrates community in a really funny way.
(05:54):
As you say, yes does find himself in immigration detention,
and the characters in those scenes are actually all real
refugees or they're offspring refugees. And the one thing that
they said, they said, oh my god, they love being
in film so much for the very for the major
reason was that it was funny. It was a comedy.
They said, for the first time, we get to see ourselves,
(06:16):
but in a different way. We're not sort of just
painted with a very broad brushstroke guest or they're not
defined as refugees. They said, look, we're the same as
everybody else. Some of us are really smart, some of
us aren't, and some of us are really stupid. And
it's a really great opportunity to show people that, you know,
we have a full range of characteristics, just like everybody else.
(06:37):
But they love the fact that it was a comedy.
Speaker 2 (06:39):
Yeah, So how does a production like this compere like
this is this is a like true blue fear di
inco Mossie story. How does a production like this compare
to some of those massive, big blockbusters that you've worked on.
I mean, presumably people are drawn to spit for the
story rather than the big bucks.
Speaker 3 (06:54):
Well, completely we have there's a number of returning characters
to this film. But also what's interesting is the crew
and I don't I can't think of any film in
this part of the world that this has occurred with before.
We have the same writer, we have the same director,
we have the same cinematographer, head of design, head of makeup.
Like every key creative has come back because they want
(07:17):
to be part of this because it's really special. They
read the script and go, oh my god, this is
actually really unique. Tessnatoli, who did my hair and makeup
on the I worked with her a number of times.
She turned down, as did other crew members, opportunities to
work on big budget American films, and she would have
done very well so she could work on this and
(07:38):
our dates kept slipping, but didn't worry. No, I'm going
to do it. I'm going to do it. There was
a love and a passion to tell stories from our
part of the world and the fact that they are funny.
We have you know, we haven't a unique sense of
humor down here, And yeah, it does unite us. And
there's nothing better than sitting in a cinema that's full
(07:58):
of a whole heap of people laughing as one.
Speaker 1 (08:01):
Yeah, I don't know what it is.
Speaker 2 (08:03):
I think, you know, I think about I think about
some of those at Alien comedy cult classics from across
the years, and there is something about the Australian sense
of humor, whether it's Kenny or whether it's you know,
the Kerigan family from the Castle. Yeah, there's something about
Australian comedy that I think has a certain kind of
(08:24):
kind of magic that I mean, I know that Kiwi
audiences will will absolutely love. But it's amazing. So Gettin
Square was two thousand and three, right, and that the
environment into which that was released was profoundly different from
the streaming era in which we now live. And the
thing about Getting Square was that it did super well
in the sort of VHS DVD department, right, So I
(08:45):
sort of got a cult following through those sales. Do
you think we can make cult films anymore in this
modern streaming age?
Speaker 3 (08:55):
Well, those polp films are things that people find over
time and that's whay they become a cult. The thing
that we're adamant about with theirs is because of the
nature of the film as well. We wanted to we
want it to be successful at the cinema, just that
thing of being within your community and laughing together and
sharing it. I cannot tell you how amazing it's been
(09:18):
in all the screenings I've said in so far and
the reaction from audiences afterwards. I'll be honest, I haven't
actually had that sort of feedback from any other film
that I've been in and sat in. It's really it's
really quite unique. It's affecting people on a number of
different levels. The laughter is like it is, yeah, it's
(09:40):
constant throughout and it gets bigger towards the end, but
just some of the thematic concerns in there as well.
It really touches people. And we've had people really quite
profoundly affected in the fact that they find that this
is an Australian film that really does celebrate the all
the best of what we can what we can actually be.
Speaker 2 (10:03):
There must be so rewarding to see that, to see
it at firsthand, especially when you don't usually get that opportunity.
Speaker 3 (10:11):
I gotta say it's extraordinary. It's like the very first
time we screened it. We screened it it on the
Gold Coast, which I referred to as the spiritual homeland
of Johnny's Spatiri because that's where that's where it comes from.
And we screened it and afterwards I did a question
answer session. I talked about the wardrobe, the fact that
I saurce my wardrobe from a second hand shop in
(10:35):
the charity store in London, and I got this T
shirt which said this black T shirt that had in
gold less as Egyptians do it better. And as I
said that, this woman just stood up and said, yes, yes,
we do, we do. It was the whole audiences to
up and laughter, and then she just paused and she said,
I'm sorry. I'm just so overwhelmed with this movie because
(10:57):
finally I actually get to see some of my people.
We're Australians here and for the first time, I feel
part of a community and I can see some of
my people on the screen. And that has been consistent.
Not that it's you know, as I said, there is
no politics in the film. It's just a comedy that
brings people together. And that reaction from different parts of
(11:18):
the community. Has been consistent speak the going to tell
a story about the fact that which which people quite enjoy. Actually,
I also bought a pair of jeans over there that
will look really really really really small, and I thought,
there's no way I'm going to get into those, But
the lady who was working the shop wasn't looking. So
I pulled down my dacks and tried to get into
these women's gens and I got into them and they
(11:41):
fit me perfectly, and I thought, oh my god, yes,
these are Johnny's Batries jeans that looks as though they're
being painted onto him. So I went up to the
counter and I put them down, and the lady just paused,
and she didn't say anything for quite some time, and
then finally she just looked up at me, sheepishly, and
she said, you do know their maternity jeans, don't you.
Speaker 1 (12:03):
Do?
Speaker 2 (12:03):
You know that was what's quisten for you, was going
to be How on earth did you get into those genes?
I wonder if the costume department had had to sow
them on while you were sleeping.
Speaker 3 (12:12):
Now, you know, there's certainly a lot of give in
those genes, especially around the belly ridge I'm glad.
Speaker 2 (12:18):
I thought you might be having some sort of a
medical event trying to get yourself into those. Yeah yeah, yeah, no.
Speaker 3 (12:23):
Very difficult otherwise. Yeah, so I bought those a year
before we did the film, and yeah, yeah, kept them.
And because a year before the film, Jonathan Puplitski, the director,
lives in London, and we thought that we just workshop
Spateria a little bit, So we put him in the
streets of London for one day and Jonathan just ran
after Spateri with an iPhone, just capturing footage. It's not
(12:45):
in the film, and you know, one day we might
release some of it online. But it was so brilliant
because I hadn't were worn as we call them thongs
and as you call them jandles. I hadn't worn them
in twenty two years. But as soon as I put
them back on, the character came back pretty much instantly,
and I felt the way that Johnny walks and he moves,
(13:07):
and his rhythms and his paces and and the way
he spoke, and it was it was such a creative
joy to just let rip him London for one day,
going riding on the tube with no ticket and then
busking with with people and going towards Scotland Yard and
then we got kicked out of the portrait gallery.
Speaker 2 (13:27):
Why did you get kicked out for filming?
Speaker 3 (13:31):
Or Jonathan was filming Butteria was looking at a rather
big portrait of the Queen and god, yeah, looking at
that whatever. And there was a lady with who had
like a large tour group, a French lady, and for
some strange reasons, she thought Jonathan was filming them. And
Jonathan was saying, I don't know why'd be interested in
have a look at that guy there in front of
(13:53):
the Queen and that's who I'm filming, but she she
didn't quite believe it, so you yeah, to leave.
Speaker 2 (14:00):
I'm so glad you have gone to you know, to
such not extreme, but you know you you you have
gone to great lengths to bring this character back. And
I'm so glad you have because Spitt is so much fun.
He is an amazing character. It's a wonderful moving story,
as you say, And David, congratulations to you and the team.
Speaker 3 (14:19):
It really is brilliant, oh fabulous. Has been great chatting
with you, Jack, Thank you so much.
Speaker 1 (14:24):
For more from Saturday Morning with Jack Tame listen live
to News Talks ed B from nine am Saturday, or
follow the podcast on iHeartRadio
You're listening to the Saturday Morning with Jack Team podcast
from News Talks at B.
Speaker 2 (00:12):
David Wenham is Australian acting royalty. You'll know him from
the likes of Lord of the Rings, Van Helsing and Lyon.
But back in two thousand and three, David played the
hilarious side character and an Aussie film that had a
modest release but went on to be an absolute cult classic.
That film was called Getting Square, and his character, Johnny Spitteri,
(00:35):
a goonish small town criminal, is back in his very
own spin off, which is simply titled Spit.
Speaker 1 (00:44):
John Francis Spetier who lock him up?
Speaker 3 (00:48):
This is Australia.
Speaker 2 (00:49):
It's still a free country, isn't it.
Speaker 3 (00:51):
Oh mate, there's used a tragic case of mistaken identity partners.
Speaker 2 (00:58):
This is your driver's license.
Speaker 3 (01:00):
No, he's got squinty eyes. I don't have squinty eyes.
You're run for a restaurant.
Speaker 1 (01:07):
Why are you in jail?
Speaker 3 (01:08):
I'm going to get out of you. When I do,
I'm going to look out there and aloe.
Speaker 1 (01:12):
John Francis Battiri has been located alive.
Speaker 2 (01:16):
Disaster John Francis SPATII is played by David Winhem and
David's Withathers this morning.
Speaker 3 (01:22):
Calder, good morning, Good to be with you, Jack.
Speaker 2 (01:24):
It's so good to be speaking with you. Now, tell
me about your position with all of this. You have
worked in massive name Hollywood blockbusters, major franchises. What drew
you to Spett?
Speaker 3 (01:39):
Back to spit Because Speaker was a character that was
in a movie twenty three years ago or twenty two
years ago called Getting Square. None of us involved in
that film ever thought that we'd be revisiting that world again.
It was just it started from a conversation about eleven
years ago I had with a good friend of mine
who's a filmmaker, Robert Connolly, and we were talking about
the fact Robert's known me for a long time, the
(02:00):
fact that one of my strongest suits is comedy and
I never get the opportunity to exist that very often.
And he brought up the character of Johnny's Pateria from
Getting Square, and I started a riff on a whole
heap of scenarios that you could drop Johnny in and
then you know, potential hilarity may ensue. And he said,
you know there's something in this, There's something in it.
(02:22):
So I rang Chris Nice, who wrote Getting Square, and
he said, well, your timing is interesting because he'd been
working on the film centered around Spit with the director
Jonathan Taplitsky for some time and he said, you want
me to send it over to you. I said, yeah, sure,
and I read it the very first draft about eleven
years ago. Ten eleven years ago, I thought was absolutely inspired.
(02:44):
Because none of us wanted to do Getting Square two.
There had to be a reason for Spit to come back,
and it had to be solid enough that, you know,
the audience would be completely engaged for you know, ninety
to one hundred minutes. And he nailed it pretty much
straight off the bat, and then that obviously the hardest
part then was to get the film up and that's
(03:05):
another story. But we did and now it's finally reaching
the cinema, which is great.
Speaker 2 (03:09):
So what is it For people who haven't seen Getting Square?
What do you think it is about Johnny Spatiri's character
that made him such good fodder for a stand alone film.
Speaker 3 (03:19):
It's funny, actually, because he's the most unlikely sort of
character in a way. For those who don't know the
original film Getting Square, it was a comedy crime caper
and the character of Johnny's batteria is a really he's
an outsider. You know, he's in getting squeed. He's a junkie.
He's a small time criminal with a lot of quirks
and idiosyncrasies. Christinized the writers said, you're not sure if
(03:44):
he's the dumbest person in the room or the smartest
person in the room, which is really quite interesting.
Speaker 2 (03:49):
Because he's interrupting, he's sort of he's sort of he's
sort of dumb in some respects, but incredibly cunning as well.
Speaker 3 (03:56):
Is that Yeah, that's right, Yeah, that's right, Yeah, street smart.
And the other thing about him is and I think
for both you know, Australians and New Zealanders, we champion
the underdog, and he certainly is the underdog. He's as
Chris would describe in the ride, he describes me as
you know, he's just a little bog trying to do
his best. And that character did endear himself to people.
(04:19):
And you know, a couple of decades later, I still
about every second day I have people coming up to
me talking about the character and quoting lines, specific lines
from that film. So and now you know, I've had
the opportunity to sit in cinemas during the last three
weeks just we've been doing one off screenings with questions
and answer sessions and to get here the absolute joy
(04:43):
that people get from seeing the return of Johnny's Bateri
and people who haven't even seen Johnny embracing this character
and giving so much, so much laughter, but with this
film as well a good deal of poignancy as well,
and people get a little bit more than they think
they're going to get in this There's added extras in
(05:04):
this film which has made it much more rich for
the audience.
Speaker 2 (05:08):
Yeah, I mean it takes on some as well as
being very funny and very entertaining, it takes on some,
you know, some pretty pressing social kind of issues and
even even the scenario in which Spit finds himself he said,
you needed to have a good reason to bring him back,
And I mean it's literally bringing him back to Australia
and dumping him an immigration detention center to kick things off.
(05:29):
I mean, this is these are these are you know,
topical subjects.
Speaker 3 (05:33):
They are they are you know, it isn't a political film.
It is out now the comedy. Having said that, though
basically at the end of the film it's a film.
It's a film full of hope. It's a film that
brings people together. It's a film that celebrates the best
in humanity. It celebrates community in a really funny way.
(05:54):
As you say, yes does find himself in immigration detention,
and the characters in those scenes are actually all real
refugees or they're offspring refugees. And the one thing that
they said, they said, oh my god, they love being
in film so much for the very for the major
reason was that it was funny. It was a comedy.
They said, for the first time, we get to see ourselves,
(06:16):
but in a different way. We're not sort of just
painted with a very broad brushstroke guest or they're not
defined as refugees. They said, look, we're the same as
everybody else. Some of us are really smart, some of
us aren't, and some of us are really stupid. And
it's a really great opportunity to show people that, you know,
we have a full range of characteristics, just like everybody else.
(06:37):
But they love the fact that it was a comedy.
Speaker 2 (06:39):
Yeah, So how does a production like this compere like
this is this is a like true blue fear di
inco Mossie story. How does a production like this compare
to some of those massive, big blockbusters that you've worked on.
I mean, presumably people are drawn to spit for the
story rather than the big bucks.
Speaker 3 (06:54):
Well, completely we have there's a number of returning characters
to this film. But also what's interesting is the crew
and I don't I can't think of any film in
this part of the world that this has occurred with before.
We have the same writer, we have the same director,
we have the same cinematographer, head of design, head of makeup.
Like every key creative has come back because they want
(07:17):
to be part of this because it's really special. They
read the script and go, oh my god, this is
actually really unique. Tessnatoli, who did my hair and makeup
on the I worked with her a number of times.
She turned down, as did other crew members, opportunities to
work on big budget American films, and she would have
done very well so she could work on this and
(07:38):
our dates kept slipping, but didn't worry. No, I'm going
to do it. I'm going to do it. There was
a love and a passion to tell stories from our
part of the world and the fact that they are funny.
We have you know, we haven't a unique sense of
humor down here, And yeah, it does unite us. And
there's nothing better than sitting in a cinema that's full
(07:58):
of a whole heap of people laughing as one.
Speaker 1 (08:01):
Yeah, I don't know what it is.
Speaker 2 (08:03):
I think, you know, I think about I think about
some of those at Alien comedy cult classics from across
the years, and there is something about the Australian sense
of humor, whether it's Kenny or whether it's you know,
the Kerigan family from the Castle. Yeah, there's something about
Australian comedy that I think has a certain kind of
(08:24):
kind of magic that I mean, I know that Kiwi
audiences will will absolutely love. But it's amazing. So Gettin
Square was two thousand and three, right, and that the
environment into which that was released was profoundly different from
the streaming era in which we now live. And the
thing about Getting Square was that it did super well
in the sort of VHS DVD department, right, So I
(08:45):
sort of got a cult following through those sales. Do
you think we can make cult films anymore in this
modern streaming age?
Speaker 3 (08:55):
Well, those polp films are things that people find over
time and that's whay they become a cult. The thing
that we're adamant about with theirs is because of the
nature of the film as well. We wanted to we
want it to be successful at the cinema, just that
thing of being within your community and laughing together and
sharing it. I cannot tell you how amazing it's been
(09:18):
in all the screenings I've said in so far and
the reaction from audiences afterwards. I'll be honest, I haven't
actually had that sort of feedback from any other film
that I've been in and sat in. It's really it's
really quite unique. It's affecting people on a number of
different levels. The laughter is like it is, yeah, it's
(09:40):
constant throughout and it gets bigger towards the end, but
just some of the thematic concerns in there as well.
It really touches people. And we've had people really quite
profoundly affected in the fact that they find that this
is an Australian film that really does celebrate the all
the best of what we can what we can actually be.
Speaker 2 (10:03):
There must be so rewarding to see that, to see
it at firsthand, especially when you don't usually get that opportunity.
Speaker 3 (10:11):
I gotta say it's extraordinary. It's like the very first
time we screened it. We screened it it on the
Gold Coast, which I referred to as the spiritual homeland
of Johnny's Spatiri because that's where that's where it comes from.
And we screened it and afterwards I did a question
answer session. I talked about the wardrobe, the fact that
I saurce my wardrobe from a second hand shop in
(10:35):
the charity store in London, and I got this T
shirt which said this black T shirt that had in
gold less as Egyptians do it better. And as I
said that, this woman just stood up and said, yes, yes,
we do, we do. It was the whole audiences to
up and laughter, and then she just paused and she said,
I'm sorry. I'm just so overwhelmed with this movie because
(10:57):
finally I actually get to see some of my people.
We're Australians here and for the first time, I feel
part of a community and I can see some of
my people on the screen. And that has been consistent.
Not that it's you know, as I said, there is
no politics in the film. It's just a comedy that
brings people together. And that reaction from different parts of
(11:18):
the community. Has been consistent speak the going to tell
a story about the fact that which which people quite enjoy. Actually,
I also bought a pair of jeans over there that
will look really really really really small, and I thought,
there's no way I'm going to get into those, But
the lady who was working the shop wasn't looking. So
I pulled down my dacks and tried to get into
these women's gens and I got into them and they
(11:41):
fit me perfectly, and I thought, oh my god, yes,
these are Johnny's Batries jeans that looks as though they're
being painted onto him. So I went up to the
counter and I put them down, and the lady just paused,
and she didn't say anything for quite some time, and
then finally she just looked up at me, sheepishly, and
she said, you do know their maternity jeans, don't you.
Speaker 1 (12:03):
Do?
Speaker 2 (12:03):
You know that was what's quisten for you, was going
to be How on earth did you get into those genes?
I wonder if the costume department had had to sow
them on while you were sleeping.
Speaker 3 (12:12):
Now, you know, there's certainly a lot of give in
those genes, especially around the belly ridge I'm glad.
Speaker 2 (12:18):
I thought you might be having some sort of a
medical event trying to get yourself into those. Yeah yeah, yeah, no.
Speaker 3 (12:23):
Very difficult otherwise. Yeah, so I bought those a year
before we did the film, and yeah, yeah, kept them.
And because a year before the film, Jonathan Puplitski, the director,
lives in London, and we thought that we just workshop
Spateria a little bit, So we put him in the
streets of London for one day and Jonathan just ran
after Spateri with an iPhone, just capturing footage. It's not
(12:45):
in the film, and you know, one day we might
release some of it online. But it was so brilliant
because I hadn't were worn as we call them thongs
and as you call them jandles. I hadn't worn them
in twenty two years. But as soon as I put
them back on, the character came back pretty much instantly,
and I felt the way that Johnny walks and he moves,
(13:07):
and his rhythms and his paces and and the way
he spoke, and it was it was such a creative
joy to just let rip him London for one day,
going riding on the tube with no ticket and then
busking with with people and going towards Scotland Yard and
then we got kicked out of the portrait gallery.
Speaker 2 (13:27):
Why did you get kicked out for filming?
Speaker 3 (13:31):
Or Jonathan was filming Butteria was looking at a rather
big portrait of the Queen and god, yeah, looking at
that whatever. And there was a lady with who had
like a large tour group, a French lady, and for
some strange reasons, she thought Jonathan was filming them. And
Jonathan was saying, I don't know why'd be interested in
have a look at that guy there in front of
(13:53):
the Queen and that's who I'm filming, but she she
didn't quite believe it, so you yeah, to leave.
Speaker 2 (14:00):
I'm so glad you have gone to you know, to
such not extreme, but you know you you you have
gone to great lengths to bring this character back. And
I'm so glad you have because Spitt is so much fun.
He is an amazing character. It's a wonderful moving story,
as you say, And David, congratulations to you and the team.
Speaker 3 (14:19):
It really is brilliant, oh fabulous. Has been great chatting
with you, Jack, Thank you so much.
Speaker 1 (14:24):
For more from Saturday Morning with Jack Tame listen live
to News Talks ed B from nine am Saturday, or
follow the podcast on iHeartRadio
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