Ed Kavalee and Eyes Wide Shut

Episode Transcript
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Speaker 1 (00:00):
Gid A Pete, Hell, are you here? Welcome to you
Ain't seen nothing yet? The movie podcast where our chat
to a movie lover about a classic or beloved the
movie they haven't quite got around to watching until now.
And today's guests broadcaster comedian Ed Cavally, all below.

Speaker 2 (00:21):
I want to stay here with you.

Speaker 3 (00:39):
Why snake shucked? Why fail?

Speaker 2 (00:43):
It would be happening right so you don't seeing nothing yet?

Speaker 1 (00:56):
Very excited about today's episode, and I'll keep this intro
quick for a couple of reasons. One I want to
get into the episode. But two I'm recording this intro
just into my phone at an apartment I'm staying at
in Sydney because we're in Tampa. Peter and a Starcatcher
coming soon to Brisbane as well. Book tickets if you can.
But the episode you're about to hear was recorded in

(01:17):
our studio, so the same quality on this introduction isn't
as good as the actual episode. I beg, I beg
for your forgiveness. But Ed Cavally is somebody who has
perhaps been the most requested guests of YASNY. People who
know Ed know that he is a massive cinephile, loves
his movies, and it's taken a while for us to

(01:40):
negotiate what movie it might be, or just to find
the movie that Ed could watch for you and seeing
nothing yet we have an extensive list and he's seen
all the movies on our list. We managed to get
Tony Martin early on for Top Gun. People thought there
wouldn't be a movie Tony hadn't seen. Lucky Hume. We

(02:01):
also we had on and with with Ed, I thought
it wasn't gonna happen. And then finally he sent me
a message saying, you know what movie you haven't seen?
Eyes Wise Shut. I think might be the only Coo
Rick film he haven't seen, so to close in his
Cricke collection, He's gotting Eyes by Shut for us today.
For those who may not live in Australia may not

(02:23):
know Ed. He is a comedian broadcaster radio TV, perhaps
now best known for his role on Have You Been
Paying Attention? A comedy panel show that he is a
series regular. Every week he'll be there alongside Sampang and
hosted of course by Tom Weisner. And it is it

(02:47):
has become an institution that show. I get to do
it a few times a year and it's an absolute joy.
People love it. It's one of the biggest shows on Freeware TV,
and it's yeah, I'd love going on it and I
love watching it as well. But Ed also he has
made movies. I've been able to be in the couple

(03:09):
of those movies. One big role in the movie is
called Border Protection, and scum Bass was another one. And
I'm not sure if if I can say this, but
I know he's cooking something else up and hopefully that
gets up. But yeah, it's a great guy, funny, smart,
and I'm bloody stokes to be hanging with him today.

Speaker 3 (03:36):
Hello, im Ed Cavali and my three favorite films are Clerks.

Speaker 4 (03:40):
Everybody that comes in here is way too uptake.

Speaker 3 (03:43):
Still haven't begret if it wasn't for the fucking customers
with nail and eye he's had miss weigh fifteen pounds
on its own.

Speaker 2 (03:51):
Imagine the size of his balls.

Speaker 3 (03:53):
And life of Brian, my sire, I'm not the Merssiah,
I say you are, and I should know.

Speaker 5 (04:00):
I've put it.

Speaker 3 (04:01):
A few but until this week, I had never seen
Stanley Kubrick's final film, nineteen ninety nine's Eyes Wide Shut.

Speaker 1 (04:10):
May I have the password?

Speaker 2 (04:12):
Please?

Speaker 1 (04:16):
For Delia.

Speaker 5 (04:18):
That's right.

Speaker 6 (04:20):
That is the password for admit. But may I ask
what is the password for the house? The password for
the house? Yes, I'm sorry, Hey, I as seem to have.

Speaker 1 (05:00):
Forgotten it.

Speaker 3 (05:03):
That's unfortunate because here it doesn't matter whether you have
forgotten it or if you never knew it.

Speaker 1 (05:15):
You will kindly remove your mask. It's nineteen ninety nine,
possibly the best movie year ever, and Hollywood's biggest power couple,
Tom Cruise and the Cole Kimmen have handed over their
lives for over two years to want to Cinema's greatest director,
Stanley Kubrick to make Eyes Wide Shut, an erotic psycho

(05:36):
thriller that follows Cruiser's Manhattan doctor Bill over a night
as he learns of his wife's unfulfilled longing for a
naval officer. His wife played by, of course our Neck.
As Bill cruises the streets of New York, he has
a bizarre running with a grieving woman, visits a sex
worker in her apartment, stumbles upon possibly the creepiest costume

(05:59):
shop in the world. Hopefully innovation nigains are happening at Lombards,
But when he gets up with his old college Pader
Nick Nightingale played by Todd Field, who would go on
and become a director of considerable esteem himself. It's this
meeting that sends Bill into a covert, cult like orgy
that will have fatal ramifications for some all the world,

(06:21):
testing the strength of his marriage. Based on Arthur Schnitzler's
novel tron Novale, written by Kubrick and Frederick Rafia Eyes,
Wild Shut will be the Great Stanley Kubrick's final film,
passing Away, a mere four days after presenting his cut
to Warner Brothers, Ed Cavalley just checking you have the
password for to Night's orgy, don't you? Yeah?

Speaker 3 (06:40):
Absolutely, I do.

Speaker 1 (06:40):
It's Lombards Lombard and it's a Gleisner's place.

Speaker 3 (06:44):
Yeah, yeah, yeah, which one? Do you know that in
one of Tommy's mansions all the rooms locked from the outside,
inside and below. Well, once you're in your yeah, which
is what he'll often say, but it comes out because

(07:05):
of course he's got his bag egg in.

Speaker 1 (07:09):
It's a hot start.

Speaker 3 (07:12):
Is that what we're here for?

Speaker 1 (07:13):
That's basically this is this is this. It feels like
a big day for you. Ain't seeing nothing yet. You
were one of the most requested I guess we've had
for this podcast. We've spoken about you coming on, and
it's just been it's been hard to find a film.
I've got a huge list, and most people come back

(07:34):
and they go, well, there's so many films I haven't seen.
He's a dozen, pick one, and you were like, I've
seen them all.

Speaker 3 (07:40):
Yes, I'm sorry. I didn't mean to be difficult, but
I went through the list and well you were honest. Yeah,
Well because Tone was on. When when Tone was on
and he hadn't seen Top Gun, I was like, okay,
we've got to change the framework a bit to go.
And then when I listened to the show and I
remember when Rossi hadn't seen Wake in Fright, I was like, okay,
I sort of because you know, I listened to the

(08:01):
show when Limo hadn't seen with Mail and I I
was like, he's going to hate this, and of course
he did, and I just remember thinking the fuck is
wrong with that guy anyway. But so when you gave
me the list, I wasn't trying to be a wanker,
even though I am, I've seen them all. And then
I went back because but why had I seen them all?

(08:22):
People normally know why why have I seen them all, Pete?

Speaker 1 (08:24):
Because because you're no.

Speaker 3 (08:26):
Because I worked in a video store from the age
of fourteen to twenty five, So because I was there
three days a week, and I have told this story before,
but I had two I was very lucky my two bosses,
one Pete, who was an Englishman who was a music expert,
and my other boss, Rob, he was a film expert.
And so here I am fifteen year old kid, just

(08:46):
want to play a bit of Super Nintendo please, and
can I have a sprite? And why all the curls
who come in here who are absolutely stunning, they are customed.
The boyfriends that they brought with them were so much
more interesting than I was. So I had a choice
either be upset about it or go watch a film.
So I would go watch a film. And so I
would go and try and get like you know, Ernest
goes to camp and Operation Jumbo drop and Dunston checks

(09:08):
in and I would take them up. And my boss Rob,
who was a writer, and he had a film in
the video store that he had written. And ironically this
is why also I picked Eyes White Shut, because of
course I'm working at the video store in nineteen ninety
nine and I have a bizarre link to this film
which which hopefully will come to But Rob had a film,
an erotic thriller that he'd written called Centerfold that when

(09:28):
the studio got hold of they took out all of
the thriller and turned it into a porner. So the
man working at the video store with me had one
film that he had written on the shelves, which was
a porner, right, which he kept secret from me for
years until a customer told me. Right, a customer once
he was joking about it with him and I was like,

(09:48):
what are you talking me? And he's like, all right,
come on, and then he showed me the back of
the box with his name, Robert Fogda. Anyway, so the
reason I bring out of me. So I would bring
sort of you know, shitty movies up to the counter
and Rob and Pete would look at the and go
you're not taking those, And I go what do you mean?
They go, no, you can't watch that. You've got to
watch and they would give me a list and they
would send me back into the store. They were in
news in Sydney, and my three bosses another guy call Dwayne,

(10:11):
and they would send me back into the store with
a list of good films to watch that I then
had to go home and watch and then come back.
And so I was forced into this sort of film
education by these these by these these sort of film experts.
So that's how I've ended up watching sort of everything.
And that's why Tony liked me. Because when I first
met Tony at the party for Boytown, I was twenty four,

(10:33):
and he said, what's your favorite film? And I said,
with Nail and I And he says to this day
that's why. That's when he decided I was just going
to put this kid and get this because he understands
because no one says that. So that's sort of that's
how it happened. But just quickly. The bizarre connection to
this film is so in nineteen ninety nine when the
film comes out, so Tom Cruise and Nicole Kidman are
still married, right, Yeah, they don't break up. People think

(10:56):
this film broke them up.

Speaker 1 (10:57):
Two years later, I think they broke up.

Speaker 3 (10:58):
She says many times that they were happily married during
this Yep, so it didn't do that. But while they
were while this film was coming out. I remember it
because in nineteen ninety nine best film movie you ever.
So anyway, those films start to come out on video
at the end of ninety nine into two thousand so,
and I remember very very clearly one day, so there
was this weirdness because my boss sometimes would just disappear

(11:22):
into the store with the customer Rob. He would just
disappear into the store and he would do like a
huge like a film festival for them and curate films
for them. And here were the famous people that went
to this video store. Tony Perrin, John Ibrahim, the last
King of the Cross, right, right, and a Kimberly Joseph,
and then a number of people who since then I'm
meant to know who they are, but I didn't at

(11:43):
the time, right, And this happened one day Rob disappeared
into the store with this middle aged guy and he
came back with more movies than I've ever seen anyone have,
Like even the old guys that used to get ten
pornos for ten dollars for a week, right, good guys,
you did. And you always knew when they finished watching him,
because they'd never rewind it. They just stopped where they were.

(12:05):
So part of my day with just in the big
with this big rewinding machine. You just go, all right,
he must have that's a bit. And I'm like, I
said to Rob Ones, why am I rewinding these? Why
can't people just pick them up from where they left off?
You know what I mean? Anyway, didn't They've got other
things they need to do, true anyway, and what do
he needs seven of them? Like, you can't just watch

(12:26):
the end of this one anyway. So they he came
back one day with this with they do the more
movies I've ever seen in my life. And I was like,
that happened, And then it happened again a week later,
same dude during the day, sort of in the afternoon,
just just you know, not knock about guy. No, no, no,
I never thought anything of it, right, And then a
year later I see Rob typing out a letter or
sort of an email, an early email letter, and he's angry,

(12:48):
and I go, what's so, who's that to? And he goes,
that's to the studio. I said, the studio, what are
you talking about? He goes, yeah, that guy. You know,
they always money, they always they was like eighty bucks
in late fees and two hundred dollars in late fees
for this and two hundred dolls for and I go, okay,
who what the guys? Who was that? And he goes,
that guy his name is fucking Robert Town. He wrote Chinatown,
and he's out here doing rewrites on Mission Impossible too
with Tom Cruise, and he fucking knows this money right

(13:10):
fucking now. So when I was like seventeen, there was
my boss wandering and wandering the halls of the video store,
helping Robert Town find movies for inspiration for Mission Impossible.
To the bloke that wrote Chinatown.

Speaker 1 (13:24):
That is fucking incredible.

Speaker 3 (13:25):
Isn't that crazy?

Speaker 1 (13:27):
That's incredible? Yeah, Robert Town.

Speaker 3 (13:29):
Yeah, just wandering And I didn't know. I didn't know
till and even then because then that made me watch Chinatown.
That's what we think of it. I go, well, he right,
he goes Chinatown, I know, I don't know, and goes
God's sake here, and I said did, I said, why
do you get him to sign our copy? And he's
only want to be a fan because he was a writer,
So he wanted to be a writer with Robert.

Speaker 1 (13:46):
Town, right, that great is amazing.

Speaker 3 (13:49):
So anyway, the reason I bring that up is because
that's what Tom Cruise left this film to come and
do in Sydney, and part of the reason they did
it there was because he was still he was married
to Nicole Kidman, and they coming back here after filming
Eyes White Shut.

Speaker 1 (14:02):
And when he's filming Eyeswold Shut, Paul Thomas Anderson visits
him on set to offer him the role of t. J.
Mackett in Magnolia, which is one possibly Tom Cruise's greatest performance.
And then he when he's out filming mission impossible to
hear my friend Joel Perlman, who I show you organized
organize the first audience, you know, test screening of Magnolia

(14:25):
for Tom Cruise and Paul Thomas anders WHOA yeah, and
it was even longer than like, And Joel tells me
like it was almost like four hours and and people
were leaving at some point, and Joel kind of chased
him into the into the four and said, oh, you know,
can I just get you a bit of feedback you're
enjoying it is? Yeah, I love it, but I need
to I'm going to get the kids a craation in
the morning, you know, baby citizen. So yeah, there you go.

(14:49):
So I can't wait to get stuck into iwod shut
it's already no, no, no, you haven't. This is amazing.
But I want to talk about your three favorite films
before we get into it. Let's start with Nail and
Night it is it's funny. I had not seen it either,
like when I with Limo, and it is a film
that I regret not seeing earlier.

Speaker 3 (15:11):
Yeah, it's a like there's two things that can really
give there's three things that can make a film almost
impossible to watch outdated special effects, too much hype and
a lack of sort of too much hype special effects,
and sort of the look of it. What I mean

(15:31):
by the look of it is like you put on
Lawrence of Arabia now and you just like, holy shit,
those are real horses. Like it's still what the fuck
is going on?

Speaker 1 (15:39):
Right?

Speaker 3 (15:39):
But that with aline stuffers from a couple of things
where and it's always in lists. Always beware of films
in lists, because especially comedies, because I know it always
an often tops comedy list. And to comedians, you tell
a comedian, you tell us that something's funny, and it's
the top of the list of that funny. In our head,
we've already got a hierarchy of everything. You know, Rob

(16:02):
Situways talks about how quickly comedians can build hierarchies in
their head straight away they can give you their top five.
That's just how part of our minds were. You can't
watch it like that. You just can't. You can't watch
with now night. It's too weird, it's too slow to
get started. It's so hurt by that sort of jazz intro.
It's so killed by that because you can't then enjoy

(16:22):
it for what. You can't enjoy it after that. If
you're coming to it now thinking this is going to
be the funniest film of all time, and that's when
to the joke start. That's exactly it's going on.

Speaker 1 (16:31):
I came so you can't do it, and then it
was actually, by the end, I enjoyed it, and then
I enjoyed it more. I think Limo did as well. Actually,
and this happens quite a bit on this podcast where
we chat about the film with this watch yeah, And
I always make the point my guess is always and
sometimes me as well. Processing a film they have just seen.
This is not a film that has been on the

(16:53):
top three five. So by the end the discussion was like, yeah, no,
I'm gonna watch it again. I had watched, I have
watched again, like in the last six months, and I
enjoyed it a lot more. So I think it's it's
anywhere close to my top three, top five, top ten. No,
it's not. But but like I said, I still regret
not seeing it earlier, but I enjoyed it more when

(17:16):
the pressure was off.

Speaker 3 (17:17):
Yeah, one hundred percent. So you know, the other way
to look at with Mail and I two is it's
it's about it's weirdly exactly about now. So it's about
two actors. They're struggling for work, and they're dealing with
it in different ways. One's just trying to destroy himself
through booze et cetera, et cetera, where the other ones
just sort of calmly, sort of just trying to go
through the motions of see, all right, can I get

(17:38):
some work? And he end to sort of get some
work in the end. It's incredibly modern because it's now.
If you watched it now with none of that on
top of it. Let's say they just remade it, and
they just remade it today, and they had the same
script and they just moved they weren't in there. They
lived in a sort of semi share house in an
inner city part of the world, somewhere like that, and
they were just trying now to have a creative career.

(17:59):
I guarante team millennials will be like, Yes, that's what
I wish. I wish I want to be a YouTube star,
I want to be this, I want to be that,
because it's about ambition and not knowing what to do
to close the gap between what you think your abilities
are versus what you're being sort of dealt with and
whose fault that is. It's about who's fault with our lives,
about whose fault your life is like this and so
then that, and so the jokes in it are all

(18:21):
about frustration. Every single joke is about frustration. Even Uncle Monty,
you know, when you realize you're never going to play
the Dean and then and then he goes pulling the
cancers to him he's insane, sxual and and you know,
and Richardie Grant says to him, he's eccentric. Right, So
the joke if I reckon, if you read the script,

(18:42):
you would have got more laughs because there's jokes. There's
so many jokes in it. But they're just not fraying
that when the film starts. Bruce Robinson, cause it's all
based on his life, right, So you know Monty is Fellini.
So yeah, so no, the other one, the one that
did the semi nude Romeo and Juliet, the Italian director. No,
not for any of the other one. It'll come to me.

(19:02):
Uncle Monty is based on his experiences working with a
lecherous old director. So it's even more current if you
put it in that context as well, rather than just
sort of a posh English lord type. And so it's
him working through that experience, working because Bruce Robinson's stunning
when he's young, He's like the most beautiful young man
in the whole world, and so he gets cast by

(19:23):
this guy. I think it's in Romeo and Julia. I
think that's the film he's talking about. And there's a
line where Uncle Monty says to McGahan's character after he
started to sort of you make love to him, and
he says, I'm preparing myself to forgive you. And that
is a line. Yeah, but that's a line that after
this director, this Italian director of the real one, had

(19:46):
seen the script, had said to said to Bruce Robinson
after he read it and realized it was about him.
I'm preparing myself to forgive you. And I know that
because when I did get this with tone, he said
to me, who would you like to interview?

Speaker 1 (19:59):
Right?

Speaker 3 (20:00):
And I just, you know, it's a freaking street card.
I was, you know, it's a hand out the coach guy,
and I said, my dream would be Richidie Grant from
with Now And he was the first interview we ever had.
The first interview we ever had was with Richard E. Grant.
And then years later, I've got a photo in my
phone which I can send to you of me interviewing
Paul mcghan and I'm just nerding out. I was just
having the best time in life. And I said to

(20:21):
him that line, I'm preparing myself to forgive you, and
he stops and he goes, that's so funny. Pick that
up because it's weird. It's a different type of joke.
And he goes, oh, that's so weird. That's brutes talking
about this director, which he told me on set, that
is amazing. That's great.

Speaker 1 (20:37):
Yeah, I do like I think. I think it's a
film that I and I'm not just saying it's a
film that I reckon, I'll watch again.

Speaker 3 (20:44):
What was the print like? Was it dark?

Speaker 1 (20:46):
It was?

Speaker 3 (20:46):
Yeah, so that's a print thing. So I had the
VHS where it was dark. And then as a gift
to one of the things first things Tone did is
he gave me and it's Tony, He's got every print ever.
He gave me a new print and he goes, no, no, no,
you're missing it. It's not dark. And it was the
VHS that we got in Australia with such a poor
copy from handmade films because they just didn't care or

(21:07):
didn't care, they didn't really have the technology or the money.
And when you see it in the proper, when it's
meant to look, it's bright and the backgrounds are like
Kubrick are full of detail. So when they go from
the shitty London gray that's on purpose, yes, of course.
But then when they go to the country sid it's
rich and it looks beautiful, and so you get, oh, okay, it's.

Speaker 1 (21:27):
Almost what you're doing. I feel the relief when they
get to the country side, which is actually that's amazing.
That's great, Yes, that is great. Let's say about clerks
never apologize pleasing clerks. There's that the love of that
come from, you know, being behind a desk at a
video store. I no, clerks isn't set in the video store.

Speaker 3 (21:43):
Yeah, it is. Half of it is next Randall's next door.

Speaker 1 (21:47):
Yeah, there's like there's seven eleven and then there Randall's.

Speaker 3 (21:50):
And the video Yeah. Because so I'm obviously I'm twelve,
No twelve, No, I'm fourteen. I walked to the local
Civic Video at the time. I worked there so long
that we were every single one. I was Civic, I
was Blockbuster, I was Video Easy, I was independent. I've
got the name tag from every single type. I worked
there for so long, love it right. So one day

(22:11):
I'm there in I never forget. I'm now sixteen sixteen, sixteen,
fifteen six sixteen, I think it was. And my boss,
he would go through. Pete would go through all of
the magazines, the film magazines, to see what the what
interesting movies were coming out. So we would get like
one hundred copies of Dante's Peak. Right, But because we
developed this reputation, anyone who's listening to this in Sydney,

(22:31):
there were two of us. There was doctor Watt, which
is in Bonda Junction, and there were Civic Video, Rose Bay,
New South had Road and Old Tathead wrote and they
were known as places that film like not buffs, but
people who wanted good movies will go because of these
dudes like Tarantino's story and know how Tarantino talks about
him in Manhattan Beach with Robert Roger Avery, That's like
that was exactly what was going on where I was.

(22:51):
These two guys and Duyne. The other thing, they were
so knowledgeable that people would just wandering and then just
like just go and hang out with them, and you know,
like I said, like well known people.

Speaker 5 (22:59):
It was.

Speaker 3 (22:59):
It was a wonderful place. And that's why I was
there because they needed someone to stand behind the counter.
So I would just sort of man the counter while
they wandered off and did sort of personal film festivals
for people. And one day my boss because it was
r raided and I was too young, and he handed
me a preview tape. We used to get preview tapes
that you would take home and watch so you could
see how many copies of the film you wanted to buy.
The only two films that we never got were Jurassic

(23:20):
Park and Pulp Fiction. They were the only two preview tapes.
Tarantino didn't allow preview tapes, and Spielberg like, we didn't
need to give out preview tapes because they worried about piracy.
So he said, Okay, you're too young for this, but
you are going to love this. You are going to
love this film. This is going to change what you think.

(23:40):
So okay, I took it home. People don't know it's
black and white. Shot nineteen ninety four by Kevin Smith.
Shot in the credit card and Pete as you and
I know it's just jokes. Is it's designed for jokes?
In this film he invents podcasting because there's a scene
where two of the characters debate the labor policies of
the workers in the Death Star That Die. That's a podcast. Yeah,

(24:03):
he invents podcasting in that moment. He just he's so
far ahead of his time that there's no there's not
other scenes like that in other films.

Speaker 1 (24:11):
No, No, because this is Reservoir Dogs. Probably comes close,
But what is that before or after?

Speaker 3 (24:19):
It's just after but already written. But that's designed. But
Reservoir Dogs is trying to do something entirely different. Where
reason why Dogs is you know, it's a crime, which
is also wonderful, but.

Speaker 1 (24:29):
So about the conversations that were appeared in and Clerks
where an editor or another writer could go, look, we
haven't got time for that conversation hundred percent, and Reserved
Dogs has has a pretty hefty plot where Clerks has none.
And this is really what the Clerks is about, those conversations.

Speaker 3 (24:48):
Like you say, yeah, day in the life, it's so
it's you know, Clerks is just about a day in
the life of this shop and the characters, the two shops,
the video shop, and the and the quick stops of
the Quick Mount whatever you want to call it qu stop.
And I just remember watching it and I didn't even
know if I want. I didn't Pete, I didn't know
what I wanted. It was at school and I just
remember seeing it and going I could tell they had nothing.

(25:09):
It was black and white, the music was weird, it
was poorly shot, and it was hilarious. I'm just moving.
These guy's got nothing. They have nothing, these people, and
it's the best thing I've seen this year. And it
just I still now every day I think about a
joke that's in Clerks. And when you hear Kevin Smith speak.
Now you know, he's obviously the best. And I don't know, Pete,

(25:31):
that purity of all we ever do if we try
and write. You know, you've written films, you've written television shows.
The first what's the first thing that the so called
experts and suits come for? The jokes, That's the first
thing they come for, because as you know, it's sheet
music and they can't read cheat music a lot of them,
sometmes some kind. It's the first thing they come for.
So even if you get further away from clerks and

(25:52):
people say, oh, the language is age poorly, Oh, for
God's sake, what are you talking about, that's when it
came out. Yeah, like the Old Testaments language isn't aging
that great. I've read it, so it's like, you know
what I mean, Like, what are we talking about? The
jokes are hilarious, absolutely hilarious.

Speaker 1 (26:13):
Films should be a time capture of their time. Yes,
you know, and you don't get the revised yearly. It's
true and it should be, you know, if you want
to pay yourself on our back, the kind of go
look how far we have come? Yeah, you know that's
what it should be, not get rid of pieces of art. Yes,
but Clerks was, like you say, so Kevin Smith's debut

(26:35):
done on the credit card, like you say, and it
was just like almost the rebirth of indie film, or
like like it was more indie than indi. It was
the most It was the indies film you possibly come
up with.

Speaker 3 (26:45):
It made like Noah Bomback, who now secretly writes Barbie
in the Shadows he is he So he was making
these sort of talkie, preppy talkie films at the time.
Right Wilt Stielman was making Barcelona and Last Days of
which had at their core an era and an idea
of a place. It was just here are people. They're here,

(27:05):
they're preppies. They're trying to get it too disco clubs.
It's not going that great. Let's see what they've got
to say. Kicking and screaming. Same thing. Swingers as well,
perfect swingers, perfect example. Here's a world, here's people that
you don't really know, this is how they talk. Here's
eighty minutes of it. What do you reckon? And there
are so many absolute belters which are part of that.
The Size of Watermelons, which is Paul Rudd's first film,

(27:28):
is said in Venice about two people who can't really
get a job in Venice. And it's okay, but there's
bits in it like one of them sort of like
a Dandy Warhol's sort of lead singer, another guy sort
of at art school, and it's okay, but there's two
or three scenes in it which are absolutely fantastic. So
there's this whole era of sort of ninety five to
two thousand and one with a door somehow Pete was

(27:50):
cracked open slightly, and a lot of these small films.
That's Ow Bottle Rocket, the first film of Wes Andersen.
They just snuck in. They all just snuck in and
got these turkey comedies and I just watched them all
the whole time, and it ended up just sort of
that genre then went into television. It sort of went
into TV or whatever it became. But there's this little

(28:11):
era there where they just jokes were allowed. Just people
were allowed to talk to each other and they were
allowed to be a ton of jokes and then just
move on with your day. Yeah, and that was it.

Speaker 1 (28:20):
I thought he was doing a really high degree now
I think, and maybe with a fraction a fraction more
plot is Sean Baker.

Speaker 3 (28:27):
Okay, see, I'm not a Sean Baker guy. What should
I watch? Well, I said, Red Rocket? I think is
oh Red Rocket. I've never seen Red Rocket, and I've threatet.
I've threatened to a number of times.

Speaker 1 (28:37):
I thought it was one of the best films of
that year years ago. Florida Project is great either And
at the time of recording this, Angora has not been released.
You know. That's that's at Oscar bars about it.

Speaker 3 (28:49):
Yes, I'm just going to go back today with Franco
ZEPHYRRELLI not Fellen, because that was going to bother me
the guy, the Italian director, the Italian director. Yes, okay,
so that was who it was with Bruce Robinson, as
zephyr raally said to him, I'm preparing myself to forgive you.
So there we go. Yes, so that's clerks.

Speaker 1 (29:04):
Let's talk about Life of Brian. All three of these
films have come up in best Ye've got three best
because they are you think comedies particularly, I think with
NL Night and Life of Brian often on top of
people's list. But when did you first see Life of Brian?

Speaker 3 (29:17):
The same time? So, same time, So my boss just said,
my boss just handed me that because I'd watched very kindly,
I'd got into Monty Python as a teenager and because
it was cool not And then my boss, without me knowing,
found a catalog that was releasing all of Flying Circus,
their television show, not just the compilations, and so he

(29:41):
secretly because he would just had this weird budget on
the side. It was that he would just get things
that he liked, just and then weird. Of course people
then flocked to them. It was just it was really
just Smay. It was just Smay. I just knew what
people liked. And he bought the whole entire thing of
Flying Circus, every single frame, and just put it on
the shelf and then said, right, work your way through this.

(30:02):
So I work my way through this, and of course
you see sketch comedy, you go, all right, some suck,
some sketches aren't great, but anything in compilation is fantastic.
So by the time I got through that, and then
he said, right, okay, time for life for Brian. And
then he gave me life for Brian. And then I
just couldn't believe. I couldn't believe that it was happening.
It was just so funny, so quick, so simple. And

(30:23):
I was talking to Gleisner about it the other day,
and Gleisner was saying that he noticed something new the
other day where he goes, have you ever noticed in
and this is out of nowhere, by the way, We're
just sitting there and he just turns to me. He
just finished writing a book and he just you know,
in an hour. And he turns to me and he goes,
if you ever noticed in Life of Brian that when
they come in from another scene, the pythons have realized, oh,
we're going to just improvise something here, and they're always

(30:44):
improvising a couple of lines before the scene starts. So
there's a bit where when they drag in Brian before
he gets sent to be executed. Michael Palin is one
of the Romans, just just as it starts, is standing
on the side of the sort of Roman villa talking
to one of the centurions, and he goes and we're
sort of going for like an etruscan sort of feel
with this, And I was like, oh, yeah, right, I

(31:07):
still haven't noticed that. But it's that type of movie
where you just you keep noticing things over and over
and over again. It's so unbelievably spot on.

Speaker 1 (31:16):
And also it probably would have been an early lesson
for you and me. It's certainly one of my favorite
films of the comedic set piece, you know, and the
set pieces in films where they are action set pieces
or that was the first time I've gone, oh, there's
a story being thread through here that have been held
together by these funny set piece.

Speaker 3 (31:36):
Yes, wouldn't it be funny if so? Essentially in that film,
you know, Graha Chapman's character essentially just walked into sketches
and then walked out of them and then walked into
another sketch. The whole film is basically, he walks in
a sketch, happens, and he walks out, and that's the
whole movie. But they're all so good and the sketches
are so good. And the other thing is because they're
playing so many of the different roles. The pythons, they're

(31:59):
doing that thing where you know it's them and they
know you know it's them, but that gives them license
to go bigger and have more fun with it, so
even with each other. I want to interview John Cleek's
and I said, because there was I remember watching it
really clearly watching Flying Circus, and there's one sketch which
is completely different to the others. So normally with the
Monty Python thing, it is establishing shot. They're doing something

(32:21):
dressed as Nanas or whatever, a couple of sort of murmuring,
so people get the idea, oh, okay, they're playing Nana's
so they get used to who they are and then
the jokes start. But there's one scene where there was
one in Flying Circus where out of nowhere Paler John
Cleese is just standing on the street and it's handheld,
which they never did. It's hand held and with a
film camera and or not never but rarely and and

(32:42):
and Cleese is just standing there as a bobby and
he's sort of, you know, as an English policeman, bouncing
on his heels. And Michael Paler runs up to me
and excuse me, excuse me. I was just sitting on
the park bench and I turned around. I turned around
and make my wallet was gone. Thirty pounds was missing, right,
well on a park bench thirty pounds, yeah right, And

(33:03):
then there's a long pause and at the end of it,
Palan's just sort of standing there. He's standing there, and
then Palee goes, do you want to come back to
my place? And Clice goes all right, and they walk
off and the timing is so different, and I go
to cleee, so what was what's going on?

Speaker 1 (33:19):
Like?

Speaker 3 (33:19):
Was just I might be insane? And he goes and
he goes, he goes, that's so interesting. He goes, that's
so interesting. He goes, that's the only improvised sketch we
ever did. We were doing something else. I was early,
we were waiting for something, and so pale and I
came up with it on the spot. So when you're
talking about the comedy set piece, that speaks to how
much they thought they put into that, how much thought

(33:40):
they put into the comedy set piece, the sort of
exactitude of the comedy set piece. That's why it looked
different when they were riffing. And that's the problem I
think in a lot of films where well, you know,
that's how comedy doesn't work anymore. What they're saying is
it got too bloded with too much improv where people
thought they were funnier than they were and they were
too big. A does for people to say that wasn't

(34:02):
as good as you thought it.

Speaker 1 (34:03):
Was I really shiver when I hear actors talk about
how much to have improvised and listen. I do love
Judd Apatow. He's one of my heroes. I do love him,
and I can see how him and Adam McKay have
kind of got it down where they're throwing lines in,
and I think that's a different thing, to be honest,

(34:24):
that's that's the writing process, yes, but I don't like it.
I heard Vince Vaughan talk about and people will rave
about how good an improviser he is, and I've got
no doubt that he is a good improviser, but sometimes
it doesn't work for the movie, and it's like it
could it could be amusing. But and there's a time
when he's talking about I think I think it was
wedding crashes, and I just really I felt for the

(34:47):
writer because he made it sound like they basically they
ignored the scripts and it was all improvised. And I'm
sure that is not true.

Speaker 3 (34:54):
That always you'll hear that a lot with actors, you know,
and some actors a quote famous for it, where they go,
it's not on the page, and all they're ever saying
is all actors are ever really saying is I think
I know better than the writer and I'm more important
than them. They can shape it any way they want,
but that is what they're saying. And when if they're

(35:15):
ever if they're ever proved somewhat not correct, but if
the lines ever go in and go well, well then
you never work with that actor. You find out that interview,
you find that interview, you listen to that, and you
strike them off your list because they are coming in
really hot with that in their mind that they are
going to quote, improve it or rewrite it with you.

Speaker 1 (35:36):
Yeah, no, Dice, Yeah, I don't imagine there as much
improvising going on in the film that we are about
to talk about. Let's get into this.

Speaker 7 (36:04):
Leaving it a bad bad thing, leading it a bad
bad THEE beat it a bad bad Thie beat it
a bad bad thing.

Speaker 1 (36:15):
They did they nineteen ninety nine Stanley Kruebrigg, as we've
mentioned his final film, it's hard to like put it
into Like Tom the Cruise and Nicole Kibmen were as
big as almost anyone has ever been. As as a
cat goes, you know, it's certainly in that conversation. So
Tom and Nicole ed Cavilly. Did you enjoy Eyes Wide Shut?

Speaker 3 (36:40):
Of course, because you've got so. First thing is to say,
is it ninety ninety nine widely regarded as one of
the best movie years of all time? Right, so it
had some stiff competition when it came out, and it
got lost in the shuffle somewhat, because however it was.
It is Stanley Kubrick's most successful film. So it costs you.

(37:00):
It took one hundred and twenty five right, you know,
that's just box office. It's also the longest film ever
made at four hundred days in the Guineas Book of Records,
four hundred days of shooting. So, however, but the whole
thing hinges because I went back and I watched the trailers,
I looked at the posters, I looked at the articles
around the time, and I was like, yes, that's right.
And I remember this because sometimes because we're Australian, Pete,

(37:22):
was it just because we had nical in it that
we were thought and they, you know, because they could
be seen around town, will be more obsessed with it.
On Kubrick wanted to cast a real couple in the film.
He absolutely wanted to do that, and I don't think
you can underestimate how much the success of this film
was based on the idea that it was that they

(37:45):
were really a couple and could you tell if they
really were going to break up? That's the narrative around it.
The Tom cruise might be a bit left that's starting here.
That actually, oh, hang on, what's going on with Tom?
That's starting this time? And the fact that our nick
was there and she was nowhere near the star he

(38:06):
was at this point, but everyone comes out of it
talking about her performance, not his, and it's so wildly successful,
and do they actually hate each other? What's going on
on set? Is Kubrick filming real sex? That was the
number one narrative about this film, is Kubrick filming real sex?

Speaker 1 (38:23):
Well, that's also interesting that he didn't go the obvious
angle of having there's the mirror scene with Tom Nicole,
but he didn't take advantage necessarily. And we'll talk about
the lengthy goes to to shoot some of the sex
scenes soon. But it's almost surprising in a way that
the easiest thing for him to do to promote the

(38:45):
movie and to get some buzz around it. I mean
there was already buzz around it, but is have a
sex scene with like a you know, and this is
the most graphic sex scene you'll ever see, and people,
you know, like people would have flocked to that and
it would have made more money. But he resists that.

Speaker 3 (38:59):
Well, he resist it because I think he knows that
people are doing it for him, because if you watch
the trailers, it's just Cruise, no kidman, Cruz Kubrick. And
then baby did a bad, bad thing. You see the
cole drop the dress and then you see you do
see a bit of the mirror scene where they start
to kiss and then the masks bang, we're home three

(39:20):
images boom boom boom. So it's good. So cinephiles are going,
pervs are going. And then they managed to do that
thing what was that horrific film? And then they had
to then they pretended Chris Pines spat on Harry's styles
to try and drum up interest and it worked. Don't
Worry Darling. So if anyone's wondering what this is like,
this was this is where the Don't Worry Darling people

(39:42):
got the idea for their promotion. What really happened on set?
Do these people actually hate each other? And the director
is so substitute director for two stars are actually sleeping together?
And what can you tell from watching the film? What
can you deduce from watching the film. That's how this
was sold. Don't worry, darling. Is the modern version of

(40:02):
what this put forward.

Speaker 1 (40:04):
Yeah, yeah, it's it's I saw it in the cinema
when it came out. Who with I actually, yeah, ninety nine.
It would have it could have been impossibly myself in
a transcope. I don't remember making it like it wasn't
a date movie. I don't think.

Speaker 3 (40:22):
Well, I think it was sold that. It was also
sold as come and get freaky, come come here and
test your relate. It was like a relationship test for
people like see if your let's see how your marriage
slash relationship stacks up against this.

Speaker 1 (40:34):
Yeah, well I would have I would have been with
mine male wife from that time, so meeting her at
least maybe it was just pre meeting her. But yeah,
it's and I enjoy like like enjoyed it, but I
never watched it again. No, that's the thing, and it
was I really enjoyed watching this again in this moment

(40:55):
of time. And I'm sure we'll get into you know,
watching this now with these orgy scenes with you leaked
in the shadow now of Epstein and.

Speaker 3 (41:03):
P did so one. Kubrick's telling us that there is yes,
zero doubt because in my research for this today there's
not even any shadow of any doubt that he is saying, boy,
this is it. Much like with Clockwork Orange. He's saying,
there was this thing called mk ultra, they had mind control,

(41:25):
this is what they were doing with it, CIA, et cetera,
et cetera. And then years later they go, wow, he
was right. They actually did have all of those things. Now,
I don't know how tinfoy hat you want to get,
but I have to mention this.

Speaker 1 (41:35):
This is the editor editing, and.

Speaker 3 (41:38):
We're going to get to that's that's interesting.

Speaker 5 (41:40):
Okay.

Speaker 3 (41:40):
So the Shining Lookout Mountain, so that the idea of
the hotel on the top of the mountain based on
a few different places. However, during in the sixties and seventies,
in Laurel Canyon, there's a naval base, a secretive naval
base on the top of Laurel Canyon. It's still there today.
I'll tell you what happened to it in a moment

(42:02):
right in this place. What do you think they're doing
up there, Pete, is it radar?

Speaker 8 (42:05):
No?

Speaker 3 (42:05):
Are they developing weapons?

Speaker 8 (42:06):
No?

Speaker 3 (42:07):
It has the largest film studio in Los Angeles. Why
they say it's for developing pictures that come back from space.
But it's got a sound stage, it's got more cameras
than anyone's ever had in their whole life. And that people,
And so Kubrick has high level clearance at this place.
He has a he's a think Reagan has it, Kubrick

(42:30):
has it, carry Grant has it. That these are some
of the people they said. They said that more films
were made in that facility than the studios combined one year,
and yet no one's ever seen a frame of them.
So then when Kubrick goes to make two thousand one
Doctor whatever, right, he thanks government facilities and government agencies

(42:53):
in the in the credits of the film. They see
that and go get the shit out of here, and
they make him take it out. You can't make Kubrick
take anything out of a film. And they go, mate,
get our names out of those credits, and they do it,
and years later the credits resurface. So Kubrick, the reason
I bring that up is so anything you think people
have just been crazy with Kubrick's films. No, they're not.

(43:14):
He is one, and he thinks it's funny as well. Also,
maybe he's funny. He thinks it's funny. Kuby thinks it's
funny for people to do what we're doing now and
sift through he finds that funny. Yeah, he's got that
in his in his bag. But he's also got Yeah,
what's going on with this guy? He's also got a
huge bag of that.

Speaker 1 (43:31):
Yeah. Well he's working at different levels of like big ideas,
big kind of you know, I'm telling you something here
from a thematic point of view, and then there's Easter
eggs like he was almost like the first of the
you know, doing Easter. I mean everything is somebody say
anything you can read, any sign you can read in
the Kubrick film means something.

Speaker 3 (43:51):
So two six seven, So what's the room two three
seven in the Shine two three seven. That's the number,
the street number. Tom Cruise walks past everyone's names. His
Cruise names are in there. At the end of this film,
Tom Cruise has a copies of Kubrick's films in his flat.
He put that there on purpose.

Speaker 1 (44:12):
Yeah, Now he's gotta be a rain Man in there
as well.

Speaker 3 (44:17):
A Super Nintendo, so I had to get that. So
he also, no, I'll come back to that because that
that that that reminds me of that.

Speaker 1 (44:24):
Did you feel always asked did you feel comfortable as
far as that you were going to like, you're watching
a good film or a great film.

Speaker 3 (44:32):
So you've got so you you're not allowed to say
if you watch a lot of movies. There's a certain
threshold of movies that once you've seen a certain amount
of films, you're not allowed to say that you don't
really love Kubrick is like the Godfather because you then
you just then you describe yourself as unserious to the
other people who have seen that amount amount of films. Right,
That's just what happens. You switch off, Like when Limo
said he didn't get with No one night because he

(44:53):
grew up on a farm in Adelaide. I'm out, he's
going on so so then, but I didn't. I liked it.
I liked it because I thought it was funny. I
thought it was funny, and I thought he was trying
not trying. He succeeds in doing whatever he wants, So
I think you have to know stuff about this film.

(45:15):
I think you have to know that Nicole and Tom
were a couple. I think you have to know that
they were the biggest couple in the world, and that
he knew that in the seventies when he first had
the idea. Do you know who he met with?

Speaker 8 (45:25):
No?

Speaker 1 (45:26):
Oh, no, Steve Martin?

Speaker 3 (45:28):
Yeah, yes, what the fuck?

Speaker 1 (45:30):
Yeah? Is it after the Jerk?

Speaker 3 (45:31):
Yes? So before the jerk he'd seen him do stand
up in London. This is just before the jerk.

Speaker 1 (45:37):
So he imagined this, and so he had this for decades.

Speaker 3 (45:40):
So eighties, eighties is Steve Martin? So eighties because I'll
get to it wasn't the seventies year.

Speaker 1 (45:43):
Yeah, and he got to be visious having making this
as a comedy. I think, yeah, later even either meets
or he has the idea that Adam Sandler could play it.

Speaker 3 (45:50):
Yes, he goes Woody Allen in the seventies, Steve Martin
and then and Steve Steve Martin and then Adam Sandler.
See that tells you thinking comedy. That tells you he
thinks jokes are a crucial part of this.

Speaker 1 (46:03):
And he watches comedies and he loves comedies and and
you know, like you said, he is putting jokes that
in these films that you know, not for everyone, and
some people won't recognize them as jokes. But he's chuckling away,
he's having a good time. He's having a good time.

Speaker 3 (46:20):
Yeah, he's having a good time. So so when at
the end, at the end, you want to do best
Kubrick stories from this, because there's three or four which
are just like you are going to absolutely be thrilled by.
We may cover them, so I might. Let's save it
to see if we get there.

Speaker 1 (46:34):
Well, let's so okay this and this is jump, We're
going to jump all around. But that's what this does.
Do you subscribe to the theory that this this cult,
it's it's pedophilic cult.

Speaker 3 (46:48):
No, I subscribe to the idea that it is it's
a group of people whose feet don't touch the ground,
who are so rich and so out of there, and
it's become boring that they have to keep trying to
think of new orgies situations to keep themselves excited. And
I had a weird thing happen whereby I was at

(47:12):
a party, not like one of these things supiming was
an annoying because I was in a maskings. Long story short.
I was talking to someone who said, oh, you got
to hear other person's story about what happened to them.
I said, you'll love this. Then they said what I
did for a living. And this person, who I didn't

(47:34):
know was with someone I knew, said no, I'm not
telling him. He'll tell them. I said, okay, I won't,
which I am now because a couple of years ago,
this person lives in Europe. This person is from money.
This person is obscenely rich. They're so rich they don't
wear anything that signifies wealth. So all my friends from

(47:55):
high school would wear gold chains because they had no
money signifier. You're in a Gemini, mate, You're not fooling anyone.
That's your mum's sigma. I don't care that it's got rims.
It's a sigma. Yeah. We've paid four hundred dollars for
the midst of busy cult. You and I both know
that that gold chain, it's not falling anyone werring fubu

(48:20):
for God's sake, fubo. All right, you're not fooling anyone.
So this dude was so rich that he was wearing
just like a linen semi shirt pair of pants, and
he would look bored. He he'd mastered the art of
just looking bored at a place which was the best
house I've ever been in my life, and he was

(48:41):
managed to look bored. That was the first thing I
noticed about it. And I thought, well, he looks bored.
And I realized, Okay, he's saying this is shit compared
to what I'm used to. Right, So this guy goes,
just tell him he's Oh, for God's sake, alright, I'd
fight because he knew I'd be thrilled by it. This
dude says, I'm at an event in America. I go where,
and he goes, you won't know it, Like we're in America, Pete,

(49:05):
don't I know? Like you know what I mean, what
a weird thing? I didn't say Transylvania. He said, you
won't know it? And I was like, all right, was
a chap equittic like word? Are we talking to it right?
Because you won't know? I was fine, whatever, and he goes,
I just got this dude says I've just been married
and I was there with my new wife and she
comes over to me and says, you'll never guess what
just happened. And he goes what And she goes, I

(49:27):
was talking to this man a little bit older who
is from a family. I'm going to write it down.
You can't say who it is, but I'm going to
write it down so that you can react. Okay, And
she says, I was just talking to X from X family,
a family so historically well known that everyone would know
it if they found out who it is.

Speaker 1 (49:47):
Before you show me, can I can? I throw out
the name that comes to mind, Kennedy.

Speaker 3 (49:52):
They wish all right, okay, So underneath it I was
white shirt. That is the name of the family.

Speaker 1 (50:01):
Okay, you got me? Yes, yes, yeah, yeah, yeah, new ship.

Speaker 3 (50:05):
Right, and and to this and I go wow, and
I made a joke about what people know about them, right,
And this person goes no, no, no, no. That person still
carrying that surname invited me to a party and I
said I was married, and he said we all are.

(50:26):
I said I'm married, he said we all are.

Speaker 1 (50:31):
So this so I reckon when I watched it in
ninety nine, I thought, this is the same fantasy sh
sh and it's it's a bit much.

Speaker 3 (50:41):
And it's a bit much. That's a great way of
putting it. Yes, A bit much ritualistic of all geez
dudes in cloaks.

Speaker 1 (50:49):
But when you thought when you were dealing with people
who live in a different stratosphere but have to walk
amongst us, Yes, they they I imagine they will need
someplace to go to not feel like they are. They
feel like they are on another planet.

Speaker 3 (51:04):
One hundred percent. And that's why it's so crucial. It's
said in New York, where you can literally at some
point you've got to hit the street and someone might
be shitting in it. That's why it's so crucial that
it's set in New York. And I guess we'll get
to the way he filmed it, et cetera, says, because
it's all in London, we'll get to that, right, But
that is why it's so crucial that it's in New York.
That's why when it's originally the novella is set in Vienna,
I believe, and the guy that wrote it was friends

(51:26):
with Freud, right, yeah, but they Freud never wanted to
meet him because everyone kept saying it parties, you should
meet von what's his name, because you guys have got
much a lot of similar ideas and you look the
same and Freud said to I don't want to meet
this guy because I don't want to be seen as
a fraud in my own life. And then they became
friends later in life. So that tells you what we're
dealing with here.

Speaker 1 (51:43):
Yeah.

Speaker 3 (51:43):
Yeah, if you're going up to Sigmund Freud and going
there is a dude who is just like you over there,
you're already you're freaking the deed, right, So anyway to
get back to say that, So that's exactly the case,
and he's that's what he's saying back then, Man, he
was right.

Speaker 1 (51:58):
See I think I think, I think there is a
pedophilic thing going on now, and it might be that
Kubrick is nudging us or winking at us. I think
clearly the women who are there are not underage like that.

Speaker 3 (52:17):
They are the models. The models are not the thirties
almost they're even not that, they're even not sort of
early twenties. They're sort of older than that.

Speaker 1 (52:24):
Yeah, So I don't think he is going for me that,
But I think because I think part of the reason
he has done that because I don't think he would
be able to make this feel You cannot have no
naked fourteen year olds.

Speaker 3 (52:36):
You know, remember this dude made Lolita. So he's he's
ridden this train and gone, okay, what you know that?
So he's done that, he's done Lolita, and now he's
come to this one hundred percent. Yeah, yes, are so.

Speaker 1 (52:49):
Then you have this you know, the Lombard not definitely
not Lombards, but the costume place, and you have the
this weird dude and he's.

Speaker 3 (53:00):
Doing a comedy routine.

Speaker 1 (53:02):
Yeah.

Speaker 3 (53:02):
Yeah, he's just a comedy character in the middle.

Speaker 1 (53:05):
And he's very welcome as far as like he is,
like he bursts into it and grabs your attention. Yeah,
because you know, there's a lot of characters in this
film really like you know, like Tom Goes and some
of them are you know, a bit more subdued. And
so he's a little fire cracker. And then there's this
weird thing going on with It's Lily. Yeah so, and

(53:29):
there's two Japanese men who are clearly having sex with her.

Speaker 3 (53:32):
One of those dudes ended up in as a pilot
in the Star Wars prequels.

Speaker 1 (53:37):
Oh really, check like a ruined Star Wars for me.
And it's it's unclear.

Speaker 3 (53:48):
It's very clear he's pimping her out.

Speaker 1 (53:49):
He's piping around. Do you think he's he has caught
caught them in the air.

Speaker 3 (53:54):
It's part of paying. Part of what they're paid for
is to be to be caught. Ndred percent is to
be caught.

Speaker 1 (54:01):
Because you see later on when he's when he Bill
returns to the costume that they are leaving, and that's it.
And then he's more open with the offer of like
when you use anything, Yes, the daughter and.

Speaker 3 (54:12):
You actually whispers to him when she when he's getting
his because he goes there to get the costume he
needs for the party, she whispers something to him. What
she says to him, She says, get a cloak with
an lined with ermine, so she knows where he's going.
And of course ermine is classic for aristocracy, and that
was one of da Vinci's paintings, you know, the lady

(54:32):
with the ermine cloak. So he's he's every moment, every
chance he gets. Here's one, yeah, cop this well, this one.

Speaker 1 (54:41):
There's the pram at the end, this old fashioned pram,
which is a nod to Rosemary's baby.

Speaker 3 (54:46):
No, it's the actual one.

Speaker 1 (54:47):
It is the actual one.

Speaker 3 (54:48):
It's the exact Rosemary. It's it's just like so how
does he get this point? So he you know that
he invented street view. So for this film, Stanley Kubrick
invents street view because he gets his nephew to go
on the Commercial Road in London and take a photograph.
Because Kubrick said, no, no, no, no no, because this guy
was like a normal human being, goes no, no, no, no no.

(55:09):
You can't take it facing up or facing down because
it will distort the buildings. It has to be taken
from street level view street He calls it street level.
So the dude goes with a camera with a camera,
a film camera, and sets up a ladder, takes a photo,
gets down from his ladder, gets a ladder, takes the
next one right, gets them developed, takes them back to

(55:30):
Koubry and has to sticky tape them together so that
Kubrick can look at the commercial Road in a series
of photographs in a row. So he invents street view
for this film.

Speaker 1 (55:41):
Sound I could have just left the house and well.

Speaker 3 (55:42):
That's the other thing. Maybe you know, you know it's
there right now if you want to go stand I
do it. But mate, it is, I mean it is here.
That dude had to spend a year taking photographs of
front doors just so that they could find the right
one for Tom Cruise.

Speaker 1 (55:56):
Yeah, so what the let's talk about We'll come back
to the Colton and but let's talk about Kubrick and
his methis he basically broke Shelley de Val in The Shine.

Speaker 3 (56:09):
Did it to the to the Twins in Shining? Never
act again? Danny never acts again in The Shining. A
couple of the guys from Full Metal Jacket never act again.
The other soldiers. This is in his wheelhouse.

Speaker 1 (56:21):
Yeah, and he's doing things like making Tom Cruise walk
through a door the ninety five times.

Speaker 3 (56:27):
Ninety five times. However, yes, what does he know about
Tom Cruise to know that he can't crack him? Because
when the Cock evens interviewed about this film later, she says,
I would have done another year. Yeah, it was four
hundred days. I would have easily done another year, no drama.

Speaker 1 (56:42):
So they signed open ended contract basically, so they are
available to Stanley Kubrick for this movie for as long
as Stanley Kubrick Craze signs, which ends up mission impossible
getting pushed back in the sequel. So and this, you know,
he is obviously obviously a genius who has made some

(57:03):
of the most you know, the greatest films ever that
will live forever, immortal films. There's a get to the
point though, where you do go do you need thank you?
The shoot the sex scene, a rugged sex scene with
Nicole Kimmen and then who I thought was Aaron Akhart

(57:24):
for a while I was googling and for six.

Speaker 3 (57:28):
Days, well yeah, I know, and it's only one it's
only two angles right in the actual filming of it
in the black and white, and so Alan Cumming, who
plays their hotel clothes, that scene took a week. There's
a scene between Sidney Pollack and Tom Cruise at the
end of the film, which is two people talking in
a pool room. That took six weeks.

Speaker 1 (57:47):
Right now, Harvey Kaytel left the production because he was
going to play Sidney Pollack's character one hundred percent Victor,
and this went no, I'm not, I'm not. I'm not
walking through that door for you more than four times.

Speaker 3 (57:56):
And then you know what they started telling people. They
started to try and make Harvey Cartell look bad.

Speaker 1 (58:00):
You know what.

Speaker 3 (58:00):
The room went out. Ah, so kit Tell just leaves
goes I'm not doing eighty seven takes of walking through
a door go fuck yourself? Right, I love that. Yeah.
The rumor then went around, Oh no, no, it wasn't that.
What happened was that kite tell the sex scenes that
you know that Sidney Pollock was meant to have in
the film. Kitell wanted to be masturbating for real, and
he ejaculated on someone's leg, which ended up happening in

(58:24):
grown Ups too.

Speaker 1 (58:25):
That's what I call it. I was gonna say, that's
what that's why he plays mister White.

Speaker 3 (58:33):
So but I agree with you with so Obviously everyone
wants to do the same thing. Everyone wants to go, hey, Stan,
come here a minute on the screen of two takes.
One is take thirty seven. One is take eighty seven,
which is which, yeah, that's what you want to do. Yes,
that's because he burns them all.

Speaker 1 (58:49):
Yeah. Well, and also it's you do get to the
point where you go, Nicole Kimman, and it's not just
it's it's a very it's a sex scene where you like,
there are clearly hands on genitalia form and he's encouraging that,
and he's ever saying rougher, rougher, ruffer at what point
does somebody and I suspect if it was happening that

(59:12):
imagine the itacy coordinator on Eyes by Shut In twenty
twenty five. You know what it is that's amazing it like, yes,
so none of that happens, and it's like I do
it's and I'm not asking for Stanley Kubrick films to
be canceled. I know it joins, but at some point
you're going to go, it's ridiculous, Stanley, Like you don't
need to be somebody should have been stepping in going no,

(59:34):
you are not get you get this scene for a
day exactly.

Speaker 3 (59:37):
But who is that person? Because what's his argument that
he always comes back with, I came in under budget,
which he does. So the reason that so that you've
answered your own question, that person told me. The studio
they never say anything because they know they've got a
Stanley Kubrick film one and two is under budget. That's
his key, the reason he gets away with it. The

(59:58):
key bit is that he's under budget because they've got
nothing to hit him with in terms of they do
in terms of fucking let it go. But he's under
budget every time, and that is his key. When I
read that I was like, that's how he got him
because he's under budget. That's why they don't give a ship.

Speaker 1 (01:00:13):
Nicole Keppan gets injured in that, in that, in that
and yeah, yeah, like it's and and and the actor
who's just like this model too, is this model wrote
his name down somewhere Gary got or something Williams.

Speaker 3 (01:00:28):
Yeah, and he just that's his only bit. That's his
only Yeah, he said his only credit. Yeah, and he
kind of got that's unbelievable.

Speaker 1 (01:00:34):
He got he got signed and and and and wasn't
really sure exactly what it was because obviously the secrecy
around it, they're not giving telling you. Gary got the whole.

Speaker 3 (01:00:42):
Scripts, sorry page any one.

Speaker 1 (01:00:46):
So wow, Gary Gobber.

Speaker 3 (01:00:49):
No, Gary Gobby. You never guess why they call me Gary.

Speaker 1 (01:00:54):
There was over fifty erotic positions that were filmed. They
go with basically to maybe forty seconds.

Speaker 3 (01:01:01):
Fifty fifty erotic positions. There aren't fifty.

Speaker 1 (01:01:07):
I've had three. I've counted three to three.

Speaker 3 (01:01:10):
You fax me the third one. I'd love to see it.
They're on the slot adjustment adjustment. Yeah, as you get
the swing right. Didn't make you want to go to
an orgy?

Speaker 1 (01:01:19):
No? No, certainly did not. It did not.

Speaker 3 (01:01:22):
It did not make you want to go to a
masked up orgy. No, No, okay, well well so pete, okay,
let's just say p Hellier you get, you know, for Dalio,
which is also the name of a series of secret experiments.
So we'll get to that in a moment. Even that
he's picked because it's a boatsart op er Bethoven if
I can't remember which one it is. No, he's picked
that because it's the name of secretive experiments. He knows
what he's doing, right every time. All right, there you

(01:01:43):
get the invite mask, and you're standing in the circle
and they do the and one of the beautiful models
gets up, comes over and gives you the mask kiss.
You're not fired up?

Speaker 5 (01:01:54):
Uh?

Speaker 1 (01:01:55):
Well no no, because I kind of my first quess
will be like, who's going to be there?

Speaker 3 (01:01:59):
These things?

Speaker 1 (01:01:59):
You don't no, no, you know, you don't know. Is
it also weird that they're performing like sixty nine sexual
position with masks? How does that work?

Speaker 3 (01:02:08):
It's it's really yeah, I was spilling. I was like,
you wouldn't it made mask off?

Speaker 1 (01:02:14):
For that? Isn't some occasions it's.

Speaker 6 (01:02:16):
Going to be.

Speaker 3 (01:02:18):
Yeah, it's going to be a mask for that one.

Speaker 1 (01:02:21):
Having a plastic mask at the end of your it's.

Speaker 3 (01:02:25):
Not what I'm here for. Excuse me, Red Cloak? Can
I get a different position? I understand there's fifty you
want to get some variety and what about the city.
So one of the first uses of CGI ever is
to add extra blokes in black cloaks to to obfiscate
the actual graphic nature of the sex being shot.

Speaker 1 (01:02:44):
Because he needs it to be our raided, but he
doesn't want it to be like x Rader and and
so he's watching films like Fatal Attraction, Show Girls. Yes,
that's basic instinct that kind of work out how how
how close they came to, you know, getting that rating
or losing that rating. So yeah, I I love Stanley Kubrik,
but I just kind of I don't is this like love.

(01:03:06):
I love hearing the stories about it because it's you know,
it's a film mystery, but also it's like, I I
hopefully that that stuff never happens again.

Speaker 3 (01:03:15):
No, And I wouldn't last five minutes on one of
his movies. I just wouldn't the pay I just be like,
what are we fucking doing? Like Take twenty was fine.

Speaker 1 (01:03:23):
Yeah, well what you went for Working Dog, which have
the opposite of like what Stanley Kubrik does, but they're
like the great thing about doing Have you been paying attention?
And I hope you Yeah, I've got my love. Have
you been paying attention? A friend of the show shirt?
And I'm proud. I'm very proud to get that is
you go in and there's no fucking about like you
go in, you get in the makeup, you go block

(01:03:45):
the show for cameras and lighting, go to the groom
and they load the audience and you start and it's
it's joyous. Yeah.

Speaker 3 (01:03:51):
Because Tom, I asked Tom about this film in the
lead up to this Tomm he goes, oh, yeah, I
think I went to a media screening in nineteen ninety nine.
Had you go? He goes, no, No, not for me.
I said too slow, too slow, too slow. I had
somewhere to be right. I like that is the so
And I know what you mean because he always says
that the budget buys him time. So that's Kubrick's thing.

(01:04:12):
Time he thinks is just amorphous and he can just
do what he wants with it. And so when you
see that it was four hundred days to make this
film and it wasn't finished. There is no way this
film was finished.

Speaker 1 (01:04:22):
So well, yeah, yeah, you go for it. Do you
want to? So there's Stanley Gery does deliver. Reportedly to
bat Brothers.

Speaker 3 (01:04:31):
He did, that happened, There was a screening that happened.

Speaker 1 (01:04:33):
And he dies four days later. There are rumors that
there was a recutting of this film to hide certain things.
One of the biggest things pertains to the ending, which
you have Nicole Kidman and Tom Cruise walking through the

(01:04:55):
shop at Christmas. Great Christmas movie, by the way, fantasty
Christmass raised along time along say try I'm for holidays.
Let's let's have a little listen to uh Bill and analysis.
They walked through the store and they discussed the ending.

Speaker 4 (01:05:16):
Maybe I think we should be grateful, grateful that we've
managed to.

Speaker 9 (01:05:32):
Survive through all of our adventures, whether they were real
or only adream.

Speaker 1 (01:05:52):
Are you.

Speaker 7 (01:05:55):
Are you sure?

Speaker 8 (01:06:00):
H am?

Speaker 3 (01:06:03):
I sure?

Speaker 2 (01:06:08):
Mhm h oh, only.

Speaker 8 (01:06:20):
Only as sure as I am that the reality of
one night that alone matter a whole lifetime can ever
be the whole truth.

Speaker 3 (01:06:37):
Mh And no dream is ever.

Speaker 10 (01:06:46):
Just a dream m hmm.

Speaker 1 (01:06:51):
There's a bit what we'll play uh uh botch. There's
a couple of things. First of all, do you t
into a theory that this is the Tom Cruise Bill?
Is it's a dream?

Speaker 3 (01:07:04):
If it's that, then the movie sucks I completely. If
it's a dream, this movie sucks so bad.

Speaker 1 (01:07:08):
Yes.

Speaker 3 (01:07:09):
And is he just buged it in to try and
give himself an out or is he just trying to
because you remember he says interesting is better than real,
So that's Kubrick's motto in life, interesting is better than real.
And I feel as though he's just bugged it in
to go And I don't I haven't read them novella obviously,
the Trouman novel, so I don't know. So I don't
know if that's something he's kept from that or if
something that he's written, or that's something that he's written
on the set, which he was famous for rewriting the

(01:07:30):
script while he was shooting it. He would do that
all the time.

Speaker 1 (01:07:32):
And if Schnitzeler's friends with Freud, then yeah, dreams are
probably always going to be a part of it.

Speaker 3 (01:07:36):
That's the point. That's what he That's what was apparently
what drew him to it initially. So if that's it
sucks so bad. It can't be a dream because people
keep saying that, Pete, how shit is it was all
a dream? Exactly the fucking worst. It's the fucking it's
the worst thing you can do. It was all a dream.

Speaker 1 (01:07:54):
I love the idea. The fact that Alice has had
these dreams and these thoughts, that's the interesting thing that
she's having.

Speaker 3 (01:08:01):
Sends him off. Yes, so yeah, I reckon. That's one
of the reasons people hate it. I reckon. One of
the reasons that people really don't like this film is
that it might be all we dream ah, and what
have we been doing? Because it's as if someone has
been telling you their dream for three hours, so, which
is always awful. When someone tells you their dream, it's awful, right.
And when you're young and single and an attractive woman
says she'd like to tell you about a dream she had,

(01:08:21):
you go, yeah, this sounds good. But when you've been
married for teen years, like I have, my wife starts
up about her dreams, I'm out of it.

Speaker 1 (01:08:28):
Yeah. I also don't think it's shot or there's enough
dream like things going on it.

Speaker 3 (01:08:34):
So you know what they say, the claps, So there's
a bit where Tom Cruise is walking through New York City. However,
how was that shot that was he's on the treadmill?

Speaker 6 (01:08:42):
Was?

Speaker 3 (01:08:43):
And yeah, baby, he's on a treadmill with rear projection
in nineteen ninety eight.

Speaker 1 (01:08:48):
Yeah, and it looks. It looks great, it looks great.
There's one shot in the car. There's one shot in
the car where it looks do it's a bit dodgy?

Speaker 3 (01:08:53):
Yeah, but and then he claps Yeah, and that's meant
to snap it out of a dream state because he
does it a few times. But if any of that's true,
the whole movie sucks.

Speaker 1 (01:09:03):
Yeah.

Speaker 3 (01:09:03):
If I could cut one thing, I would just cut
the idea again, No, mate, come on.

Speaker 1 (01:09:07):
So I just thought that was Cruse being Cruise.

Speaker 3 (01:09:09):
You know, I don't reckon. I don't reckon. Well, I
hope it, I hope it is. That's something he had
to do eighty times as well, or something like that,
because you know that he would shoot the scenes on
VHS first. So Kubrick would shoot the scene on VHS
first and then show it to the actors back and
go see that bit, do that again? See that I
like that bit? So to do that?

Speaker 1 (01:09:27):
Do that?

Speaker 3 (01:09:27):
So he would do that first. So even though he's
in eighty seven taps, he's already shot it on a
VHS to show them. Yeah, how annoying.

Speaker 1 (01:09:35):
He's very annoying. So okay, so let's do back the dream. Well,
we recommend you watch it with It's not a dream,
its happening. It's not a dream, it's happening. So this
ending so that their daughter, they basically don't take their
eye off the door to be mindful of her, and
then they kind of they see her walk off, and
then they don't and they almost like they're allowing it,

(01:09:58):
and she walks off with two the man too, gray Head,
the older man who we do see at the party
at the start when they're walking up the stairs, and
it's all very subtle, but it's there. And a theory
is that they are basically sacrificing their daughter to this cult,

(01:10:20):
which would lend the idea that this is actually a
pedophilic thing going on.

Speaker 3 (01:10:24):
And yes, so two questions. Roger Avery on The Joe
Rogan Show this week said he's got a shooting script
from the set, and that absolutely happened. They did. That
was the pedophilic thing. They were trying to take it
out and that there's a voice over missing and you
can tell because of there are gaps in the film,
particularly when he's at the Morgan he's looking over. I'm paraphrasing,
but he says, one hundred percent there's a pedophilic thing

(01:10:46):
which which they've cut. They've the studio said cut it,
and that the part of what gives it away is
the fact that there's no voiceover and that certainly footage
was cut because there's things that if you're a real
deep filmmaker like he is and in Quentin, that they
can notice to go, hang on, that's not that's off,
that's not Kubrick right, because they're students of his stuff.
One hundred percent believe that, and I also believe that
that is what he's alluding to there. And the fact

(01:11:08):
that every woman in the film is a redhead who
looks like Nicole Kidman. The idea is that is that's
what she was. The idea is that she used to
be one of the hookers at these parties. Because when
she drops the dress at the start, she drops it
the same way they drop the cloak. So she drops
her black dress at the start and you see her
body and they all do the same thing, and that
she's basically it's this is a cycle that has been

(01:11:29):
going sort of infinitum, around around it goes, and so
that her job now is to breed the next Her
job is to breed the next generation of girls that
are going to be part of this, which says it
just won't stop. And then so now I was reading something,
but Nicole Kidmer said, she said that her and Stanley,
Her and Stanley came up with that dress drop, and
that she didn't like the dresses, so that was just
her dress that she had, and that they came up

(01:11:51):
with that way of dropping it. But it's exactly the
same as the way the women drop the cloaks and
they all look like Nicole Kidman. So I go with that.
I think that's what he's getting it. I think he's saying, Yep,
there's a pediph cult and that it's been going, you know,
in forever, and that she was part of it and
now she's she's producing the next generation for it.

Speaker 1 (01:12:06):
And what I love about this film is, particularly watching
it in this time, is the level of like it
doesn't become an investigation about what he's not, Like, Bill's
not trying to expose. There's a version of this film
and maybe in Lesser Hands where it becomes about the
politics of this and who are these people you know?

(01:12:29):
And why does it exist? He's not doing it. It
still remains about the marriage. What thoughts are we allowed
to have? Like I did an episode that I want
to you know well, I half kind of wrote for
How to Stay Married, and it was basically Greg my
character got caught having a wank, you know, by Am
and the whole idea for the episode was like, what

(01:12:51):
are you allowed to have in your own head when
you're you're you're married? And what was he working about?
The idea? He was actually waking about one of their friends.

Speaker 3 (01:13:02):
You cast that actress. That's where your own marriage gets
in trouble. Did when you go to cast that actress,
your wife goes, who's this?

Speaker 1 (01:13:10):
I did do an episode of It's which actually was
the like I guess the prequel of How to Stay
Married because my character was was the same character. Basically
had to say marriage with a spin off and it
was like, my character does get at light dance from
the white white It's not like a regular thing. It's
nudity is a regular thing, said well to be honest.

(01:13:33):
That storyline is actually an easy act because that storyline
was based on something that actually happened with my wife
and I early on in their relationship with another couple,
and the two women said, wouldn't it be fun if
we all went to a strip club that we have
none of us have been to a strip club before that,
none of us have been the strip club before where
me and my mate this looked at our shoes and yeah,
none of us.

Speaker 3 (01:13:53):
So for daily and you're seeing you went to the
strip club which.

Speaker 1 (01:13:58):
One uh, I think it was samant Rhino, and the
same thing happened, like a woman came over to my
wife and I said, I'll give you a lap dance
and then she started that and my wife kind of said,
I think we're going to leave now because she thought
I was giving the lap dancer look. It was her look,
and I was like, well no, because I'm I know

(01:14:20):
what it's like to be an audio, you know, a performer,
and I'm like respecting.

Speaker 3 (01:14:23):
I'm a great audience, I'm a great audio.

Speaker 1 (01:14:25):
And it's like and it sounds like bullshit, but it's
sincere if I was like, sit there and there's like, look,
you know you know at the walls.

Speaker 3 (01:14:37):
That's how would she feel? How would the lady dancing
lady feel?

Speaker 1 (01:14:40):
Exactly?

Speaker 3 (01:14:41):
Get it?

Speaker 1 (01:14:41):
That was?

Speaker 3 (01:14:42):
So that was that's the closest you. So you are
closer to eyes white chat than you think I am.
You actually been.

Speaker 10 (01:14:47):
Maybe I would go to this audio baby, maybe maybe
that is Oh wow, so fun story.

Speaker 1 (01:14:54):
It is a fun story.

Speaker 3 (01:14:55):
I believe you fell for that. Let's all go to
a strip club. What are you doing?

Speaker 1 (01:14:58):
That's a setup, But I'm go and I did because
I got this this adventure. Life happened and something is something,
we learned something what.

Speaker 3 (01:15:05):
You may do? Was he reading one?

Speaker 2 (01:15:06):
Uh?

Speaker 1 (01:15:07):
No, I actually because we we just left after that
he stayed. I think they stayed. Yeah, okay, and I've
never seen him since I got my God, that's a lifestyle.

Speaker 3 (01:15:15):
Big shout out to Cusic. Why is that story not true?
He's banned from sparm h.

Speaker 1 (01:15:26):
Only during the day.

Speaker 3 (01:15:27):
Yeah, during the day all strip clumps with animals in
the title, David is no longer welcome out. So that
means no crazy horse, no spimitt rhino, no kittens.

Speaker 1 (01:15:39):
So let's get back as well as shut before we
get sued. Yeah. I do love the level where this
conspiracy is played. But like, there may not be anything
more we need to say about the Epstein stuff, but
I do agree and the Paddy stuff that.

Speaker 3 (01:15:56):
Okay, So where's that hang it?

Speaker 1 (01:15:57):
Now? Is I going?

Speaker 2 (01:15:59):
Like?

Speaker 1 (01:15:59):
It makes it makes you think about those things very
differently and go, okay, this is he was trying to
warn us.

Speaker 3 (01:16:04):
Okay, so where is he? Where's the party? Where's the
actual party? Like the first party? I know, the sorry
that the orgy house. Did they film that in I'm
not aware a house built by one of the Rothschild's
banking dynasty dynasty? Yes, yeah, come on. And it was
the first portrait gallery in the world, right, and you

(01:16:25):
know a lot of the art was Dunbay his wife
in the that are on the walls that aren't based
on real ones. And if you look at the masks,
the masks are just a catalogue of art history and symbolism.
Where there's a guy wearing an Illuminati face mask just
flat out just right there, pyramid eye and you always
shut up at what are you talking about? Don't know?

(01:16:45):
Stanley chose every single mask, of course, And this great
bit where the wardrobe master had been looking at g
strings for a year. I heard that Yes, gets their
day one and goes, don't like them, go get more
g strings. What is saying? And this is where what
is happening?

Speaker 1 (01:17:02):
And I'm kind of conflict because they're going to go, Yes,
he makes great art and the results are all there
on screen, but could he have got the results with
the It's still the same film with a different g
It's not that.

Speaker 3 (01:17:13):
He just won't. He just won't do that. And that's
what Kobridge Boxes is about. The great documentary John Ronson
made it in two thousand and six where you see
all the boxes of all of the stuff that he's
kept of research throughout his journey with films, right, every
single thing that he's kept, and he kept every bit
of fan letter and he had FP fan Positive, fan

(01:17:33):
FN fan Negative and then CRANK for Crazy People. And
they ask his assistant why do you keep all the letters?
He goes, oh, they were like people in the field
for us, because someone would write in from like Ohio
and say hey love two thousand and one. It was
a bit dark when I saw it, and Kubrick would
read it, ring up the cinema or get them to
send the print back to make sure it was done correctly.

Speaker 1 (01:17:53):
He almost look at every print before it goes.

Speaker 3 (01:17:55):
Out, did every look every print? And then he would
he would measure every ad in the newspapers to make
sure he wasn't getting less than he'd been argued that
he was allowed to have. So just that's the dude.

Speaker 1 (01:18:05):
A fun guy to work with, so much fun.

Speaker 3 (01:18:07):
But that's the other thing. They all stay for thirty years,
all of the people in his thing because they were
such a small crew. So you go, goy, this guy
must be a nightmare. No, they all love him except
the actors. He destroys. The minds of actors seem to
be the one group of people where he doesn't. These
I just destroy their mind. I just ruined their life.

Speaker 1 (01:18:22):
So Nicole Keipman seems to have a great time.

Speaker 3 (01:18:25):
A year more, she said, I would have done a
year more.

Speaker 1 (01:18:27):
Where Tom Cruise I think had I think.

Speaker 3 (01:18:30):
Now he's very deferential, and he says Stanley was difficult,
not difficult, but interesting. However, however, this is the film
that pushes him out of anything even resembling human relations. Ever, again,
so he does this, He does Magnolia quickly, he does
Vanilla Sky. I think it's called I can't remember, right,

(01:18:52):
Vanilla Skuy's right. And then he goes, this isn't for me,
and he goes into action Man, Edge of Tomorrow, Oblivion,
Mission Impossible, them reydes Maverick. This is the film that
makes him go into personal relationships. Not for me in
term in trying to make stuff.

Speaker 1 (01:19:08):
That's interesting, isn't it? Because he was he was very good.

Speaker 3 (01:19:12):
He was great.

Speaker 1 (01:19:13):
Yeah, and both of them, we should say, I think
both of them. I think Nicole Kimman, who actually won
I think the Blockbuster Performer of the Year award. You
would have got a vote in that most did, Yeah, yeah?
And and and Tom. Look Tom, he's wonderful, is Tom.
He's still Tom Cruise, But it's great to see him. Yeah,

(01:19:33):
play somebody who's not trying to save the world, and
I still like him trying to. I think Tom Creuse.
I am pro Tom Cruise. I think he is the
movie star of our time.

Speaker 3 (01:19:43):
YEP, that's a fair court. And so so he loves
so he's like, oh, I don't know about something, Now
do you want to? And so when do we get
to most interesting tidbits from this movie?

Speaker 1 (01:19:55):
Now?

Speaker 3 (01:19:55):
Okay, ready, okay. One Kubrick's daughter, one of the daughters
who was a photographer and going to be a filmmaker
and was going to be a score films. She would
score them under a pseudonym leaves London, leaves the family
during the production of this to go to Los Angeles
to join Scientology.

Speaker 2 (01:20:15):
You got it?

Speaker 3 (01:20:17):
Holy shit?

Speaker 1 (01:20:19):
Wow?

Speaker 3 (01:20:20):
Okay, Like, which is what more do you need? Friends?

Speaker 4 (01:20:24):
Like?

Speaker 3 (01:20:24):
Holy shit? And this is the point in Tom's life
where he's drifted. So every time there's scientoldist, there has
to be two around, so that one of the other
actresses in this film with scientologists, right, they sort of
go in twos anyway, big shout out to them if
they're listening. Okay, So there's okay. So then the roth
childs the wardrobe. Yeah, here we go, Harvey Kai tell
that's a good one.

Speaker 1 (01:20:44):
The Cribricks daughter, do you know if she stayed with Scientology?

Speaker 3 (01:20:46):
Oh yeah, they don't. You don't. She's like sitting in
her sixties now and you don't hear anything. I was
looking up yesterday. You don't hear anything after this one.
Isn't that nuts?

Speaker 1 (01:20:56):
Okay?

Speaker 3 (01:20:57):
Here's a memo that's Stanley so Camery Stanley Kubrick kept
all memos that he sent to people. Of course, always
please always have three, always have melon on set. Never
less than three Stanley.

Speaker 1 (01:21:10):
Melon or melons.

Speaker 3 (01:21:13):
Isn't that great? I have to have three melons on set.

Speaker 1 (01:21:16):
Three melons. That's that's yeah.

Speaker 3 (01:21:20):
I mean he's just is everything you ever want him
to be, all right.

Speaker 1 (01:21:22):
I mean is that because he likes like eating melons?
Like or the superstition?

Speaker 3 (01:21:29):
I think. See that's the thing no one ever knows.
No one ever knows. Here's the last one. How goes this?
Kubrick's in the jazz bar and he looks at the
camera twice, amateur, I know, it's so funny. It's like,
what are you doing? He looks at the camera and
looks at Tom Cruise twice. So he's got a cameo
in his own film and he looks at the camera.

(01:21:50):
It's just the weirdest thing. It is the weirdest piece
of cinema you've ever seen in your whole life.

Speaker 1 (01:21:55):
We should give a shout out that the Todd Field
who plays Nick. So for those who don't know who,
he directed recently Tar with Kate Blanchette. Then there's another
Cape Blanchett connection.

Speaker 3 (01:22:04):
Okay, if you want to do it? Or should I
do it? She voices the masked woman who tells Tom
he's in danger at the sex party. How good is that?

Speaker 6 (01:22:12):
Now?

Speaker 3 (01:22:13):
When it ready for a todd Field full story, Full circle?
He directs it in the bedroom right when you had
Tony on and he talked about Top Gun and he
was his favorite story of talking about nineties and talking
about when people just had conversations. And he says, there's
a film in there's this bit in the there's a
bit in a film where Quentin Tarantino is talking to

(01:22:33):
someone at a party and he's describing why Top Gun
is a homo erotic film. Isn't he talking to todd
Field in that scene?

Speaker 8 (01:22:39):
Ah?

Speaker 3 (01:22:41):
I think he might be y, Yes, yes, Now we're
in the kup brick zone. Yeah, fun, isn't it?

Speaker 1 (01:22:46):
Yeah? Well, little children, Little Children was the other one
he made, Yes, and yeah.

Speaker 3 (01:22:50):
It's I think that's all the craziness I've got. There's
so much, one more, one more, one more. He was
such an expert in lighting that he would sometime times
secretly go and help light sequences for other films. Kubrick
is responsible for the lighting is Going Star Wars in

(01:23:12):
the major action sequence of the rain of the James
Bond film The Spy Who Loved Me? Right, what the
fuck is that ship?

Speaker 1 (01:23:20):
Imagine coming up the set, you might have had a look,
we've got three more days of ship?

Speaker 3 (01:23:31):
Has that?

Speaker 1 (01:23:32):
Yeah, that's that's incredible. What about the rainbow theory?

Speaker 3 (01:23:36):
Oh yeah, yeah, Well, because you know there's three rainbow
rainbow lens flares in the film now a lens flair.
He's such a perfectionist that he left them in and
it's like he would never do that.

Speaker 1 (01:23:47):
Well, there's a rainbow in the in the in the
costumes as part of the signage. And also that when
Tom Cruise is being led out at that party. But
the two you know, gorgeous women, they you want to
hear where we're going. We're going to the end of
the rainbow.

Speaker 3 (01:23:59):
So so yes, that's basically yes, he's doing it, and
he's doing it on purpose and that's why he's there.

Speaker 8 (01:24:05):
Now.

Speaker 3 (01:24:05):
Also that costume shop, he had his nephew photographed costume
shops in London for a year to get the right look. Yeah,
I reckon, I got it close on a rack and
a aisle in the middle and some costumes in the window.

Speaker 10 (01:24:23):
Yeah, and we can change the costumes. If you're life
you want the stand, we can bring other costumes. If
you have anyone, you have you back, if you want mate,
No one cares. How funny is there a cage at
the door, Uncle Stan? Most costume shops don't have a
cage at the door. Lombards is more trusting that have
a security alarm, but they don't have a cage.

Speaker 3 (01:24:45):
There's there's a stand. You'll be shocked. There's a very
few ram raids to get Austin Powers costumes.

Speaker 1 (01:24:53):
Let's just have a listen to what really sets this.
It's almost the turning point or the inciting incident, which
is a converse. What do you think of Nicole's stoned
acting terrible?

Speaker 3 (01:25:04):
Yeah, but she's terrible in the way that she's doing
what she's being asked to do. So that took a
week or two weeks that scene. Imagine this, everyone, You're
in one room with your then husband pretending to be
stone for two weeks while a man with glasses says,
do it again, do it again? Do it again? Yes,
you would go crazy.

Speaker 1 (01:25:23):
And she has gone crazy and I know that, and
I got the highest opinion of Nicole Kim and there's
an artist, I think, and she would have given other
performances which to us may have appeared like a better
version of Stone that Stanley obviously has not gone with.
This is the version after shooting that many takes that
he went with because I think Tom was even like, oh,
I want to do something a bit different, and he's

(01:25:45):
like he wanted Tom Cruise.

Speaker 3 (01:25:46):
Yes, but he's trying. I personally, my personal theory is
that he's thought I might be able to break Tom
Cruise here to get the Tom out of Tom Cruise,
and Tom Cruise won that battle of wills. I think
this is the thing that this is why I bring
it up again. I reckon and this is the thing
that steals Tom Tom Cruise to go nap.

Speaker 2 (01:26:03):
I am.

Speaker 3 (01:26:04):
I am unbreakable no one, and I'm going to be
Tom Cruise from now on because there's no way, no
way am I going to sit here and have someone
else tell me to not be Tom Cruise. I'm Tom Cruise.
That's it. That's what we're doing from now on. From
now on, I'm being Tom Cruise, and you just can
get fun.

Speaker 1 (01:26:19):
I'm going to Tom Cruise the fun out, you know what.

Speaker 3 (01:26:21):
I mean, because that's what he does. After this, he goes, no,
I'm tom Cruise.

Speaker 1 (01:26:24):
Yeah, yeah, let's have a listened to the fantasy that
she let's just see himrom their weekend or the week
away at Cape Cod Done.

Speaker 5 (01:26:34):
Afternoon, Helena went to the movies with her friend and you,
and we made plans about our future, and we talked

(01:26:58):
about Helena.

Speaker 8 (01:27:02):
And yet.

Speaker 5 (01:27:05):
At no time.

Speaker 1 (01:27:09):
Was he ever.

Speaker 2 (01:27:13):
Out of my mind. And I thought, if he.

Speaker 11 (01:27:25):
Wanted me, even if it was only for one night,
I was ready to give up everything.

Speaker 2 (01:27:44):
You Helena, my whole fucking future, everything.

Speaker 1 (01:28:00):
I mean, it's it's it's a great it's a great
device or whatever you want to call it to send
Bill off onto this this night of like what the
fuck is going on? Yes, you know. And it's the
addition of not just that she's prepared to cheat on Bill,
that she was prepared to give up.

Speaker 3 (01:28:18):
That's the bit.

Speaker 1 (01:28:19):
Her child is the thing to be actually.

Speaker 3 (01:28:20):
Okay, so that's the bit that people say is when
she's falling back into her previous role as this sexual
object because he's a naval officer for powerful uniformed people.
So she slipped back into it there. So she's dropped
the program this she's gone back into the programming that
she had as a child for that and she slipped

(01:28:41):
back into it, and the drugs bring it out of
her to tell Tom what she was, what her life
actually is, and who she really is, and that everything
else is her trying to put a fucking lid on it.
That everything else. I don't do it, don't do that,
don't do that. Like in the Other Guys, when Will
Ferrell becomes the pimp when he's really the pimp if
the gate, Yeah, it's that, that's that, and that I'm

(01:29:02):
going and I'm absolutely can I think that's absolutely the case. Otherwise,
why make that the fantasy? Why make that the idea?
Why make her say that like it's it's too on
purpose not to be like that?

Speaker 1 (01:29:13):
I do love that. There's also a theory about the
letter that Tongue When Tongue when Bill goes back to
the roth Childs and a man comes out and hands
him a letter, and it's pretty it just kind of says,
don't don't stop asking questions, Yeah, move on, and the
reaction seems a.

Speaker 3 (01:29:35):
Bigger like a startled yes, huge.

Speaker 1 (01:29:38):
So there's a theory that the letter, which could have
easily have been reshot that the letter says something about
give us your daughter.

Speaker 3 (01:29:48):
It's the insert, because that's an insert. That's one of
that's one of. And now that that's triggered the memory
I've got of Roger Avery and and bring that up again.
But that's one of the things he mentions. He mentions
inserts not looking like the rest, and that that is
an insert. So if you watch it, Kubrick never does that.
He'll go like, you know, the newspapers, all the newspaper
headlines are lucky to be alive, and they're all really
on purpose. And I actually watched a short documentary about

(01:30:10):
how meticulous Kubrick was about the articles that were in
the newspapers. He got a New York Post journalist to
write all the articles so that they looked like genuine
articles in a genuine newspaper.

Speaker 1 (01:30:20):
Shot something like an Italian version of it, like different
languages for those.

Speaker 3 (01:30:24):
Markets, so that they could read their own newspaper. So
that tells you how much he cares about stuff like
that and the idea, and it's never an insert. That's
a great point. He never goes to single shots of props.
Never not the mask you remember the the perfect companion
film for this is The Mask. And I've always wondered
the Jim Carey comedy.

Speaker 1 (01:30:43):
Honestly, not the Eric Stalts, not the Rocky Dallas slightly.

Speaker 3 (01:30:47):
Yeah, well we can always wet that one. It's a
greatful wank.

Speaker 8 (01:30:49):
So they.

Speaker 3 (01:30:51):
They are desperate to speak to the people who wrote
the Mask, yep, to go write or Kubrick, whichever comes,
remember which one rocked up for because he chucks on
the mask and then Cameron Das likes him and the
whole thing. You know, the mask literally gives him, gives
him those powers. These films, these two movies are in
perfect conversation with each other about the idea of a

(01:31:12):
mask and what it leads you to. And the reason
I bring that up is that's NonStop inserts of look
at the Mask, Oh my god, the Mask, Oh look
what it did. And Kuby just doesn't do any of that.
And that's why that insert of the letter is so striking.
That's a great point. Yeah, it's a great point. I
never thought of that.

Speaker 1 (01:31:28):
Yeah, I do think that that sense and if you
watch it again, look at it was.

Speaker 3 (01:31:34):
Reaction was over the top for you know, Yeah, I
remember thinking that. I remember when I'm thinking when he
got the letter, I do remember thinking why do they
leave that in? Because I'm always thinking about the takes
now that I watch this film, I'm always thinking about
trying to guess what take number it was.

Speaker 1 (01:31:46):
So this was re edited after Kubrick dies, and they're
probably not thinking at that level of like their reaction,
doesn't we'll change the letter? Yeah, And that's all this
because if you imagine the reaction of Tom Cruise, Bill,
you know, stop asking questions. It's probably more like a.

Speaker 3 (01:32:04):
Or like looking or yeah Tom so Tom Cruise. Tom
Cruise is Tom Cruise, right. And in moments where even
in this he sort of breaks through a little bit.
So the sometimes you see a look he barely have
a smiles credit itself. I guarantee hes told him not
to smile, because as soon as he smiles, he's Tom Cruise.
You're no longer a character, You're Tom Cruise, right, And
so he would normally just give a glance up back

(01:32:25):
to the security camera and then back to him and
put it in his pocket. That's what he does for
everything else. He internalizes every other reaction essentially, even the
brooding on his wife's sort of non affair. That's the
claps seem so big because it's the first sort of
his strong reaction he gets. And then so that you're right,
that is so incongruous. Even when six guys from Yale
start yelling homophobic slurs at him, he has less of

(01:32:47):
a reaction.

Speaker 1 (01:32:47):
Yeah, yeah, yeah, yeah, absolutely weird.

Speaker 3 (01:32:50):
Did they improvise their lines? Well, did they improvise their lines?
Because it's the worst piece of writing, Yes, in the
history of cinema.

Speaker 1 (01:32:58):
Yeah, it was horrible. Think the whole thing, that whole
thing is just felt weird to me, like that doesn't
really doesn't really fit with everything else. But yet I
do believe Yeah, watching that, I think he is he
has been startled by that whatever's in that letter, and
it does the reaction does not.

Speaker 3 (01:33:16):
God, I wish I could get in such of Roger Avery.
Wonder what says in the script?

Speaker 1 (01:33:20):
Yeah, yeah, I'm sure he'll come on the podcast I
Reckon one day. I mentioned before how they ain't really
dig deep into the the conspiracy theory of such it's
it's there and you can try to work with that
for yourself and this theories, which is great. And then
you mentioned a voice over. They're supposed to be a
voiceover because the scores are so much heavy lifting.

Speaker 3 (01:33:37):
It takes away because that was done, that was done
after he's done, after and she never did another film.

Speaker 1 (01:33:41):
Let's have it. Listen to that. God, it's terrible, but
it's just it really does. It puts you at unease,
and it's for me. It's it's doing exactly what it's
supposed to do.

Speaker 5 (01:33:55):
I do, I do.

Speaker 1 (01:33:55):
I think it's supposed to feel like it's it's ominous. Yeah,
and it's uneasy.

Speaker 3 (01:34:01):
Yeah, that's fair, but it is also shit in terms
of it's all they've got.

Speaker 1 (01:34:07):
Yeah.

Speaker 3 (01:34:07):
Yeah, And he and so he famously would do test screenings,
so he changed every single one of his films or
the Ladder films after an audience saw it, and score
was often one of them. So they did this without
him after it was done. There's no way, I don't
reckon there's any way he would have left it the
way it was.

Speaker 1 (01:34:22):
There is a theory that so in Congress that somebody
said that when he presented the Warner brothers with the cut,
they were outside of the room and they heard screamingsae y, yeah,
you're not taking.

Speaker 3 (01:34:31):
It out, you know, yet like that, which is weird
because you go, I've heard executives since then who worked
with Kubrick and they never talk like that about him.
There's one guy who tells a story about how he
was on holiday and Kubrick was annoyed at something tiny
piece of minutia about the world release of a film,
and this guy didn't have the guts to tell him

(01:34:51):
he was on holiday with his family until then finally
said it, and Stanley he was, oh, sorry, all right,
and then then got off the phone. It just doesn't
seem as anyone dealt with Stanley Kubrick that way.

Speaker 1 (01:35:00):
Yeah. I take that with a huge grain of salt.

Speaker 3 (01:35:04):
I reckon there's a possibility they said to the family, Hey,
we want this to come out. Yeah, we don't want
Stanley's wishes to be correct. We can't release your We
can't release your beloved patriarch's final film with this stuff
in it.

Speaker 1 (01:35:19):
Yeah.

Speaker 3 (01:35:20):
I honestly think that that to me, You and I
both know what that that's a far more realistic pressure
that could have been put on.

Speaker 1 (01:35:26):
And sometimes we like to demonize the ties and suits
and the execut studios and all that, and sometimes roughly so,
but there is an adult conversation that sometimes needs to
be had by going but this is the market, that's right.
We cannot that's right, whether it's pressures from you know,
whatever the last or just we cannot get this in
the cinemas.

Speaker 3 (01:35:43):
No, because certainly can't get it in without it being
NC seventeen, which means it's going to lose all its
money and never be seen again.

Speaker 1 (01:35:48):
Yeah, yeah, I love that. Let's us have a final
listen Sidney Pollack, So he comes in for the.

Speaker 3 (01:35:55):
Why they apparently they bring in Sidney Pollack because he'd
work with crews on the firm and he knew that
cruise respected him and that he was like a cruise
whisper where he could keep him, keep him calm.

Speaker 1 (01:36:04):
Yeah that makes sense. Well, let's have a little listen
to the city public listen, Bill, nobody killed anybody, someone died.
It happens all the time. Life goes on.

Speaker 2 (01:36:19):
It always does until it doesn't.

Speaker 1 (01:36:24):
But you know that, don't you. So let's just I
just want to play because I wanted his city Pulics.

Speaker 3 (01:36:30):
He's so good, he ain't doing fuck and so he's
the best.

Speaker 1 (01:36:33):
Michael Clayton he's just the best.

Speaker 3 (01:36:35):
He's just the best because he ain't doing nothing. Sometimes
some people, Pete are just stand on screen, be yourself
and let us do the work. We will imbue you
with brilliance. All you got to do is you think.
And he's one of those people where he just there's
the look of him. I don't know what. He's not
entirely that handsome, he's just there's a presence about him
being comfortable on a screen that just makes you go,

(01:36:57):
fucking oath. Gary Oldman has it. Richardy Grant as it
so many there are so many great actors. That's just
like fuck an oath. Like when you watch old Elizabeth
Taylor movies and you're like, why did everyone like Elizabeth Taylor?
And you go and then she turns around in clear
Patrick Jesus and you go, wow, holy moly, and you
go there you go, That's what I'm talking about. That's
why do you like watching screen tests.

Speaker 1 (01:37:18):
When I'm making something or just just dream In general,
I don't sort them out as such.

Speaker 3 (01:37:23):
No, I urge everyone to watch as many screen tests
just for fun on YouTube as you possibly can and
see how much start, how much you can realize when
people go holy money, because I was a reader at auditions.
When I first started, I was a reader at auditions,
so I saw all the big actors of the day
and up and coming actors come through and do auditions,

(01:37:44):
and I remember so clear I got it. After a
while I realized, I was like, Oh, it's nothing to
do with the acting at all. It had nothing to
do with the acting. It was just what their person was,
the way it shone through when it came through the
little cam quarters. So I got to the point where
I could start. At first, I was like, was the acting?
And then the casting person was like nah. And then
it got to the point where I could start to

(01:38:04):
pick who they were going to go with, and often
pete they had the role before the lines had started.
I remember there was a young she's now very famous,
a young actor that came in and she read for
an American show and her accent was shit and she
was nervous. And then but there was a couple of
lines at the start where she was just sort of
doing a thing, and then she looked up and I
was like, Oh, that wasn't very good. She's like and
she's like, what are you talking about? I was like, Oh,

(01:38:25):
she didn't really. Her accent wasn't very good.

Speaker 6 (01:38:26):
And so.

Speaker 3 (01:38:28):
What do you mean, because she's going to be huge,
what are you talking about? She no, no, no, watched
this and we watched the first part of it again.
I was like, yeah, you win. She had so much charisma,
so much natural ability, and that's your big stuff.

Speaker 1 (01:38:40):
Yeah, that's incredible.

Speaker 3 (01:38:42):
It's the opposite of what happened to me on Blue Heelers.

Speaker 1 (01:38:47):
My final question for you, I'm going to let Nicole
kim and ask the question I might behave.

Speaker 4 (01:38:51):
There is something very important do we need to do
as soon as possible?

Speaker 1 (01:38:58):
Question? Fuck?

Speaker 3 (01:39:04):
How good?

Speaker 2 (01:39:05):
Is she?

Speaker 1 (01:39:05):
So very good?

Speaker 3 (01:39:06):
Why is that there? The last line? Well, are there
a couple? Yes, yes, and that the film's over.

Speaker 1 (01:39:12):
The film's over, and you could depending on what we
want to what theories you want to take into it,
is that them choosing to remain a couple, the union remains,
they have sacrificed their daughter.

Speaker 3 (01:39:27):
Yeah, yeah, sort of.

Speaker 1 (01:39:29):
Yeah. I mean it's it's interesting because you're watching you're
watching the movie as is presented to us. Yes, and
then we're also trying to ascertain what Santacoric which saying.

Speaker 3 (01:39:39):
Which is what he wants. Yes, that's longevity. So there's
different types of longevity with films. There's this is great,
you need to see it. There's oh, there's this bit
of this that I really like, There's this, Oh there's
this aspect of this that I really like, and then
there's what the fuck was going on here? And he
is He is so good at what the fuck is
going on here, whilst also being geez, that was really good.

(01:40:01):
But this is the one where it's this is the
one where it falls down. It's not great. The acting
is slow, the rhythms are slow and on purpose, and
there's aspects of it you're right where it's like, is
this dream stuff? Irks so many people? But what gets
him through? And what gets it? I can't tell you
how many podcasts there are about this and YouTube because
I've listened and watched them all this week and more

(01:40:23):
the best one. And there's three documentaries, possibly four, And
that's what keeps that's what keeps this film going, is
what on earth is going on? And let's be honest
that history has sort of proved this guy correct.

Speaker 1 (01:40:35):
Well, that's the thing. I think that there are some
films that are still alive, you know, they still have
blood pumping through their veins, and I think this is
one of those contagion obviously. Yes, you know Will Anderson
for this podcast, and it's like, well, this film of
a sudden.

Speaker 3 (01:40:49):
Feels yes, you know, it feels so relevant.

Speaker 1 (01:40:51):
Yeah, and if like Citizen Kane, you can watch it
kind of go this feels you know, with the rise
of Trap all of a sudden, you kind of go, yeah,
this feels like it's.

Speaker 3 (01:40:58):
Blood's good like that. Josie and the Pussycats a forgotten
nineties comedy about a set of a band of girls
who are four who are sort of taken through the
music industry. I strongly recommend anyone to go back and
have a look see at Josie and the Pussycats and go,
holy shit, that's Taylor Swift, that's Sabrina Carpenter, that's Olivia Orrigo.

(01:41:22):
What the fuck is going It's framed as a girl band, right,
sort of a girl rock band. That's and then you go,
that is amazing, that is that's got so much in
the margins of wow, wow, oh that's remember being it
wasn't that, it was nothing, No one cared, No one
cared about it. And then I don't know why, but
I just remember actually my boss, my boss said because

(01:41:44):
that's right. My boss, who was a Pete the music guy,
he would we would watch Beach Boys documentaries NonStop. That
was one of his things. And then we watched Red
led Zeppelin documentaries, and then we would watch Elvis documentary
and all of these things. And then one day he goes,
this film came out and he's like, you, this is
really good, Josie and the Pussycats. What are you doing
man this And he said, no, no, trust me. He goes,
this is this is this is telling us how the
music industry works an incredible way. They just people have

(01:42:07):
just ignored it.

Speaker 1 (01:42:08):
So okay, yeah, jose and the Pussycats. I wasn't expecting
to finish.

Speaker 3 (01:42:12):
On I saw I wish I saw it again.

Speaker 1 (01:42:15):
Hell where I been paying attention.

Speaker 3 (01:42:19):
I've got to give you the last fact.

Speaker 1 (01:42:20):
Yeah yeah, yeah, okay.

Speaker 3 (01:42:23):
So, nestled in the squiggly Los Angeles streets above the
Sunset Strip Wonderland Avenue requires those blah blah blah blah
blah is a secret Cold war military compound in California,
where a portrait into a secret of Cold War Hollywood
Propaganda Films facility at Laurel Canyon, Stanley Krubeck. There a

(01:42:50):
lot secret, has the pass, has the clearance? Can wander in?
They shut it down? Sure now own to buy the
private residence of mister Jared Leto. Oh isn't that great?

Speaker 1 (01:43:09):
Leader?

Speaker 3 (01:43:09):
Isn't that great?

Speaker 1 (01:43:10):
Yes? Oh, I'm going to be Jared Leder might have
to forget the chance to chat to him again.

Speaker 3 (01:43:17):
I ask him about that I interviewed Jared. I'll leave
you with this. I interview Jared Edo twice in two
days for no, twice in a month, maybe twice. Whatever
point is I need to be both Jared Leedo's So
first time I introduw Jared Edo was for a film, right,

(01:43:37):
I can't remember which one? Clear eyed, nice enough actory answers,
no dramas. Working for Triple Am, I got the privilege
of coming in on a Saturday to interview Jared Leedo
one on one for his band thirty seconds to Mars
that day, sunglasses, T shirt, sitting back in his chair,

(01:44:00):
less than one word.

Speaker 1 (01:44:00):
Answers, So is this like a day apart what you're saying?

Speaker 3 (01:44:03):
I was close together and so he had just gone
what am I doing? Music? Great?

Speaker 1 (01:44:08):
Glasses, so he's playing a role.

Speaker 3 (01:44:10):
Yeah, it was amazing. I'll never forget. I was like,
holy shit, how perfectly self aware is that. Yeah.

Speaker 1 (01:44:20):
Sometimes it's like you hear Jim Carrey speak about, you know,
the things he likes to talk about, and and you
kind of you dismiss it as like, oh, and I
did an interview with Jim Carrey and it's one of
my favorites just after the Oscars, the Will Smith Know
and he kind of spoke about he goes in trouble
with Will Smith is he doesn't know that everything's crazy

(01:44:41):
around him. Like, and what I walked away from that
interview going, oh, Jim Carrey makes a lot more sense,
you know, because he's aware of the craziness.

Speaker 3 (01:44:50):
Yeah, that's why he's a good impressionist. Yeah, he's a
good impressionist. One of the reason he's a good impressionist
is he goes, Oh, that's what they're hiding, or that's
what they're that's what they're pushing forward. I know what
they're pushing forward. I can, I can, that's I can
pick up on that. Have you seen him as Matthew
McConaughey on the Saturday on Saturday Live Jeopardy sketch replays
Matthew McConaughey. Holy shit. The thing he gets perfectly right

(01:45:14):
is the which I've interviewed, you know, mcconniey a few times.
Is McConaughey trying to seem intelligent by waiting and sifting
through answers with his eyes until he delivers the one
he believes will make you go, wow, this guy's deep.
And that's the bit he gets absolutely right.

Speaker 1 (01:45:34):
All right, let's let's wrap it up now because we
have taken up a lot of your time, and think mate,
thank you. Jane Kennedy gets the you won't See Nothing
Yet Award for Most Dedication because you watched.

Speaker 3 (01:45:46):
Lord of the Rings trilogy trilogy and Lady and Maniac.

Speaker 1 (01:45:50):
She would have almost want it just for watching the
Fellowship of the Ring. She went and watched to direct
the start of all three. The research you have done
after your own bat, you win the research.

Speaker 3 (01:46:03):
No, no, no, it wasn't off my own bat. And
it's just because I was angry at the lack that
Limo had done. It was a spite research. That's one
of my key motivators. And the fact that when Hughesy
did it he hadn't seen Pretty in Pink and I
was like, yeah, but I bet we can't find a

(01:46:23):
none false for a local farmboy film you haven't seen.

Speaker 1 (01:46:31):
Well. What I love about his podcast is that you
can we interview I guess, range from you know, cinephiles
like genuine film lovers, to people just love their movies
and and and that's and that's what I do love.
But I have love this is this films. Like I said,
when you nominated this, I kind of thought, oh, geez one,
it's a long film, and two am I gonna I

(01:46:52):
didn think it'd be fun to talk to you back
because it is Tom and the Cole. But I enjoyed
this film so much more, Like I said, watching it
for this podcast knowing I was going to chat to
you about it in this time period, and I think
I'll probably go back and watch it again.

Speaker 3 (01:47:06):
Oh yeah, if anyone hasn't seen it, it bears a watch.
And then normally I so what's happened with film now
is the whole world of compendiums and sort of like films.
So Tony Martin was IMDb before IMDb was IMDb right,
because he just remembers things. Now you can spend like
this film, you can watch it and then I strongly
recommend people if they're going to do it, go and

(01:47:27):
listen to some of the podcasts and see some of
the YouTube stuff. And some of these people are crazy,
but there will research crazy and sometimes they're not because
you're if someone wants you to pick up on things
or not pick up on things. This is a great
way of finding new stuff in films. It's just so
good this era we're living in Pete. There's never been
a better time to watch a film that you haven't
seen and then see what see what went into getting

(01:47:50):
it done, because it's just even there's twenty seconds of
Harvey kai tell saying he just maybe walk through a
door for the sixtieth time and just said fuck off.
Even that you're like that is fantastic.

Speaker 1 (01:48:00):
Yeah, yeah, yeah, absolutely right. There is so much it's
easy to dig deep. Used to be only twenty years ago,
maybe twenty five years ago, it was just hopefully it's
got a DVD commentary on it. Yeah, Now it's just
it's just typed the film in and you can go
down rabbit holes as well. Hey, thank you for having me,
Thank you so much, mate, and let's just because you
love this music, let's just go out on this. Okay,

(01:48:22):
maybe this one in there you go, Ed Cavalley, I
loved that chat. And I got to say when he
nominated Ies Wide shirt, I was a bit Okay. I'd

(01:48:44):
seen the film when it came out, and yeah, I
hadn't really thought too much about it since. But like
we mentioned watching it in twenty twenty five in the
Shadow of Pddy and Epstein, it's a different watch and
I really urge you, if you haven't check it out,
to watch it again. And I think there are things

(01:49:04):
I think, as Ed said, I think Kubrick was trying
to tell us some things, some disturbing things. But yeah,
thanks for making the time very busy man, and thank
you for listening. Jasney Podcast at gmail dot com. If
you want to send us an email or get on
our speak pipe, follow the links and yeah, we'd love
to love to hear from you. Next week on the show,

(01:49:25):
we have a very special guest love. We had we
had Lee Wenell a couple of weeks ago for Wolfman,
and that was a bit of a different episode. And
this also involves somebody on a junket and it's tricky
to have people watch, you know, an entire film and
to do some of the research and then come in
and chat to me about that whilst they're doing a

(01:49:46):
thousand other interviews. So I'm happy for the right people
to play with the with the rules of Yasni, and
this one will be worth it. He's an actor who
I've admired for a long time and it really stroked
to have him on Child Out of Four is a man.
He's in town for Bridget Jones mad about the Boy,

(01:50:08):
so we'll be chatting to him about that, but we'll
also be chatting about some of the films he's made
over the years. One in particular, I'm looking forward to
chatting him about his Children of Men. What a movie
that just every year seems to grow and grow. You know,
there's movies that we look back and go, I wasn't
a Blade Runner, Saw Shake, Redemption, films that weren't necessarily

(01:50:31):
a massive hit upon release, but just grow and grow
over the years, and I think Children of Men, more
than any other film maybe made this century, is the
film that's doing that. Also. Love Actually he was in
Kinky Boots and of course Twelve Years of Slave, so
there's a lot to talk that child had all about,
and I cannot wait to sit down with him next time.

(01:50:52):
You wint see nothing yet until then bucking out, And
so we leave.

Speaker 3 (01:51:05):
Old Pete safe and soult.

Speaker 1 (01:51:08):
And to our friends of the radio audience, we've been
a pleasant good night

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