Transcript

Mad Max · Citizen Frame

0:00
That's what I meant. Poor bastard.
0:04
The Knight Rider. That is his name. The Knight. Knight Rider.
0:11
Remember him when you look at the night sky.
0:16
I will. Take your hat off.
0:18
Music.
0:34
The chain in those handcuffs is high-tensile steel. It'll take you 10 minutes
0:40
to hack through it with this.
0:42
Now, if you're lucky, you've been hacked through your ankle in five minutes. Go.
0:49
It's always good to start a podcast with a good laugh. Exactly.
0:54
I'm sorry. I just broke into laughter because I was just
0:57
thinking of when Trevor said how much he loved street fighter and how he felt
1:01
kyle minot should have done more films absolutely you know what i mean she's
1:06
not just a one-trick pony i mean look at neighbors that's a classic and i'm
1:10
going to be talking more on this podcast about australian soap operas which
1:13
i'm actually a bit of an expert on,
1:16
sadly okay okay that's why i brought up kyle minot because i was opening the
1:22
window for you and i want to see if your fucking ass would have jumped right
1:25
in and of course like in trevor fashion, you have done that.
1:30
Super technical. Because we're about to do a retrospective that we promised
1:34
you that we were going to do a while ago, but now we're back and ready to do it.
1:38
The Mad Max franchise. Yep.
1:42
Now, all right, so I knew Trevor would take the bait because we're here to talk.
1:48
You know, the Mad Max franchise, an Australian classic set,
1:54
of films, and I swear to Christ, if I mention anybody in this franchise and
2:02
I hear fucking neighbors out of your mouth, I swear to God.
2:06
I will end your life. Well, I promise you, I will not mention Neighbors.
2:11
However, that's it. No, no, no.
2:14
No other fucking Down Under, mate, or whatever fucking shows they have down
2:19
there. Jedi Sport? Yeah.
2:21
Okay, no. And there's no Doctor Who.
2:25
Okay, I mean, Doctor Who and Neighbors, I will not mention.
2:29
I have no need to mention them. No, no, Ed, you can't. What's the other fucking one?
2:32
What's the other fucking show pop? They have Neighbors, and they have,
2:34
like, go get a kangaroo or something no i know
2:39
what it's called fuck me prisoner cell block it's fuck you're not you're not
2:43
touching that shit either sorry i have to because it's relevant no it's not
2:47
relevant it's not it's completely relevant oh this is what it's gonna be hey
2:52
do you see that extra in the corner on the left yeah i remember that person
2:55
in the fucking episode of,
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gangbang number two right we'll just get her out of the way now
3:00
right the older actress who plays Mae
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the house that Max goes to later on
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in Mad Max and she's the one that points the gun at what
3:10
he called toe cutter and stuff and threatens him that
3:13
older actress that woman is more famous for playing Earl Lizzie in Prisoner
3:18
Cell Block H the long-running Australian soap opera set in a women's prison
3:23
with wobbly sets and even wobblier acting but she was always pretty good on
3:29
it and memorable So there you go, it's out of the way now We can talk about Mad Max.
3:34
You've ruined the whole retrospective.
3:36
I'd rather go talk fucking Street Fighter now.
3:40
That's it, that's all there is to it But yeah Prisoner's Cell Block H,
3:45
classy Alright, George Miller There we go,
3:49
In the 70s and the 80s You had what they called Oz-exploitation,
3:56
Similar to what the US had That US had, their version was more of Grindhouse.
4:02
Yeah. Would be our version of what they were doing over there.
4:04
Also, they did Black Cinema with Blaxploitation. Yes. You know.
4:09
Shaft and stuff. Shaft and Coffee.
4:13
And all those films, yeah. And you also have, at the same time,
4:17
you also had Roger Corman coming into the picture with his version of Grindhouse,
4:24
especially with like Death Race 2000 would be a perfect example.
4:27
And there was a really big movie, which was just one big car chase and not the
4:33
horrible remake they did a few years back, but the original Gone in 60 Seconds.
4:38
And then he had another one called Vanishing Point. I can't remember the name
4:42
of it, but Too Late Black Topper.
4:45
Anyways, you have these films, lower budget, stunts done pretty much at cost,
4:53
which is very costly to the stuntmen. And in fact, exactly.
4:59
So it's safe to say these guys weren't gonna jump aboard Australia.
5:03
In fact, they probably did it earlier.
5:06
So let's kind of jump into it a bit and we'll talk George Miller's,
5:11
the kickoff film to start it all, including his career and a very young 23-year-old
5:17
Mel Gibson's career as we talk Mad Max, 1979.
5:23
Now, George Miller, I've always
5:25
had respect for. I think George Miller is actually quite underrated.
5:27
A lot of people don't realize that George Miller's career is a lot more than
5:33
just the Mad Max films. And that's why he hasn't revisited it in such a long
5:37
stretch from- Children's films he did a lot of?
5:41
Yeah. Well, George Miller kind of got discovered, obviously, with Mad Max.
5:45
And then Road Warrior, Spielberg then hired him to direct the remake of Terror
5:51
at Flight, 20,000 Feet, whatever it was, with John Lithgow in the Twilight Zone movie.
5:56
Yeah. Nate Martin, 20,000 Feet. Yeah. Then he got one of my great film called
6:01
The Witches of Eastwick. Yes.
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He did Oscar nominated. He was Oscar nominated for Babe. Yep.
6:08
A lot of people then, Babe, Pig in the City. He did Happy Feet.
6:12
So the guy, he's pretty respected in the business.
6:17
Do you know what his job was before he got into filmmaking? Yeah,
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that's what I was about to get into. He was a doctor.
6:24
Yes, yep. And he actually became an emergency room doctor just to raise the funds for this film.
6:29
Yeah. And this film only cost, I believe, $350,000.
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$35,000, I think? No, it was $350,000. Was it right now? An extra naught at the end of the year?
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Because Road Warrior was 10 times the amount. So it was about $33,500,000.
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And you look at the film and you think it would be bigger budget,
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all the crashes and stuff.
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But the funny thing is these people were just going, hey, we're going to crash
6:56
into a wall. All right. Right.
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And they were so, I love commando filmmaking.
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Yeah. And these guys shot and they only got one take.
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They didn't have a car lot. They didn't have like a car lot.
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You grab cars and just chuck them around.
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So they literally, and as a
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matter of fact, some of these cars are back in Road Warrior. That's right.
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But so when they took a, they had one take to get it right because they had
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to, A, for budgetary reasons, And this is the funnest part Before the police
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showed up Yeah there's no permits Nothing.
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He paid the extras In beer,
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Fucking love it man Love George Miller Yeah
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and this is genuine creativity You know like the
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Evil Dead You know people like Sam Raimi and stuff She's strength budget and
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you know They're pumping their heart and soul into it And it shows on the screen
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the enthusiasm It's brilliant yeah it is it's good fun and passion's there and
8:01
the funny thing is we talk about hammy acting,
8:05
It's, it's not like you can get a bit, we'll talk about Street Fighter,
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for instance, terrible film, terrible acting.
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You got these guys who, you got the bad guys, Toad Cutter, just hamming it up,
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having a great time playing the villain.
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But then you got Mad Max who, who, and actually Mad Max to me is not the character here. It's Goose.
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Yeah. And we're going to dive into that.
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And, and it's got, it's got its moments of letdowns and it's really about the marketing team.
8:34
But i would say you just
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what you're saying about the acting while i'm toe
8:40
cutter is gloriously over the top along with his gang
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i would say that the likes of gibson and all of the
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rest of them and stuff we're all playing this dead straight especially gibson
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well that's what i just said yeah yeah they're having a fun time the bad guys
8:54
i guess playing the bad guy would be fun and then you got the straight laced
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characters which is goose and and and fifi and yeah let's Let's just jump into
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it and we'll talk about it.
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Now, Mel Gibson's voice was dubbed when this furnishing came out and I didn't
9:10
understand that because I can understand. Only in America it was.
9:13
Yes, I know that. I was about to get to that. Thank you, Trevor,
9:16
though, for finishing my sentence.
9:17
No problem. It's important that you do that. It's really, it is. You fucker.
9:24
So. Lovely. Mel Gibson's actually a US boy. He was born in Peekskill, New York.
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And his father won on a big show that's still around today called Jeopardy. Yes, I know of it.
9:37
So he moved the kids to North, South, Wells in 68. He was only, he was 12.
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So I never, I didn't realize because he's got a thick Australian accent.
9:47
It's like, but he was 12. Yeah.
9:50
You figured he wouldn't... Maybe you could adapt to the Australian accent?
9:54
It's different for different people. I mean, for example, my grandfather on
10:00
my mum's side, he had a very Northern English Mackham accent.
10:04
You know, we grew up near Sunderland, but yet he lived over here for 50 years
10:07
once he met my granny during the war, and his accent never changed.
10:11
But I've known people that have spent like a year in different countries and
10:14
come back with a different accent.
10:16
So it's different for different people, it appears. here yeah if i
10:19
ever go back to the states it'd be interesting if i have an irish accent well
10:23
this is it i mean because i right now i have a thick american accent anyone's
10:26
hearing me but i'm in ireland recording this but if i ever
10:29
go back to visit the states i would wonder if i just tweak and then
10:31
turn and do let's take when we're doing this podcast i i stayed in boston just
10:35
for a couple years when i was a kid right yeah but you guys you hear the podcast
10:39
i say star wars and cop hoc and i don't i'm not yeah i say boston deliberately
10:44
not doing that just for a show I listen to podcasts and where the fuck am I getting where's my R's?
10:50
We just pick these things up naturally but what I would say is if you do go
10:54
back to Boston or Minnesota at some point I would imagine the people there would
10:58
notice Belfastisms in your accent and your speech that you don't even realize.
11:04
Yeah exactly what I'm saying that you probably spot on there but I listen to
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that right that's why I now it's obviously not dubbed anymore it's Mel Gibson
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but I listen to it I couldn't and I barely understand him.
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And I don't think it's because he's got a thick Australian accent.
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I think he's muddled, like I just talked about. I think he's got an American
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accent built with an Australian, so his words blend.
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So a lot of his words ran into each other.
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And he mumbled. Yeah, possible. And he mumbled. But when you watch him in two-
11:35
He probably got a coach, a dialect coach, to help him. But again, it only had 16 lines.
11:43
Yeah. Well, you know, what I would say is that with the original Mad Max being such a low budget,
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maybe they, you know, it appears they probably didn't have a time to go back
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and re-record lines of dialogue, you know, and then sort of loop them over,
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as happens in most films.
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So maybe it was just, you know, the whole first take thing is very possible.
12:04
Yeah, that too. to define like but you know see
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the australian accent is actually very close to the cockney london
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accent because obviously i would imagine a lot of
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you know sort of londoners would have emigrated back in
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the day to australia so i i'm totally fine
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with the australian accent but american audiences maybe aren't
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as much as people from the uk would be
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now i do know the train spotting has subtitles or
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it had subtitles during its american release
12:31
well that's that's not fair Scottish people probably That's Scottish That Scottish
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accent is pretty Yeah it's thick And then you have them all hyped up on drugs
12:43
Yeah to be fair What's his name Ewan Brimmer Ewan McGregor.
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Ewan Brimmer's got a thick Scottish accent Oh yeah Okay let's jump into this
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now You know you're watching a Mad Max film When the lead characters are Max, Jesse,
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Toe Cutter, Goose Johnny the Boy, Fifi, Mud Guts, and Clunk.
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So there's most of your cast. Can I just say as well, just jumping on the accents
13:14
thing, Toe Cutter, just to make things even worse, Toe Cutter uses a different
13:18
accent in every scene that he's in.
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So just to make things even more confusing, it just doesn't have to be crazy.
13:27
I think also, I want to notice it because he doesn't have any lines.
13:31
Like I said, there's very little dialogue here, so it'll be tough to catch that.
13:36
Yes, yes. But he did it on purpose just to make the character appear even more crazy.
13:41
So I love the opening shot where it's the Halls of Justice.
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Yeah. And then it says for a few years from now, and it's the Halls of Justice
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and the Jays all falling off. Yeah. It's like the really bad version of Justice League.
13:55
So here's where I got confused. Now, we'll kind of learn more about it when we talk World Warrior.
14:01
Yes. This is before the war. Yes.
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So this is, let me real quick. So the war is ongoing.
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Going and the war has caused obviously chaos
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and now criminals are taking over the
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streets and that's kind of where we're at here this
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is before the post-apocalyptic you know the whole yeah
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essentially what we have here is whenever we join
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the this is basically an origin story so this is before the nuclear war but
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society is still in collapse and there are wars over like petrol and stuff and
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gasoline as they call it so you know society is collapsing And according to
14:41
George Miller, the actual nuclear apocalypse,
14:44
the nuclear war, happens two weeks after the end of the first Mad Max.
14:48
Okay, that's where I was getting timeline-wise. I was getting a little confused
14:52
there. Yeah. But okay, that makes more sense then.
14:55
Now, the film, like most films, that could be quite graphic,
14:59
even though it's not bloody.
15:01
But it is, like I said, that gritty 70s. You don't have to see it because it's so grounded.
15:10
It can be more disturbing not having to see it. And so they put some Zany fun
15:15
and they open up these two dumb shit cops who are. Now blaspheme.
15:19
Yeah. Who are spying on people having sex and the, the, the Knight Rider is
15:25
coming through the town and this, you're pretty much introduced to this world
15:30
with a really nice little chase sequence. Yeah.
15:35
And the Knight Rider is just fucking batshit crazy. And I read this up.
15:39
It was kind of fun. He's singing along and you think he's quoting, right?
15:42
But the lines he's quoting are from ACDC songs. Yeah. Oh, yeah. Yeah.
15:48
I thought that was brilliant. Yeah. And so the general dialogue here is just
15:53
whenever it does happen, because it is limited, it's just superb.
15:57
Especially from Toe Cutter. You know, whenever they go to collect Knight Rider's
16:03
coffin And he's the wee guy that has a coffin.
16:07
You know, he doesn't give a shit. And he go, I don't kind of realize this.
16:10
And Graffin goes, his name was Knight Rider.
16:14
Remember it when you look up at the night sky.
16:17
Yes. What the fuck? It's bonkers. You kind of have that, you kind of have that
16:20
really silly dialogue. We talked about it in Assault on Precinct 13. Yes.
16:25
But yeah, the chasing is really fun. And I do like the introduction to Max.
16:30
And it's funny. I was watching this introduction and we always talked about
16:34
with Rambo films or commando, especially in the eighties or when you have the lead star,
16:38
we always think of Schwarzenegger or Stallone when we see this gearing up for
16:42
a fight and putting on his guns and putting on his outfit and getting ready to kick some ass.
16:47
Funny thing is Mad Max did this and you don't see Max's face right away,
16:52
but you see him gearing up and putting on the gear and getting ready to go chase
16:57
Knight Rider. So it makes you wonder the influence of this film.
17:02
We just talked about the whole rising of the criminal.
17:06
This had Robocop feel to it to me.
17:09
And even like we had Detroit, Robocop, and then you've got, I had a little London's Clockwork Orange.
17:16
Yeah. So you kind of had little elements of all that. Well, it wouldn't be Robocop
17:20
because Robocop came after.
17:22
But the influence of so many films piggybacking on each other can be seen in this film.
17:27
Absolutely. And I would also say as well, regarding the influences.
17:32
From films on George Miller to make this. It's basically a Western and basically
17:36
all the Mad Max's are Westerns. And even George Miller admitted this,
17:40
you know, he said it's basically Westerns in modern clothing.
17:43
It's, it's a, it plays like a spaghetti Western. He's the Mad Max is the man with no name.
17:47
A hundred percent, especially in the second one, even more so,
17:51
but yes, they're all Westerns.
17:53
The great thing about it, everyone doesn't get this. Mad Max,
17:56
Max is not the main character.
17:59
Yeah. In any of his films. Yeah. And even in this one, it's Goose, his film.
18:05
And Max doesn't become mad until the last 10 minutes. Yep.
18:08
And so it's always about his surroundings and the people around him.
18:15
Uh-huh. And how he's reluctant.
18:17
He doesn't want to do what he has to do. In fact, in this one, he quits. Yeah.
18:21
He's a mysterious stranger who comes to town and sort of sheds out and then leaves. Yeah. Yeah.
18:27
And we'll talk about that in all the films, quite frankly.
18:32
Yes. So, yeah, the car chase scene was really nice. I mean, the editing.
18:37
Brilliant. You just, you have to get it fucking right.
18:40
Guys, I can't emphasize, this is one take. Yeah.
18:45
So, you got cars flying through campers, bikers.
18:49
There's actually a shot where one of the bikers falls off his bike,
18:52
and it's a stuntman. It's a close shot. You know how they fall off their bike
18:55
and they skid across the road?
18:56
Well, he's skidding across the road, and the bike the other guy fell off of
19:00
bangs him in the back of the head.
19:02
I promise you that was not supposed to happen But they kept it And it's really
19:05
tense as well Not only for the fact that you know That these guys are just doing
19:10
this off the bat In one take But also things like that scene with the baby Crossing
19:15
the road and stuff You're like oh shit It's really tense,
19:18
really well And really exciting That scene with the fucking baby was fucking
19:22
brilliant Because the babies End up going between the cars As they're racing
19:28
toward the baby me and they cut so perfectly.
19:33
You almost for a second thought they actually drove past a little child. Yeah.
19:37
Obviously it's not. You believe it? But the cars are going so fast, they play on that.
19:43
And that's the beauty of the way he shot this.
19:46
Yep. I mean, it's just great. And the continuity I really enjoyed.
19:51
These two fuck up cops and they're a good laugh.
19:53
And the one part of Asher gets his throat ripped open. Yeah.
19:56
And then the next scene he's got a voice box. That's right.
20:00
It's a dark humor as well. I just love, I love dark humor.
20:03
And this these all of the mad max films but um definitely
20:06
this one is filled to the brim with it you know it's just little touches
20:09
really really well played yeah it's it's nice and when the when the and another
20:15
thing i like about it is now don't get me wrong i love my explosions right i
20:20
love my michael bay explosions and fucking things blowing up really exaggerated
20:25
yeah great thing about out Mad Max,
20:28
and actually quite all of them, they don't overdo the explosion.
20:33
They will say, well, it's a car full of gas.
20:36
Yeah. This is how it would explode. We're not going to put, you know,
20:40
piles of dynamite in there to make it bigger.
20:42
There's an explosion here, and the orange is just pop. It's on 4K,
20:46
I watched it on. It's just gorgeous.
20:48
Yeah. But it doesn't overdo it. And it's one shot, and they have different sets
20:53
of cameras to make sure they get that shot.
20:56
And it's just, it's wonderful. It's like everything in the Mad Max,
21:00
well, certainly in this one we're discussing, everything, nothing is overdone.
21:05
A lot of that is because of, you know, the budget limitations.
21:07
But, you know, Miller doesn't overdo it anyway.
21:10
So it's, well, you could argue he does with Fury Road and Furiosa and stuff.
21:14
But, you know, certainly here, everything feels grounded, very grounded,
21:18
and very much set in the real world, even though it is, you know,
21:21
in the near future after society has collapsed.
21:25
So we meet the, that the, the picking up of Knight Rider, we meet obviously
21:31
Toe Cutter and Johnny the Boy.
21:34
Johnny the Boy or Adamant. Yeah. I call him.
21:39
And it's fucking just, I guarantee you, I guarantee you, George Miller says,
21:43
get off your bikes and just do stuff.
21:45
Yeah. Oh no, those guys, those guys weren't actors.
21:48
Oh yeah. They, they get up and they dance. You know, the two guys get up and
21:51
start dancing. One guy gets on his knees and prays.
21:55
But the funny thing is when you first meet him, you got that guy,
21:57
he's very reserved and quiet. He's like the educated one with the short blonde hair.
22:02
Oh yeah, he's brilliant. He's very good at it.
22:06
But there's a creepiness to him. So when he goes to meet the guy,
22:10
pretty much the mayor of the town, what is the town, he's talking to him,
22:15
but the guy won't look him directly.
22:17
So how do I explain this? He's to the right of him.
22:21
So he's not making eye contact with them. Yes. And he keeps,
22:24
and he's talking to them very smart, you know, versed. He's the ones.
22:31
And you meet Toe Cutter with that fucking crazy line, you know,
22:34
and you know, he's a little batshit crazy because he's, yeah,
22:38
because he's petting, he's petting Toe Cutter's hair.
22:41
That's right. Yeah. And it's fucking weird. But anyways, I kind of like these guys, right?
22:46
Yeah. You kind of, yeah, they're, but within two seconds,
22:51
they're raping a poor woman yep it just flips they just
22:54
they just flip they turn and so then
22:57
you're like fuck but i still kind of like these guys am i wrong no
23:01
no this changes when it gets to max
23:04
time well but you know i would even say you know
23:07
again like kubrick did with a clockwork orange going back
23:10
to your earlier reference kubrick had you uh and
23:13
that's the sort of the great trick that he pulls he has you
23:16
on the side of alex and the droogs and a clockwork orange it's
23:19
some similar here where even at the scene where
23:22
they first approach mad max's wife at
23:25
the beach you know later on in the film and what
23:28
he called two colors messing about with the ice cream and joking about you're sort
23:31
of laughing and stuff but you know that their intentions are deeply sinister
23:34
basically they're going to rape her and you know possibly kill her very possibly
23:38
kill her so it's like this conflict of like you're sort of these guys are kind
23:42
of funny but at the same time they're you know they're deeply sinister as well
23:46
it's a brilliant trick and like i said it was done them before an o'clock or cornish?
23:50
Yeah. I mean, it's a good trick, but only to me, it's only the first meet, the meeting.
23:55
Yeah. I like talking about, I like some of the stuff they end up doing and kind
23:58
of zany, but I'm turned off by them once they attack the woman.
24:02
Yeah. And the guy in his car. So I'm off that now. My, my whole thing is just the intro.
24:07
Yes. You clearly love them and you like everything about them.
24:11
That's cool. You like running over babies. I say two quarter.
24:15
Yeah. Yeah. You like, you like running over babies. That's cool.
24:18
Oh, that's the best you watch ever.
24:19
I think Toe Cutter is fucking hilarious and a brilliant villain.
24:23
So do just the lines of dialogue.
24:26
I think he could stand. And the guy who played him obviously went on to play Morton Joe.
24:30
He's a classically, or he was, I mean, he sadly passed away a year or two ago.
24:34
He was a classically trained Shakespearean actor.
24:37
Yeah, he was. Yeah, I'm sure they all got some talent besides the extras they
24:43
chuck in a car and throw into a fire pit or something. Yeah.
24:47
No, so they grabbed Okay, so the crime scene where the girl The poor girl's
24:51
in the car naked And the boyfriend's kind of beaten up and shit.
24:57
Goose and mad max see johnny boy now
24:59
i'm assuming johnny the boy is is
25:03
druggie he's always on something i think that's what's
25:05
going on with him yes i don't know because it's a case of part
25:08
of the sort of mad max sort of world is that
25:12
one of the side effects of society collapsing and
25:15
essentially the word ending is that those who survived have went
25:18
insane including the good guys like max and you
25:21
know so i don't know what but with johnny
25:24
the boy he's not a fully fledged gang member he still has
25:27
to prove himself and yeah i know because
25:30
you can see toe cutter kind of likes him and he puts keeps him under
25:33
his wing yes because there's a time when he should have killed him but he didn't
25:36
yes but matt but max says to goose when they're looking down at johnny boy and
25:41
they're gonna bring him to jail he says do you remember do you remember code
25:44
three and goose goes oh yeah they kind of chuckle and then accustomed the prison
25:49
what does that mean do Do you remember? Did he mention Code 3?
25:53
I'm assuming it's they have to play by the book and they have to remember that
25:58
they're officers of the law and they aren't allowed to take the law into their own hands.
26:03
But this is the brilliant writing of the character of Max because he is very
26:08
much straight-laced, the good guy by the book at this point.
26:13
Then whenever he goes to resign with Fifi later on,
26:17
the reason he's going to resign is because he says, i'm
26:20
fucking turning into one of these guys i'm going crazy out there
26:23
it's it's mad out there obviously he doesn't you
26:26
know say them in those words i'm paraphrasing but he says i'm becoming one
26:29
of these guys then at the end of at the very end he has become one of them he's
26:34
the villain because he kills johnny the boy just like johnny the boy killed
26:38
kills goose well johnny the boy that's my argument what would since you brought
26:44
it up we'll jump into goose when they ambush him Yes.
26:47
And he's stuck and Toe Cutter is, Johnny never killed him.
26:54
Ah, but he did. No, no, no, no, no, no. He doesn't want to do it.
26:58
He says, I don't want to do it. I'm not doing it. And he puts the match in his
27:03
hand. You know, he's, you know. He makes him do it. Yeah.
27:06
And no, he doesn't. Because what happens is he's shaking his hand and,
27:11
and Toe Cutter's still shaking his hand to make him do it.
27:14
He accidentally lets go. It's, it wasn't deliberate.
27:18
He doesn't throw it there or he doesn't throw it.
27:21
He's still responsible for Goose's death.
27:24
I think Toe Cutter's responsible for death. Oh, no, Toe Cutter's ultimately
27:28
responsible because it's Toe Cutter who made him do it, but he obviously still plays a part.
27:34
Yeah, he's an exception, but I'm just saying,
27:39
what I mean by, and we're definitely getting the road warrior,
27:43
we are all used to seeing Mad Max, especially when I was a kid,
27:46
I remember watching it and just being enthralled in crashes.
27:49
I didn't give a shit about anything else. I just want to see crashes and cool
27:52
shit, right? Didn't care about dialogue.
27:54
I just want to see crashes and cool shit. Yeah. But when you watch this now,
27:58
especially through the podcast eyes, I caught that.
28:02
Yeah. And what Mad Max does have, especially for Goose and especially for Max
28:10
and even for Johnny the Boy, they have pretty solid arcs.
28:16
100%. And you don't notice it, but they do. Well, Mad Max you do.
28:21
But Goose, for instance, here's this guy, positive, who sleeps with the women.
28:25
We have that scene where he sleeps with the- The nightclub? The nightclub singer.
28:29
Here, at least he got to shag before he died anyway. Yeah.
28:34
And his temper is what got him killed, because when they have to let Johnny
28:41
the Boy go, because there's no witnesses, he loses sight.
28:46
Right goose is a white card he you know
28:49
what i mean he loves you know fast bikes and he lives
28:52
life in the fast lane when it was sex and drinking and all
28:55
that there so it's basically his lifestyle and his
28:58
sort of crazy sort of you know character traits catch
29:01
up with him and it's ultimately what is his downfall
29:04
however max is more reserved straight laced but he
29:07
has the darkest the much darkest journey really when you think about it yeah
29:11
but he he's i i don't he wouldn't be the the villain if you got that wrong you
29:16
said he becomes like them he becomes like the villains he's the anti-hero he's
29:19
not a hero he becomes an anti-hero I'd say he's a fucking hero dude he's an anti-hero.
29:27
This is when he quits because Goose passes. So, and now I know we have, which is fine.
29:32
You got the nice music. He's retiring the motards, the picnics and shopping.
29:36
What about Max's wife's saxophone player?
29:41
Was the saxophone playing? Sorry. Yeah. Yeah.
29:44
I was like, what the fuck? Pure 80s. Even though it was in the 70s.
29:50
No, you always, yeah, you always had that. Yeah. But it's just funny.
29:53
Saxophone is the main music used in Lethal Weapons to come in the future.
29:57
Yep. David Sanborn is the saxophone, isn't he? Isn't he the one who does the
30:01
music? I can't remember.
30:02
I'm not too sure. By the way, yeah, so you know something's going to happen.
30:06
You know revenge is coming. Someone's going to get it.
30:11
And here's the great thing about the film is you have this montage, right?
30:18
Yeah. And then everything's all happy and she gets kind of bullied by the gang. They're taunting her.
30:27
They're not doing anything as of yet, but she ends up getting away because,
30:30
you know, Max is getting the tire fixed, whatever.
30:33
And then she comes back, Stormy, get out of here now, and they leave,
30:36
and they finally get to their place of destination.
30:39
Don't forget as well, she also, whenever she's escaping Kundalini,
30:44
jumps onto the back of a car with like a chain and he gets his hand ripped off.
30:48
Yeah, I mean, so, but yeah, so when you finally get to this house,
30:55
And this is where you meet your favorite actress of all time from the Prisoner's
30:58
Tale. Yep, Prisoner's Tale block eight, yeah. So.
31:01
I just call her out, Lizzie. No, no, no, we're done. I brought it up.
31:04
I was looting out the hat for you. The audience is clapping for you.
31:08
There you go, Trevor. Yay, there you go. We're not bringing it up again, okay?
31:12
No problem. Okay, I had to pause there to make sure you understand this.
31:18
Now, we talked about the grand house kind of feel and that 70s kind of vibe.
31:23
And you had, you know, gone in 60 seconds meets death race 2000,
31:27
but there's just this whole lull, not a lull.
31:31
It's this little, this little portion where Mad Max is doing his thing,
31:36
playing with the kid and the wife's going to go for a walk, get some,
31:39
get some sun on the beach. Yeah.
31:41
And then she's being taunted in the woods by these fuckers. Right. Yes.
31:46
And I thought about it. I was like, damn, this even has a little bit,
31:50
a little bit, and obviously not gratuitous as it is, but it's about toying with their food.
31:57
Yeah. And it has a last house on the left field. Yes, and also.
32:02
This whole sequence. Texas Chainsaw Massacre as well.
32:05
Yes. And Friday the 13th, even though the Friday the 13th came after, you know.
32:09
And if you notice that, it's funny you bring up the Friday the 13th,
32:12
by the way it's the score by Brian May, he's wonderful. But not the Brian May from Queen.
32:17
It's not Brian May from Queen. Yes. You know that, right? Okay.
32:21
This Brian May has passed sadly, but he did all the bad Mac stuff.
32:25
But we'll get to the music actually. Actually, I'll pick it back on that now.
32:29
Go ahead. You mentioned Friday the 13th. I can hear Manfredini's taken from
32:34
Brian May's score, a little let take, but just using a little bit of it. Yeah.
32:37
Because it has that Friday the 13th five.
32:41
The score, I want to talk about that now, is a character in itself.
32:46
Yeah. And we always talk about John Williams and Hans Zimmer and all these big A-list, you know.
32:52
The Jaws theme, the Imperial March, the Raiders March, all these set themes that everyone knows.
32:58
But this film, the music is a character because every sequence,
33:04
it's almost like, I'm probably getting this wrong, is it Tchaikovsky who did
33:09
Peter Wolf? I'm not too sure.
33:12
Tchaikovsky, Tchaikovsky, yes. Yes, yes. Peter Wolf? Yes, Tchaikovsky.
33:15
I remember as a kid, it was told through flutes.
33:18
Yes. And it was told through music, the story itself, right? Right?
33:21
This does the same thing. So if they're doing something fun and playful,
33:25
you'll have, you know, a little flute playing when the wolves dance,
33:29
whatever it is. Right? Yes. This does the exact same thing.
33:32
Here you've got the saxophone playing. It's relaxing. It's nice.
33:36
And then the scales go up. And then you've got the little kind of,
33:40
I can't remember the music you use, but the music's tone changes.
33:45
Oh, I would say as well. The mood of the scene.
33:48
That it enhances the scenes as opposed to, It's not overburden or anything.
33:52
You know, it very much enhances each scene that, you know, the different scores,
33:56
parts of the scores are used.
33:58
Yeah, exactly. And, you know, the score will ramp up the pacing when there's a car chase.
34:05
Yes. And then it's well-mooted.
34:10
You can almost close your eyes, not even see the film, and the score will guide
34:16
you through when there's an action sequence.
34:18
And when there's, you know, being stuck, someone's being stocked or someone's
34:22
down and depressed or someone's having a good time, the music really does sell it. Yeah.
34:27
That took me a long time to get out, but yeah, I think everyone gets my point. Yeah. There.
34:33
All good. All right. Fucking, what happened to your mic? What are you doing now?
34:37
I'm not doing anything. I can hear something in the background.
34:40
Were you like clicking or something? Yeah.
34:42
That's my chair. Oh, right, right. Yeah, I'm not doing anything.
34:45
But when I edit it, you don't hear it. Right, okay. So we're on 36 minutes,
34:49
Erwin. That wee bit happened.
34:50
Right. No, I know. No, keep it in. Keep it, whoa. Kind of pointless.
34:56
Well, why? Because you have to be a good editor and edit filler crap out. What's filler crap?
35:04
You're jerk-licking on us talking about it? No.
35:07
Oh. Yeah, no, I'm not editing that. Do you know? Now, guys, listen,
35:12
you can't hear it, but the chair squeaks.
35:14
And when I edit it, you don't hear it. But even though we're talking about it,
35:18
you guys are like, what the fuck are these idiots talking about?
35:20
So that's what Trevor meant by just ending the conversation out.
35:23
Because if you fucking idiots can't hear it, what's the point?
35:28
Right. And actually, I think I made that a little bit funnier.
35:30
So I think I will fucking keep it in now. Up to you. No problem. Shut up.
35:35
All right. Yeah. So they run over the baby.
35:38
Me well before that they actually come and
35:42
actually when me and my mate um watched this as kids we
35:45
were we used to kill ourselves laughing for some reason
35:48
at the line and the toe cutter says whenever they
35:50
approach max's wife and he says this is kandalini and kandalini wants his hand
35:58
back for some reason me and my mate when we watched this as kids we thought
36:02
this was hilarious so yes then there's a bit of a chase sequence with our lizzie
36:06
from prisoner cell block H with a gun and her son you can't.
36:10
I told you not to bring it. I told you to fucking mention the bitch again.
36:14
Well, let's mention our son then. Our son with learning difficulties.
36:18
You know what I mean? He's sort of helping out as well, and then,
36:21
yes, that's... He's kind of useless.
36:24
Yeah, well, he is. You know, he's got this sort of learning difficulties sort of thing.
36:28
And there's also a fan theory, but we'll come to it when we do Mad Max Beyond
36:33
Thunderdome that he is actually one half of Master Blaster in the future,
36:37
but we'll come to that in the third one. Yeah, it's not Lima.
36:41
We'll get to it. We'll get to it. We don't need to.
36:43
You know, here's the problem with you just doing that. You've ruined that moment now.
36:48
No, well, I. Because, no, let me finish. Let me finish. No, I did not.
36:53
I talked about the care. You now are going to bring that up and be on Thunderdome,
36:59
and everyone's going to go, oh, yeah, he said that already.
37:02
We've already heard of it. So now, though everyone's anticipation,
37:04
it's ruined. You've ruined the anticipation of that moment.
37:07
So that moment's gone now. We have Mad Max Beyond Thunderdome coming up Which
37:13
is a pile of shit We gotta get something to grab our audience That could have
37:18
been it It'll have to be then We don't need another hero,
37:22
Jesus Christ Which is a great song It's actually a great song,
37:26
it's in the wrong movie Yeah It should have been in my backstory Right,
37:33
Yeah right Yeah Kieran walking down the street to a Mad Max soundtrack track.
37:39
Yeah. Hold the work. Yeah.
37:41
We don't need another hero.
37:47
Oh, and with that Ramble song. He's my brother. Oh, yeah, definitely.
37:51
He ain't heavy. He's my brother.
37:56
Yeah. All right. He's not alive.
38:01
So Mad Max kid's dead. And his wife. Oh, so you find that funny? His wife.
38:09
His wife. You sick bastard. You're a worship tool cutter.
38:16
Johnny the Boy. Boy, Karen the boy. He's. Oh, this.
38:21
Is he in the hospital? The two doctors are talking. What?
38:30
This is horrible to laugh at. Hold on. So.
38:40
Folks, I've been working all day, so.
38:44
Okay.
38:47
Put yourself together hold on hold
38:50
on come on okay now everyone's gonna be
38:53
excited what i would say i know you better not start you better
38:56
not probably like you did with mad max three way to go on that one okay so there's
39:02
two doctors and they're sitting they're standing above the bed where her body
39:08
is but she's still alive technically and the wife yeah jenny i think her name was,
39:15
and she's got no arm.
39:17
Yep. That's sick. And then I believe the doctor goes, yeah, she's lost all of her organs.
39:25
She's lost her spleen, half her stomach, half of this, but the list goes on. Yep. And, uh...
39:33
But she's going to make it.
39:37
That's what he says, but she's going to make it. Yeah. And the camera pan,
39:42
it's actually a nice shot.
39:43
The camera pans and you see the side shot of Mel Gibson listening in.
39:47
Yep. And you can see the rage in his face as they're describing her,
39:51
you know, what has happened to her, to her vital organs and so forth. She's armless.
39:56
It was just, I couldn't stop because there was just so many body parts.
40:01
But she's going to be fine. Yeah, but as a case of She has no arms,
40:07
no legs No spleen, no But apart from that, she's great,
40:12
But she's dead, right? Well, she's I can't see that, there is a problem with
40:17
the editing And that's now fault of George Miller That's budgetary The audio is kind of They talk,
40:24
you kind of got to rewind it As far as I'm concerned, she's dead You know what
40:28
I mean? Or, you know what I mean?
40:29
She's fit for fuck all, like at very least.
40:34
Okay we'll say she's dead i should i
40:37
mean yes it's affection so we're laughing
40:39
affection here before not anybody now when he goes
40:44
after now him going on on a rage here's only 10 minutes uh it's good stuff like
40:50
i like the fact when we keep true to this through the whole all the mad maxes
40:55
if i'm not i can't remember fury road but i hope they do but he gets shot in
41:01
the knee by Toe Cutter. Yeah.
41:03
And this is where, because he has a permanent lip now and he does carry that
41:08
on through the films, at least the ones that Mel Gibson's in.
41:10
So I do like, they keep that weakness to him. That's a disability for him because
41:15
he's got to put it in a brace. We'll see in the next one here.
41:18
Yeah. And it was just a nice showdown between him and Cutter.
41:24
And when he crashes, when Toe Cutter crashes into that truck.
41:30
Yes. It's just It's a bit of a cheat but it still works.
41:35
It's almost like Watching Lego Well
41:39
it is a bit of a cheat in that Two cutters eyes pop out of his head A split
41:44
second before he hits the truck But that's totally fine with me You know what
41:48
I mean you're still totally bad Ah yeah you can't fault on that And ironic This
41:53
is going to be the same defs coming up in the part 2 With some of the main ones,
41:57
And so yeah And of course his last one is Johnny the Boy.
42:02
And this is when it goes full on dark because he kills him exactly like he basically
42:07
predicted to Fifi that he was turning into one of these guys and he killed Johnny
42:12
the Boy in pretty much the exact same way as Johnny the Boy and Toe Cutter killed Goose, his mate.
42:18
So he's went on a dark journey throughout this film from being a straight-laced
42:23
cop to being one of the bad guys. and he literally becomes Mad Max.
42:30
I like the fact when he's driving away and we see, you know,
42:35
the car's a little off to the right side.
42:38
Yeah. Just so we can see that explosion in the background. It's a brilliant shot.
42:42
It's a nice shot. Yeah. Nice shot. Again, probably I'm a one take thing as well.
42:46
Yeah, exactly. You know.
42:49
And then we see an empty road.
42:51
Yeah. I was thinking as well here, you know, who I think has been inspired by
42:57
George Miller and the Mad Max films, especially those shots.
43:00
I'm talking specifically about those shots of the roads, just the roads,
43:04
you know, the car going along the road at speed or whatever,
43:06
but you just see the roads.
43:07
David Lynch, he uses very similar shots in basically all of his stuff.
43:12
Well, that's what I'm saying. We talked about Lynch with Maxine. Yeah.
43:16
And we talked, you know, people inspired by other, every filmmaker inspires by other filmmakers.
43:21
Yeah. How do you think people get creative juices by studying other filmmakers? Yeah. So.
43:27
Yeah. It is. is i mean it's it's it's but
43:30
it's when i what i'm more impressed about this
43:33
film is everything besides a
43:37
dialogue scene that could be reshot 12 times
43:40
the heart of the film is the car chases
43:43
and the stunts and they have one chance one shot yeah to get this right before
43:50
getting arrested and i just love that i just love that and and they pull it
43:55
off yeah they pull it off and there's There's fucking movies out there that
43:59
are 300 million budget. They can't pull it off.
44:01
And they're nowhere near as exciting or as raw or as sort of well-paced and
44:07
edited and written as this, you know?
44:10
Yeah. No. Yeah, definitely.
44:12
So there you go, guys. Mad Max. Not much more you can say about it. A classic.
44:17
It would have been shorter if I didn't have to fucking my laughter rant. Yeah.
44:22
It was just funny. I just picture it in my head.
44:25
I would have had to fill in the extra time with maybe some talk about Australian
44:29
soap operas, but yeah, anyway, we'll not go there.
44:32
No, I know. We'll get to the next podcast and more.
44:36
Fuck me. All right. On that note, we're going to end the Mad Max perspective,
44:42
because we don't want to hear any more fucking soap operas.
44:45
All right, guys, listen, we do appreciate you giving us a shout.
44:48
We are, again, with downloads, you guys from Sweden, thank you.
44:54
And California, massive, and Pennsylvania, and we've got Brazil.
45:01
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45:06
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45:08
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45:11
So listen, all you listeners out there, we greatly appreciate it.
45:15
Last month, we peaked by 70%, or something like that. It's nuts.
45:20
So the numbers are picking up. Greatly appreciated. Listen, guys,
45:24
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45:28
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45:30
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45:36
We will be returning. That's all, folks.
45:41
With Mad Max 2 or, if you're in the States, The Road Warrior.
45:46
Music.