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This week on "A Dingo Ate My Movie," we're diving into the sultry and suspenseful world of "Snapshot," a 1979 Australian cult classic. Directed by Simon Wincer, this film, also known as "The Day After Halloween," is a hidden gem of Aussie cinema that blends thriller and drama in a unique narrative.
Join us as we explore the story of Angela, a hairdresser turned model who finds herself in the crosshairs of an intense and eerie stalker. "Snapshot" is a snapshot of the '70s itself, with its distinct style, music, and a vibe that can only be described as quintessentially Australian. We'll dissect the compelling performances, the atmospheric cinematography, and how this movie reflects the societal and cultural nuances of its time.
We've got some juicy behind-the-scenes stories and insights into the film's reception then and now. Whether you're a long-time fan or new to Australian cult cinema, this episode will ignite a love for the unique flair of Aussie filmmaking. So, grab your popcorn and settle in for a thrilling ride through the streets of 1970s Melbourne!
Remember, you can stream the episode on all major podcast platforms. Don't forget to subscribe for more deep dives into the quirky, the underrated, and the outright bizarre in Australian film history.
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Please note that this podcast often explores topics and uses language from past eras. This means that some of the discussions may include attitudes, expressions, and viewpoints that were common in those times but may not align with the standards and expectations of our society today. We'd like to ask for your understanding as we navigate these historical contexts, which are important to appreciate the era we're discussing fully.
Annette: You're listening to Monster Kid Podcast.
00:00:31
Pete: Hi and welcome to A Dingo Ate My Movie, a podcast that
00:00:34
features classic osploitation and other weird, wonderful,
00:00:38
overlooked and underappreciated Australian films from the 70's,
00:00:42
80's and beyond.
00:00:42
My name is Pete and I'm your host.
00:00:45
Welcome to a Dingo Echmovie, a podcast about weird, wonderful
00:01:17
Australian films from the 70's, 80's, 90's and whenever.
00:01:20
So today I am joined by Annette .
00:01:23
She is a podcaster and a host of Two Crones and a book and
00:01:28
also the Stiletto Banshees, and today we're going to be
00:01:32
discussing Snapshot from 1979.
00:01:34
Good morning, afternoon, evening, annette.
00:01:39
Annette: Hello to you, Pete, all the way on the other side of
00:01:42
the world.
00:01:43
My goodness Can't believe you're drinking whiskey at seven
00:01:46
o'clock in the morning and I'm having a Just kidding, I'm
00:01:51
kidding, and I'm having obviously just a hot milk and
00:01:53
biscuits.
00:01:54
Pete: We weren't going to talk about that, but yeah, when we
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got on here and it had a nice looks like a glass of nice white
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wine, which is her time zone friendly drink and my time zone
00:02:08
friendly drink this morning is black coffee.
00:02:11
Annette: Yes, so anyway.
00:02:13
Pete: So we're going to talk about this interesting movie
00:02:16
Snapshot from 1979.
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So the description I got from IMDB.
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I used to write my own, but I just get it from IMDB now
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because it's quicker and easier and I'm lazy and Naive.
00:02:27
Headresser is spurred by her vivacious friend into becoming a
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nude model, but soon discovers that everyone she knows wants a
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piece of her.
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And don't they ever?
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Annette: That's just a bit.
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Pete: I don't know what's going on with this film.
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She gets stalked by I don't know how many people We'll get
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on to it, but there's the guy in the bar, and then there's the
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movie producer guy who's the real villain, I guess, and then
00:02:57
her ex-boyfriend, who's a real villain as well.
00:03:02
Annette: And then we find out at the end another person who we
00:03:05
didn't.
00:03:05
They came with a skin of me.
00:03:09
Pete: We're going to spoil the shit out of this.
00:03:10
So if you haven't watched it, watch it first, or just listen
00:03:14
and then watch it, it doesn't really matter.
00:03:16
So the cast for this movie is Chantel Contoury, and I can't
00:03:24
remember the character's name.
00:03:25
What was her character's name?
00:03:27
Annette: It was Mads Madison.
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Pete: That's right, it was Mads Madison and Sigrid Thornton was
00:03:32
Angela Hughes Keyes-Burn, who's in half of the movies I do he
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plays a photographer guy and Denise Drysdale and Vince Gill.
00:03:43
So it's an interesting cast.
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There's some real people, like I said, hughes Keyes-Burn we've
00:03:50
had in, like we've done Mad Max, stone man from Hong Kong, mad
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Max, fury Road Lots of movies he's done.
00:03:57
Vince Gill we've had him for Stone, mad Max and he was in
00:04:01
Body Milk, widley Enough.
00:04:02
Chantel Contoury was in Thirst.
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So I haven't done Thirst yet, but I think it's coming up.
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Have you seen Thirst?
00:04:09
It's really good.
00:04:10
Annette: No, I haven't seen that one.
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Pete: It's like a modern day If a modern day was in 1979, 1989,
00:04:16
1980, vampire movies Very interesting.
00:04:17
And Sigrid Thornton who, when I listen to the Conventory,
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everyone just calls her C, which is weird because in Australia C
00:04:26
is slang for C.
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Annette: Yeah, it is.
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Pete: But obviously they do it with an S.
00:04:30
She's well known for the getting of wisdom the FJ Holden.
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She was in prisoner.
00:04:34
I didn't know she was in prisoner.
00:04:36
Annette: Yeah, that's actually the only place I know her from
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was from Prisoner Cell, block H.
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Pete: Okay, so I think it's called that there Because I
00:04:43
always knew it is prisoner.
00:04:44
I don't know if it's still.
00:04:48
It's not still on, is it?
00:04:50
Annette: It was reinvented as Wentworth, wasn't it?
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Oh, they tried.
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I remember that yeah.
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Pete: Yeah, now the crew is really interesting because the
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crew is like a who's who of Osploitation in Australia mostly
00:05:03
.
00:05:03
So we've got Simon Wincer who is the director of Harlequin,
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which we haven't done yet, but I want to do that as well.
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I actually also directed Free Willy and Crocodile Dundee in LA
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.
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Annette: Not the Forbidden Franchise.
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Pete: Yes, I know the Forbidden Franchise which I'm getting very
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close to thinking I'm going to do, I know right.
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So film was written by Everett DeRoch, who wrote, oh my God,
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nearly every Osploitation movie.
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He wrote Patrick, long Weekend, harlequin Road, gaines,
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razorback, frog Dreaming, etc.
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Etc.
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Cinematography was Vincent Montan, who shot Long Weekend
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Road, gaines and Thirst, and they're great movies and Long
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Weekend's amazing looking movies .
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That's a great one.
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Music by Brian May not that Brian May, as we also have.
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I've got these friends of mine that also do an Osploitation
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podcast and occasionally be in Marseille on my show and
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whenever I've always said not that Brian May, and I think
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they're the same.
00:06:07
It's always interesting when we do it.
00:06:08
I listen to one of the episodes of Brian May's the Composer.
00:06:12
They always say not that Brian May, and I've always said
00:06:15
nothing.
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Annette: That is definitely some merch in the future.
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I think you've got that Pete, I think so, jesus, that's a great
00:06:21
idea actually.
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Pete: Yeah, brian May is quite prolific as well, like Patrick
00:06:26
Mad Max Road Gaines, turkey.
00:06:28
Shoot Freddie's Dead the Final Nightmare.
00:06:32
Annette: That's so crap.
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Pete: And the other one that I didn't jot down on my notes but
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I remember was Dr Giggles.
00:06:40
Annette: Oh no, I hate that book .
00:06:42
Yes, what's up Mary?
00:06:47
Pete: I've never seen it, but anyway.
00:06:49
Annette: It's so stupid, I love it.
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Pete: I love stupid movies, so I really need to see it?
00:06:53
Annette: Yeah, definitely.
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Pete: It's produced by Anthony Ghanane, who is Osploitation
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royalty.
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I think he's produced nearly every Osploitation movie he's
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done.
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He's produced Phantasm, patrick , thirst, harlequin, strange
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Behavior, turkey Shoot, goes on.
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So this is like on the production side, this is a
00:07:12
really who's who of Osploitation .
00:07:15
All we needed was Brian Trenchard Smith in there
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somewhere and it would have been perfect.
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Yeah, the budget was like $300 and there's no I can't
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see anything that says how it went but it didn't do well in
00:07:31
Australia, but apparently it did quite well in the US and it did
00:07:35
quite well in a few other countries.
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So interesting, yeah, and I think at that time, when I was
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listening to one of the commentaries or reading
00:07:44
something, I think it might have been Anthony Ghanane saying
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that at the time a lot of Australian movies, especially
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like these genre movies and Osploitation films, were not
00:07:55
really popular in Australia with critics and audiences, but they
00:07:59
actually found a home overseas.
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So it's quite interesting, yeah, where to watch this?
00:08:05
Well, it's available on Prime and Broly in Australia.
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So Broly, if you haven't heard, is pretty new.
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It's a streaming service that's run or owned by Umbrella
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Entertainment.
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So Umbrella to all the Blu-ray, all these great Osploitation
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Blu-rays and all these other.
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They're a great distributor and it's a brand new streaming
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service.
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This is an unpaid plug, thank you, but it is really good.
00:08:31
It's free, so it's ad supported , so it's a bit like 2B, but we
00:08:36
watched the whole movie the other night, umbrella, and
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didn't get one ad, so it was really interesting and it's
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actually really good.
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I'm not sure if you can get it from other countries it might
00:08:46
just be Australian, but VPN is your friend.
00:08:48
And also, of course, umbrella have a Blu-ray of this, which I
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have.
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It's part of their Osploitation series that they have
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unfortunately stopped producing.
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They stopped at number 20, I think it was, but they were
00:09:01
really nice packaged and had little extras, but still when
00:09:05
they released Osploitation films .
00:09:06
Now they still have nice extras and stuff, but they had a nice
00:09:09
slip case and they're very good.
00:09:12
So, yeah, when did you?
00:09:13
Annette: watch this.
00:09:13
I had to look around.
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You suggested it, but I couldn't access it.
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I don't have a decent VPN.
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Luckily, in the UK you can actually get it on Shudder, but
00:09:25
it's not regular Shudder, it's the Amazon Prime only.
00:09:29
Pete: Shudder.
00:09:29
Oh, that's weird.
00:09:32
Annette: I know it's very odd.
00:09:32
So I had to do a seven day free trial so make sure I got to
00:09:38
watch it.
00:09:39
But what's really funny, pete, is that after we discussed doing
00:09:43
it, I found out that there's going to be I think it's a
00:09:47
Blu-ray or 4K release in the UK at the end of February.
00:09:50
So that's out of us, so in about a month's time from when
00:09:55
we were recording.
00:09:56
But it looks it's got like some documentaries and things with
00:09:58
it as well.
00:09:59
Okay, sounds like it might be the.
00:10:01
Pete: I wonder who's releasing it?
00:10:03
Who is releasing?
00:10:03
Annette: it.
00:10:03
I don't have it off the top of my head, I'm sorry.
00:10:08
Pete: I think, is it Broly?
00:10:09
Have a no, probably Umbrella, have some sort of relationship
00:10:13
with one of the larger distributors as well.
00:10:16
Is it not vinegar syndrome?
00:10:17
Maybe I don't remember, but I know that they have some sort of
00:10:21
relationship, partnership, with one of those companies as well.
00:10:25
Oh right, yeah, interesting.
00:10:26
But yeah, it's available pretty much everywhere.
00:10:30
Annette: If you're hunting around, you'll find it.
00:10:31
Somewhere You'll find it, yeah for sure.
00:10:34
Pete: Yeah, it's good.
00:10:34
The extras are great.
00:10:36
It's got lots of interesting stuff.
00:10:37
It's got a VHS cut I don't know why they do that, but I
00:10:41
actually think it's fun to watch like a really crappy pan and
00:10:44
skin version of the movie, but it's nice because it's got.
00:10:49
The one that I have on the Blu-rays has been nicely
00:10:53
restored and it looks really nice.
00:10:54
The other thing to know is this movie is also known by a few
00:10:59
other names.
00:11:00
Annette: The names.
00:11:02
Pete: It's known as One More Minute, which is a strange name,
00:11:05
but I figured it out because there's a line right near the
00:11:08
end where one of the villains one of the villains talks about
00:11:12
One More Minute and it's about yeah, and the other one is
00:11:16
Weirdly Enough the Day After Halloween, which makes no sense.
00:11:24
Annette: Did you read anything about that?
00:11:25
Why they?
00:11:26
Pete: gave it that title.
00:11:26
I did Tell me.
00:11:29
Annette: No, I read it was a Guardian article and they said
00:11:32
that they named it that because it was a cash grab after
00:11:36
Halloween being released in the US.
00:11:39
Pete: Yeah, the distributor apparently.
00:11:42
Annette: Yeah, and everyone was like oh, oh yeah.
00:11:47
Pete: Yeah, it's quite funny because I think it was one of
00:11:50
the extras on the Blu-ray.
00:11:51
Anthony Gidey was talking about it and was saying that when he
00:11:55
sold it to a US distributor, they basically said do you mind
00:11:58
if we call it something else?
00:11:59
And they wanted to call it the day after Halloween.
00:12:03
And I think his response was something along the lines as
00:12:06
long as you in E checks good, but cash is in, I don't care.
00:12:11
Annette: I love it yeah.
00:12:13
Pete: He's an interesting guy.
00:12:14
I'm thinking of actually doing a whole episode on Anthony
00:12:17
because he's done so many films and he's got some really
00:12:20
interesting stuff.
00:12:22
He's done Like he had this whole thing, like this movie was
00:12:24
the middle of a three movie set .
00:12:30
After this they went on and did thirst and they did it almost
00:12:33
immediately after this movie and they actually did some reshoots
00:12:37
for this movie while they were starting to get thirst together.
00:12:41
It was really quite interesting and so, yeah, so it's, he's an
00:12:45
interesting guy and, like I said , he's done lots of these films.
00:12:47
He's produced lots of baby.
00:12:49
He passed away a few years ago, unfortunately, but I hope not.
00:12:51
I hope he's dead, but I hope I'm not saying he's not here and
00:12:55
he's still here.
00:12:56
I'm sorry I'm not coming out or not.
00:13:00
Save it, if you're, anyway, anthony Goddine and your family.
00:13:04
If you're not here, I'm sorry, but anyway he was fantastic and
00:13:09
I don't think the whole genre of Ozploitation around without him
00:13:13
or without him doing anything.
00:13:16
Let's get on with the movie.
00:13:18
It's a very strange movie.
00:13:19
It's not strange, but it's just .
00:13:21
I don't know.
00:13:24
I've never been chased by a Mr Whippy van before.
00:13:28
Annette: That's.
00:13:31
It's like.
00:13:34
I mean, they've always been sinister.
00:13:36
To be fair, yeah, ice cream van .
00:13:38
Pete: Oh yeah, Especially when you hear them coming down the
00:13:40
road with green sleeves playing.
00:13:42
Annette: Yeah, and just slightly peeking around corners at you,
00:13:45
yeah.
00:13:46
Pete: Do you have?
00:13:47
You get, mr Whippy, kind of vans in the UK.
00:13:49
Annette: Yeah, yeah, of course yeah.
00:13:51
Pete: Have they called Mr Whippy or they call something else?
00:13:54
Annette: No, we have Mr Whippy, and then there's varieties of
00:13:56
others.
00:13:57
Yeah, yeah.
00:13:58
Pete: Now, it's all some trendy sort of ice cream stuff these
00:14:01
days, but we still have a Mr Whippy van coming, oh yeah.
00:14:04
It's funny.
00:14:06
Ok, he used to know this guy who was real tight-ass and he
00:14:12
used to tell.
00:14:13
He used to tell his kids, if you could hear the music, they
00:14:16
were out of ice cream.
00:14:18
Annette: Yes, that's so true, eric, I see.
00:14:20
No, that's the, that's the.
00:14:22
There's none left, none.
00:14:24
Pete: Yeah, none left, they're going back, yeah, yeah.
00:14:29
In this case, if you hear the Mr Whippy van, you're getting
00:14:33
stalked.
00:14:33
Basically I don't know why he would be so obviously stalking
00:14:37
you playing music though.
00:14:40
Annette: It's a touch, but I don't know.
00:14:42
I was almost disappointed when it turned out like it wasn't
00:14:44
just the van on its own stalking her Alec Christine.
00:14:48
Pete: Oh yeah, that would have been good actually.
00:14:51
Annette: Oh do it.
00:14:51
Fantastic, I was never driving the whole time, it was the van.
00:14:57
Pete: Oh boy, so the driver of the van is her ex-boyfriend.
00:15:01
Is it Darrell?
00:15:03
Is that his name, Darrell?
00:15:04
Annette: Yeah, Darrell.
00:15:07
Pete: And he just can't accept that.
00:15:08
She's broken up with him and apparently, from what I
00:15:12
understand, they had sex twice and it's a bit, and a date used
00:15:16
to be her coming to her place, him coming to her place and
00:15:20
spending all the time talking to her mother.
00:15:23
Annette: Yeah, I mean, I clocked the age difference.
00:15:24
They got together when she was 16 and he was 27, even though he
00:15:27
looked about 45.
00:15:28
Yeah, he did.
00:15:33
Pete: He's got that friar's patch in the back of his head.
00:15:35
Yeah, I shouldn't talk, I'm losing my hair, but he's an
00:15:45
interesting character.
00:15:45
He's a really Obviously it's Vince Gill who plays him and
00:15:51
it's interesting looking at Vince Gill.
00:15:52
I don't know if you've ever seen have you seen?
00:15:55
Body Melt.
00:15:57
Annette: No, I haven't.
00:15:59
Pete: So first you really need to see that movie.
00:16:00
It's just nuts and in that he's completely different because
00:16:04
he's probably this was in 1979.
00:16:06
I think Body Melt is 1990-something.
00:16:10
It's very close to the 2000s, so he's a lot older and he's a
00:16:15
completely different kind of character.
00:16:15
He looks better in that, but in this one he plays I don't know
00:16:20
the guy.
00:16:20
It's obviously the way he's been directed.
00:16:22
He's quite a pathetic kind of character.
00:16:26
Annette: Yeah, but quite intense as well, isn't he, at moments
00:16:29
Super?
00:16:29
Pete: intense.
00:16:30
There's that whole conversation where he grabs, when he talks
00:16:33
about something, about If you put your hand on the side of a
00:16:36
goldfish bowl or a guppy bowl, the mother will eat the babies.
00:16:41
Annette: I.
00:16:41
But then he has this very bizarre relationship with her
00:16:47
family, where you think the way he's manipulated the family to
00:16:52
his side of everything but at the same time they're very
00:16:55
willing to take his side in everything.
00:16:57
Pete: Yeah, they're a strange family.
00:16:59
Annette: Oh, they're odd.
00:17:01
Pete: They're really odd.
00:17:01
We'll get to that, but yeah.
00:17:04
So the basic plot of the story is she's like this young
00:17:08
hairdresser she wants to leave the country and live overseas
00:17:13
and then she's totally, I guess, under the thumb of her terrible
00:17:18
mother, who's right up there with Piper, laurie and Carrie,
00:17:23
almost who'll take the deep breaths and it's okay, sure.
00:17:27
Annette: Yeah, take a sip.
00:17:28
Take a sip, calm down.
00:17:31
Pete: And then she meets Madeline, who comes into the
00:17:35
hairdressing cell on that she works at.
00:17:36
And Madeline comes in and she's a bit of a diva right.
00:17:39
She's described as a glamorous model, so she's quite nice.
00:17:44
Chantel Conturi is quite nice to look at.
00:17:48
Annette: Oh, she's gorgeous yeah .
00:17:50
Pete: And she tries to pursue, you know, a modeling career and
00:17:54
whatnot, and Angela agrees and they end up doing this shoot on
00:17:59
the beach, which is an interesting scene, and she ends
00:18:04
up going topless.
00:18:04
It's really weird.
00:18:06
It's really weird.
00:18:07
But and the guy what's the name ?
00:18:11
Lindsay, who's played by?
00:18:12
Yes, yes, he's an interesting character in this movie too,
00:18:16
actually, yeah, this obsession with photographing dead mice.
00:18:21
Yeah, yeah, it's a question.
00:18:22
He thinks he's got the market corner.
00:18:25
There's a whole conversation where she asks him why he
00:18:29
photographs dead things, because apparently he does other
00:18:32
animals as well.
00:18:32
He's not just specializes in mice, but other animals as well
00:18:38
and he responds along the lines of saying he's got the market
00:18:41
cornered in photographing dead things.
00:18:44
But he plays the part really well.
00:18:46
He's keeps burning.
00:18:47
He plays the part of this really eccentric photographer
00:18:52
artist guy really well, even to the point where at one stage
00:18:57
he's looking through photos or something and for some reason
00:19:01
he's got his one leg right up on the table Because he's like
00:19:08
it's like really weird, but I think it's just he's playing.
00:19:12
He's been told like this is all in the direction.
00:19:14
I'm sure he's told to play very eccentric, but he's a likable
00:19:19
character in this.
00:19:20
I like him.
00:19:21
Annette: He is.
00:19:22
I did, I really liked him.
00:19:23
And when?
00:19:24
What was it?
00:19:26
When she was seeing the final photo in the layout and she
00:19:31
didn't seem to like it.
00:19:32
I really felt for him because he looked so wounded.
00:19:35
Pete: Yeah, he did.
00:19:35
He's a great actor, though he's a very good actor.
00:19:37
Oh, he's fantastic, he was.
00:19:40
I miss him.
00:19:40
Yeah, he's really eccentric but really good character.
00:19:44
Yeah, photographing dead birds, stuff like that Interesting, so
00:19:49
yeah.
00:19:49
So she goes and does this photo shoot and we get this great
00:19:54
song by Sherbet, which we'll talk about later, about this
00:19:57
Angela song that you can go on.
00:20:03
Annette: I was just going to say it was just so perky and light.
00:20:05
It's like you know this girl's been convinced, you know, to
00:20:08
take a top off.
00:20:08
You know it's meant to be.
00:20:10
Normally, if you watch a movie it's like, oh no, this is.
00:20:14
It's quite dark and seedy, but you got this really catchy pop
00:20:17
song.
00:20:18
And then old guy with a pipe, it's just there watching.
00:20:22
Pete: The old per.
00:20:22
It's just I don't know if he's a per.
00:20:24
He's just walking along the beach right and he sees this and
00:20:28
I think anyone would stop and have a look what's going on.
00:20:30
Most people, I think, when they realize they're doing a photo
00:20:34
shoot and she was top was like probably just walk away and give
00:20:37
them a bit of space and let them do their thing right.
00:20:39
But this guy doesn't.
00:20:43
Annette: No, they shoo him away, and then, five minutes later,
00:20:45
they turn around and he's back again.
00:20:47
Pete: He's second on his pipe, second on his pipe and watching
00:20:53
what's going on.
00:20:53
But it's a good.
00:20:54
It's actually a good scene, though it's quite it's like a
00:20:57
montage, of course, but, and the song's quite cool, but yeah,
00:21:02
it's really good anyway.
00:21:02
So she poses on the beach and it's a perfume ad.
00:21:06
Right, you know women's bed.
00:21:07
Yeah, it ends up in Cleo, which is a.
00:21:10
It's really interesting.
00:21:11
This movie is quite a few true to life things.
00:21:13
I think it's Cleo magazine, because Cleo was a women's
00:21:16
magazine in the 70s and 80s.
00:21:17
I don't know if it's still around now, let me know, but so
00:21:21
yeah.
00:21:21
So then I think there's a scene where they go to a party, and
00:21:26
it's the one with that weird guy doing the singing and stuff the
00:21:31
cabaret.
00:21:31
Annette: Yeah, it's the.
00:21:33
It's like the weirdest disco ever.
00:21:35
Pete: Yeah, with a floor show.
00:21:37
Annette: Yeah.
00:21:41
Pete: It is strange and that guy who pops up a couple of times
00:21:45
and apparently Sigrid Thornton knew him and he was some sort of
00:21:50
performance artist in Melbourne and that's how they got him.
00:21:53
They roped him into the movie that way.
00:21:55
But yeah, it's really quite strange.
00:21:57
The first time I ever watched it, I think I saw this movie
00:22:02
like back on VHS days right back in the mid 80s, early 90s or
00:22:08
something like that, and I totally forgot about the scenes
00:22:11
with him, with the cabaret guy, yeah, and it's weird, it's so
00:22:16
strange, and he does that thing with the weird side lip and yeah
00:22:20
, cause he portrays these different characters different
00:22:22
characters, doesn't it?
00:22:23
Annette: Yeah, throughout it's.
00:22:25
Yeah, it's interesting, it is.
00:22:28
Pete: Yeah, it makes an interesting movie.
00:22:29
So, yeah, she goes to the nightclub and once you get home
00:22:33
from the nightclub she's been locked out of the house by her
00:22:35
mother, who obviously doesn't like that she's turned up late.
00:22:37
Annette: Yeah for turning up late.
00:22:38
For turning up late one night and you get booted out at four
00:22:42
in the morning.
00:22:44
Pete: And she'd even changed the locks.
00:22:46
Annette: Yeah, she could.
00:22:49
Pete: How did she do that?
00:22:49
She just called up a 24 hour locksmith and just got here.
00:22:53
Annette: It's a minute past quick and you're down.
00:22:57
Pete: So she ends up crashing at the studio, right At the
00:23:00
photography studio, which is a bit of a it's almost like a bit
00:23:03
of a commune because there's a few of them living there and it
00:23:05
sounds like people just come and go and I think Denise
00:23:08
Drozdowel's character talks about you just pay whatever you
00:23:11
can afford and the people that are doing okay go to support the
00:23:14
ones.
00:23:14
It's a bit of a commune kind of thing.
00:23:16
Yeah, and it's.
00:23:18
It's an interesting place.
00:23:19
Apparently, it was shot.
00:23:21
Those scenes in the studio was shot in the main office of
00:23:25
mushroom records in Melbourne, mushroom records is a pretty
00:23:29
well known Australian record label and it was one of the
00:23:34
first record labels in the country that major record labels
00:23:38
in the country in the seventies and lots of great artists go
00:23:41
through.
00:23:41
They're still going to this day , I think.
00:23:43
And yeah, so they shot those scenes and they didn't know that
00:23:47
until they watched the commentary.
00:23:48
But they shot those scenes in the offices of mushroom records
00:23:52
in Melbourne and then some of it , like her bedroom, I think
00:23:56
Sigrid thought, was saying it was in her father-in-laws some
00:24:01
house or something that he owned or something like that.
00:24:02
And it's really.
00:24:05
It's really.
00:24:05
I always find it interesting where they shoot things like
00:24:08
this.
00:24:08
Yeah, it's quite interesting as well.
00:24:10
Yeah, so she ends up crashing the night at the place and gets
00:24:15
a room, gets a mattress on the floor and the mattress looks
00:24:19
really dodgy and some guy been sleeping on it before.
00:24:24
Annette: And anyway.
00:24:26
Pete: So she seems, she seems to be quite happy there, though
00:24:28
she does all that sort of thing, and then she's yeah, that's
00:24:32
when things really weird things start happening.
00:24:33
We start getting, she starts getting stalked by all different
00:24:36
people, and then there's a scene in the club where the one
00:24:39
guy who turns out now he's the guy that eventually offers a job
00:24:43
right At the end of the movie he's got is it a?
00:24:46
What company?
00:24:48
Is he got a company?
00:24:49
Annette: Is this something like some sort of like lawyer or
00:24:51
something he wanted to hire as a PA?
00:24:54
Pete: That's right In Fiji.
00:24:55
I think it was a Fiji or something, yeah, yeah.
00:24:57
Which would be a nice place to go live, and so yeah, but he's
00:25:01
really weird with her.
00:25:02
First she's he's like touching her up, and then Madeline gives
00:25:06
him a knee to the nuts.
00:25:08
Annette: Yeah, she grabs all of them.
00:25:10
Pete: Oh, she grabs them no sorry, it's not a knee, she
00:25:12
actually grabs them with it.
00:25:14
Annette: No, she's going to rip it up, yeah.
00:25:17
Pete: But we turn out where it eventually works out that the
00:25:20
Madeline has, she has ulterior motives.
00:25:21
She's got a crush on her, I think, cause it turns out later
00:25:25
we find out that Madeline is a lesbian and and she obviously is
00:25:30
quite keen for Angela, and I think that's where a lot of that
00:25:34
comes from.
00:25:34
But also, I think she's trying to protect her.
00:25:36
I'm not sure, though, because sometimes I think she's almost
00:25:40
complicit in a lot that goes on in this movie.
00:25:43
Annette: Yeah, it's like dragging her into that world.
00:25:44
Was it all for a reason to get to that position at the end?
00:25:49
Yeah, yeah.
00:25:50
Pete: Yeah, it's quite strong, yeah, but she looks after her a
00:25:54
bit and she ends up being a bit of a sounding board for her and
00:25:57
things like that.
00:25:57
But yeah, she gets there, she grabs the guy in the nuts.
00:26:00
She's not in a good way and that's good.
00:26:03
And the look he gets on his face when he grabs her.
00:26:07
It's a bit of overacting, but it's funny.
00:26:10
So then she ends up.
00:26:13
Tell me if I'm missing anything , right, because then there's
00:26:17
there's a few extra scenes with her, and Can't forget Darrell, I
00:26:21
think his name is yet.
00:26:23
Darrell where he's comes around and he wants to know what she's
00:26:26
doing there and he comes looking for.
00:26:28
And then we get that, the scene with the mother, your favorite
00:26:32
scene, oh my god, finding where she lives and finding out that
00:26:37
she's a cause.
00:26:37
Angela earned A thousand dollars for this half day movie
00:26:42
film photo shoot.
00:26:43
She's got it in so seven years.
00:26:46
Right, it's in a nice envelope in the drug keeper.
00:26:49
To get a thousand dollars in an envelope, but anyway, cash is
00:26:54
king, as they say.
00:26:55
And yeah, alright, then we get the scene with the mother.
00:26:58
I think I'll let you run with the scene with the mother and
00:27:00
yet.
00:27:02
Annette: So it's so.
00:27:03
She's come home and someone's just this is when they're doing
00:27:06
the pitch downstairs For the advertising campaign.
00:27:10
They inform it, like there's someone to see you upstairs and
00:27:13
she's okay, fine.
00:27:14
She goes up and her mom's sitting on her bed and, oh my
00:27:19
god, it just it's the most infuriating Gaslight nightmare
00:27:29
situation, where I was literally off the chair shouting at the
00:27:34
screen of this moment.
00:27:35
The dog ran out of the.
00:27:37
Oh wow, yeah, it's sure I'm not staying for this.
00:27:41
Yeah, it's in this conversation .
00:27:43
She says she heard from Darrell and her little sister Becky why
00:27:49
their relationship ended and she didn't even ask Angela anything
00:27:53
about it.
00:27:53
So I'll just take it from them and not believe you.
00:27:56
And oh well, I'm getting riled thinking about it.
00:28:01
I can't be keep on.
00:28:02
So yeah, so she's obviously not .
00:28:05
We said she's kicked her out of the house, but she's the only
00:28:08
reason she's come there.
00:28:09
She knows that she's.
00:28:10
She's heard that she's earned some money, figured out, she's
00:28:12
earned some money apparently, and saying that her sister Becky
00:28:16
needs it.
00:28:16
She's in the hospital, she's had an accident, yes, and all
00:28:21
this, and then I did.
00:28:24
But then, at the same time, she's saying and then so you
00:28:27
must be.
00:28:27
She's assuming she's the money.
00:28:30
Prostitute in herself, I think, is what she's alluding to.
00:28:34
But then she's it's all very it .
00:28:38
Everything's Angela's fault.
00:28:39
She's the problem.
00:28:40
But oh, woe is us.
00:28:41
Can't you help us?
00:28:42
But it was like it was changing From sentence to sentence and
00:28:47
you like on this roller coaster of oh my god.
00:28:50
Pete: Yeah, she's so.
00:28:51
It's like I said.
00:28:53
It's really like pipe a lorry in carry almost.
00:28:56
Annette: Yeah, and then like when did she and she let slip
00:29:00
that she's noticed that she has nine hundred dollars?
00:29:03
Like how do you know I have nine hundred dollars?
00:29:05
You've been going through my things, is it?
00:29:08
Pete: I quickly changes she was looking for something or
00:29:11
something like that.
00:29:12
Yeah, she was looking for a piece of paper to write a note
00:29:15
on.
00:29:16
Annette: Yeah, no, on to say that she's been there, yeah, and
00:29:20
then she even looks through the magazine where the pictures,
00:29:24
and she doesn't even notice that Angela's there is in that
00:29:28
picture for the advertising yeah , yeah.
00:29:30
And it wasn't until Angela holds it up to it.
00:29:34
This is how I got it, and that was the most accuses her of
00:29:37
being a whore and to never darken her doorstep again and
00:29:41
takes off.
00:29:41
Yeah and then Angela has my realize it goes to look through
00:29:45
the draw and the money's gone yeah.
00:29:48
That woman.
00:29:49
I mean, I probably missed massive chunks of that
00:29:51
conversation because, as I said, I was.
00:29:55
Pete: But it's such a dysfunctional family right,
00:29:58
obviously, and her sister's a piece of work even oh my god,
00:30:03
they just.
00:30:03
And then, of course, it turns out that we find out later that
00:30:08
nothing happened to a sister.
00:30:09
She didn't ever, she didn't end up in the hospital, she was
00:30:11
taking her job in the hairdressers.
00:30:13
Yeah, she pinched the job.
00:30:16
Annette: Yeah, I was.
00:30:18
No, that was one of those.
00:30:20
No, I have to take a walk for a minute.
00:30:22
No, I have to pause.
00:30:24
I have to go.
00:30:24
No, something else distract me.
00:30:26
I'm livid, my god.
00:30:29
I didn't think I was gonna have that kind of reaction in this
00:30:31
movie, but oh my god.
00:30:34
Pete: Yeah, she's quite a piece of it, but I think we see her
00:30:36
again after this scene.
00:30:37
That's pretty much it, so but what a scene to have that was a
00:30:41
masterclass in manipulation.
00:30:43
She's great actor, though she was in.
00:30:45
Have you seen Patrick, the original 70.
00:30:49
Annette: No, that's okay, I'm telling you I'm gonna start.
00:30:52
I'm going through my movie list and I'm going to up my
00:30:56
exploitation knowledge so she's in Patrick, she plays the.
00:31:00
Pete: she's like the main Matron of the medical play medical
00:31:04
center, where Patrick is the hospital thing and she's really
00:31:09
good in that as well.
00:31:09
She plays a really Nurse, ratchet, nurse sort of thing,
00:31:13
and so she perfected the mega very good yeah, she's very stuff
00:31:18
.
00:31:18
Yes, so she definitely has an impact in this film.
00:31:25
Annette: Just a bit.
00:31:25
I'm never gonna forget her.
00:31:31
Pete: Elmer guy.
00:31:32
Right, he's the guy from the modeling agency at this man.
00:31:36
Annette: Madeline's husband that's right.
00:31:38
Pete: it's really weird.
00:31:39
This is where I think Madeline Is almost complicit, because I
00:31:45
don't know if Madeline set this up like they have some weird
00:31:47
relationship, something Like between her husband or is he
00:31:52
strange movie?
00:31:54
Annette: It knows a movie producer and obviously she said
00:31:57
she says early on in the movie he does his thing, I do my thing
00:32:01
yeah, yeah.
00:32:01
And so he obviously goes for these younger models and things
00:32:06
like that.
00:32:06
So it's, I don't know, maybe I mean I was probably given away a
00:32:11
bit much for them and bit, but maybe it was that was a whole
00:32:16
idea that she could have a cake and eat it.
00:32:18
No, he could she.
00:32:20
Pete: Have this relationship she wants, but she also gets all of
00:32:23
his money she gets told that it's going to be a barbecue with
00:32:27
a whole lot of other people and she turns up to the house and
00:32:30
it's just him and he even fakes a phone call from Madeline.
00:32:34
So creepy, right he does I mean ?
00:32:37
Yeah, I can't really.
00:32:40
The number is not the type.
00:32:41
Annette: Sorry, I was gonna say be another title for this movie
00:32:44
with the, with the hundred others could be the red flag
00:32:46
movie, because it is not seen.
00:32:48
Pete: But Very much.
00:32:51
I don't know why she doesn't see him.
00:32:52
She sees him a bit late most of the time.
00:32:54
That's otherwise you'd have no movie, I guess.
00:32:57
But but she turns up and he fakes a phone call and when I
00:33:03
was watching this is my she was saying.
00:33:05
I remember doing that, but I can't remember.
00:33:07
She couldn't remember the number you used to have to punch
00:33:09
in.
00:33:09
There was like a certain number you could punch into your phone
00:33:13
and then a couple minutes or a few seconds later ring.
00:33:17
Annette: Yeah, I like to test the line.
00:33:18
Pete: Yeah and so he goes through and he does that.
00:33:21
He has this.
00:33:21
Her acting is actually really good in this part, because when
00:33:25
he's on the phone and he says it's Madeline, she turns around
00:33:29
as anyone would like.
00:33:30
When she hears somebody is on the phone, that she likes to
00:33:34
turn around, his big smile, but she's very no, angel is pretty
00:33:38
naive, right, and obviously he plays it up really well with the
00:33:43
phone call and all this sort of stuff.
00:33:44
And then, of course, madeline's not coming home and then he
00:33:48
starts wanting to take photos of her.
00:33:49
This is where we find out how creepy he is.
00:33:52
And he first starts by saying to her hey, he's a phone number
00:33:57
of producer guy or something and He'll be able to get you into
00:34:01
movies and all this sort of thing.
00:34:02
And then he gets his little codec in stomach camera, which I
00:34:07
got with the flashes that shows up a few times of these movies
00:34:11
movie.
00:34:13
It's really great.
00:34:14
It's such a for old for an old fart like me it's.
00:34:19
It's like a nice flashback.
00:34:20
All that sort of vintage stuff.
00:34:24
Annette: No, it's true, I remember them going through the
00:34:26
house.
00:34:26
Obviously I'm sorry people.
00:34:28
I was born in 79.
00:34:29
Sorry, I apologize, but I remember like we, my parents,
00:34:36
have loads of all camera gear and finding flashes like that
00:34:40
what the hell is this.
00:34:45
Pete: Isn't it amazing how far we've come?
00:34:46
Right, we've come from these cameras where you actually plonk
00:34:50
a flash on the top that only works once.
00:34:53
Once you take the photo, you throw it away.
00:34:56
Yeah, having a thing in your pocket that you can shoot
00:35:01
amazing photos with, it's unbelievable and we thought we
00:35:05
were so fancy in the eighties with those long ones, with the
00:35:08
one little.
00:35:08
Oh yeah, the long skinny ones, yeah yeah.
00:35:11
And the flash you used to work all the time.
00:35:15
But yeah, I miss that noise.
00:35:19
Annette: I miss that sound of a flash, you know, yeah, yeah,
00:35:23
it's gone off.
00:35:24
Pete: Chainsaw massacre.
00:35:25
So yeah, yeah, yeah and yeah, he takes these photos with the
00:35:31
codec film and the camera and they all look a bit dodgy and
00:35:35
then he gets it a strip off a little bit more.
00:35:37
A little bit more.
00:35:38
At first it's interesting, so first she goes along with it and
00:35:41
then it dawns on her what's happening and cause he's done a
00:35:46
good job to try and get a drunk and he's such a creepy looking
00:35:50
guy too.
00:35:50
Right, he's got the mo, he's got the mo, but every man in
00:35:53
this movie's got a mo, just about.
00:35:56
It's been the season for the year for it and I'm also really
00:36:01
big in the seventies.
00:36:02
My dad you separate will pushy mo, and it's been, it was my dad
00:36:06
did to there was a thing was a thing, and yes, so she gets out
00:36:10
of it by just leaving, basically , and he let to leave.
00:36:14
I'll give him that he does let her leave.
00:36:16
So good for him yeah, good for him what a what a hero.
00:36:22
He's a bit different next time.
00:36:24
Yeah, but yeah, so she gets away.
00:36:28
And then this is when she did.
00:36:30
She get caught up, she gets, she gets home.
00:36:34
Oh, there's a scene in this which I never picked up on, so
00:36:38
we're coming into the scene where she gets home from Getting
00:36:41
this being Orfully abused by this guy with the photos yeah to
00:36:48
coming home and find the pigs head in the big right and when I
00:36:52
first watch this I was like who put that there?
00:36:56
I was so stupid I didn't even think, and it was when I watched
00:36:59
it again the other night.
00:37:00
There's this little cut away scene while she's at Elmer's
00:37:04
house getting the photos done and having dinner with him.
00:37:06
There's a little scene where Darrell turns up to the place
00:37:11
and asked where Angela is and he's got a slung over his
00:37:16
shoulder.
00:37:16
He's got a big duffel bag and that's all in that scene.
00:37:20
He just asked where she is and then it cuts back to.
00:37:23
It was.
00:37:24
It took me till.
00:37:25
I probably watch the movie three times to go.
00:37:28
It's him.
00:37:29
He's the one with the pigs head because he had it in the duffel
00:37:33
bag and he was he lied then later.
00:37:36
Annette: how could he love?
00:37:39
Pete: I just like everyone else in this movie, he just gas
00:37:42
lights are right.
00:37:44
Annette: Oh my god, just a bit that they're good.
00:37:46
Pete: Note.
00:37:46
That'd be good name for this movie is all just gaslight, but.
00:37:50
Annette: We spoke to her with a list as we go, yeah.
00:37:53
Pete: Yeah, so I didn't realize because I used to think first.
00:37:56
I didn't know who tore up her dress.
00:37:58
That's the other one.
00:37:59
I don't know who did that.
00:38:00
Could have been anyone.
00:38:02
It's like everyone's after her for some reason.
00:38:05
Annette: And I thought it was gonna be possibly Madison to
00:38:10
make her think that this guy was worse, rather than just being
00:38:15
the creepy gaslighter that he was a dangerously stalky.
00:38:18
I'm gonna kill you guys like.
00:38:20
Pete: Yeah, I mean I still could be wrong, but I don't see
00:38:24
somebody turning up to the front door of a house asking where
00:38:27
someone is and having a big bag slung over his shoulder, and a
00:38:32
couple of scenes later we're finding a big pigs head in her
00:38:35
bed.
00:38:36
Annette: But then again, if it was Madison, she has free reign
00:38:39
of that place because they all know her.
00:38:41
Pete: Yeah, that's true too.
00:38:42
Yeah, they don't know him, but then we don't see.
00:38:45
If we don't see if they said to him she's not here and he just
00:38:50
says something like I've got something here I want to drop
00:38:52
off to her.
00:38:53
Because it was such an open kind of place, they probably
00:38:56
would have been just, oh yeah, just go up to her room and leave
00:38:58
it.
00:38:59
Annette: They would have to go over this for hours here where
00:39:01
you could try to trick her back.
00:39:03
One pigs head is causing so much conversation.
00:39:07
Pete: Well, and the other thing he could have kept that pigs
00:39:09
head cool in his ice cream truck .
00:39:14
Annette: I just don't smell like ice cream.
00:39:15
Pete: That's true.
00:39:16
Anyway, that's my theory.
00:39:19
But yeah, for a while I was like who left the pigs head?
00:39:22
I don't know.
00:39:25
Annette: I still don't know.
00:39:26
Pete: I know the title, yeah, the other one, I don't know.
00:39:31
I don't know who tore up her dress.
00:39:33
Annette: That one no.
00:39:34
Pete: I have no idea Was it a mother?
00:39:36
No, couldn't have been.
00:39:37
See, it's a really strange, which actually is not surprising
00:39:46
because apparently the whole script was written in four days.
00:39:48
I think it was like I was written in four days by Everett
00:39:54
DeRochie.
00:39:55
Apparently he got his wife to help out she's co-writer and
00:40:01
apparently he got his wife to help out, to help him a little
00:40:05
bit with the female scenes, to help him get an understanding of
00:40:08
how they would act.
00:40:09
I'm not sure if she gave him the right information or he just
00:40:14
wrote it wrong.
00:40:17
Annette: But I like it.
00:40:18
It provokes conversation.
00:40:19
I know it's plot holes and they're not really that bothered
00:40:22
, but I think that's great because it does make you look
00:40:26
into other scenes and create narratives that could be there.
00:40:30
I think it's part of the fun of watching a movie like this
00:40:34
Absolutely.
00:40:34
Pete: You don't know what's happening, where it's come from,
00:40:36
who's doing what.
00:40:37
I don't know, unfortunately.
00:40:41
I'd love to find out If anyone knows where the pig's head come
00:40:45
from, let me know.
00:40:46
If you're out there and I don't know.
00:40:49
Sigrid Thornton, if you hear this, can you tell me please?
00:40:53
Annette: And we love you.
00:40:58
Pete: Tell me where the pig's head came from, because I don't
00:41:00
know.
00:41:00
I'm sure it was your boyfriend and it thinks it could be
00:41:04
someone else.
00:41:06
Annette: I think it's Madison.
00:41:07
Pete: I think it's Madison.
00:41:08
Yeah, it could be so.
00:41:11
Yeah, so she finds the pig's head, and what does she do after
00:41:15
that?
00:41:15
Is that, when she runs off and she goes to the club again
00:41:19
Because she finds?
00:41:20
She goes to find Madeline again , and is it in the club?
00:41:24
Is she in the club?
00:41:26
Yeah, it's a bit fuzzy after that, but then she gets offered
00:41:29
the job in Fiji by the other guy who was touching her up earlier
00:41:33
in the movie.
00:41:35
Annette: Yeah.
00:41:37
Pete: And this is where everything starts to, I guess,
00:41:40
accelerate towards the end.
00:41:42
She gets the job offer in Fiji and then she's packing.
00:41:46
She rushes home to pack no one's home.
00:41:49
She thinks someone's there, so she packs really quickly and
00:41:52
then she hears the sound of the ice cream truck.
00:41:58
Annette: The most sinister truck in the world.
00:42:00
I loved it.
00:42:02
Pete: She's in there packing, near here, the ding, ding ever,
00:42:05
and she looks at the window and she can't see it.
00:42:07
So she hears the truck and then she rushes off, she packs
00:42:10
everything else in and she goes running and then she goes the
00:42:14
front steps, the front of the house.
00:42:16
Darrell's right there, obviously.
00:42:19
Yeah, because we heard the truck.
00:42:20
Of course I don't know why he bothers us so much, like I know
00:42:24
he's obsessed, right.
00:42:26
Annette: Yeah.
00:42:28
Pete: And he tells her he can't let her go and all this sort of
00:42:31
stuff, and she just drops everything like suitcases and
00:42:34
all and runs which she never goes back for them?
00:42:38
I don't think.
00:42:38
But yeah, and that's when she's got the little thing in the
00:42:42
seat.
00:42:42
She runs into the main street, which is looks like Ligon Street
00:42:46
or something in Melbourne, and pass all the old fashion shops
00:42:49
there and into the phone booth with the old Telstra phone and
00:42:53
makes the phone call rings up.
00:42:55
She actually calls Elmette, didn't she?
00:42:57
Yeah, even that.
00:42:59
Annette: And then, below my mind , I'm going to escape the creepy
00:43:02
stalker guy by being rescued by the creepy stalker guy.
00:43:06
Pete: I know right and she could have just dialed triple O got
00:43:10
the police, but anyway.
00:43:11
Annette: Yeah.
00:43:12
Pete: But yeah, so she calls him and he says he's going to send
00:43:16
a taxi for her and the first taxi she sees she gets into.
00:43:21
I mean, was that the taxi he sent?
00:43:23
I don't know Must have been what, the hell of a dial for $79
00:43:27
.
00:43:27
And of course you can see the Mr Whippy truck going up and
00:43:32
down the street and he's turning around and oh, there was the
00:43:36
peeking round the corner, like it's looking for itself.
00:43:40
I said to May, every time he pulled up in the truck I said
00:43:44
wouldn't be people coming up to the window of the truck going,
00:43:45
hello, can I get an ice cream?
00:43:47
We're going to get an ice cream .
00:43:48
And he's like, oh fuck, I'm trying to track all these people
00:43:52
with ice cream.
00:43:53
How am I supposed to stalk while you want an ice cream?
00:44:01
Anyway, yes, she gets away from him and gets inverted commas
00:44:08
rescued by Elmer by going to his office and I don't know.
00:44:13
He must have just organised this whole thing like she calls
00:44:17
him up.
00:44:17
I don't know how he did it, because he didn't know she was
00:44:20
going to call.
00:44:20
Really, no.
00:44:22
Unless he was in cahoots with Darrell, but I doubt it.
00:44:26
Annette: Couch scene.
00:44:27
Pete: And in the time between when she called him and she gets
00:44:31
to the office, which I assume is probably less than an hour,
00:44:35
he sent everyone home from the office.
00:44:38
Annette: The entire office is Darrellic.
00:44:40
Pete: There is nobody that is no one there and he sent them all
00:44:43
home.
00:44:43
And she arrives in the office and can't find anyone and goes
00:44:48
downstairs and walks into that room, which is actually one of
00:44:51
the better scenes in the movie, where she walks into the room
00:44:54
and he's got the whole room plastered with the photo from
00:44:59
the ad.
00:44:59
Annette: Yeah, when Pia says plastered, he means like the
00:45:02
floor and ceiling and walls is nothing but her photo.
00:45:06
Pete: This movie is creepy in some places.
00:45:08
It actually gets a bit creepy here and then when he comes in
00:45:11
and he looks really serious and I'm like, okay, he's.
00:45:13
What's he going to do?
00:45:14
I don't know whether he just wanted to again take photos of
00:45:19
her, or if he wanted to rape her , or whatever he was going to do
00:45:22
.
00:45:22
I got a feeling that he's probably the latter.
00:45:24
Annette: There was definitely lead into that.
00:45:26
It was a different kind of intensity he had.
00:45:29
Pete: Yeah.
00:45:30
And so he goes to take more photos of her and she looks
00:45:33
terrible, Like she's terrified, and then he starts dousing her
00:45:38
with I don't know if it's I'm assuming it's petrol, or it's
00:45:44
some sort of film stuff or I don't know what is but he just
00:45:49
happens to have a can of it on a shelf.
00:45:52
Annette: Whatever it is, it's a flammable material.
00:45:54
Pete: It's a flammable material, exactly.
00:45:56
Annette: We'll go with that.
00:45:58
Pete: He locks the door and he puts his little bit on the.
00:46:00
He's very careful how much he pours on the floor.
00:46:02
He's on some movies they toss it.
00:46:04
He's well, just get this little bit, that's enough.
00:46:06
Just enough to scare you, just enough to scare you.
00:46:09
I think that's what it is.
00:46:10
And then he lines it up, yeah, and then he puts it.
00:46:13
He, then she tries to get it from him in the struggle.
00:46:18
Annette: She tries to yeah, she tries to bolt out the door.
00:46:21
Pete: Yeah, and she's got the whatever the accelerant is,
00:46:26
she's got it on her and he's got it on him and all of a sudden
00:46:29
he steps into the fire and one flash in your ash Right and it
00:46:37
does his great burn.
00:46:38
And that's Grant Page, which is one to get another Osploitation
00:46:42
alumni who's been in everything .
00:46:44
He's a stunt man and he's done everything in Australian film in
00:46:47
that era as far as stunts go, and he did this amazing burn.
00:46:50
Apparently he was very careful when he spoke to us.
00:46:54
He had thought about where she was going to stand and he went
00:46:56
through everything about where to stand.
00:46:58
And the reason she's so wet is they this was one of the first
00:47:02
times they use this like a gel they put on them to so they
00:47:07
could burn.
00:47:08
And apparently what would happen is you could burn but you
00:47:11
only had a certain amount of time and then you had to get put
00:47:13
out because obviously you start going through that layer and
00:47:17
burn your skin.
00:47:17
And so the reason she was wet, besides looking like she had
00:47:21
this stuff on her, but she apparently had the gel on her as
00:47:23
well, just in case.
00:47:24
So then Elma gets burned to the ground, basically yeah, and
00:47:32
she's rescued, of course, by Darrell.
00:47:35
Annette: What are you here?
00:47:38
Pete: I don't know how he found her there.
00:47:41
Annette: Yeah, they must have followed the taxi.
00:47:45
I guess, Maybe I guess, but it's such a gap, though, between
00:47:49
him getting there and what was going on.
00:47:52
Pete: Yeah, another plot hole, but then you wouldn't get the
00:47:54
movie without it.
00:47:55
Annette: There we go.
00:47:56
Pete: And then, yeah, so she tells him that she's moving and
00:48:01
all this sort of stuff on the places on fire.
00:48:03
Oh, we forgot to mention.
00:48:04
This is one of those movies that begins at the end.
00:48:08
Annette: Yes.
00:48:09
Pete: And has the whole the fiber gate and everything going
00:48:12
on, and that's the beginning.
00:48:14
And then obviously we see how we get to that point.
00:48:16
I don't know how new that sort of concept was in those days.
00:48:20
I don't know if it was used that often, but it was
00:48:22
interesting concept.
00:48:23
I'm sure it was used before, but it was interesting.
00:48:26
It was always the plan apparently.
00:48:27
I was listening again the commentary they're talking about
00:48:30
it and someone asked the question.
00:48:31
The commentary is really good.
00:48:32
It's got.
00:48:33
There's one.
00:48:33
There's about three commentaries on the Blu-ray and
00:48:36
the one I listened to is Sigrid Thornton and the director and a
00:48:41
few of the other people.
00:48:42
It's really interesting to what they talk about.
00:48:44
And one of them just asks if that was the case that it was
00:48:47
tagged on, Did they do it in editing or was it always the
00:48:50
plan?
00:48:50
It was always the plan to have the end at the beginning, sort
00:48:53
of thing.
00:48:53
So yeah, so Darryl turns up and wants to take her away from
00:48:58
everything, of course, and doesn't want to let her go, and
00:49:01
they have a nice little struggle in a lane way and all of a
00:49:04
sudden he gets run over by a wee bee bear.
00:49:06
What a way to go, what a way to go and it gets basically driven
00:49:14
into a wall.
00:49:15
Annette: I think it's not very it's not very gory, but no, but
00:49:20
it was a shock though, because I did not see that coming.
00:49:23
Pete: It came out of nowhere right.
00:49:26
Annette: Yeah, it was like maybe my dream is coming true, Maybe
00:49:28
it was the van the whole time.
00:49:31
Pete: And guess who was driving?
00:49:32
The Mr Whippy van.
00:49:35
Annette: It was the little.
00:49:37
What the?
00:49:38
Pete: whole time.
00:49:39
It was her the whole time.
00:49:41
She gets out of the Mr Whippy van and of course, Angela's
00:49:45
pretty happy about this.
00:49:46
I don't have a weird stalker anymore.
00:49:49
I don't have an ex-boyfriend anymore.
00:49:52
He's gone.
00:49:53
What?
00:49:55
Annette: No, what was skipped there?
00:49:57
It was in the midst of the fire and Angela didn't want to be
00:49:59
seen by everybody, that's right.
00:50:01
And she went off with Daryl, that's right.
00:50:03
Mads did turn up and I don't know if you noticed she was
00:50:07
screaming for Angela, not her husband.
00:50:10
Pete: She was yeah, that's right .
00:50:11
Yes, exactly, so it's like yeah , yeah.
00:50:16
Annette: And then there's more.
00:50:16
But yeah, when she popped out of that van it was like no.
00:50:21
Pete: Yeah, I wonder.
00:50:22
There you got me thinking.
00:50:24
I wonder if it was her plan all along to be in cahoots with her
00:50:28
husband to a point and then use it to her.
00:50:31
But then how would she know that Angela was going to get out
00:50:34
of a burning place on her own as well?
00:50:36
Do you know what I mean?
00:50:39
Annette: Yeah, Again the plot holes, I mean.
00:50:41
Pete: Yeah, like I said, we're written in four days.
00:50:44
Yeah, so they go off together.
00:50:48
I think Did I see it right that she was going to go with her.
00:50:53
Annette: Yeah, they were going to go off to Fiji together.
00:50:55
Pete: That's it, yeah, yeah so.
00:50:57
Annette: So then was the job a whole set up, because she knew
00:51:00
that guy with the mustache in the office wasn't for her all
00:51:04
along.
00:51:04
But you could just yeah, I don't know.
00:51:07
Pete: Or she could have stayed put and just had a model inquiry
00:51:10
.
00:51:10
You know I don't.
00:51:12
Who knows, who knows I want a sequel now.
00:51:16
I do Snapshot 2.
00:51:19
Get ready to get the guest lit again.
00:51:23
She could have, I mean, she could have Got together with
00:51:32
what's the photographers know again, lindsay.
00:51:34
Yeah she could have.
00:51:36
I don't think he had a thing for anyone, but no, he was very
00:51:40
much his own person.
00:51:41
He's only his own little world in his head.
00:51:43
But yeah, so they go off and live happily ever after, I guess
00:51:48
.
00:51:51
But, yeah, even the end titles are unsettling.
00:51:54
In the end titles you've got like the really heavy music and
00:52:01
then these shots of Angela that the guy has just taken before he
00:52:04
burnt to death and she looks really vulnerable, and all this
00:52:08
and it even it doesn't even end on a nice note, because the last
00:52:11
note is To the end.
00:52:14
Annette: I know.
00:52:14
I mean because there was a scene we didn't talk about where
00:52:18
obviously it was when Mads came out to Angela that she was gay
00:52:23
and that she was attracted to her and obviously Angela wasn't
00:52:26
into it, but she.
00:52:27
It was the only time when someone respectfully out of
00:52:30
everyone that was just after this girl.
00:52:32
Pete: Yeah, yeah.
00:52:35
Annette: Respectfully stood back and it was like it was really
00:52:37
nice, it's like we can carry on being friends and it doesn't
00:52:39
have to be weird and it was all.
00:52:41
But then you have this.
00:52:42
It's like you're a little bit Dangerous, but you're a bit
00:52:48
Cookies or cookbooks, what you do.
00:52:49
She's killed a guy happily ever after a feature.
00:52:52
Pete: Yeah, I don't think.
00:52:55
When they make these movies in these days, I don't even know, I
00:52:58
don't think they think much about.
00:53:01
Especially these movies like cost three hundred thousand
00:53:04
dollars and they're just there to make a few dollars for them
00:53:07
and yeah, of course, they don't think it's a Friday, saturday
00:53:12
night movie fodder, isn't it?
00:53:13
It is.
00:53:13
It's the day after Halloween.
00:53:14
Oh, it's a strange one, but it's actually so.
00:53:22
For me, I think it's a.
00:53:24
It's an enjoyable movie, though .
00:53:27
I enjoyed it.
00:53:29
Annette: I'm not going to lie, I enjoyed it as well.
00:53:31
Pete: It's quite enjoyable.
00:53:32
The acting is OK.
00:53:33
There's no really bad acting in the whole thing.
00:53:35
It's all pretty well done, it's nicely shot, locations are
00:53:40
interesting, it's all shot in Melbourne and yeah, it's just
00:53:43
those questions.
00:53:44
I'll just never get over the pigs head and work.
00:53:49
Annette: We will solve it one day, Pete.
00:53:50
We will do it.
00:53:52
Pete: Janata reminded me of when she came home and that she
00:53:55
looked like someone else was in her bed.
00:53:57
I once, I once was traveling for work and was booked into a
00:54:02
hotel and was checked in, given the room key and everything,
00:54:07
opened the door in the room and there was someone in the bed and
00:54:12
they checked me into the wrong room.
00:54:14
And it's so strange.
00:54:17
This is back in like the early 90s, I think it happened.
00:54:22
Annette: It's so weird, oh my God.
00:54:24
Pete: So strange.
00:54:25
Yeah, it's weird.
00:54:25
They just shut the door quietly .
00:54:28
Annette: We're back as a.
00:54:30
Pete: I think you've given me the wrong room.
00:54:33
Annette: Oh my God, you could have been anybody.
00:54:35
I know they could have been anyone, If that was my security
00:54:39
right?
00:54:40
Pete: Yeah, we are.
00:54:41
I am surprised the person in the bed didn't even stir.
00:54:43
They could have been dead for a long year.
00:54:45
There was no smell, so she and they were right.
00:54:48
Annette: But yeah, it was crazy anyway.
00:54:53
Pete: The other thing I want to mention about this movie is A
00:54:56
lot of the people in the production side and the film
00:54:58
side of this came from TV.
00:55:02
They all work for what's known as Crawford Productions in
00:55:05
Melbourne.
00:55:06
So at the time they were shooting Matlock and Homicide
00:55:10
and they're all like cop shows right, and a lot of the, a lot
00:55:14
of the team came from that and there was a lot of talk about
00:55:18
that on the commentary and just a lot of in general.
00:55:21
There's a lot of these people that all made their mark in TV.
00:55:24
I think Sigrid Thornton was in was on TV very early as well,
00:55:29
working for Crawford Productions .
00:55:31
Annette: She did stuff like the Sullivan as well.
00:55:33
Exactly, it was Crawford.
00:55:35
Pete: Yeah, yeah.
00:55:36
Did you ever see the Sullivan's in there, over here, over there
00:55:39
?
00:55:40
Annette: It did.
00:55:40
I very vaguely remember it's always the Sylvins and Sons and
00:55:44
Daughters.
00:55:45
The theme tunes are very much from my childhood.
00:55:48
Pete: Oh, really Sons and.
00:55:49
Daughters.
00:55:50
Wow, that's a callback.
00:55:51
What's the other one Country practice was the other one.
00:55:56
Annette: Oh yeah, Flying doctors .
00:55:58
Pete: God, you got all the Australian shows, didn't you?
00:56:00
And of course you got Neighbours right.
00:56:02
You guys went nuts for Neighbours.
00:56:03
Annette: Neighbours and Home and Away.
00:56:04
But yeah, I mean like I watched all like the kids shows as well
00:56:07
.
00:56:07
I don't know if you're the Henderson kid Pugwall, pugwall,
00:56:11
sumer around, the twist around the twist.
00:56:14
Yeah, oh yeah.
00:56:16
Pete: It's crazy.
00:56:17
It's interesting, interesting TV that goes between Australia
00:56:21
and the UK.
00:56:23
Annette: I tell you one of my all time favourites.
00:56:24
I'm going off track here, but I don't know if you remember it
00:56:27
was a comedy from the early 90s and it was Let the Blood Run
00:56:30
Free.
00:56:30
Oh, yeah, yeah, I was obsessed.
00:56:33
It used to be on like one in the morning, so I'd be like I'm
00:56:36
supposed to be getting up for school.
00:56:38
Pete: But no, I'm going to stay awake yeah.
00:56:40
So any final thoughts on this film.
00:56:47
Annette: I'm going to say as much I don't know from our
00:56:50
description whether somebody would willingly going to watch
00:56:54
this if they've listened to us first.
00:56:57
But what I will say is, honestly, it's so bizarre and
00:57:03
wonderful and obviously problematic to a modern audience
00:57:10
, but also nostalgic, and you have to let stuff go to a
00:57:15
certain extent and just enjoy the ride of what this crazy ice
00:57:20
cream truck of a movie is.
00:57:21
Pete: It is, I definitely would.
00:57:22
I'd actually recommend watching it if you can get hold of it?
00:57:26
Annette: I definitely, or just check it out on Prime.
00:57:28
Pete: if you're in Australia or Broly or something like that,
00:57:31
it's definitely worth a watch.
00:57:33
Annette: I have to admit I'm funny with, because there's such
00:57:37
a certain intensity with a lot of Australian cinema that I get
00:57:41
nervous watching them.
00:57:42
Sometimes it's going to be too much.
00:57:43
And this is just from that kind of era where there is a lot of,
00:57:47
like, sexual references and things like that I can't watch,
00:57:55
like rape, revenge and things like that.
00:57:57
It's not my thing.
00:57:58
Pete: Right.
00:57:59
Annette: And I have an interpretation when it goes into
00:58:03
stepping into that kind of, because a lot of that was very
00:58:05
obviously prevalent in the 70s and 80s.
00:58:07
Yeah, but this actually because when you read the substance, oh
00:58:12
God, the nudity is happening.
00:58:14
Then there'll be other things.
00:58:15
But no, it's involved but it's not explicit.
00:58:18
There's nothing really explicit about this movie which I
00:58:22
appreciated on that point for myself personally yeah, it's not
00:58:26
one hairy bum shot and an aperibus.
00:58:29
That's it.
00:58:30
Pete: You get the boobs.
00:58:31
I think what was the hairy bum shot?
00:58:34
Annette: There was a bit where Mads and Angela go back to the
00:58:37
house and there's two people having sex on the floor and you
00:58:40
just get one shot of the guy's hairy bum.
00:58:44
Pete: Forget that.
00:58:46
Annette: You're probably mentally blocked out.
00:58:47
You don't say to be.
00:58:52
Pete: Interesting, interesting, but anyway, yeah, it's, it's
00:58:55
interesting, it's not too problematic.
00:58:57
I know a lot of the films we cover here are quite problematic
00:59:02
just because of the era, more than anything, and I think
00:59:06
there's a certain language that you have to excuse.
00:59:10
Annette: There's one or two phrases like that, but you just
00:59:12
move on, yeah it's, yeah, it's.
00:59:15
Pete: I've had some of the movies I've done before.
00:59:16
There's stuff in it that you call quite racist and that sort
00:59:20
of stuff, but it's hard, it's this whole conversation to be
00:59:25
had.
00:59:25
I think, about separating what is acceptable today from what
00:59:33
was made 40 or 50 years ago in film, because I really hate this
00:59:38
.
00:59:38
I think the recent one I heard is like they were sitting on
00:59:41
Disney Plus.
00:59:42
They had the French connection, the movie the French connection
00:59:45
, and they cut pieces out of it recently Because they didn't
00:59:50
think it was fit today.
00:59:53
And I'm like, why do that?
00:59:55
Why do that?
00:59:56
Why not just have a little piece at the start of the movie
00:59:59
just saying, hey, things depicted in this movie we
01:00:01
understand aren't acceptable these days, but it was made of
01:00:04
this time, blah, blah, blah.
01:00:06
I think I have a disclaimer like that on the bottom of my
01:00:08
notes for my podcast every episode.
01:00:11
That basically just says, like some of the subjects we cover
01:00:15
and not something it would be acceptable today, but it's just
01:00:19
because of the time they were made, right.
01:00:21
Annette: Exactly.
01:00:22
You've got to think of it in its own time capsule and you
01:00:26
can't put your modern sensibilities on something that,
01:00:28
like you said, was created that long ago.
01:00:30
So if you are okay to do that, to compartmentalize it for
01:00:35
yourself, go ahead and enjoy it.
01:00:37
If you can't do that, just do it much.
01:00:40
That maybe.
01:00:41
Then yeah, it's not for you and don't put yourself in that
01:00:43
position.
01:00:44
Pete: Yeah, exactly, and don't tell everyone else they can't
01:00:46
watch it.
01:00:47
Annette: I'm sorry, but I have to say Exactly.
01:00:50
Pete: It's like just don't watch it right.
01:00:52
Annette: Yeah, exactly, there are certain, like I said, when
01:00:54
it comes to, like, rape prevention movies, they are not
01:00:57
for me.
01:00:58
I know that.
01:00:59
I'm just not going to watch those, and that's fine.
01:01:01
People want to watch them, that's their business and I'm
01:01:05
not going to judge anyone or anything because, the stuff I
01:01:07
watch, that they will, I mean, crack it.
01:01:10
I've watched Real Housewives before and I don't expect people
01:01:13
to judge me and I'll talk to me , I guess I hope.
01:01:19
Pete: Yeah, it's because you watch Real Housewives.
01:01:27
Annette: I just do it because I like to laugh.
01:01:30
Pete: That's right.
01:01:30
I mean, look, every year I say I'm not going to watch it, but
01:01:34
my wife always for some reason watches, married at first sight.
01:01:38
I don't know if you have that show over there, but anyway.
01:01:41
Annette: Yeah, I know that one.
01:01:43
Pete: I always say this is a load of shit, and she knows it
01:01:46
is too and she watches it, I think for the same reason.
01:01:48
Yeah, exactly, and eventually, what will happen a bit further
01:01:51
down the track in the season?
01:01:53
We'll sit together and we'll be watching it, or something like
01:01:55
that, and I'll go, oh, this is shit.
01:01:56
But then I end up starting to make comments about different
01:02:00
people and I can't believe they did that and I'm like, oh shit,
01:02:03
I'm into it.
01:02:04
What's going on?
01:02:07
Annette: It's only about the drama.
01:02:08
I don't care about the rest.
01:02:10
Pete: It's crazy, just a drama.
01:02:11
I think it may plant actors in those shows.
01:02:15
Annette: Oh yeah, they have to 100% Anyway.
01:02:18
Pete: so yeah, so that was Snapshot and it was a fun watch
01:02:22
for all, I think.
01:02:24
Annette: Yeah, definitely.
01:02:25
I appreciate you letting me watch this with you, Pete.
01:02:27
I really did enjoy it.
01:02:28
Pete: It was fun it was fun as we close up, so give us a bit of
01:02:32
an idea of what's happening with you, where people can find
01:02:35
you.
01:02:37
Annette: Oh gosh, yes, I'm on two podcasts.
01:02:39
Thank you very much.
01:02:40
Two different podcasts.
01:02:41
Pete: I don't know how you find time.
01:02:43
Annette: I can squeeze it in.
01:02:44
I'm on Stiletto Banshees with Tab and Micah that you've had on
01:02:50
the show before and I think we've got some more recording to
01:02:54
do and I think there's going to be a couple more releases
01:02:56
coming very shortly, I hope.
01:02:57
Obviously, there is an Instagram page for Stiletto
01:03:03
Banshees as well, if you want to have a look there at bits and
01:03:06
bobs.
01:03:06
We've done what we'll be doing, and my main podcast is Two
01:03:10
Crohn's in a Book which I host with my friend from childhood,
01:03:15
michelle.
01:03:15
We've known each other since the first day of primary school.
01:03:19
Pete: You can tell yeah.
01:03:23
Annette: Yeah, and we just we mainly started to discuss books
01:03:27
in the horror genre and we also, as well as review books.
01:03:31
We have Ramble episodes where we'll be posed a question.
01:03:35
It started off book related but it stretched out to just
01:03:38
different things where we just go off and have such an absolute
01:03:41
giggle.
01:03:42
They're really fun to make and it's a really good laugh and
01:03:46
we're broadening our book spectrum as we're going into.
01:03:49
We've just finished come out of our second year now, so we're
01:03:53
really enjoying ourselves.
01:03:55
So, yeah, it's a lot of fun and you can find us on TikTok.
01:03:59
We'd Tab makes us these brilliant little audiograms.
01:04:03
Pete: Yeah, they're awesome.
01:04:04
I love seeing them.
01:04:05
I see them in TikTok all the time.
01:04:07
Annette: Yeah Well, tab puts those together for us, and so
01:04:11
she just takes clips of episodes to give you an idea of what
01:04:15
we're about.
01:04:15
And that's just so funny.
01:04:17
She actually puts in little images to go along with it.
01:04:20
They're so funny, they're great .
01:04:22
Yeah, we're on TikTok Two Crohn's in a Book.
01:04:24
We're also on Instagram at Two Crohn's in a Book and there is a
01:04:29
Facebook page, but that's not as lively as it used to be, but
01:04:34
I still throw in the audiograms and if we see an occasional
01:04:37
thing we find funny, we'll pop it on there as well.
01:04:39
So yeah, just check us out.
01:04:41
We're on all platforms If anyone wants to interact.
01:04:45
We absolutely love interaction with listeners.
01:04:47
It just makes our day completely.
01:04:49
Pete: Yeah, that's great.
01:04:50
It's really good.
01:04:51
I've listened to a couple of episodes.
01:04:52
I must say I haven't listened to all of them, but the TikToks
01:04:55
are amazing.
01:04:56
They're really funny.
01:04:57
I could say actually I'll hear one of those.
01:04:59
I go oh, I need to listen to that episode of Sins.
01:05:01
Like a Lot of Fun.
01:05:02
So they're doing their job.
01:05:03
Annette: I'm Tastic, oh Pete, oh , you made my day.
01:05:08
Pete: Anyway, thank you so much for coming on.
01:05:11
It was a ball, it had a great time, it was really good and
01:05:15
definitely have your back for sure.
01:05:16
We'll have to do something.
01:05:17
Have to do something.
01:05:18
I've got a heap to do this year .
01:05:20
I only did nine episodes, I think last year I really need to
01:05:23
catch up this year.
01:05:23
I want to get to my 50th episode this year, if I can.
01:05:27
Annette: Oh wow, how hard is it to get to 50?
01:05:29
Pete: Just to get to 20 of us.
01:05:30
It's crazy, it's nuts anyway.
01:05:32
Annette: Yeah.
01:05:33
Pete: It's all good, all right, thank you so much, and when we
01:05:37
come back I'll talk about what's coming up next.
01:05:38
And now preview time.
01:05:49
Annette: When it comes to entertainment, you can't beat a
01:05:52
good film.
01:05:54
Pete: So let's take a look at what's coming your way.
01:05:57
Next, on A Dingo Aid my Movie, I'm joined by Matt Fulton to
01:06:16
talk about the Alvin Purple Double Alvin Purple and Alvin
01:06:20
Rides.
01:06:20
Again, thanks for taking the time to listen to this episode.
01:06:43
Thank you to all my guests who give their time to make this
01:06:46
podcast possible, and a special thanks to you for listening.
01:06:49
Don't forget, you can follow A Dingo Aid my Movie on social
01:06:53
media.
01:06:53
We're at Dingo Movie on Twitter , dingo Movie Pod on Facebook
01:06:57
and Instagram and on the web at DingoMoviePodcom.
01:07:01
Once again, thanks for listening, stay safe and I'll
01:07:06
see you on the next episode of A Dingo Aid my Movie.
01:08:06
Hey, mr Whitby, can I have an ice cream too?
01:08:08
I want one for Mr Whitby, so I can be like you.
01:08:12
Hey, mr Whitby, can I have an ice cream too, mr Whitby?
01:08:18
Hey, mr Whitby, can I have an ice cream too?
01:08:25
I want one for Mr Whitby, so I can be like you.
01:08:48
Hey, mr Whitby, can I have an ice cream too?
01:08:53
Hey, mr Whitby, can I have an ice cream too?
01:08:59
I want one for Mr Whitby, so I can be like you.
01:09:03
Hey, mr Whitby, can I have an ice cream too?
01:09:08
All right, mr Whitby.
01:09:10
Hey, mr Whitby, can I have one for me?
01:09:14
I've been waiting here for hours.
01:09:20
I haven't had one yet.
01:09:21
Hey, mr Whitby.
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