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You're listening to Monster Kid Podcast.

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Hi and welcome to A Dingo Ate My Movie, a podcast that features classic osploitation and other weird, wonderful, overlooked and underappreciated Australian films from the 70's, 80's and beyond.

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My name is Pete and I'm your host.

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Welcome to a Dingo Echmovie, a podcast about weird, wonderful Australian films from the 70's, 80's, 90's and whenever.

1:20

So today I am joined by Annette.

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She is a podcaster and a host of Two Crones and a book and also the Stiletto Banshees, and today we're going to be discussing Snapshot from 1979.

1:34

Good morning, afternoon, evening, annette.

1:39

Hello to you, Pete, all the way on the other side of the world.

1:43

My goodness Can't believe you're drinking whiskey at seven o'clock in the morning and I'm having a Just kidding, I'm kidding, and I'm having obviously just a hot milk and biscuits.

1:54

We weren't going to talk about that, but yeah, when we got on here and it had a nice looks like a glass of nice white wine, which is her time zone friendly drink and my time zone friendly drink this morning is black coffee.

2:11

Yes, so anyway.

2:13

So we're going to talk about this interesting movie Snapshot from 1979.

2:17

So the description I got from IMDB.

2:21

I used to write my own, but I just get it from IMDB now because it's quicker and easier and I'm lazy and Naive.

2:27

Headresser is spurred by her vivacious friend into becoming a nude model, but soon discovers that everyone she knows wants a piece of her.

2:36

And don't they ever?

2:38

That's just a bit.

2:40

I don't know what's going on with this film. She gets stalked by I don't know how many people We'll get on to it, but there's the guy in the bar, and then there's the movie producer guy who's the real villain, I guess, and then her ex-boyfriend, who's a real villain as well.

3:02

And then we find out at the end another person who we didn't.

3:05

They came with a skin of me.

3:09

We're going to spoil the shit out of this. So if you haven't watched it, watch it first, or just listen and then watch it, it doesn't really matter.

3:16

So the cast for this movie is Chantel Contoury, and I can't remember the character's name.

3:25

What was her character's name?

3:27

It was Mads Madison.

3:29

That's right, it was Mads Madison and Sigrid Thornton was Angela Hughes Keyes-Burn, who's in half of the movies I do he plays a photographer guy and Denise Drysdale and Vince Gill.

3:43

So it's an interesting cast. There's some real people, like I said, hughes Keyes-Burn we've had in, like we've done Mad Max, stone man from Hong Kong, mad Max, fury Road Lots of movies he's done.

3:57

Vince Gill we've had him for Stone, mad Max and he was in Body Milk, widley Enough.

4:02

Chantel Contoury was in Thirst.

4:05

So I haven't done Thirst yet, but I think it's coming up.

4:08

Have you seen Thirst? It's really good.

4:10

No, I haven't seen that one.

4:12

It's like a modern day If a modern day was in 1979, 1989, 1980, vampire movies Very interesting.

4:17

And Sigrid Thornton who, when I listen to the Conventory, everyone just calls her C, which is weird because in Australia C is slang for C.

4:27

Yeah, it is.

4:29

But obviously they do it with an S. She's well known for the getting of wisdom the FJ Holden.

4:33

She was in prisoner. I didn't know she was in prisoner.

4:36

Yeah, that's actually the only place I know her from was from Prisoner Cell, block H.

4:40

Okay, so I think it's called that there Because I always knew it is prisoner.

4:44

I don't know if it's still.

4:48

It's not still on, is it?

4:50

It was reinvented as Wentworth, wasn't it?

4:52

Oh, they tried. I remember that yeah.

4:55

Yeah, now the crew is really interesting because the crew is like a who's who of Osploitation in Australia mostly.

5:03

So we've got Simon Wincer who is the director of Harlequin, which we haven't done yet, but I want to do that as well.

5:09

I actually also directed Free Willy and Crocodile Dundee in LA.

5:16

Not the Forbidden Franchise.

5:18

Yes, I know the Forbidden Franchise which I'm getting very close to thinking I'm going to do, I know right.

5:24

So film was written by Everett DeRoch, who wrote, oh my God, nearly every Osploitation movie.

5:30

He wrote Patrick, long Weekend, harlequin Road, gaines, razorback, frog Dreaming, etc.

5:36

Etc. Cinematography was Vincent Montan, who shot Long Weekend Road, gaines and Thirst, and they're great movies and Long Weekend's amazing looking movies.

5:48

That's a great one. Music by Brian May not that Brian May, as we also have.

5:54

I've got these friends of mine that also do an Osploitation podcast and occasionally be in Marseille on my show and whenever I've always said not that Brian May, and I think they're the same.

6:07

It's always interesting when we do it. I listen to one of the episodes of Brian May's the Composer.

6:12

They always say not that Brian May, and I've always said nothing.

6:17

That is definitely some merch in the future.

6:19

I think you've got that Pete, I think so, jesus, that's a great idea actually.

6:23

Yeah, brian May is quite prolific as well, like Patrick Mad Max Road Gaines, turkey.

6:28

Shoot Freddie's Dead the Final Nightmare.

6:32

That's so crap.

6:34

And the other one that I didn't jot down on my notes but I remember was Dr Giggles.

6:40

Oh no, I hate that book.

6:42

Yes, what's up Mary?

6:47

I've never seen it, but anyway.

6:49

It's so stupid, I love it.

6:51

I love stupid movies, so I really need to see it?

6:53

Yeah, definitely.

6:55

It's produced by Anthony Ghanane, who is Osploitation royalty.

6:58

I think he's produced nearly every Osploitation movie he's done.

7:02

He's produced Phantasm, patrick, thirst, harlequin, strange Behavior, turkey Shoot, goes on.

7:08

So this is like on the production side, this is a really who's who of Osploitation.

7:15

All we needed was Brian Trenchard Smith in there somewhere and it would have been perfect.

7:19

Yeah, the budget was like $300,000 and there's no I can't see anything that says how it went but it didn't do well in Australia, but apparently it did quite well in the US and it did quite well in a few other countries.

7:36

So interesting, yeah, and I think at that time, when I was listening to one of the commentaries or reading something, I think it might have been Anthony Ghanane saying that at the time a lot of Australian movies, especially like these genre movies and Osploitation films, were not really popular in Australia with critics and audiences, but they actually found a home overseas.

8:02

So it's quite interesting, yeah, where to watch this?

8:05

Well, it's available on Prime and Broly in Australia.

8:08

So Broly, if you haven't heard, is pretty new.

8:12

It's a streaming service that's run or owned by Umbrella Entertainment.

8:18

So Umbrella to all the Blu-ray, all these great Osploitation Blu-rays and all these other.

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They're a great distributor and it's a brand new streaming service.

8:27

This is an unpaid plug, thank you, but it is really good.

8:31

It's free, so it's ad supported, so it's a bit like 2B, but we watched the whole movie the other night, umbrella, and didn't get one ad, so it was really interesting and it's actually really good.

8:44

I'm not sure if you can get it from other countries it might just be Australian, but VPN is your friend.

8:48

And also, of course, umbrella have a Blu-ray of this, which I have.

8:52

It's part of their Osploitation series that they have unfortunately stopped producing.

8:58

They stopped at number 20, I think it was, but they were really nice packaged and had little extras, but still when they released Osploitation films.

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Now they still have nice extras and stuff, but they had a nice slip case and they're very good.

9:12

So, yeah, when did you?

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watch this. I had to look around.

9:15

You suggested it, but I couldn't access it.

9:18

I don't have a decent VPN. Luckily, in the UK you can actually get it on Shudder, but it's not regular Shudder, it's the Amazon Prime only.

9:29

Shudder. Oh, that's weird.

9:32

I know it's very odd. So I had to do a seven day free trial so make sure I got to watch it.

9:39

But what's really funny, pete, is that after we discussed doing it, I found out that there's going to be I think it's a Blu-ray or 4K release in the UK at the end of February.

9:50

So that's out of us, so in about a month's time from when we were recording.

9:56

But it looks it's got like some documentaries and things with it as well.

9:59

Okay, sounds like it might be the.

10:01

I wonder who's releasing it? Who is releasing?

10:03

it. I don't have it off the top of my head, I'm sorry.

10:08

I think, is it Broly? Have a no, probably Umbrella, have some sort of relationship with one of the larger distributors as well.

10:16

Is it not vinegar syndrome? Maybe I don't remember, but I know that they have some sort of relationship, partnership, with one of those companies as well.

10:25

Oh right, yeah, interesting. But yeah, it's available pretty much everywhere.

10:30

If you're hunting around, you'll find it. Somewhere You'll find it, yeah for sure.

10:34

Yeah, it's good. The extras are great. It's got lots of interesting stuff.

10:37

It's got a VHS cut I don't know why they do that, but I actually think it's fun to watch like a really crappy pan and skin version of the movie, but it's nice because it's got.

10:49

The one that I have on the Blu-rays has been nicely restored and it looks really nice.

10:54

The other thing to know is this movie is also known by a few other names.

11:00

The names.

11:02

It's known as One More Minute, which is a strange name, but I figured it out because there's a line right near the end where one of the villains one of the villains talks about One More Minute and it's about yeah, and the other one is Weirdly Enough the Day After Halloween, which makes no sense.

11:24

Did you read anything about that? Why they?

11:26

gave it that title. I did Tell me.

11:29

No, I read it was a Guardian article and they said that they named it that because it was a cash grab after Halloween being released in the US.

11:39

Yeah, the distributor apparently.

11:42

Yeah, and everyone was like oh, oh yeah.

11:47

Yeah, it's quite funny because I think it was one of the extras on the Blu-ray.

11:51

Anthony Gidey was talking about it and was saying that when he sold it to a US distributor, they basically said do you mind if we call it something else?

11:59

And they wanted to call it the day after Halloween.

12:03

And I think his response was something along the lines as long as you in E checks good, but cash is in, I don't care.

12:11

I love it yeah.

12:13

He's an interesting guy. I'm thinking of actually doing a whole episode on Anthony because he's done so many films and he's got some really interesting stuff.

12:22

He's done Like he had this whole thing, like this movie was the middle of a three movie set.

12:30

After this they went on and did thirst and they did it almost immediately after this movie and they actually did some reshoots for this movie while they were starting to get thirst together.

12:41

It was really quite interesting and so, yeah, so it's, he's an interesting guy and, like I said, he's done lots of these films.

12:47

He's produced lots of baby. He passed away a few years ago, unfortunately, but I hope not.

12:51

I hope he's dead, but I hope I'm not saying he's not here and he's still here.

12:56

I'm sorry I'm not coming out or not.

13:00

Save it, if you're, anyway, anthony Goddine and your family.

13:04

If you're not here, I'm sorry, but anyway he was fantastic and I don't think the whole genre of Ozploitation around without him or without him doing anything.

13:16

Let's get on with the movie. It's a very strange movie.

13:19

It's not strange, but it's just.

13:21

I don't know.

13:24

I've never been chased by a Mr Whippy van before.

13:28

That's.

13:31

It's like.

13:34

I mean, they've always been sinister. To be fair, yeah, ice cream van.

13:38

Oh yeah, Especially when you hear them coming down the road with green sleeves playing.

13:42

Yeah, and just slightly peeking around corners at you, yeah.

13:46

Do you have? You get, mr Whippy, kind of vans in the UK.

13:49

Yeah, yeah, of course yeah.

13:51

Have they called Mr Whippy or they call something else?

13:54

No, we have Mr Whippy, and then there's varieties of others.

13:57

Yeah, yeah.

13:58

Now, it's all some trendy sort of ice cream stuff these days, but we still have a Mr Whippy van coming, oh yeah.

14:04

It's funny. Ok, he used to know this guy who was real tight-ass and he used to tell.

14:13

He used to tell his kids, if you could hear the music, they were out of ice cream.

14:18

Yes, that's so true, eric, I see. No, that's the, that's the.

14:22

There's none left, none.

14:24

Yeah, none left, they're going back, yeah, yeah.

14:29

In this case, if you hear the Mr Whippy van, you're getting stalked.

14:33

Basically I don't know why he would be so obviously stalking you playing music though.

14:40

It's a touch, but I don't know. I was almost disappointed when it turned out like it wasn't just the van on its own stalking her Alec Christine.

14:48

Oh yeah, that would have been good actually.

14:51

Oh do it. Fantastic, I was never driving the whole time, it was the van.

14:57

Oh boy, so the driver of the van is her ex-boyfriend.

15:01

Is it Darrell? Is that his name, Darrell?

15:04

Yeah, Darrell.

15:07

And he just can't accept that. She's broken up with him and apparently, from what I understand, they had sex twice and it's a bit, and a date used to be her coming to her place, him coming to her place and spending all the time talking to her mother.

15:23

Yeah, I mean, I clocked the age difference. They got together when she was 16 and he was 27, even though he looked about 45.

15:28

Yeah, he did.

15:33

He's got that friar's patch in the back of his head.

15:35

Yeah, I shouldn't talk, I'm losing my hair, but he's an interesting character.

15:45

He's a really Obviously it's Vince Gill who plays him and it's interesting looking at Vince Gill.

15:52

I don't know if you've ever seen have you seen?

15:55

Body Melt.

15:57

No, I haven't.

15:59

So first you really need to see that movie. It's just nuts and in that he's completely different because he's probably this was in 1979.

16:06

I think Body Melt is 1990-something.

16:10

It's very close to the 2000s, so he's a lot older and he's a completely different kind of character.

16:15

He looks better in that, but in this one he plays I don't know the guy.

16:20

It's obviously the way he's been directed.

16:22

He's quite a pathetic kind of character.

16:26

Yeah, but quite intense as well, isn't he, at moments Super?

16:29

intense. There's that whole conversation where he grabs, when he talks about something, about If you put your hand on the side of a goldfish bowl or a guppy bowl, the mother will eat the babies.

16:41

I. But then he has this very bizarre relationship with her family, where you think the way he's manipulated the family to his side of everything but at the same time they're very willing to take his side in everything.

16:57

Yeah, they're a strange family.

16:59

Oh, they're odd.

17:01

They're really odd. We'll get to that, but yeah.

17:04

So the basic plot of the story is she's like this young hairdresser she wants to leave the country and live overseas and then she's totally, I guess, under the thumb of her terrible mother, who's right up there with Piper, laurie and Carrie, almost who'll take the deep breaths and it's okay, sure.

17:27

Yeah, take a sip. Take a sip, calm down.

17:31

And then she meets Madeline, who comes into the hairdressing cell on that she works at.

17:36

And Madeline comes in and she's a bit of a diva right.

17:39

She's described as a glamorous model, so she's quite nice.

17:44

Chantel Conturi is quite nice to look at.

17:48

Oh, she's gorgeous yeah.

17:50

And she tries to pursue, you know, a modeling career and whatnot, and Angela agrees and they end up doing this shoot on the beach, which is an interesting scene, and she ends up going topless.

18:04

It's really weird. It's really weird.

18:07

But and the guy what's the name?

18:11

Lindsay, who's played by? Yes, yes, he's an interesting character in this movie too, actually, yeah, this obsession with photographing dead mice.

18:21

Yeah, yeah, it's a question. He thinks he's got the market corner.

18:25

There's a whole conversation where she asks him why he photographs dead things, because apparently he does other animals as well.

18:32

He's not just specializes in mice, but other animals as well and he responds along the lines of saying he's got the market cornered in photographing dead things.

18:44

But he plays the part really well.

18:46

He's keeps burning. He plays the part of this really eccentric photographer artist guy really well, even to the point where at one stage he's looking through photos or something and for some reason he's got his one leg right up on the table Because he's like it's like really weird, but I think it's just he's playing.

19:12

He's been told like this is all in the direction. I'm sure he's told to play very eccentric, but he's a likable character in this.

19:20

I like him.

19:21

He is. I did, I really liked him.

19:23

And when? What was it?

19:26

When she was seeing the final photo in the layout and she didn't seem to like it.

19:32

I really felt for him because he looked so wounded.

19:35

Yeah, he did. He's a great actor, though he's a very good actor.

19:37

Oh, he's fantastic, he was.

19:40

I miss him. Yeah, he's really eccentric but really good character.

19:44

Yeah, photographing dead birds, stuff like that Interesting, so yeah.

19:49

So she goes and does this photo shoot and we get this great song by Sherbet, which we'll talk about later, about this Angela song that you can go on.

20:03

I was just going to say it was just so perky and light.

20:05

It's like you know this girl's been convinced, you know, to take a top off.

20:08

You know it's meant to be. Normally, if you watch a movie it's like, oh no, this is.

20:14

It's quite dark and seedy, but you got this really catchy pop song.

20:18

And then old guy with a pipe, it's just there watching.

20:22

The old per. It's just I don't know if he's a per.

20:24

He's just walking along the beach right and he sees this and I think anyone would stop and have a look what's going on.

20:30

Most people, I think, when they realize they're doing a photo shoot and she was top was like probably just walk away and give them a bit of space and let them do their thing right.

20:39

But this guy doesn't.

20:43

No, they shoo him away, and then, five minutes later, they turn around and he's back again.

20:47

He's second on his pipe, second on his pipe and watching what's going on.

20:53

But it's a good. It's actually a good scene, though it's quite it's like a montage, of course, but, and the song's quite cool, but yeah, it's really good anyway.

21:02

So she poses on the beach and it's a perfume ad.

21:06

Right, you know women's bed. Yeah, it ends up in Cleo, which is a.

21:10

It's really interesting. This movie is quite a few true to life things.

21:13

I think it's Cleo magazine, because Cleo was a women's magazine in the 70s and 80s.

21:17

I don't know if it's still around now, let me know, but so yeah.

21:21

So then I think there's a scene where they go to a party, and it's the one with that weird guy doing the singing and stuff the cabaret.

21:31

Yeah, it's the. It's like the weirdest disco ever.

21:35

Yeah, with a floor show.

21:37

Yeah.

21:41

It is strange and that guy who pops up a couple of times and apparently Sigrid Thornton knew him and he was some sort of performance artist in Melbourne and that's how they got him.

21:53

They roped him into the movie that way.

21:55

But yeah, it's really quite strange.

21:57

The first time I ever watched it, I think I saw this movie like back on VHS days right back in the mid 80s, early 90s or something like that, and I totally forgot about the scenes with him, with the cabaret guy, yeah, and it's weird, it's so strange, and he does that thing with the weird side lip and yeah, cause he portrays these different characters different characters, doesn't it?

22:23

Yeah, throughout it's.

22:25

Yeah, it's interesting, it is.

22:28

Yeah, it makes an interesting movie. So, yeah, she goes to the nightclub and once you get home from the nightclub she's been locked out of the house by her mother, who obviously doesn't like that she's turned up late.

22:37

Yeah for turning up late. For turning up late one night and you get booted out at four in the morning.

22:44

And she'd even changed the locks.

22:46

Yeah, she could.

22:49

How did she do that? She just called up a 24 hour locksmith and just got here.

22:53

It's a minute past quick and you're down.

22:57

So she ends up crashing at the studio, right At the photography studio, which is a bit of a it's almost like a bit of a commune because there's a few of them living there and it sounds like people just come and go and I think Denise Drozdowel's character talks about you just pay whatever you can afford and the people that are doing okay go to support the ones.

23:14

It's a bit of a commune kind of thing. Yeah, and it's.

23:18

It's an interesting place. Apparently, it was shot.

23:21

Those scenes in the studio was shot in the main office of mushroom records in Melbourne, mushroom records is a pretty well known Australian record label and it was one of the first record labels in the country that major record labels in the country in the seventies and lots of great artists go through.

23:41

They're still going to this day, I think. And yeah, so they shot those scenes and they didn't know that until they watched the commentary.

23:48

But they shot those scenes in the offices of mushroom records in Melbourne and then some of it, like her bedroom, I think Sigrid thought, was saying it was in her father-in-laws some house or something that he owned or something like that.

24:02

And it's really.

24:05

It's really. I always find it interesting where they shoot things like this.

24:08

Yeah, it's quite interesting as well.

24:10

Yeah, so she ends up crashing the night at the place and gets a room, gets a mattress on the floor and the mattress looks really dodgy and some guy been sleeping on it before.

24:24

And anyway.

24:26

So she seems, she seems to be quite happy there, though she does all that sort of thing, and then she's yeah, that's when things really weird things start happening.

24:33

We start getting, she starts getting stalked by all different people, and then there's a scene in the club where the one guy who turns out now he's the guy that eventually offers a job right At the end of the movie he's got is it a?

24:46

What company? Is he got a company?

24:49

Is this something like some sort of like lawyer or something he wanted to hire as a PA?

24:54

That's right In Fiji. I think it was a Fiji or something, yeah, yeah.

24:57

Which would be a nice place to go live, and so yeah, but he's really weird with her.

25:02

First she's he's like touching her up, and then Madeline gives him a knee to the nuts.

25:08

Yeah, she grabs all of them.

25:10

Oh, she grabs them no sorry, it's not a knee, she actually grabs them with it.

25:14

No, she's going to rip it up, yeah.

25:17

But we turn out where it eventually works out that the Madeline has, she has ulterior motives.

25:21

She's got a crush on her, I think, cause it turns out later we find out that Madeline is a lesbian and and she obviously is quite keen for Angela, and I think that's where a lot of that comes from.

25:34

But also, I think she's trying to protect her.

25:36

I'm not sure, though, because sometimes I think she's almost complicit in a lot that goes on in this movie.

25:43

Yeah, it's like dragging her into that world. Was it all for a reason to get to that position at the end?

25:49

Yeah, yeah.

25:50

Yeah, it's quite strong, yeah, but she looks after her a bit and she ends up being a bit of a sounding board for her and things like that.

25:57

But yeah, she gets there, she grabs the guy in the nuts.

26:00

She's not in a good way and that's good.

26:03

And the look he gets on his face when he grabs her.

26:07

It's a bit of overacting, but it's funny.

26:10

So then she ends up.

26:13

Tell me if I'm missing anything, right, because then there's there's a few extra scenes with her, and Can't forget Darrell, I think his name is yet.

26:23

Darrell where he's comes around and he wants to know what she's doing there and he comes looking for.

26:28

And then we get that, the scene with the mother, your favorite scene, oh my god, finding where she lives and finding out that she's a cause.

26:37

Angela earned A thousand dollars for this half day movie film photo shoot.

26:43

She's got it in so seven years.

26:46

Right, it's in a nice envelope in the drug keeper.

26:49

To get a thousand dollars in an envelope, but anyway, cash is king, as they say.

26:55

And yeah, alright, then we get the scene with the mother.

26:58

I think I'll let you run with the scene with the mother and yet.

27:02

So it's so. She's come home and someone's just this is when they're doing the pitch downstairs For the advertising campaign.

27:10

They inform it, like there's someone to see you upstairs and she's okay, fine.

27:14

She goes up and her mom's sitting on her bed and, oh my god, it just it's the most infuriating Gaslight nightmare situation, where I was literally off the chair shouting at the screen of this moment.

27:35

The dog ran out of the. Oh wow, yeah, it's sure I'm not staying for this.

27:41

Yeah, it's in this conversation.

27:43

She says she heard from Darrell and her little sister Becky why their relationship ended and she didn't even ask Angela anything about it.

27:53

So I'll just take it from them and not believe you.

27:56

And oh well, I'm getting riled thinking about it.

28:01

I can't be keep on. So yeah, so she's obviously not.

28:05

We said she's kicked her out of the house, but she's the only reason she's come there.

28:09

She knows that she's. She's heard that she's earned some money, figured out, she's earned some money apparently, and saying that her sister Becky needs it.

28:16

She's in the hospital, she's had an accident, yes, and all this, and then I did.

28:24

But then, at the same time, she's saying and then so you must be.

28:27

She's assuming she's the money.

28:30

Prostitute in herself, I think, is what she's alluding to.

28:34

But then she's it's all very it.

28:38

Everything's Angela's fault. She's the problem.

28:40

But oh, woe is us. Can't you help us?

28:42

But it was like it was changing From sentence to sentence and you like on this roller coaster of oh my god.

28:50

Yeah, she's so. It's like I said.

28:53

It's really like pipe a lorry in carry almost.

28:56

Yeah, and then like when did she and she let slip that she's noticed that she has nine hundred dollars?

29:03

Like how do you know I have nine hundred dollars?

29:05

You've been going through my things, is it?

29:08

I quickly changes she was looking for something or something like that.

29:12

Yeah, she was looking for a piece of paper to write a note on.

29:16

Yeah, no, on to say that she's been there, yeah, and then she even looks through the magazine where the pictures, and she doesn't even notice that Angela's there is in that picture for the advertising yeah, yeah.

29:30

And it wasn't until Angela holds it up to it.

29:34

This is how I got it, and that was the most accuses her of being a whore and to never darken her doorstep again and takes off.

29:41

Yeah and then Angela has my realize it goes to look through the draw and the money's gone yeah.

29:48

That woman. I mean, I probably missed massive chunks of that conversation because, as I said, I was.

29:55

But it's such a dysfunctional family right, obviously, and her sister's a piece of work even oh my god, they just.

30:03

And then, of course, it turns out that we find out later that nothing happened to a sister.

30:09

She didn't ever, she didn't end up in the hospital, she was taking her job in the hairdressers.

30:13

Yeah, she pinched the job.

30:16

Yeah, I was.

30:18

No, that was one of those. No, I have to take a walk for a minute.

30:22

No, I have to pause.

30:24

I have to go. No, something else distract me.

30:26

I'm livid, my god.

30:29

I didn't think I was gonna have that kind of reaction in this movie, but oh my god.

30:34

Yeah, she's quite a piece of it, but I think we see her again after this scene.

30:37

That's pretty much it, so but what a scene to have that was a masterclass in manipulation.

30:43

She's great actor, though she was in.

30:45

Have you seen Patrick, the original 70.

30:49

No, that's okay, I'm telling you I'm gonna start.

30:52

I'm going through my movie list and I'm going to up my exploitation knowledge so she's in Patrick, she plays the.

31:00

she's like the main Matron of the medical play medical center, where Patrick is the hospital thing and she's really good in that as well.

31:09

She plays a really Nurse, ratchet, nurse sort of thing, and so she perfected the mega very good yeah, she's very stuff.

31:18

Yes, so she definitely has an impact in this film.

31:25

Just a bit. I'm never gonna forget her.

31:31

Elmer guy. Right, he's the guy from the modeling agency at this man.

31:36

Madeline's husband that's right.

31:38

it's really weird. This is where I think Madeline Is almost complicit, because I don't know if Madeline set this up like they have some weird relationship, something Like between her husband or is he strange movie?

31:54

It knows a movie producer and obviously she said she says early on in the movie he does his thing, I do my thing yeah, yeah.

32:01

And so he obviously goes for these younger models and things like that.

32:06

So it's, I don't know, maybe I mean I was probably given away a bit much for them and bit, but maybe it was that was a whole idea that she could have a cake and eat it.

32:18

No, he could she.

32:20

Have this relationship she wants, but she also gets all of his money she gets told that it's going to be a barbecue with a whole lot of other people and she turns up to the house and it's just him and he even fakes a phone call from Madeline.

32:34

So creepy, right he does I mean?

32:37

Yeah, I can't really.

32:40

The number is not the type.

32:41

Sorry, I was gonna say be another title for this movie with the, with the hundred others could be the red flag movie, because it is not seen.

32:48

But Very much.

32:51

I don't know why she doesn't see him. She sees him a bit late most of the time.

32:54

That's otherwise you'd have no movie, I guess.

32:57

But but she turns up and he fakes a phone call and when I was watching this is my she was saying.

33:05

I remember doing that, but I can't remember.

33:07

She couldn't remember the number you used to have to punch in.

33:09

There was like a certain number you could punch into your phone and then a couple minutes or a few seconds later ring.

33:17

Yeah, I like to test the line.

33:18

Yeah and so he goes through and he does that.

33:21

He has this. Her acting is actually really good in this part, because when he's on the phone and he says it's Madeline, she turns around as anyone would like.

33:30

When she hears somebody is on the phone, that she likes to turn around, his big smile, but she's very no, angel is pretty naive, right, and obviously he plays it up really well with the phone call and all this sort of stuff.

33:44

And then, of course, madeline's not coming home and then he starts wanting to take photos of her.

33:49

This is where we find out how creepy he is.

33:52

And he first starts by saying to her hey, he's a phone number of producer guy or something and He'll be able to get you into movies and all this sort of thing.

34:02

And then he gets his little codec in stomach camera, which I got with the flashes that shows up a few times of these movies movie.

34:13

It's really great. It's such a for old for an old fart like me it's.

34:19

It's like a nice flashback. All that sort of vintage stuff.

34:24

No, it's true, I remember them going through the house.

34:26

Obviously I'm sorry people. I was born in 79.

34:29

Sorry, I apologize, but I remember like we, my parents, have loads of all camera gear and finding flashes like that what the hell is this.

34:45

Isn't it amazing how far we've come? Right, we've come from these cameras where you actually plonk a flash on the top that only works once.

34:53

Once you take the photo, you throw it away.

34:56

Yeah, having a thing in your pocket that you can shoot amazing photos with, it's unbelievable and we thought we were so fancy in the eighties with those long ones, with the one little.

35:08

Oh yeah, the long skinny ones, yeah yeah.

35:11

And the flash you used to work all the time.

35:15

But yeah, I miss that noise.

35:19

I miss that sound of a flash, you know, yeah, yeah, it's gone off.

35:24

Chainsaw massacre. So yeah, yeah, yeah and yeah, he takes these photos with the codec film and the camera and they all look a bit dodgy and then he gets it a strip off a little bit more.

35:37

A little bit more. At first it's interesting, so first she goes along with it and then it dawns on her what's happening and cause he's done a good job to try and get a drunk and he's such a creepy looking guy too.

35:50

Right, he's got the mo, he's got the mo, but every man in this movie's got a mo, just about.

35:56

It's been the season for the year for it and I'm also really big in the seventies.

36:02

My dad you separate will pushy mo, and it's been, it was my dad did to there was a thing was a thing, and yes, so she gets out of it by just leaving, basically, and he let to leave.

36:14

I'll give him that he does let her leave. So good for him yeah, good for him what a what a hero.

36:22

He's a bit different next time. Yeah, but yeah, so she gets away.

36:28

And then this is when she did.

36:30

She get caught up, she gets, she gets home.

36:34

Oh, there's a scene in this which I never picked up on, so we're coming into the scene where she gets home from Getting this being Orfully abused by this guy with the photos yeah to coming home and find the pigs head in the big right and when I first watch this I was like who put that there?

36:56

I was so stupid I didn't even think, and it was when I watched it again the other night.

37:00

There's this little cut away scene while she's at Elmer's house getting the photos done and having dinner with him.

37:06

There's a little scene where Darrell turns up to the place and asked where Angela is and he's got a slung over his shoulder.

37:16

He's got a big duffel bag and that's all in that scene.

37:20

He just asked where she is and then it cuts back to.

37:23

It was. It took me till.

37:25

I probably watch the movie three times to go.

37:28

It's him. He's the one with the pigs head because he had it in the duffel bag and he was he lied then later.

37:36

how could he love?

37:39

I just like everyone else in this movie, he just gas lights are right.

37:44

Oh my god, just a bit that they're good.

37:46

Note. That'd be good name for this movie is all just gaslight, but.

37:50

We spoke to her with a list as we go, yeah.

37:53

Yeah, so I didn't realize because I used to think first.

37:56

I didn't know who tore up her dress. That's the other one.

37:59

I don't know who did that. Could have been anyone.

38:02

It's like everyone's after her for some reason.

38:05

And I thought it was gonna be possibly Madison to make her think that this guy was worse, rather than just being the creepy gaslighter that he was a dangerously stalky.

38:18

I'm gonna kill you guys like.

38:20

Yeah, I mean I still could be wrong, but I don't see somebody turning up to the front door of a house asking where someone is and having a big bag slung over his shoulder, and a couple of scenes later we're finding a big pigs head in her bed.

38:36

But then again, if it was Madison, she has free reign of that place because they all know her.

38:41

Yeah, that's true too. Yeah, they don't know him, but then we don't see.

38:45

If we don't see if they said to him she's not here and he just says something like I've got something here I want to drop off to her.

38:53

Because it was such an open kind of place, they probably would have been just, oh yeah, just go up to her room and leave it.

38:59

They would have to go over this for hours here where you could try to trick her back.

39:03

One pigs head is causing so much conversation.

39:07

Well, and the other thing he could have kept that pigs head cool in his ice cream truck.

39:14

I just don't smell like ice cream.

39:15

That's true. Anyway, that's my theory.

39:19

But yeah, for a while I was like who left the pigs head?

39:22

I don't know.

39:25

I still don't know.

39:26

I know the title, yeah, the other one, I don't know.

39:31

I don't know who tore up her dress.

39:33

That one no.

39:34

I have no idea Was it a mother? No, couldn't have been.

39:37

See, it's a really strange, which actually is not surprising because apparently the whole script was written in four days.

39:48

I think it was like I was written in four days by Everett DeRochie.

39:55

Apparently he got his wife to help out she's co-writer and apparently he got his wife to help out, to help him a little bit with the female scenes, to help him get an understanding of how they would act.

40:09

I'm not sure if she gave him the right information or he just wrote it wrong.

40:17

But I like it. It provokes conversation.

40:19

I know it's plot holes and they're not really that bothered, but I think that's great because it does make you look into other scenes and create narratives that could be there.

40:30

I think it's part of the fun of watching a movie like this Absolutely.

40:34

You don't know what's happening, where it's come from, who's doing what.

40:37

I don't know, unfortunately.

40:41

I'd love to find out If anyone knows where the pig's head come from, let me know.

40:46

If you're out there and I don't know.

40:49

Sigrid Thornton, if you hear this, can you tell me please?

40:53

And we love you.

40:58

Tell me where the pig's head came from, because I don't know.

41:00

I'm sure it was your boyfriend and it thinks it could be someone else.

41:06

I think it's Madison.

41:07

I think it's Madison. Yeah, it could be so.

41:11

Yeah, so she finds the pig's head, and what does she do after that?

41:15

Is that, when she runs off and she goes to the club again Because she finds?

41:20

She goes to find Madeline again, and is it in the club?

41:24

Is she in the club? Yeah, it's a bit fuzzy after that, but then she gets offered the job in Fiji by the other guy who was touching her up earlier in the movie.

41:35

Yeah.

41:37

And this is where everything starts to, I guess, accelerate towards the end.

41:42

She gets the job offer in Fiji and then she's packing.

41:46

She rushes home to pack no one's home.

41:49

She thinks someone's there, so she packs really quickly and then she hears the sound of the ice cream truck.

41:58

The most sinister truck in the world. I loved it.

42:02

She's in there packing, near here, the ding, ding ever, and she looks at the window and she can't see it.

42:07

So she hears the truck and then she rushes off, she packs everything else in and she goes running and then she goes the front steps, the front of the house.

42:16

Darrell's right there, obviously.

42:19

Yeah, because we heard the truck. Of course I don't know why he bothers us so much, like I know he's obsessed, right.

42:26

Yeah.

42:28

And he tells her he can't let her go and all this sort of stuff, and she just drops everything like suitcases and all and runs which she never goes back for them?

42:38

I don't think. But yeah, and that's when she's got the little thing in the seat.

42:42

She runs into the main street, which is looks like Ligon Street or something in Melbourne, and pass all the old fashion shops there and into the phone booth with the old Telstra phone and makes the phone call rings up.

42:55

She actually calls Elmette, didn't she? Yeah, even that.

42:59

And then, below my mind, I'm going to escape the creepy stalker guy by being rescued by the creepy stalker guy.

43:06

I know right and she could have just dialed triple O got the police, but anyway.

43:11

Yeah.

43:12

But yeah, so she calls him and he says he's going to send a taxi for her and the first taxi she sees she gets into.

43:21

I mean, was that the taxi he sent?

43:23

I don't know Must have been what, the hell of a dial for $79.

43:27

And of course you can see the Mr Whippy truck going up and down the street and he's turning around and oh, there was the peeking round the corner, like it's looking for itself.

43:40

I said to May, every time he pulled up in the truck I said wouldn't be people coming up to the window of the truck going, hello, can I get an ice cream?

43:47

We're going to get an ice cream. And he's like, oh fuck, I'm trying to track all these people with ice cream.

43:53

How am I supposed to stalk while you want an ice cream?

44:01

Anyway, yes, she gets away from him and gets inverted commas rescued by Elmer by going to his office and I don't know.

44:13

He must have just organised this whole thing like she calls him up.

44:17

I don't know how he did it, because he didn't know she was going to call.

44:20

Really, no. Unless he was in cahoots with Darrell, but I doubt it.

44:26

Couch scene.

44:27

And in the time between when she called him and she gets to the office, which I assume is probably less than an hour, he sent everyone home from the office.

44:38

The entire office is Darrellic.

44:40

There is nobody that is no one there and he sent them all home.

44:43

And she arrives in the office and can't find anyone and goes downstairs and walks into that room, which is actually one of the better scenes in the movie, where she walks into the room and he's got the whole room plastered with the photo from the ad.

44:59

Yeah, when Pia says plastered, he means like the floor and ceiling and walls is nothing but her photo.

45:06

This movie is creepy in some places. It actually gets a bit creepy here and then when he comes in and he looks really serious and I'm like, okay, he's.

45:13

What's he going to do? I don't know whether he just wanted to again take photos of her, or if he wanted to rape her, or whatever he was going to do.

45:22

I got a feeling that he's probably the latter.

45:24

There was definitely lead into that. It was a different kind of intensity he had.

45:29

Yeah. And so he goes to take more photos of her and she looks terrible, Like she's terrified, and then he starts dousing her with I don't know if it's I'm assuming it's petrol, or it's some sort of film stuff or I don't know what is but he just happens to have a can of it on a shelf.

45:52

Whatever it is, it's a flammable material.

45:54

It's a flammable material, exactly.

45:56

We'll go with that.

45:58

He locks the door and he puts his little bit on the.

46:00

He's very careful how much he pours on the floor.

46:02

He's on some movies they toss it. He's well, just get this little bit, that's enough.

46:06

Just enough to scare you, just enough to scare you.

46:09

I think that's what it is. And then he lines it up, yeah, and then he puts it.

46:13

He, then she tries to get it from him in the struggle.

46:18

She tries to yeah, she tries to bolt out the door.

46:21

Yeah, and she's got the whatever the accelerant is, she's got it on her and he's got it on him and all of a sudden he steps into the fire and one flash in your ash Right and it does his great burn.

46:38

And that's Grant Page, which is one to get another Osploitation alumni who's been in everything.

46:44

He's a stunt man and he's done everything in Australian film in that era as far as stunts go, and he did this amazing burn.

46:50

Apparently he was very careful when he spoke to us.

46:54

He had thought about where she was going to stand and he went through everything about where to stand.

46:58

And the reason she's so wet is they this was one of the first times they use this like a gel they put on them to so they could burn.

47:08

And apparently what would happen is you could burn but you only had a certain amount of time and then you had to get put out because obviously you start going through that layer and burn your skin.

47:17

And so the reason she was wet, besides looking like she had this stuff on her, but she apparently had the gel on her as well, just in case.

47:24

So then Elma gets burned to the ground, basically yeah, and she's rescued, of course, by Darrell.

47:35

What are you here?

47:38

I don't know how he found her there.

47:41

Yeah, they must have followed the taxi.

47:45

I guess, Maybe I guess, but it's such a gap, though, between him getting there and what was going on.

47:52

Yeah, another plot hole, but then you wouldn't get the movie without it.

47:55

There we go.

47:56

And then, yeah, so she tells him that she's moving and all this sort of stuff on the places on fire.

48:03

Oh, we forgot to mention. This is one of those movies that begins at the end.

48:08

Yes.

48:09

And has the whole the fiber gate and everything going on, and that's the beginning.

48:14

And then obviously we see how we get to that point. I don't know how new that sort of concept was in those days.

48:20

I don't know if it was used that often, but it was interesting concept.

48:23

I'm sure it was used before, but it was interesting.

48:26

It was always the plan apparently. I was listening again the commentary they're talking about it and someone asked the question.

48:31

The commentary is really good. It's got. There's one. There's about three commentaries on the Blu-ray and the one I listened to is Sigrid Thornton and the director and a few of the other people.

48:42

It's really interesting to what they talk about.

48:44

And one of them just asks if that was the case that it was tagged on, Did they do it in editing or was it always the plan?

48:50

It was always the plan to have the end at the beginning, sort of thing.

48:53

So yeah, so Darryl turns up and wants to take her away from everything, of course, and doesn't want to let her go, and they have a nice little struggle in a lane way and all of a sudden he gets run over by a wee bee bear.

49:06

What a way to go, what a way to go and it gets basically driven into a wall.

49:15

I think it's not very it's not very gory, but no, but it was a shock though, because I did not see that coming.

49:23

It came out of nowhere right.

49:26

Yeah, it was like maybe my dream is coming true, Maybe it was the van the whole time.

49:31

And guess who was driving? The Mr Whippy van.

49:35

It was the little. What the?

49:38

whole time. It was her the whole time.

49:41

She gets out of the Mr Whippy van and of course, Angela's pretty happy about this.

49:46

I don't have a weird stalker anymore.

49:49

I don't have an ex-boyfriend anymore.

49:52

He's gone. What?

49:55

No, what was skipped there? It was in the midst of the fire and Angela didn't want to be seen by everybody, that's right.

50:01

And she went off with Daryl, that's right. Mads did turn up and I don't know if you noticed she was screaming for Angela, not her husband.

50:10

She was yeah, that's right. Yes, exactly, so it's like yeah, yeah.

50:16

And then there's more. But yeah, when she popped out of that van it was like no.

50:21

Yeah, I wonder. There you got me thinking.

50:24

I wonder if it was her plan all along to be in cahoots with her husband to a point and then use it to her.

50:31

But then how would she know that Angela was going to get out of a burning place on her own as well?

50:36

Do you know what I mean?

50:39

Yeah, Again the plot holes, I mean.

50:41

Yeah, like I said, we're written in four days.

50:44

Yeah, so they go off together.

50:48

I think Did I see it right that she was going to go with her.

50:53

Yeah, they were going to go off to Fiji together.

50:55

That's it, yeah, yeah so.

50:57

So then was the job a whole set up, because she knew that guy with the mustache in the office wasn't for her all along.

51:04

But you could just yeah, I don't know.

51:07

Or she could have stayed put and just had a model inquiry.

51:10

You know I don't.

51:12

Who knows, who knows I want a sequel now.

51:16

I do Snapshot 2.

51:19

Get ready to get the guest lit again.

51:23

She could have, I mean, she could have Got together with what's the photographers know again, lindsay.

51:34

Yeah she could have.

51:36

I don't think he had a thing for anyone, but no, he was very much his own person.

51:41

He's only his own little world in his head.

51:43

But yeah, so they go off and live happily ever after, I guess.

51:51

But, yeah, even the end titles are unsettling.

51:54

In the end titles you've got like the really heavy music and then these shots of Angela that the guy has just taken before he burnt to death and she looks really vulnerable, and all this and it even it doesn't even end on a nice note, because the last note is To the end.

52:14

I know. I mean because there was a scene we didn't talk about where obviously it was when Mads came out to Angela that she was gay and that she was attracted to her and obviously Angela wasn't into it, but she.

52:27

It was the only time when someone respectfully out of everyone that was just after this girl.

52:32

Yeah, yeah.

52:35

Respectfully stood back and it was like it was really nice, it's like we can carry on being friends and it doesn't have to be weird and it was all.

52:41

But then you have this. It's like you're a little bit Dangerous, but you're a bit Cookies or cookbooks, what you do.

52:49

She's killed a guy happily ever after a feature.

52:52

Yeah, I don't think.

52:55

When they make these movies in these days, I don't even know, I don't think they think much about.

53:01

Especially these movies like cost three hundred thousand dollars and they're just there to make a few dollars for them and yeah, of course, they don't think it's a Friday, saturday night movie fodder, isn't it?

53:13

It is. It's the day after Halloween. Oh, it's a strange one, but it's actually so.

53:22

For me, I think it's a.

53:24

It's an enjoyable movie, though.

53:27

I enjoyed it.

53:29

I'm not going to lie, I enjoyed it as well.

53:31

It's quite enjoyable. The acting is OK. There's no really bad acting in the whole thing.

53:35

It's all pretty well done, it's nicely shot, locations are interesting, it's all shot in Melbourne and yeah, it's just those questions.

53:44

I'll just never get over the pigs head and work.

53:49

We will solve it one day, Pete. We will do it.

53:52

Janata reminded me of when she came home and that she looked like someone else was in her bed.

53:57

I once, I once was traveling for work and was booked into a hotel and was checked in, given the room key and everything, opened the door in the room and there was someone in the bed and they checked me into the wrong room.

54:14

And it's so strange.

54:17

This is back in like the early 90s, I think it happened.

54:22

It's so weird, oh my God.

54:24

So strange. Yeah, it's weird. They just shut the door quietly.

54:28

We're back as a.

54:30

I think you've given me the wrong room.

54:33

Oh my God, you could have been anybody.

54:35

I know they could have been anyone, If that was my security right?

54:40

Yeah, we are. I am surprised the person in the bed didn't even stir.

54:43

They could have been dead for a long year. There was no smell, so she and they were right.

54:48

But yeah, it was crazy anyway.

54:53

The other thing I want to mention about this movie is A lot of the people in the production side and the film side of this came from TV.

55:02

They all work for what's known as Crawford Productions in Melbourne.

55:06

So at the time they were shooting Matlock and Homicide and they're all like cop shows right, and a lot of the, a lot of the team came from that and there was a lot of talk about that on the commentary and just a lot of in general.

55:21

There's a lot of these people that all made their mark in TV.

55:24

I think Sigrid Thornton was in was on TV very early as well, working for Crawford Productions.

55:31

She did stuff like the Sullivan as well.

55:33

Exactly, it was Crawford.

55:35

Yeah, yeah. Did you ever see the Sullivan's in there, over here, over there?

55:40

It did. I very vaguely remember it's always the Sylvins and Sons and Daughters.

55:45

The theme tunes are very much from my childhood.

55:48

Oh, really Sons and. Daughters. Wow, that's a callback.

55:51

What's the other one Country practice was the other one.

55:56

Oh yeah, Flying doctors.

55:58

God, you got all the Australian shows, didn't you?

56:00

And of course you got Neighbours right.

56:02

You guys went nuts for Neighbours.

56:03

Neighbours and Home and Away. But yeah, I mean like I watched all like the kids shows as well.

56:07

I don't know if you're the Henderson kid Pugwall, pugwall, sumer around, the twist around the twist.

56:14

Yeah, oh yeah.

56:16

It's crazy. It's interesting, interesting TV that goes between Australia and the UK.

56:23

I tell you one of my all time favourites. I'm going off track here, but I don't know if you remember it was a comedy from the early 90s and it was Let the Blood Run Free.

56:30

Oh, yeah, yeah, I was obsessed.

56:33

It used to be on like one in the morning, so I'd be like I'm supposed to be getting up for school.

56:38

But no, I'm going to stay awake yeah.

56:40

So any final thoughts on this film.

56:47

I'm going to say as much I don't know from our description whether somebody would willingly going to watch this if they've listened to us first.

56:57

But what I will say is, honestly, it's so bizarre and wonderful and obviously problematic to a modern audience, but also nostalgic, and you have to let stuff go to a certain extent and just enjoy the ride of what this crazy ice cream truck of a movie is.

57:21

It is, I definitely would. I'd actually recommend watching it if you can get hold of it?

57:26

I definitely, or just check it out on Prime.

57:28

if you're in Australia or Broly or something like that, it's definitely worth a watch.

57:33

I have to admit I'm funny with, because there's such a certain intensity with a lot of Australian cinema that I get nervous watching them.

57:42

Sometimes it's going to be too much. And this is just from that kind of era where there is a lot of, like, sexual references and things like that I can't watch, like rape, revenge and things like that.

57:57

It's not my thing.

57:58

Right.

57:59

And I have an interpretation when it goes into stepping into that kind of, because a lot of that was very obviously prevalent in the 70s and 80s.

58:07

Yeah, but this actually because when you read the substance, oh God, the nudity is happening.

58:14

Then there'll be other things. But no, it's involved but it's not explicit.

58:18

There's nothing really explicit about this movie which I appreciated on that point for myself personally yeah, it's not one hairy bum shot and an aperibus.

58:29

That's it.

58:30

You get the boobs. I think what was the hairy bum shot?

58:34

There was a bit where Mads and Angela go back to the house and there's two people having sex on the floor and you just get one shot of the guy's hairy bum.

58:44

Forget that.

58:46

You're probably mentally blocked out. You don't say to be.

58:52

Interesting, interesting, but anyway, yeah, it's, it's interesting, it's not too problematic.

58:57

I know a lot of the films we cover here are quite problematic just because of the era, more than anything, and I think there's a certain language that you have to excuse.

59:10

There's one or two phrases like that, but you just move on, yeah it's, yeah, it's.

59:15

I've had some of the movies I've done before. There's stuff in it that you call quite racist and that sort of stuff, but it's hard, it's this whole conversation to be had.

59:25

I think, about separating what is acceptable today from what was made 40 or 50 years ago in film, because I really hate this.

59:38

I think the recent one I heard is like they were sitting on Disney Plus.

59:42

They had the French connection, the movie the French connection, and they cut pieces out of it recently Because they didn't think it was fit today.

59:53

And I'm like, why do that?

59:55

Why do that? Why not just have a little piece at the start of the movie just saying, hey, things depicted in this movie we understand aren't acceptable these days, but it was made of this time, blah, blah, blah.

1:00:06

I think I have a disclaimer like that on the bottom of my notes for my podcast every episode.

1:00:11

That basically just says, like some of the subjects we cover and not something it would be acceptable today, but it's just because of the time they were made, right.

1:00:21

Exactly. You've got to think of it in its own time capsule and you can't put your modern sensibilities on something that, like you said, was created that long ago.

1:00:30

So if you are okay to do that, to compartmentalize it for yourself, go ahead and enjoy it.

1:00:37

If you can't do that, just do it much.

1:00:40

That maybe. Then yeah, it's not for you and don't put yourself in that position.

1:00:44

Yeah, exactly, and don't tell everyone else they can't watch it.

1:00:47

I'm sorry, but I have to say Exactly.

1:00:50

It's like just don't watch it right.

1:00:52

Yeah, exactly, there are certain, like I said, when it comes to, like, rape prevention movies, they are not for me.

1:00:58

I know that. I'm just not going to watch those, and that's fine.

1:01:01

People want to watch them, that's their business and I'm not going to judge anyone or anything because, the stuff I watch, that they will, I mean, crack it.

1:01:10

I've watched Real Housewives before and I don't expect people to judge me and I'll talk to me, I guess I hope.

1:01:19

Yeah, it's because you watch Real Housewives.

1:01:27

I just do it because I like to laugh.

1:01:30

That's right. I mean, look, every year I say I'm not going to watch it, but my wife always for some reason watches, married at first sight.

1:01:38

I don't know if you have that show over there, but anyway.

1:01:41

Yeah, I know that one.

1:01:43

I always say this is a load of shit, and she knows it is too and she watches it, I think for the same reason.

1:01:48

Yeah, exactly, and eventually, what will happen a bit further down the track in the season?

1:01:53

We'll sit together and we'll be watching it, or something like that, and I'll go, oh, this is shit.

1:01:56

But then I end up starting to make comments about different people and I can't believe they did that and I'm like, oh shit, I'm into it.

1:02:04

What's going on?

1:02:07

It's only about the drama. I don't care about the rest.

1:02:10

It's crazy, just a drama. I think it may plant actors in those shows.

1:02:15

Oh yeah, they have to 100% Anyway.

1:02:18

so yeah, so that was Snapshot and it was a fun watch for all, I think.

1:02:24

Yeah, definitely. I appreciate you letting me watch this with you, Pete.

1:02:27

I really did enjoy it.

1:02:28

It was fun it was fun as we close up, so give us a bit of an idea of what's happening with you, where people can find you.

1:02:37

Oh gosh, yes, I'm on two podcasts. Thank you very much.

1:02:40

Two different podcasts.

1:02:41

I don't know how you find time.

1:02:43

I can squeeze it in. I'm on Stiletto Banshees with Tab and Micah that you've had on the show before and I think we've got some more recording to do and I think there's going to be a couple more releases coming very shortly, I hope.

1:02:57

Obviously, there is an Instagram page for Stiletto Banshees as well, if you want to have a look there at bits and bobs.

1:03:06

We've done what we'll be doing, and my main podcast is Two Crohn's in a Book which I host with my friend from childhood, michelle.

1:03:15

We've known each other since the first day of primary school.

1:03:19

You can tell yeah.

1:03:23

Yeah, and we just we mainly started to discuss books in the horror genre and we also, as well as review books.

1:03:31

We have Ramble episodes where we'll be posed a question.

1:03:35

It started off book related but it stretched out to just different things where we just go off and have such an absolute giggle.

1:03:42

They're really fun to make and it's a really good laugh and we're broadening our book spectrum as we're going into.

1:03:49

We've just finished come out of our second year now, so we're really enjoying ourselves.

1:03:55

So, yeah, it's a lot of fun and you can find us on TikTok.

1:03:59

We'd Tab makes us these brilliant little audiograms.

1:04:03

Yeah, they're awesome. I love seeing them. I see them in TikTok all the time.

1:04:07

Yeah Well, tab puts those together for us, and so she just takes clips of episodes to give you an idea of what we're about.

1:04:15

And that's just so funny. She actually puts in little images to go along with it.

1:04:20

They're so funny, they're great. Yeah, we're on TikTok Two Crohn's in a Book.

1:04:24

We're also on Instagram at Two Crohn's in a Book and there is a Facebook page, but that's not as lively as it used to be, but I still throw in the audiograms and if we see an occasional thing we find funny, we'll pop it on there as well.

1:04:39

So yeah, just check us out. We're on all platforms If anyone wants to interact.

1:04:45

We absolutely love interaction with listeners.

1:04:47

It just makes our day completely.

1:04:49

Yeah, that's great. It's really good. I've listened to a couple of episodes.

1:04:52

I must say I haven't listened to all of them, but the TikToks are amazing.

1:04:56

They're really funny. I could say actually I'll hear one of those.

1:04:59

I go oh, I need to listen to that episode of Sins.

1:05:01

Like a Lot of Fun. So they're doing their job.

1:05:03

I'm Tastic, oh Pete, oh, you made my day.

1:05:08

Anyway, thank you so much for coming on.

1:05:11

It was a ball, it had a great time, it was really good and definitely have your back for sure.

1:05:16

We'll have to do something. Have to do something.

1:05:18

I've got a heap to do this year. I only did nine episodes, I think last year I really need to catch up this year.

1:05:23

I want to get to my 50th episode this year, if I can.

1:05:27

Oh wow, how hard is it to get to 50?

1:05:29

Just to get to 20 of us. It's crazy, it's nuts anyway.

1:05:32

Yeah.

1:05:33

It's all good, all right, thank you so much, and when we come back I'll talk about what's coming up next.

1:05:38

And now preview time.

1:05:49

When it comes to entertainment, you can't beat a good film.

1:05:54

So let's take a look at what's coming your way.

1:05:57

Next, on A Dingo Aid my Movie, I'm joined by Matt Fulton to talk about the Alvin Purple Double Alvin Purple and Alvin Rides.

1:06:20

Again, thanks for taking the time to listen to this episode.

1:06:43

Thank you to all my guests who give their time to make this podcast possible, and a special thanks to you for listening.

1:06:49

Don't forget, you can follow A Dingo Aid my Movie on social media.

1:06:53

We're at Dingo Movie on Twitter, dingo Movie Pod on Facebook and Instagram and on the web at DingoMoviePodcom.

1:07:01

Once again, thanks for listening, stay safe and I'll see you on the next episode of A Dingo Aid my Movie.

1:08:06

Hey, mr Whitby, can I have an ice cream too?

1:08:08

I want one for Mr Whitby, so I can be like you.

1:08:12

Hey, mr Whitby, can I have an ice cream too, mr Whitby?

1:08:18

Hey, mr Whitby, can I have an ice cream too?

1:08:25

I want one for Mr Whitby, so I can be like you.

1:08:48

Hey, mr Whitby, can I have an ice cream too?

1:08:53

Hey, mr Whitby, can I have an ice cream too?

1:08:59

I want one for Mr Whitby, so I can be like you.

1:09:03

Hey, mr Whitby, can I have an ice cream too?

1:09:08

All right, mr Whitby.

1:09:10

Hey, mr Whitby, can I have one for me?

1:09:14

I've been waiting here for hours.

1:09:20

I haven't had one yet.