Speaker 1: Oh you he is, folks, it's showtime.
Speaker 2: People say good money to see this movie.
Speaker 3: When they go out to a theater.
Speaker 2: They are cold sodas, hot popcorn, and no monsters in
Speaker 2: the protection booth.
Speaker 4: Everyone pretend podcasting isn't.
Speaker 5: Boring done at all.
Speaker 4: It is nineteen ninety five.
Speaker 1: You are all one seen.
Speaker 4: Hunting is the national sport.
Speaker 5: People on the prey.
Speaker 6: The world is ruled by a strict regime. They're going
Speaker 6: to make obedient little citizens out of us.
Speaker 4: Who are society?
Speaker 5: What do you mean?
Speaker 6: Step on the line and they take it to the
Speaker 6: funny farm.
Speaker 2: You could die laughing.
Speaker 7: All you have to do is lead my guests on
Speaker 7: a chase for one day, little sport.
Speaker 4: You could kiss, not necessarily, you might survive.
Speaker 1: Come on, you big piece of shit.
Speaker 4: You come me the one you can't break. I'm what
Speaker 4: you've been afraid of all your life.
Speaker 3: I'm afraid of nothing.
Speaker 4: You're afraid of failing.
Speaker 1: Now a little flower.
Speaker 6: Yes, I'm gonna taste your honey.
Speaker 8: It is less the size of one's gun that comes
Speaker 8: or the school with which it's used.
Speaker 7: Don't you kill him, Jennifer, He's my target. This is
Speaker 7: snatcha The hunt is over, Shoot on sight, Shoot to kill?
Speaker 5: Where let me go here?
Speaker 1: No way right?
Speaker 9: When you don't leave me here, you pray.
Speaker 4: Gravely wait, but you can't.
Speaker 6: The hunters and the hunted, the quick and the dead.
Speaker 6: Oh shoot, who will survive?
Speaker 1: The blood and thunder Shocker of the year.
Speaker 3: Welcome to the Projection Booth. I'm your host, Mike White
Speaker 3: jew me once again as mister Andrew Netti.
Speaker 1: Welcome, I thank you very much for having me.
Speaker 3: Also back in the booth is miss Heather Drain Hella, Hella.
Speaker 3: We continue our Shctober coverage with a Patreon request from
Speaker 3: Ellis Kish. Turkey Shoot atleased in nineteen eighty two. The
Speaker 3: film was written and directed by Brian Trenchard Smith and
Speaker 3: stars Steve rails Back and Olivia Hussey. Has two victims
Speaker 3: of a totalitarian government in the distant year of nineteen
Speaker 3: ninety five. They are taken to a prison camp where
Speaker 3: they're tortured and eventually made to participate in the brutal
Speaker 3: Turkey shoot of the Taitle. It's a battle royale with cheese.
Speaker 3: We will be ruining this film in so far as
Speaker 3: it can be ruined, So if you don't want Turkey Shoots,
Speaker 3: spoiled for you, turn off this podcast and walk away.
Speaker 3: I will give you safe passage in the wasteland. Andrew
Speaker 3: as a resident Ozzie. When was the first time you
Speaker 3: saw Turkey Shoot? And what did you think, sir?
Speaker 1: Would have been the nineteen nineties, sometime sometime in the
Speaker 1: nineteen nineties. I liked it. I've al liked it. I
Speaker 1: think I might have seen it once since and then
Speaker 1: it's when I watched it a couple of times for
Speaker 1: this podcast. I like it from just I like this
Speaker 1: till I really like this. I think it's got a
Speaker 1: great cast. It's apparently one of the most disreputable Australian
Speaker 1: exploitation films ever made, which is saying something, but it
Speaker 1: does what it does, and it does it well, and
Speaker 1: it does it without fuss. Yeah, I just really enjoyed it.
Speaker 1: I think i've since the last time I saw I've
Speaker 1: had probably a decade of always claptrap about elevated horror,
Speaker 1: and so it was just great to see something that
Speaker 1: was just in no way, shape or form anything elevated
Speaker 1: at all. It was just a solid genre exploitation of
Speaker 1: film that does what it does really well.
Speaker 3: And Heather, how about yourself.
Speaker 5: I adore this movie like this, and this is one
Speaker 5: of those movies like the first watch the twenty minute mark,
Speaker 5: you're like, that's okay, this is good, all right, thirty
Speaker 5: minute you're like this is good. But at the time
Speaker 5: you get to the climax, you're like levitating because it's
Speaker 5: oh my god. It's every sort of sweet spot that
Speaker 5: one can have its. Do you love heads exploding? Yes?
Speaker 5: Do you love goat eyed freaks doing cno, professional wrestling
Speaker 5: movies of people? Yes? And yes? Do you do you
Speaker 5: like anti fascist commentary? Absolutely? Steve railsback kicking, ask check flease.
Speaker 5: This movie has it all. The only thing it's missing
Speaker 5: is David Argue. And I say that because I love
Speaker 5: David Argue, but he also he worked with Brian Tridgrid
Speaker 5: Smith before another films, most famously BMX Bandits. But this
Speaker 5: film is a delight. I could not wait when you
Speaker 5: had it on the list and I got the thumbs
Speaker 5: up to be on it, especially Andrew, I was like, yes,
Speaker 5: this is a gift.
Speaker 3: I am so glad you guys are on this episode
Speaker 3: because I am not a big fan of this movie
Speaker 3: so far. I'm hoping that through this conversation, I will
Speaker 3: become more of one because to your point, Heather, it's
Speaker 3: got so many things that I love. It's got Roger Ward,
Speaker 3: it's got this kind of women in prison feel. It's
Speaker 3: a people hunting people movie. I love people hunting people movies.
Speaker 3: You can read all about that in the new book
Speaker 3: Revolution in thirty five Millimeter, which was partially written and
Speaker 3: edited by our guest here, Andrewnetti. So yeah, I love
Speaker 3: all those things. But yeah, as soon as the Wolfman
Speaker 3: shows up in this movie, I just lose my shit
Speaker 3: because I'm just like, what is happening? What is going
Speaker 3: on in this movie?
Speaker 5: Especially but close up, because you get those close up
Speaker 5: of those he's got coat eyes, and I love how
Speaker 5: they're like, oh, this is a freak. I don't think
Speaker 5: what kind of genetic tas I'm laving because it's like
Speaker 5: which imputation? Okay, you could be hair suit. That's a
Speaker 5: real life thing where there are people that were promoted
Speaker 5: as wolf people but they weren't actually wolf people. No,
Speaker 5: this guy's got fans, he's got goat eyes. He eats body,
Speaker 5: but it's he can body slam. It's I know it's fasting.
Speaker 5: I'm definitely looking for to traveling this because I think
Speaker 5: I understand. But for me, I was like, man, this
Speaker 5: is checking off so many because you do have political
Speaker 5: commentary in there too. By and to your point, Andrew,
Speaker 5: it doesn't get too lost in the message. It never
Speaker 5: quite loses sight also of being like, yeah, we're going
Speaker 5: to have some gore and severed body parts, and there's
Speaker 5: we got equal opportunity, nudity, which I'm a huge fan of.
Speaker 5: We got penises, we got tades. It's gray.
Speaker 1: I think alf is fantastic. I mean, that's actually a
Speaker 1: guy called Steve Rackman and he was known as Steve's
Speaker 1: the Crusher Rackman. He was an Australian wrestler and he
Speaker 1: played the heavy in so many films and he's great.
Speaker 1: And I think to your point, to both your points,
Speaker 1: it starts off as a really solid people in prison
Speaker 1: prison film with all the tropes of the prison film,
Speaker 1: and then as soon as they're released into the wild
Speaker 1: for the Turkey shoot, it just goes completely batschit crazy
Speaker 1: and it doesn't stop. And you know, to quote Ron Burgundy,
Speaker 1: that escalated quickly, and it keeps, it keeps escalating and
Speaker 1: just keeps going. It doesn't stop I mean, it's I
Speaker 1: just I love that about it. I just loved the why.
Speaker 1: It just didn't care for every already its pretensions, and
Speaker 1: it didn't it didn't let its its budgetary limitations stop it.
Speaker 1: It just the narrative just kept going and going going,
Speaker 1: And then after the Turkey Shoot it turns into this
Speaker 1: war film where there's just this there's this attack on
Speaker 1: the prison, and then it goes it's up levels again.
Speaker 1: It's it's astounding.
Speaker 3: I think it's just the pacing of it sometimes gets
Speaker 3: to me. I think it's around like maybe about the
Speaker 3: twenty five thirty minute mark when they start to introduce
Speaker 3: the idea of the Turkey shoot, because they don't really
Speaker 3: have that at the beginning. And I love the beginning
Speaker 3: of this movie, especially because it starts off with stuff
Speaker 3: pulled from the headlines kind of thing and just all
Speaker 3: this or unrest, and then you've got these scenes of
Speaker 3: these people being arrested and thrown in the back of
Speaker 3: this police fan, and then you get their flashbacks to
Speaker 3: see how they got there, which I know really helped
Speaker 3: condense the script quite a bit and also saved a
Speaker 3: lot of money as far as wait that they set
Speaker 3: things up because to your point, Andrew, the budget to
Speaker 3: this was just slashed so much before they started shooting,
Speaker 3: and Trenchard Smith had to work like a devil to
Speaker 3: come up with ways to save that money, avoid you know,
Speaker 3: the cost that he was going to incur, and suddenly
Speaker 3: just shift on a dime. I mean, that's what great
Speaker 3: filmmaking is all about, is solving those problems and saying, Okay,
Speaker 3: I can still make this work. And he does make
Speaker 3: it work. And I don't have any problems with the
Speaker 3: actual with the acting, with the sets, with the special effects,
Speaker 3: any of that stuff. I think it's just that pacing
Speaker 3: right around, like that thirty to forty minute mark, where
Speaker 3: you're like, Okay, here's this new idea we're going to have.
Speaker 3: You know, why is it that Thatcher doesn't have overcrowding
Speaker 3: in his prisons? Oh well, you have something set up
Speaker 3: to take care of that, don't you. And they kind
Speaker 3: of give you that little thing at the beginning to
Speaker 3: talk about that, and then they start to enter these
Speaker 3: and I don't know if these are just rich assholes
Speaker 3: that come onto the camp and participate in this Turkey
Speaker 3: shoot hunt, but I like the introduce introduction of them.
Speaker 3: But it just feels like there's a little bit too
Speaker 3: long before the actual Turkey shoot starts, and so it's
Speaker 3: right around the forty minute mark, and I'm just like, no,
Speaker 3: get to that a little quicker, like twenty minutes, thirty
Speaker 3: minutes max.
Speaker 1: There are a bunch of rich, weird, queer assholes and
Speaker 1: that's that's the And that's the other thing I loved
Speaker 1: about this film. Watching it now, you realize, oh, so
Speaker 1: much of Australian culture was so queer and we just
Speaker 1: didn't have the language to sort of analyze it. You know,
Speaker 1: this Tito and Jennifer are both coded completely queer. You know,
Speaker 1: they're totally sadistic. All the double on tenders about the
Speaker 1: guns and the weapons, that astoundingly phallic chest set that
Speaker 1: Thatcher and null Fario's character are playing when they first
Speaker 1: start talking about the talking about the you know a
Speaker 1: lot about the prison. I mean, I just I loved
Speaker 1: all of that. And it takes time, and of course
Speaker 1: that that's not costing any money, is it. Getting getting
Speaker 1: all these sort of weirdos to sort of like, you know,
Speaker 1: do double on taundres about various self designed weapons and
Speaker 1: things like that.
Speaker 3: I absolutely love them. Yeah, Michael Petrovitch is Tito and
Speaker 3: what's the woman's name.
Speaker 1: Carmen Duncan. Yes, Carmen Duncan as the sadistic lesbian, the huntress.
Speaker 1: You know, I'm going to make you feel like you've
Speaker 1: never felt before.
Speaker 3: She reminds me a lot of barber steel from caged heat.
Speaker 5: She very much has that kind of energy. If this
Speaker 5: was a an al Adminson Berry see I'm sureman or
Speaker 5: something like that, it would be more busty, it'd be
Speaker 5: more day in Thoring, or my ideal would have been
Speaker 5: Chestey Morgan. Can you imagine? Why was there ever a
Speaker 5: woman in prison of every baby Chestey Morgan? Anyway, No,
Speaker 5: and with the deepest v cuts, she's someone was like
Speaker 5: full boomin when we first meet her, and you get
Speaker 5: really she's just like the sort of very decadent bisexual.
Speaker 5: She is very flirty with Bacher and she makes some
Speaker 5: kind of reference as to you have the feel that
Speaker 5: maybe they've had a thing in the past, and she
Speaker 5: he probably had what I call him Vanity six nasty
Speaker 5: gyirl moment where the whole end of the song where
Speaker 5: she says, wake me when you're done. She was like
Speaker 5: that with Bacher.
Speaker 1: Somewhere someone has done Turkey Shoot fan fiction about all
Speaker 1: that stuff. Would they would they explore the sexual lives
Speaker 1: of the of the hunters in Turkey Shoot.
Speaker 3: There's a line that she says where it sounds like, yeah,
Speaker 3: she and Thatcher had been together before, but he wasn't
Speaker 3: able to sexually satisfy her.
Speaker 7: You're a difficult woman to satisfy, Jennifer, as you will
Speaker 7: know Charles.
Speaker 1: Which is why he became the commander of the camp.
Speaker 1: The sublem like that if.
Speaker 5: He was in an American camp, he would have like ammer,
Speaker 5: you'd have the big or the biggest truck where there's
Speaker 5: huge trucks and it's like a monument to like like
Speaker 5: a rets all dyfunction giant for a chuck with like
Speaker 5: double tires.
Speaker 1: But they've done it. They tool around of these weird
Speaker 1: little June buggets. Oh yes, again, it's fantastic.
Speaker 3: Yes, all the little vehicles in this, like the little.
Speaker 5: Like a big shovel.
Speaker 3: Yeah, it's like the little bulldozer that he drives around in.
Speaker 3: It just like tools around and I'm just like, that
Speaker 3: is the cutest little vehicle I've ever seen.
Speaker 1: The same thing as the banana splits.
Speaker 3: Oh yes, it's the banana.
Speaker 1: Splits June buggy with the little digger on the front
Speaker 1: of it, also with the machine gun, and then at
Speaker 1: one point when he stops, he just picks up a
Speaker 1: bazooka and starts flying. This guy's got It's what I mean.
Speaker 1: It just keeps going and going and going.
Speaker 5: I love the bazooka.
Speaker 1: Again.
Speaker 5: Anybody's ever been in like a hunting store, there's some
Speaker 5: gear there where. It's really is this really a sport?
Speaker 5: At this point?
Speaker 1: What Lee?
Speaker 5: Why do you need an aka the Hunted Deer?
Speaker 1: Heather? I hope you're not advocating against people's constitutional rights
Speaker 1: to warn a Bozuka.
Speaker 5: Never. Never, I would never get political on the projection.
Speaker 3: And good thing this movie isn't political either, not at all.
Speaker 5: What did you guys think about Dodge? I want to
Speaker 5: talk about that character.
Speaker 1: He's the redheaded guy who sort of plays that the lackey. Yeah.
Speaker 5: Yes, but he's got those letter called Cosmo McKinley glasses,
Speaker 5: which is a reference only I would probably make on
Speaker 5: podcasts from Shock Treatment. He's got the rich O'Brien oak
Speaker 5: bottled and eating fish guts. You instantly want to see
Speaker 5: this guy die. He's such a kiss ass. He's so devious.
Speaker 5: If this was a comedy, he would be played by
Speaker 5: Rick Mayole.
Speaker 3: I regret when he takes off his glasses because that
Speaker 3: he almost looks like a normal human being then, even
Speaker 3: with that crazy red hairdoo that he has. But I'm
Speaker 3: just like, no, no, keep the glasses on, my friend,
Speaker 3: because that is your look. You need to own it.
Speaker 5: And he gets his towe eaton.
Speaker 3: Oh god, I know Tarantino's a big fan of this movie.
Speaker 3: Is he you a fan of the toe eating scene?
Speaker 1: Oh?
Speaker 5: Gross, don't ruin this movie for me mine.
Speaker 3: Apparently he's got that whole speech when they're beating up
Speaker 3: the woman, and he's got that all memorized and repeated
Speaker 3: that back to Trunchard Smith the first time they met.
Speaker 1: I'm happy for Trenchard Smith that Tarantino's a fan, but
Speaker 1: we do just need to underline that some people did
Speaker 1: watch films before quit and Tarantino saw them.
Speaker 3: I'm just hoping that Trunchard Smith wasn't an influence on
Speaker 3: Tarantino's choice to play that slave keeper in Django Unchained
Speaker 3: as an Australian. I mean, it feels like it's an
Speaker 3: osploitation reference, just that horrible accent he's trying to put on.
Speaker 5: Wow, I'm glad. I never saw that.
Speaker 3: You should be glad.
Speaker 5: I'm like, I'll just watch the original.
Speaker 1: My least favorite Quentin Tarantino film. Definitely up there with
Speaker 1: the Hype Light. But anyway, we're digressing now.
Speaker 3: Yeah, it's a race to the bottom for me. Yeah,
Speaker 3: and I love Steve Rail's back. Having more Steve rails
Speaker 3: Back in my life is something that I really appreciate.
Speaker 3: And apparently he was getting so method that when he's
Speaker 3: in that cage at one point and they're putting weights
Speaker 3: on there. What's the guard's name?
Speaker 1: Is it the Gus Mercuria character, because yeah.
Speaker 3: Red Red? Yeah, which I kept thinking that Red was
Speaker 3: Dodge's name, and then Dodge was red but because of
Speaker 3: the red hair. But yeah, with Red putting all those
Speaker 3: weights on there, and he's being crushed under this weight
Speaker 3: inside of this cage, and apparently rails Back really wanted
Speaker 3: to play that method at first and like, no, no,
Speaker 3: put real weights on here, put real weights, and then
Speaker 3: eventually it was just like I can't even breathe. It's
Speaker 3: like you need to take those those real weights off there.
Speaker 3: So Steve can actually give a performance things.
Speaker 5: That's crazy Texan. I love Steve Rail's back now he
Speaker 5: the cast in this was such a delight and no shock.
Speaker 5: Steve Rail's back is fantastic in everything, and he's one
Speaker 5: of his guy's even needs in something for fifteen minutes.
Speaker 5: I love him. And Nico Mastarracus is the wind and
Speaker 5: I've been I think he's literally in that for fifteen minutes.
Speaker 5: But Olivia Hussey, it was such a such a delight. Yeah,
Speaker 5: I think very underrated. Was it Red that kept calling her, oh,
Speaker 5: my little flower, my little flower. I was like, oh God,
Speaker 5: I could not wait. Some of these guys. It brings
Speaker 5: out your your very old testament side where you're like, oh,
Speaker 5: I can't wait to see this guy get killed.
Speaker 3: I like Gusperkurio a lot as Red, but I kind
Speaker 3: of wish that Victis had been in this movie in
Speaker 3: that role instead, because I just think that he plays
Speaker 3: a present guard the best. And talk about being coded queer,
Speaker 3: he was scoed queer in so many things, especially those
Speaker 3: Jack Hill films.
Speaker 1: I mean that was one of the things when I
Speaker 1: watched it this time, I just thought, this is all
Speaker 1: all these character actors from my Youth came flooding back,
Speaker 1: and of course Gus Mercurio was one of those. He
Speaker 1: was just omni, the omni present, raspy voice of my
Speaker 1: youth doing ads for sweets, the rating boxing games. It
Speaker 1: was a big voiceover person in advertising, and he also
Speaker 1: has a lot of films. He's fantastic. And I just say,
Speaker 1: and I mean, I said on my letterbox review of
Speaker 1: Turkey Shoots that had got an extra half starf from
Speaker 1: me for having Noel Ferrier it who I just love
Speaker 1: and who play basically played the same character and everything
Speaker 1: I've ever seen him in, which is that sort of
Speaker 1: a feat queer coded, you know, upper class kind of person.
Speaker 1: And he's wonder He's wonderful, He's wonderful of this film.
Speaker 1: I just love him. Carmen Duncan Linda Stoner, who was
Speaker 1: in a very famous Australian television She was in a
Speaker 1: very famous Australian police sort of segel show called cop
Speaker 1: Shop and she was a sort of a big sex
Speaker 1: symbol in Australia in the its for obvious reasons. Roger Ward,
Speaker 1: I mean, yeah, Reckmann as alf It's an absolute smorgasbord
Speaker 1: of Australian osploitation sort of talent there.
Speaker 3: Yeah, And it's so much the better for that, because
Speaker 3: all of these guys are bringing so much to these
Speaker 3: roles and I love just how wild especially I mean
Speaker 3: Guess Mercurio back to him, he is just playing this
Speaker 3: to the hilt. And then you get somebody like Thatcher himself.
Speaker 3: But then you get Michael Craig and he's just kind of,
Speaker 3: you know, playing it pretty low and slow, close to
Speaker 3: the best type of thing, and I'm like, okay, that's good,
Speaker 3: and it just makes those other guards seem even more crazy,
Speaker 3: like between Guess Mercurio's red and then of course my
Speaker 3: favorite Roger Ward, and there is ritter every time Ward
Speaker 3: is on screen, and I love the way that they
Speaker 3: introduce him with that low angle shot looking up with
Speaker 3: the sky behind him and just that big fucking mustache
Speaker 3: looking at the person on the ground. I was just like, oh,
Speaker 3: this is great. And then when they're making do that
Speaker 3: recitation of the kind of there I'm a bad person's speech,
Speaker 3: you know, I'm a deviat speech and him like punching
Speaker 3: at her and stuff, and then after after a while
Speaker 3: he just starts like picking her up and throwing her down.
Speaker 3: There's a lot of wrestling moves in this movie.
Speaker 1: To your point, Heather, that's not that's not Linda Stander though,
Speaker 1: I think that does that. That's that's what. That's someone else.
Speaker 1: I can't remember what her name is.
Speaker 5: But oh, that poor little girl. Yeah, she looks like
Speaker 5: she's fifteen. I don't think she is, but she's so
Speaker 5: tiny tiny. Yeah and yeah, now to your to your point, Mike,
Speaker 5: he he was giving me such Ox Baker adjacent energy,
Speaker 5: and there's I was like, I was like, why didn't
Speaker 5: we get an exploctation film with those two his brothers.
Speaker 5: They fight from different continents, they find out that their
Speaker 5: their brothers, and they fight crime or are probably cause
Speaker 5: crime to get the ankles they can't. We work in
Speaker 5: this film is remarkable. It's so beautiful. I think a
Speaker 5: lot of times when people hear any kind of ploitation,
Speaker 5: they just assume immediately if they're not really educated on it,
Speaker 5: especially that all of the values are going to be
Speaker 5: lesser cinematically, But that, as we know, as hard and
Speaker 5: jaded the cinema people, that is not the case, because
Speaker 5: this film is so beautiful to look at at parts,
Speaker 5: like a lot of the pistons, those great lower camera angles.
Speaker 5: There's one of as a Jennifer the Evil Huntress, like
Speaker 5: where she's said it's that's such a great angle. The
Speaker 5: Brian May soundtrack is absolutely incredible. I love this soundtrack
Speaker 5: and there's some really great particularly the synth work during
Speaker 5: like when the Turkey Shoot starts. I thought it was
Speaker 5: really remarkable and it made me think there's a Russian
Speaker 5: this is me, I'm sorry, a Russian surf being called
Speaker 5: the Meso Chups And I don't know if they sampled
Speaker 5: part of the synth or they're paying tribute to it,
Speaker 5: but they have a song called Little Princess a Professor Morbius,
Speaker 5: and I swear to god it sounds like part of that.
Speaker 5: So I like to think that Turkey Shoot is that
Speaker 5: inspirational that Russian surface are taking of looks from it.
Speaker 5: But yeah, this is just and I think that's what
Speaker 5: I mean with the sweet Spot. It's just like this
Speaker 5: film really for me, just ticked off so many boxes
Speaker 5: that I love in cinema. And yeah, some of the
Speaker 5: some of the tonality is that do you think that
Speaker 5: kind of Mike, do you think that threw you off?
Speaker 5: Where it's we do have all of this great like
Speaker 5: anti this great film that's just anti fascism. See, Ralback
Speaker 5: is a great activist. We see him doing underground radio.
Speaker 5: We see him returning to the camp to free the people.
Speaker 5: He could have just kept going to assure him and
Speaker 5: Olivia Hussey are are free from these from them, from
Speaker 5: this totalitarian kind of thing, and instead now he returns
Speaker 5: to say to free the camp. And it's this great
Speaker 5: care dirt. But you also do have all this. It's
Speaker 5: like a men's pulp novel from the fifties on acid,
Speaker 5: and it's political, but it's like liberal political. But this
Speaker 5: is like the good kind of people, like, oh, it's
Speaker 5: going to be like Woodstock liberal. Now this is like angry,
Speaker 5: we're bombing shit too.
Speaker 3: Oh yeah, this is the Weathermen type of liberal.
Speaker 5: Yeah, the yippies, yeah, which is kind of sexy. I
Speaker 5: thought this Vivie would be a great antidote to all
Speaker 5: of the really super right wing kind of exploitation villains
Speaker 5: that the US was making in the early eighties. I
Speaker 5: would take this any day over reds On No.
Speaker 3: That's why I feel this fits way more into the
Speaker 3: women in prison stuff, especially those Jack Hill films where
Speaker 3: it's like these women are being abused and by the
Speaker 3: end they're going to have their revenge. They're going to
Speaker 3: escape from there. I mean that I'm trying to remember
Speaker 3: which one it was of this big bird cage, a
Speaker 3: big dollhouse where like Pamgreer covers herself in chicken fat
Speaker 3: that she won't get caught by the guards as she's
Speaker 3: running out of the camp, and Steff, I'm like, that's
Speaker 3: what this reminds me a lot of and some of
Speaker 3: those real inventive things that Jack Hill was doing, as
Speaker 3: far as like the tower that's on fire falling and
Speaker 3: then the film burns up for a second. It's like, oh,
Speaker 3: that's a wonderful thing. And I would say that this
Speaker 3: is not necessarily as creative, but creative in other ways.
Speaker 3: And I think there's especially like you're talking about the
Speaker 3: camera work, and once that Turkey shoot starts, it really
Speaker 3: doesn't let up. It just goes, goes, goes. And it's
Speaker 3: really smart to have what four, five five protagonists, I think,
Speaker 3: because you've got chases going on for all of them.
Speaker 1: I think it is five yeah, it's five yeah, because
Speaker 1: that guy gets chucked in in the inn.
Speaker 3: The other one, Bill Young is Griff is probably my
Speaker 3: favorite of these guys. Griff is great because he takes
Speaker 3: the fight to them, which.
Speaker 5: I really like, and he's so smart.
Speaker 1: Yeah, and then and then not only that, we've had
Speaker 1: the Turkey shoots, and then before you know it, they're
Speaker 1: scrambling jets to bomb the cap where all the prisoners
Speaker 1: have rebelled, and then he finds another way. I mean,
Speaker 1: I thought that was I mean, that's just stop footage
Speaker 1: obviously of af jet fighters, but I thought that was
Speaker 1: really clever. It's like, right, how do I actually, how
Speaker 1: do I actually make this film even more batshit crazy
Speaker 1: than it actually is. I'll have this huge fight where
Speaker 1: all the prisoners are basically just suddenly suddenly armed and
Speaker 1: fighting the guards, and I'll have jet fighters, and I'll
Speaker 1: do it on a timer thing too, so that the
Speaker 1: jet fighters are coming at the same time. But you've
Speaker 1: also got those final You've got Olivia Hussey fighting with
Speaker 1: Carmen Duncan's character with that extraordinary sea which he jabs
Speaker 1: are in the head, with the exploding arrow in her head,
Speaker 1: all that head explosion, and then you've got what is
Speaker 1: one of the one of the most extraordinary deaths in
Speaker 1: osploitation film stature having his head blown off by the
Speaker 1: in the of that fire, in the middle of that firefight.
Speaker 1: It's just so within all that too, just the little
Speaker 1: things I really appreciated on this watch, the sort of
Speaker 1: aesthetic of the film, I think, and I think that's
Speaker 1: that's the trench out Smith's credit. I mean, forty seven
Speaker 1: is cheap, but it works. I've already spoken about my
Speaker 1: love for the phallic chest set, which I just think
Speaker 1: is fantastic. You know, they're all thatcha and what's mellory
Speaker 1: are wearing those sort of MoU suits. Every bad guy
Speaker 1: in a dystopian future film in the nineteen seventies and
Speaker 1: eighties was wearing a sort of moo a MoU suit,
Speaker 1: a mao jacket, you know that the screen or the screens,
Speaker 1: the yellow jumpsuits, that that remote controlled machine gun in
Speaker 1: the camp that you just see every now, and to
Speaker 1: get the phones that they had, those wonderful sort of
Speaker 1: phones that they had, the synth downtrack, the June buggies,
Speaker 1: It's all a great little package.
Speaker 5: Go back to that chest sat how big is that?
Speaker 5: Thank first I was like, what a weird little goth
Speaker 5: are God and then he the camera pans, You're like, ship,
Speaker 5: that's a chest set. Well, I've had a pyramid smaller
Speaker 5: than that. Chest sat so over the top, and I say,
Speaker 5: there's just a blissfulness and how over the top of
Speaker 5: this film goes because it's especially because it does start
Speaker 5: off so you have some seriouces. We've got like newsreel
Speaker 5: footage film and then all of a sudden we gotta
Speaker 5: go get shot.
Speaker 2: And I love that.
Speaker 5: I collapsed because they got their characters in a paramorray
Speaker 5: and you love Olivia Hussey and he gets shot in
Speaker 5: the day and then he burnt the live and you
Speaker 5: can hear him screaming, I shouldn't laughing. I still like
Speaker 5: a monster.
Speaker 1: No, no, no, I think we know where you're coming
Speaker 1: from on this.
Speaker 4: We know.
Speaker 1: I mean that chest set is one of the many
Speaker 1: phallic things in this film. That's that you mentioned. I think,
Speaker 1: Mike that shot of Roger Ward's character where they're shooting
Speaker 1: him from below and then it looks like he's holding
Speaker 1: this giant dildo. That's extraordinary, sort of say, that's that's
Speaker 1: just before he's gonna Oh no, that's before he beats
Speaker 1: up that young woman.
Speaker 3: Well, then you get Gus Mercurio getting his franks and
Speaker 3: beans stuck in that zipper. When Olivia Hause zips up
Speaker 3: the zipper when his cock is out, I'm just like,
Speaker 3: oh my god, that's great. And that scream of pain
Speaker 3: and terror that he's going through is fantastic. Yeah, so
Speaker 3: much of this movie is how are people going to die?
Speaker 3: And how can we keep kicking it up every single time?
Speaker 3: So like Alf the dog Boy, the where I call
Speaker 3: him a werewolf. I know he's a mutant, but him
Speaker 3: getting cut in two by that bulldozer I think was
Speaker 3: absolutely fantastic. I love even just the little thing with
Speaker 3: Roger Ward getting his hand chopped off and then how
Speaker 3: the hand is still moving. I'm like, oh, that's pretty nice.
Speaker 3: I like that.
Speaker 5: Oh my god, especially kids, your pans making you realize
Speaker 5: both hands and there's a shot of the other hand
Speaker 5: on the rocks and it's twitching a little. It's glorious.
Speaker 5: It's it's almost you felt when you were a kid
Speaker 5: and you're watching like early Gore films and you just
Speaker 5: get that like teenage rush of yeah, oh this is
Speaker 5: so gnarly. I this this movie kind of like lit
Speaker 5: that fire for me. In parts I was like, oh,
Speaker 5: what a fabulous a fag. Oh and the exploding had
Speaker 5: its multiple exploding the arrow, Oh my god, that was beautiful.
Speaker 5: That was especially That was such a great karmic retribution too,
Speaker 5: because it's how how much is it?
Speaker 2: Again?
Speaker 5: It's in a sport when you were using tech, and
Speaker 5: so it's like each person had a nice little kind
Speaker 5: of larn with their with their debts. In some cases,
Speaker 5: I felt I did feel a little bad for the
Speaker 5: wolf mutant hybrid. He collected that guy get to live.
Speaker 3: You would become their mascot like Scooby Doo. Would you
Speaker 3: kill Secretary Mallory for a Scooby Stack?
Speaker 5: Oh there's the fan fg with all of this queer
Speaker 5: coat of tark Rider literally threatens to say he's going
Speaker 5: to sodomize Steve bressbat.
Speaker 3: That was amazing.
Speaker 10: He was just like, come here, boy, I'm gonna fuck
Speaker 10: you in the ass. I'm like, what did you just
Speaker 10: what during the climactic fight of the whole movie. I
Speaker 10: mean that for me is like the big climax, even
Speaker 10: though to your point, Andrew, we're still like twenty minutes
Speaker 10: before the end of the movie, because we have yet
Speaker 10: to have the air strike.
Speaker 5: That's why they had to have the air strike, because
Speaker 5: how can you one up all the stuff we've been
Speaker 5: talking How can you one up mutant dog people being bisected?
Speaker 5: How can you one up a guy? Which, by the way,
Speaker 5: do they have any do they have? You said frankin beans?
Speaker 5: Do they have the beats? Because Steve Rosveick says that
Speaker 5: the guards are canstrated.
Speaker 3: Oh really, so it's just the frank in there.
Speaker 5: I think it's just the But that was still harder.
Speaker 5: That's that's a man's a man's wiener getting second a
Speaker 5: zipper that's not fun. So you're getting all of this
Speaker 5: unless we just went full of flame for or symphony,
Speaker 5: you have to get to get the chats and the bombs.
Speaker 5: That is this the first instance, by the way of
Speaker 5: an action film of a bad guy threatening sodomy, because
Speaker 5: it made me think of that amazing scene of Roadhouse
Speaker 5: where that guy tells Patrick Swayze, I used to fuck
Speaker 5: guist that you had prison, which really, that's romance. That's
Speaker 5: a romance you can have sleep with in Seattle.
Speaker 3: Roadhouse is the true romance.
Speaker 5: Absolutely more so than true romance.
Speaker 3: And I like that movie and I'm not sure if
Speaker 3: a sodomy has been threatened upon our main character before Turkey. Shoot,
Speaker 3: that would be a really good thing to look up.
Speaker 1: Someone's going to pay, I say on that somewhere.
Speaker 4: You know.
Speaker 3: Well, I'm sure that I'm trying to remember the two
Speaker 3: guys from the Big Combo. It feels like they might
Speaker 3: have threatened somebody with that at one point.
Speaker 5: Oh, I'm sure someone's got someone will let us know.
Speaker 5: That's the gift and the curse of the internet. If
Speaker 5: you fuck, don't worry, you'll know.
Speaker 1: You'll just get a comment from Couchboy one five eight saying,
Speaker 1: not only was I angry about the way they talked
Speaker 1: about guns, but they also got a sodomy aspect wrong.
Speaker 5: It's gonna say neck Beard one nine eight zero. But
Speaker 5: I think couchboy, that's even. They're very They're very they're
Speaker 5: very sympotic out Well, we'll.
Speaker 3: Just get complaints as we talk about Thatcher and don't
Speaker 3: bring up Margaret Thatcher in the political arena of the
Speaker 3: UK at the time.
Speaker 5: Yeah, the film, I say it all, and I guess
Speaker 5: somebody could say that it's a little on the nerves
Speaker 5: for having here to name Thatcher. But I mean we
Speaker 5: had the movie where guy gets shot in the dick.
Speaker 5: It's okay to be a little on the Norse.
Speaker 3: Well, I like that whole Orwellian thing that they have
Speaker 3: at the beginning with the whole you know, freedom is
Speaker 3: work and these things, and then how he turns it
Speaker 3: around and it's just like, disobedience is treason, Treason is
Speaker 3: a crime. Crime will be punished, and it's like okay,
Speaker 3: and that they that they call all of these people
Speaker 3: that are in the camp deviates instead of deviants, but deviates,
Speaker 3: and I'm just like, well, the real deviants are all
Speaker 3: of the guards and the people that are hunting the
Speaker 3: other people. It's not these Yeah, I mean poor Olivia
Speaker 3: Hussey guy ran into her shop and they're like, oh, well,
Speaker 3: come with us. You must have known this person. I mean,
Speaker 3: she hasn't done anything. She's truly the innocent here. And
Speaker 3: I'm trying to remember what because I know rails Back,
Speaker 3: like you said, he's running the whole radio thing. And
Speaker 3: I'm trying to remember the third one what she was
Speaker 3: up to.
Speaker 1: She's got into some sort of sexual problem. I think
Speaker 1: she was, you know, someone dobbed her in for being
Speaker 1: a sex work or something like that. I mean, we
Speaker 1: don't get a back We don't get a flashback story
Speaker 1: from her, and I think that that's got something to
Speaker 1: do with.
Speaker 5: That My only real and it's not really a complaint.
Speaker 5: I wish we would have seen a little more of
Speaker 5: a character ocase that actress is so good and we
Speaker 5: see she's gone a light in her eyes early on
Speaker 5: of just trying to encourage Olivia hasse she's trying to
Speaker 5: comfort her, but she's also trying to You could tell
Speaker 5: this woman's had to suffer a lot of things to
Speaker 5: survive a lot of things by using what an old
Speaker 5: an old timer would call feminine wiles. And yeah, she yeah,
Speaker 5: I think she says, Oh, they said I was a whore,
Speaker 5: but I'm not. And I was hoping she would live
Speaker 5: a little longer.
Speaker 1: I was.
Speaker 5: I was very I was a little bummed by that.
Speaker 5: But yeah, and then it's oh god, and then you
Speaker 5: see that that reveal of her body that was gasling
Speaker 5: but appropriate, especially because it's like it does make me
Speaker 5: think of those old action like men's pulp novels from
Speaker 5: the fifties and sixties with all those great comfort or
Speaker 5: there's just like mutant ape men and they're fighting the Nazis,
Speaker 5: and there's like naked weapon. It's it's not quite that outraye,
Speaker 5: but it's close.
Speaker 1: But that's because the first the first aspect, the first
Speaker 1: twenty thirty minutes of the film is all it's all
Speaker 1: just a solid prison film, isn't it. And it's got
Speaker 1: the various characters of a prison film. You know, You've
Speaker 1: got You've always got the prisoner who can't cope. You know,
Speaker 1: in every single prison film I've ever seen, there's been
Speaker 1: the prisoner that that can't cope. There's the tough prisoner
Speaker 1: they want to break. There's the sort of there's the
Speaker 1: is that redheaded guy. There's always the toady do you
Speaker 1: know is going to get it really badly? There's and
Speaker 1: the guards are also to a type as well. Of course,
Speaker 1: there were always the brutal guard. There's always that scene
Speaker 1: in every single prison film I've ever seen where they
Speaker 1: arrange the new prisoners in the courtyards so that the
Speaker 1: boss guard can basically face them down and you get
Speaker 1: the introduction to the prisoners and that sort of thing.
Speaker 1: So that's it's just like that. I mean, so they're
Speaker 1: taking the prison tropes and then they then they take
Speaker 1: the tropes of that people hunting people films and blend
Speaker 1: them together plus jet fighters.
Speaker 3: Just that this isn't even the quote unquote prison camp,
Speaker 3: a re education and behavior modification camp. You know, your
Speaker 3: stay here will make you an asset to society. I mean,
Speaker 3: that's what I do really like about this, That trench
Speaker 3: of Smith is not afraid to go for that message
Speaker 3: and put that in here, and it's great. Is it
Speaker 3: heavy handed? Yeah, but it's fantastic. I love it. Give
Speaker 3: me more of that kind of stuff, you know, just
Speaker 3: all of the trappings of that, and just to even
Speaker 3: see like their little logo where it's like I guess
Speaker 3: it's like two faces kind of pointing out and like
Speaker 3: their brains are changing one's circles the other one's triangles,
Speaker 3: and I'm guessing, like, okay, I guess you move from
Speaker 3: the circle to the triangle or vice versa. Because I
Speaker 3: want to say, they even have that on their yellow jumpsuits,
Speaker 3: and that's really smart having those yellow jumpsuits. So then
Speaker 3: you can the way that Trencher Smith will make the
Speaker 3: crowd seem like it's bigger by just moving them. Every
Speaker 3: single time he's got a different setup, he moves the
Speaker 3: crowd behind everybody else, so it looks like there's hundreds
Speaker 3: and hundreds of people when I think it's only like
Speaker 3: maybe what twenty thirty something like that, not that many.
Speaker 3: And he uses the crowd very well to show, oh,
Speaker 3: there's a lot of people in this camp.
Speaker 1: He does that too in the fight, saying at the
Speaker 1: very end where all of a sudden, it looks like
Speaker 1: there's hundreds of people involved in this set pace battle.
Speaker 1: You know, all these guards coming down the ridge into
Speaker 1: the river, and all the prisoners on the other side,
Speaker 1: and it makes it look like there's far more of
Speaker 1: them than there actually are.
Speaker 5: When I say gloriously economy, like knowing the budget battles
Speaker 5: that he had to face with this and all of
Speaker 5: that there, you wouldn't know because it's if you're really
Speaker 5: looking for it in some places maybe, but he everything
Speaker 5: is just handled so beautifully and deftly. There's such a
Speaker 5: depth direction to this, and it doesn't it doesn't feel
Speaker 5: like you're missing really anything, like you're not missing some
Speaker 5: films you watch and you can feel that you're, like, man,
Speaker 5: this is you can feel that there's some kind of
Speaker 5: greatness loss, an opportunity loss, and I didn't.
Speaker 1: Get that you share, And actually I don't think it mattered.
Speaker 1: I mean, I know they make all that fuss in
Speaker 1: the making of in the making of movie, you know,
Speaker 1: shorts that you sent us, the extras mic that you
Speaker 1: sent us. I'll watch those. I've seen those before. When
Speaker 1: they talk about the fact that they just had the
Speaker 1: budget cuts. Someone pulled out and they lost what is it,
Speaker 1: seven hundred thousand dollars from the budgets, and so they
Speaker 1: just had to cut the first fifteen pages of the script,
Speaker 1: which were sort of bleshing out that sort of dystopian
Speaker 1: world that they are all in, and the nineteen eighty
Speaker 1: four noess. I actually have to say, I quite like
Speaker 1: the way you've got those crowd see those scenes of
Speaker 1: civil disturbance during the credits, and then bang, you're right
Speaker 1: into it. They're in the van. You have those backstories.
Speaker 1: I think that really works. I don't think you needed
Speaker 1: that other stuff. I think it just it just works.
Speaker 1: You're just there.
Speaker 3: If I had made Brothers, rather than this being a
Speaker 3: ninety minute film, I would cut it down to like
Speaker 3: eighty minutes. I think it could actually move a little
Speaker 3: bit faster at the beginning. I think once the turkey
Speaker 3: shoot starts. Like I said, it moves pretty quickly, and
Speaker 3: then it's just that whole exercise and editing who's after who,
Speaker 3: who's dead, who's moving out to the other ones, who's
Speaker 3: teamy gup.
Speaker 1: But she can't do that because then you would lose
Speaker 1: all that wonderful double on tundra between cut between Tito
Speaker 1: and Jennifer over the weapons, which takes at least about
Speaker 1: fifty minutes when they're all they're looking at her gun
Speaker 1: balances nicely holds well, you know, and then there's there's
Speaker 1: her playing with her the cross crossbow bolts and all
Speaker 1: of that sort of stuff, which is just glorious.
Speaker 5: Oh god. And just Natua makes some calm, like some
Speaker 5: little double on tinder about the thing the word he uses,
Speaker 5: but basically that a chamber is too large and there.
Speaker 1: And is that when she said, and she says, it's
Speaker 1: not the largeness, it's what you do with it. It's like,
Speaker 1: you know, yes, absolutely, we love that, love it.
Speaker 5: And agin, god, he just he just they're insulting each other. Yeah,
Speaker 5: it's just so great, especially because there these are the
Speaker 5: people that are judging others for being deviot. Meanwhile they're
Speaker 5: totally different people are going after a different game, even
Speaker 5: though we see them pick each person this is my game,
Speaker 5: this is Yeah, they don't. They don't when it comes
Speaker 5: out to it, they don't give a share. It's just
Speaker 5: it's all. It's like that great shot where it's a
Speaker 5: Tito yelling open Season and his little, tiny little bulldog.
Speaker 1: We have no idea who Tito or Jennifer even are.
Speaker 1: They're just they're these two sort of weird queer euro trash,
Speaker 1: weird you know, people who've just been parachuted into the
Speaker 1: cap to hunt people. She's got her lovely little you know,
Speaker 1: her riding cap on, and she's got a riding uniform
Speaker 1: on her horse with the crossbow like she's about to
Speaker 1: do dressage.
Speaker 3: Isn't that crazy a makeup she's got. At the beginning,
Speaker 3: I'm just like, holy cow, lady, that's a that's quite
Speaker 3: a look you got going on there. And then they
Speaker 3: cut right before she finally, you know, attacks her prey,
Speaker 3: and I'm like, oh, I think she was leaning in
Speaker 3: for a kiss. And then they cut away from that,
Speaker 3: and then the next time you see the girl, Yeah,
Speaker 3: it almost looks like she's got the arrow jam down
Speaker 3: her throat.
Speaker 1: I think it's it's coming out of a cheek.
Speaker 3: Yeah, that it's that it's actually doing that. But I
Speaker 3: was just like, oh, that looks almost like an oral
Speaker 3: thing you've got going on there. And yeah, I'm so
Speaker 3: glad when she gets her come up. And so the
Speaker 3: come up and says in this movie are pretty great,
Speaker 3: especially Tito getting the machete right through the head.
Speaker 5: All of all of the come up, You're right, all
Speaker 5: every single come up and it's just so special. It's
Speaker 5: singular for each for each person. And also you mentioned
Speaker 5: her leaning here for that kiss and her I think
Speaker 5: I feel I almost made feel bad for that tricks.
Speaker 5: I'm like, if she's already got her tongue half way out,
Speaker 5: it's like Arno jurging in flesh for freak in his
Speaker 5: time when he starts trying to like kiss the sutures
Speaker 5: and it's just hell. But this is the guy who's
Speaker 5: never probably been with anybody living ever. With Jennifer, she's
Speaker 5: just she just it just adds to her sleeves, her
Speaker 5: sleeves appeal.
Speaker 4: It's not working, Barren, But I love this.
Speaker 5: Movie so much, just do. And this was a film
Speaker 5: and you hear wh people do this with Slashers where
Speaker 5: they're like, oh, the kills, the kills, and it's truth.
Speaker 5: I don't really go that route. But with this film,
Speaker 5: I'm like, we get like the whole booby trap kill
Speaker 5: with the multiple like the it's like multiple spikes, got
Speaker 5: the exploding arrows, that again a guy burning alive while
Speaker 5: after being shot in the granal region. I can't think
Speaker 5: about the movie that it has the Twain meet like
Speaker 5: that so much.
Speaker 3: Yeah, that poor guy near the beginning with those two
Speaker 3: big balls filled with gasoline.
Speaker 1: But the other aspect of this film, which is funny
Speaker 1: too in that respect, is it's all it's like that.
Speaker 1: You know. It's like that Great State in the Austin
Speaker 1: Powers movie where Scott sort of says, but you're going
Speaker 1: to feed him, you know, d Dr Evil has captured
Speaker 1: Austin Poweer. You're gonna feed him? What? You just to
Speaker 1: gun bank shoot him dead? You know. Everything in this
Speaker 1: film is so unnecessarily complicated, you know, And that's what
Speaker 1: someone of the joys about it. And that's why that
Speaker 1: that ridiculous game with the gasoline, which actually makes no
Speaker 1: sense really but it kind of works. You know. It's
Speaker 1: like you can just shoot him bank there, but you're
Speaker 1: going to do this sort of ridiculous thing with with
Speaker 1: plastic things of gasoline. It's like what you just dubbed
Speaker 1: the gasoline on him, so you were like, bang, that's dead.
Speaker 3: I have a gun in my room. I could go
Speaker 3: up and we could shoot him together. It would be fun.
Speaker 1: One of the greatest lines from that film. That film
Speaker 1: does skewer Bond films and a lot of those action
Speaker 1: films quite well in that respect for sure.
Speaker 3: Yeah, I'm about to talk about moon Baker this weekend
Speaker 3: and talk about a movie that just was such the
Speaker 3: embodiment of the James Bond camp and all the things
Speaker 3: that Austin Power. It's just reveled in so much. I mean,
Speaker 3: the second wasn't it, The second one where they go
Speaker 3: to space, the second Austin Powers, I mean that is
Speaker 3: so yeah, a moon breaker.
Speaker 1: But it's also that that Austin Power is shot where
Speaker 1: the guy is gonna get getting run over by theer.
Speaker 2: He's my favorite.
Speaker 1: That reminded me of the scenes with that tune Buggy.
Speaker 1: You know, it's that is.
Speaker 5: My absolute favorite out of any of Austin Power is
Speaker 5: that two minutes.
Speaker 3: Do you know what's so great about that scene is
Speaker 3: there's a cut scene. There's a cut scene after almost
Speaker 3: every guard death in Austin Powers or cut scenes for those,
Speaker 3: I should say, And it's going back and seeing the
Speaker 3: family of the guard and just like, oh, it's something
Speaker 3: happened at work today, your father's not coming home and
Speaker 3: it becomes a big SoSE moment with like the music swells,
Speaker 3: and the mom and the son who's now without a
Speaker 3: father are there completely you know, destroyed. I love that.
Speaker 3: I really wish they would have done that.
Speaker 1: They're having drinks for him and Rob Low's proposing a
Speaker 1: toast for him. Yes, it actually goes to another point
Speaker 1: which I've been thinking about a bit because I mean,
Speaker 1: Turki Shoot. We've laughed about the violence and all that,
Speaker 1: because people talk about these films as being you know, revolved,
Speaker 1: as disreputable, but they're not as violent as the average
Speaker 1: superhero films, you know, I mean where where the violence
Speaker 1: is so dehumanized and you don't really see it, but
Speaker 1: you know, hundreds of people are getting.
Speaker 3: Killed, hundreds sometimes thousands of millions. You look at that
Speaker 3: Man of Steel where he it's I think the guys
Speaker 3: from We Hate Movies are like that's seventy five to
Speaker 3: nine to Eleven's all happening between all of the different
Speaker 3: buildings being destroyed by Zod and Ursa and None and
Speaker 3: Superman himself.
Speaker 1: Whereas this is just killing fascists basically, well, some of
Speaker 1: the prisoners get killed too, but this is just killing,
Speaker 1: you know, these weird fascists.
Speaker 5: Not to have that great Hordarowski interview, WHI Jonathan Ross rees,
Speaker 5: I love violence, but yeah, it's it's when people complain
Speaker 5: made these complaints. I'll wait, you've realized this is a storytelling,
Speaker 5: and we violence is everywhere, violence is in our is
Speaker 5: in everyday life. And and if a film, maybe the
Speaker 5: film is having this obviously the more cartoonish aspect of
Speaker 5: it in some ways, I'm obviously, but that's okay. It's
Speaker 5: all part of just it's all part of storytelling. And
Speaker 5: you know what, I think it's as reputable it is
Speaker 5: making making making a movie that costs enough money to
Speaker 5: you could rescue and revitalize third world economies, and you
Speaker 5: make it a shitty, boring movie that is disreputable. Making
Speaker 5: an entertaining film that actually it's beautifully made in so
Speaker 5: many facets and has some intelligence too. Within all of
Speaker 5: the exploitation type. I'll train that's the most reputable thing.
Speaker 2: In my opinion.
Speaker 5: I love I love that. It's it's just reputible to
Speaker 5: waste money and make a shitty movie.
Speaker 1: Heather, is that your Ted talk? I would pay cash
Speaker 1: money to hear that Ted talk from you.
Speaker 5: Thank you. My Ted talks are very strong. I try
Speaker 5: to have to wear it by welcome.
Speaker 3: The Mini you should be on the moth instead. I
Speaker 3: guess it goes back to the whole Aristotelean thing of Catharsis.
Speaker 3: You know, like, why do we like this stuff? Well,
Speaker 3: it's great to see these fascists being killed. Yeah, okay,
Speaker 3: we like you said, we see some prisoners killed as well,
Speaker 3: but it just makes us even angrier about the fascists.
Speaker 3: So yeah, this is great. I'm okay with bad people
Speaker 3: being murdered in movies, especially after you see them doing
Speaker 3: bad things over and over again.
Speaker 1: We say far what we say about you know, probably
Speaker 1: about what seven or eight people get killed in this film,
Speaker 1: very terribly. But I saw Deadpool the Wolverine recently, and
Speaker 1: I mean got the violence in that film, and just
Speaker 1: that the anonymous consequence free violence of that film is
Speaker 1: extra I quite enjoyed it, but it was extraordinary. And
Speaker 1: that's every single superhero. It's there's no consequences, there's no
Speaker 1: showing of the violence, but people are dying.
Speaker 3: The funny thing about Deadpool and Wolverine is that both
Speaker 3: of those superheroes their power is regeneration. Like that scene
Speaker 3: where Deadpool is killing all of the other Deadpools and
Speaker 3: then they all get up and just kind of shake
Speaker 3: it off and they're ready to fight again. It's like, okay, yeah, there.
Speaker 3: Death isn't a real thing in these superhero films. I mean,
Speaker 3: it's not a real thing in movies, right, But it's
Speaker 3: just like, none of these guys, these they can't be hurt,
Speaker 3: but they can be hurt temporarily, but they just literally
Speaker 3: get up straight and their spine out could connect the
Speaker 3: bottom half to the top half if I was alf
Speaker 3: the dog boy kind of thing and then just carry
Speaker 3: on with my day.
Speaker 1: Yeah, but consequence free violence in films, that's what I'll
Speaker 1: actually object to that. I really disliked that.
Speaker 5: Yeah, for on so many levels. There's a level, but
Speaker 5: it's also well, you've just kind of like taken the
Speaker 5: teeth out of your story. You've defamed it. It'd be
Speaker 5: like Alf without his fans or his top hat or
Speaker 5: his I love the time, and it's all vast. He's
Speaker 5: a little he's a little lad, and we love the
Speaker 5: little lad. It's the tale as old at time. Because
Speaker 5: it's in the eighties. We had all these politicians in
Speaker 5: the States that were wanting the eighties and nineties ballots
Speaker 5: and through video games or complaining about oh, natural born
Speaker 5: killers or whatever. But meanwhile it's true. Lies is great.
Speaker 5: Oh that's a great movie. That's a great American movie,
Speaker 5: big movie. Yeah, yeah, yeah, ridiculous, it's but yeah, I
Speaker 5: don't know. I think if somebody tells you this film
Speaker 5: is disreputable, that tells you more about them in the movie.
Speaker 1: Well. It also came i think at a point in
Speaker 1: Australia's because you know, there were those two streams of
Speaker 1: Australian filmmaking at that time. There was the sort of
Speaker 1: new wave when we're making films like picnicd Hanging Rock
Speaker 1: and Careful He Might Hear You and these bucolic sort
Speaker 1: of stories of young girls in white lacey dresses following
Speaker 1: through an alien Australian landscape and all of that, and
Speaker 1: then you've got osploitation, which is sort of you know,
Speaker 1: at variance with that, and so much of the criticism
Speaker 1: of Turkey Shooters by these critics who are all huge
Speaker 1: fans of the sort of that new wave of Australian filmmaking.
Speaker 1: So of course they're going to When I was looking,
Speaker 1: when I was reading up on this film and I
Speaker 1: was reading all the negative comments and who was making them,
Speaker 1: I was going, of course you're going to say that.
Speaker 1: Of course Philip Adams is going to say that. Of
Speaker 1: course David Stratton is going to hate it. There are
Speaker 1: all these new wave people and you know, if you're
Speaker 1: not if you're not walking through the Australian Outback or
Speaker 1: you know, through in a lacey dress, it's it's you know,
Speaker 1: looking at the sort of looking at the looking at
Speaker 1: the world around you. It's it's it's not going to
Speaker 1: rate for.
Speaker 5: Them at that because I just feel like independent, so
Speaker 5: them people should all come to cover. It's like everybody,
Speaker 5: you're old. Everybody's basically fighting the good fight here. That's
Speaker 5: like that in so many countries that because it's like
Speaker 5: how many sort of art house people over here would
Speaker 5: turn down their nos be like oh, whether it's adult oh,
Speaker 5: that's just born out. That's evil Missus Jones's art house.
Speaker 5: It didn't play in an art house, so that's why
Speaker 5: it's classes here.
Speaker 1: It also it takes on a specific resonance in Australia
Speaker 1: because we're a small secondary market and we're always struggling
Speaker 1: for cultural relevance and for and to punch above our
Speaker 1: white and to be seen as a serious cultural force.
Speaker 1: This is certainly in the seventies and eighties when Australian
Speaker 1: filmmaking was just starting, so it was very much seen
Speaker 1: as through that, through that lens of advancing a serious
Speaker 1: look at Australia and Australian themes and all that stuff.
Speaker 1: And of course within that, films like Turkey Shoot they're
Speaker 1: not that they're not serious art house films that are
Speaker 1: vine with the kind of films that they make in
Speaker 1: America or Britain or stuff like that. So it's that
Speaker 1: sense of cultural cringe is even we still have it now,
Speaker 1: but in the seventies and eighties it was really well developed.
Speaker 3: So I didn't realize that because I knew this movie
Speaker 3: had a lot of different titles, but I didn't realize
Speaker 3: that the Escape two thousand version that was released here
Speaker 3: in the States on VHS was actually a lot shorter,
Speaker 3: and maybe that was doing what I was hoping it
Speaker 3: would do. It's only seventy eight minutes thirty seven seconds,
Speaker 3: as opposed to at least a solid ninety for the
Speaker 3: one that we watch as Turkey Shoot. So I did
Speaker 3: not realize that there's a twenty twenty one Umbrella Osploitation
Speaker 3: Classics release of this that has that version on there.
Speaker 1: What did they cut?
Speaker 3: I wish I knew, but I hope it's better than
Speaker 3: the cars that eight people versus the cars that eight Paris,
Speaker 3: which is just an abomination. And that's like an hour
Speaker 3: long compared to like an hour and a half. They
Speaker 3: really butchered that thing.
Speaker 5: Boy, that's disreputable. I know, I fear it. Seems like
Speaker 5: anytime a film like this gets cut, it's usually going
Speaker 5: to be the nudity and violence all the funds.
Speaker 3: But this is an American release, so maybe they just
Speaker 3: played that up. Who knows we do love our guns?
Speaker 1: Did they duble in American voices?
Speaker 3: That would make a lot of sense if they did
Speaker 3: that too.
Speaker 5: I mean, that's awful. I hate that shit me too.
Speaker 5: I hate it. I hate dubbing in general, but especially
Speaker 5: where it's you demiances. If everybody's speaking English, it's an accent,
Speaker 5: it's we have accents in our fucking country. They're gonna
Speaker 5: dub heath Hall where everybody sounds like they're buck Owens
Speaker 5: is like, see like he's Frank's at oddre or soundry.
Speaker 5: Jim naghbors that would be a good release to get
Speaker 5: at this. I have the severan release of this.
Speaker 3: Yeah, I think that one's still in print, but I
Speaker 3: think the the osploitation classics are out of print, or
Speaker 3: at least this one is. But I wish it wasn't
Speaker 3: me too.
Speaker 5: We know how much these things go up in value.
Speaker 3: Well, especially if it's got a slipcover to it. I
Speaker 3: mean that piece of cardboard is going to cost a
Speaker 3: lot of money.
Speaker 5: Those are probably like the you know, people like shooting
Speaker 5: each other ever sneakers in the eighties, people probably liked
Speaker 5: doing that, getting in night fights ever slip ever.
Speaker 4: Wow.
Speaker 3: Something I will have to track down now is the
Speaker 3: Escape two thousand release of this film, just to compare it.
Speaker 3: All Right, We're going to take a break and play
Speaker 3: a pair of interviews. First up, we'll hear from ritter himself,
Speaker 3: Roger Ward, and after that it is writer director Brian
Speaker 3: Trenchard Smith. And we'll be back with both of those
Speaker 3: right after these brief messages.
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Speaker 3: I wanted to talk to you about Brian Crunchard Smith
Speaker 3: and Turkey Shoot specifically, but I'd love to know just
Speaker 3: how because you worked with them several times, and how
Speaker 3: was your experience working on Turkey Shoot.
Speaker 2: I knew Frenchard before he made Man from Hong Kong,
Speaker 2: before he even started making films. I met him, so
Speaker 2: we were friends and we did a few documentaries together,
Speaker 2: and then he told me about this form he was
Speaker 2: trying to get up called the Yellow Peril, which happened
Speaker 2: to be eventually The Man from Hong Kong, about a
Speaker 2: year or so before he got to going. So we
Speaker 2: did that together and then we did other things later.
Speaker 2: But then he rang me this one Turkey shoot. He
Speaker 2: rang me in May eighty one and said he had
Speaker 2: a scheme, but he didn't have a set date to start.
Speaker 2: I just signed with the company to do a television
Speaker 2: series and I'd done the pilot and I was waiting
Speaker 2: to do the main part of it, so I thought
Speaker 2: I couldn't do this one a Turkey shoot. But anyway,
Speaker 2: it was held off. The other show was put off
Speaker 2: for a while, and this one took a while to
Speaker 2: start so I could do it and out about May
Speaker 2: eighty one when he rang me, and it wasn't until
Speaker 2: June that we actually started filming. But I didn't want
Speaker 2: to wait. I was shooting in Here in North Queensland,
Speaker 2: which is a lovely spot holiday resort. So I grabbed
Speaker 2: my kids and I said, look, you want to come
Speaker 2: up to Cans for holiday. So we drove up thinking
Speaker 2: we had a couple of week and we were about
Speaker 2: a week on the trip, just relaxing and enjoying ourself.
Speaker 2: And there was a telephone communication problem, so I didn't
Speaker 2: really know where I was starting or how they were going.
Speaker 2: And we finally got through to each other and they said,
Speaker 2: where the hell are you? Four hundred miles away? They said,
Speaker 2: for God's sake, we were trying to get there for days.
Speaker 2: So I shot up the Cans one hundred miles an
Speaker 2: hour and got there late that night and the producer,
Speaker 2: Tony Ganaine, who would book me or wanted me, and
Speaker 2: he wanted me to look like had Max, like the
Speaker 2: guy in Max. He said, you've got hair. Yeah, he said, God,
Speaker 2: get it off. I said I can't because I'm doing
Speaker 2: it in the middle of the pilot for the new show.
Speaker 2: And so he said, God, that's why I need you
Speaker 2: like that. I don't even my agent and I was there.
Speaker 2: They got through okay, after Cutler, but them and I
Speaker 2: was standing alongside him when he's talking to my agent.
Speaker 2: He said, we need right to take his hair of us,
Speaker 2: and he went on thousand dollars. He wants a thousand dollars.
Speaker 13: To shave his head. He said, okay, shave your hair.
Speaker 13: You just find yourself a thousand bucks with now a
Speaker 13: thousand bucks.
Speaker 2: That shave my head. And just as well because the
Speaker 2: pilot never went The pilot that I did for the
Speaker 2: series never did go off, so I was lucky to
Speaker 2: do that. But Tony Tony works or lives in America
Speaker 2: mostly and he does very UnAustralian films and this one
Speaker 2: of them. He does unique films and I quite liked
Speaker 2: working with him. He's good of a tyrant that I
Speaker 2: quite enjoy working with him. But yeah, we worked in
Speaker 2: eighty one and it was until through the July, mid
Speaker 2: July we worked. We had David Hemings doing second unit
Speaker 2: and David is quite a good director. I quite enjoyed
Speaker 2: working with it. What's the name again, I don't The girl?
Speaker 3: Oh Olivia Hussey, Olivia Hut.
Speaker 2: She was really nice but a bit off the air,
Speaker 2: poor kid she was. She's married to Dean Martin's son,
Speaker 2: Dean Martin Jr. He was a pilot in the Air Force.
Speaker 2: But they're just divorced. But she was remarried to a
Speaker 2: Japanese guy, a Japanese guitarist musician. But she still seemed
Speaker 2: out off the air. And a couple of times she
Speaker 2: said to me, I don't want to be here. I
Speaker 2: don't want to be here. Was he like, can North
Speaker 2: squeeze nn. It's not that she said, I just don't
Speaker 2: want to be here on this she's a bit weird
Speaker 2: at time. Or she wrote a book called The Girl
Speaker 2: on the Balcony in twenty eighteen, and so she's doing okay.
Speaker 2: She must be. She must have got out of that depression,
Speaker 2: but she was in a very depressive state. Steve rasback
Speaker 2: with a lovely guy. He's not the best athletic person
Speaker 2: in the world, but he kept stumbling and falling over.
Speaker 2: But he had a good stunt man that doubles for him,
Speaker 2: so he was okay. But Steve Rasack is a lovely
Speaker 2: guy too.
Speaker 3: Do you have a good time. It feels like you're
Speaker 3: having a very good time. From as a viewer.
Speaker 2: My first fat shooting, like the day after I had
Speaker 2: my head shake, was in a They took me out
Speaker 2: and David Hemmingt did the second unit. Brian was working
Speaker 2: the main unit. So David took me to this river
Speaker 2: and Steve Rowseback and Olivia were supposedly being chased by
Speaker 2: me by characters, and they had to cross this river
Speaker 2: on a log and she was pleading at the lad
Speaker 2: and Steve Raose was doing the like the Jaws music.
Speaker 2: The dast up that, but he was quite happy on
Speaker 2: the log that I had it wade through the bloody
Speaker 2: river was cheteat or neck deep. I had a wade
Speaker 2: through the river. And before that there's crocodiles up there
Speaker 2: like you wouldn't believe. And they said, oh, there's no
Speaker 2: crocodiles in here. But anyway, we did explode put dynamite
Speaker 2: in the river and we would have got rid of
Speaker 2: any crocs that I heard that the like was saying
Speaker 2: where he blew the river up the center clocked up
Speaker 2: to my area. Not only do I have to cross
Speaker 2: the river, but I had to go to the other
Speaker 2: side of the river to come back for the shot.
Speaker 2: So I had to cross the damn river twice. And
Speaker 2: he said to me, David, bloody liar that he was.
Speaker 2: He said, I don't worry I've got a stunt man
Speaker 2: underwater with sphere guns by the water was yet black
Speaker 2: and I couldn't see any bubbles shoming up. But he
Speaker 2: said they were stunt men under the water with guns,
Speaker 2: so they couldn't have seen a crocodile anyway over the
Speaker 2: air short So I went across to the other side.
Speaker 2: I said, you get one pink baby gets one shake,
Speaker 2: and I crossed the river neck up with my guns
Speaker 2: above her head. But that went well. It was a
Speaker 2: good looking scene. It looked good. But later on at
Speaker 2: the continuation of that scene but done a few days later,
Speaker 2: where Steve and Olivia are still running and I'm still chasing,
Speaker 2: and it got to that stage where we did the
Speaker 2: cutting of the hand sequestion. I was shooting it Steve
Speaker 2: and having a fight with Steve. And finally near the
Speaker 2: end of that scene, I put my hands on a
Speaker 2: rock with a gun between double handed, and I'm firing
Speaker 2: at Steve and she's got hold of my machete and
Speaker 2: she's supposed to chop my hands off, and she's got
Speaker 2: I looked up and she's got the machete above her head.
Speaker 2: Her eyes are blazing, and David said, okay.
Speaker 5: And cut. She went to tough.
Speaker 2: Maybe he said no, don't count to god. I got
Speaker 2: my hands out of the way in time. But the
Speaker 2: floody machete come down on it. Oh my god. She
Speaker 2: was off the air that they did it did the
Speaker 2: game later, but David willed the mechety. Later on they
Speaker 2: did a close up. They couldn't have a handle of
Speaker 2: the chevy guy, but she was really off the air
Speaker 2: that kid.
Speaker 3: You mentioned the pilot that you were doing at the time,
Speaker 3: and it feels like, just looking at your filmography nineteen
Speaker 3: eighty two, nineteen eighty one, you were really busy because
Speaker 3: you were doing the Pirate movie around the same time too.
Speaker 2: Yeah, I did the Pirate movie the same year. I
Speaker 2: did well if you kept Lady Stayed Dead the same year.
Speaker 2: I did a lot of films that. Yeah, yeah, the pilot,
Speaker 2: but I would have liked to have done that pilot.
Speaker 2: It was it was a planet a cop, quite a
Speaker 2: good cop, good character. I remember Terry Burke, he's a director.
Speaker 2: You may have heard of him. Terry Birke's wife, she
Speaker 2: was a Japanese girl, and she saw the pilot and
Speaker 2: she said to me, oh, you become a star. You'd
Speaker 2: be some star, said he I've already a star, thank
Speaker 2: you very much. I'm doing four frills this year. But
Speaker 2: they never did eventually. But we had English producers on
Speaker 2: this score on Turkiship. They were English producers and they
Speaker 2: were pretty rooch, the sort of guys financially. And although
Speaker 2: I played quite well and I was paid on time,
Speaker 2: a lot of people weren't that I was. But they
Speaker 2: were also looking on ways to make money, and they
Speaker 2: befriended a horse trainer up there, a guy called Joe,
Speaker 2: only a young guy but about thirty. They befriended him
Speaker 2: and they said to him, look, so they had races
Speaker 2: every Saturday in the country, and they're not pleased the
Speaker 2: country state. They're not pleased by any regulations, and they
Speaker 2: have a lot of bookies up there, and they said
Speaker 2: to him, look, can you rig the race so that
Speaker 2: we can get on the horse that you guarantee is
Speaker 2: going to win and we'll get some money if you
Speaker 2: get the shim moving. Because so this trainer said, yeah, sure, okay.
Speaker 2: So he told his dropees and pay them off what
Speaker 2: to do, and the favorite was to be pulled back
Speaker 2: by the jockey. So he said to me and Cheve Rackman,
Speaker 2: the other actor who played out. He said, you guys
Speaker 2: want to get in on this, he said, because the
Speaker 2: producers are back and a certain horse which is going
Speaker 2: to win. He said, I've organized it to win and
Speaker 2: you can make some decent money. So I put fifty
Speaker 2: bucks on it. I didn't take a chance, as Steve
Speaker 2: would about the fame. But these producers, there were a
Speaker 2: circle of bookies in a circle, and these producers blatantly
Speaker 2: went around putting thousand bucks with that, a thousand bucks
Speaker 2: with that. Jeff walked around the circle blatant. He put
Speaker 2: a thousand bucks on each bookie, so obvious, and I
Speaker 2: put my fifty bucks down there with one. But anyway,
Speaker 2: the race started at of course, to favorite bound it
Speaker 2: out ahead of all the others, and the poor jockey
Speaker 2: couldn't hold the bloody thing back. He could see him
Speaker 2: pulling on it, trying to get it back. And of
Speaker 2: course the one that's supposed to win was floundering in second,
Speaker 2: and all the other jockeys are holding his back, letting
Speaker 2: number seven win. But the bloody favorites up the head.
Speaker 2: So the poor jockey, thinking what's going to happen to
Speaker 2: live if he does win? The race, so he jumped
Speaker 2: off the horse and it broke his bloody leg. He
Speaker 2: drok his leg into the bargain. But it was probably
Speaker 2: better that would have happened to him. Had he won
Speaker 2: the race, he would have got worse. But of course
Speaker 2: there's a big inquiry about it. But he said, I
Speaker 2: fell off the horse, and of course that horse, where
Speaker 2: there's no rivals, he doesn't win. So number seven came
Speaker 2: in and the producers and me went up to the
Speaker 2: jockeys and to the bookies and got our money. But
Speaker 2: it was quite embarrassing, terrible, But these think producers didn't
Speaker 2: change the care, just picked their money up blatingly and
Speaker 2: went on, they want that trainer because he did a
Speaker 2: favor for me, and Steve wouldn't leave it alone from
Speaker 2: and then every night he came to our room every night,
Speaker 2: talk talk, talk all night. So about a week we
Speaker 2: just couldn't get rid of him. He thought he was
Speaker 2: a great mate of ours. So Steve said to me,
Speaker 2: can you get rid of bloody Joe? He's in my
Speaker 2: room every night? I said, but he's in my bloody
Speaker 2: room every night too. He should forget rid of him,
Speaker 2: for christ Shake, I'm s fit up with him. So
Speaker 2: I thought, okay, I thought, I'm an idea what to do.
Speaker 2: So anyway, I went to Steve's room when he was
Speaker 2: in there, and I went into the bathroom stripped naked
Speaker 2: and got a very thin candle, stuck it up my
Speaker 2: ears listen and turned me out, singing, come.
Speaker 5: Out of baby, and I light my fire.
Speaker 2: And this poor Joe he Fred is a.
Speaker 14: Blundy many're your body man. He left and we never
Speaker 14: saw him again. But I'm not help the kid candle.
Speaker 14: I'm telling you that now we got rid of the
Speaker 14: poor bagger.
Speaker 2: Yeah, I know.
Speaker 3: Was saying that the budget was slashed tremendously and that
Speaker 3: was one of the big problems. It sounds like they
Speaker 3: didn't put that betting money back into the pool.
Speaker 2: Maybe they didn't. Did he mention the betting money?
Speaker 3: No, he didn't tell me that story. No, that was fantastic.
Speaker 2: He may not even known about it because he gipt
Speaker 2: been remarried, and he gept been married the first time.
Speaker 2: He was in love with his beautiful wife and he
Speaker 2: was still with and he didn't didn't socialize much. We
Speaker 2: socialized a lot. He's the previous and finished. But on
Speaker 2: that he was very much in love with his beautiful wife.
Speaker 2: But didn't see much of him. But what I just
Speaker 2: looked in to see. Oh yeah, when I mentioned that
Speaker 2: they put explosives in the river, that guy was a
Speaker 2: wild irishman.
Speaker 4: He looked.
Speaker 2: He linked in cares and he just came out from island.
Speaker 2: He was a bit of an explosive expert because they
Speaker 2: used him on the river. They paid him a fair money,
Speaker 2: a fair amount of money because he saw a party
Speaker 2: that night his property. He said, I've got a big
Speaker 2: party at my property, and I come along. And he
Speaker 2: catered well and all that. But there were some like
Speaker 2: an outhouse, an outside toilet on the property in the
Speaker 2: in the middle of a paddock. He said, oh, there's
Speaker 2: a toilet over there. But most of us just went
Speaker 2: to the bush or onnce of the trees. Nobody went
Speaker 2: into the toilet. But Gus Mercurio is an actor from
Speaker 2: America and a very gruff voice actor, and he played
Speaker 2: one of the prison guards with me, and he played
Speaker 2: Red in the film. Anyway, he wandered off and went
Speaker 2: into the toilet, and they should he was not in
Speaker 2: there about spew millets. When banged, the bloody toilet exploded.
Speaker 2: All the walls went fell down and the roof came off,
Speaker 2: and he hitched poor bloody Red slicking in the bloody
Speaker 2: toilet and he said, trousers around his ankles.
Speaker 5: Then god damn, what the goddamn.
Speaker 2: Well's going on here? It's this bloody experted bte it
Speaker 2: for a joke, except the point was up with false
Speaker 2: wolves and everything, and blew the blooding apart when anybody went.
Speaker 2: It just happened that got the carrier of the only
Speaker 2: one that used it. But he was quite a crazy guy.
Speaker 2: They're a bit crazy up there in northwest there, but
Speaker 2: he was an irishman on top of it, so it
Speaker 2: added to it. But I was quite happy doing the show,
Speaker 2: and I liked that fight scene I did with the
Speaker 2: girl Ariano Panazza. Yeah, she was the young girl I
Speaker 2: beat up in the when Michael Michael Craig was doing
Speaker 2: your speech about in jail and looking after yourself and
Speaker 2: I had a fault make out, faulty hitter, and she
Speaker 2: was a very good little actress. I didn't hit her
Speaker 2: at once, but I came very close to it, and
Speaker 2: she she made that scene I felt she said, I
Speaker 2: forget what she said. But with the beautiful speech she
Speaker 2: made while I was trying to supposedly smack her, and
Speaker 2: I ended up kicking her her death in the end,
Speaker 2: but she did a good job the kid.
Speaker 3: Yeah, you and Hugh keys Burns are probably my favorite
Speaker 3: part of Man from Hong Kong. I know that movie's
Speaker 3: got so many great things to offer, but just you
Speaker 3: guys together as the cop buddy kind of thing. I
Speaker 3: was like, I wish they spun off a whole series
Speaker 3: of movies with you too.
Speaker 2: That were suggested, and we would have love that. Yeah,
Speaker 2: we were a good double. I like that. He's a
Speaker 2: great guy to work with it. I'd work with him
Speaker 2: in Style as well, and that one Madam Hong Kong,
Speaker 2: but it was a toightly different character and in Madam
Speaker 2: Hong Kong was good. Yeah, so I enjoyed that film. Yeah.
Speaker 3: That was the thing I like about Brian's films is
Speaker 3: it just feel very fun and it feels like he's
Speaker 3: having a good time making them, You're having a good
Speaker 3: time acting in them, and I just enjoy watching those.
Speaker 2: Yeah, he's a boys on boy. He love action on
Speaker 2: a bencher.
Speaker 3: Yeah, be working on these days because I feel like
Speaker 3: he never slowed down.
Speaker 2: Yeah, I did a film last September in Cann's North
Speaker 2: Quaint Fans signed Flash. We did Turkis Shoot and I've
Speaker 2: just I've won two acting awards for that since then,
Speaker 2: just for that film alone, and on the strength of that.
Speaker 2: The director is writing another one but next April, which
Speaker 2: he hasn't finished his script yet, he said he to me,
Speaker 2: but he tends to thirty pages another thirty. It's a
Speaker 2: very good script. They're both horror films. To what I
Speaker 2: did before is a horror film called Zombies Versus the
Speaker 2: Men's Shed. The Men's shed a place where men go
Speaker 2: and the zombies attack it. But it was a combatic horror.
Speaker 2: And now we're doing another one and next April May.
Speaker 2: So I booked for that, but I'm actually writing my memoirs.
Speaker 2: As I think we spoke about that before. Justin has
Speaker 2: wrote him intro for it. It's not been published. It's
Speaker 2: on the way, but they've asked me to do a
Speaker 2: second version, had like a second volume, which I'm not
Speaker 2: he completed, and so I'm busy working writing pretty well
Speaker 2: all day every day, but just so I've done. I'm
Speaker 2: just about to finish the second volume, but I'm nowhere
Speaker 2: near the end of my life. So they're now talking
Speaker 2: about doing a third volume. We better wait, we see
Speaker 2: if these first two we've already got there one but
Speaker 2: I'm not going to put all that type. But having
Speaker 2: lived a long life, like I have a text you
Speaker 2: while of bloody writer, I'm not an eight any year
Speaker 2: old pop star.
Speaker 3: I can't wait to read those. I hope we can
Speaker 3: talk again once those come out.
Speaker 2: Yeah, I love Justin did a good job with the intro,
Speaker 2: very good, and but yeah, I quite enjoy that that
Speaker 2: first memoir has gone to the making of Mad Max.
Speaker 2: It's called Becoming fee Fee so lead up to me
Speaker 2: playing Mad Max. And then the next one is all
Speaker 2: about my sojourn after Bad Max. I went out the
Speaker 2: season to it all around Europe and Paris and Brussels, England, America,
Speaker 2: trying to flog another film that I wrote, Will Take
Speaker 2: Been Made Fish. But that was a sort of a
Speaker 2: journey to try and shallow that film, and I finished
Speaker 2: that when that film was made, So I've had an
Speaker 2: angle on both of them. We're leading the Mad Max
Speaker 2: leading to the sale of that film, and then the
Speaker 2: next one I'll be leading up to my expiry. I
Speaker 2: should imagine if you do. But I really like writing
Speaker 2: and I ate it. Other people's worked and I've just
Speaker 2: finished that on Friday. We did someone else's script on Friday,
Speaker 2: so there's no rest. Let's go all the time, either
Speaker 2: acting or writing. But I quite like him like that.
Speaker 2: I couldn't sit down and relax sometimes, I'd like you.
Speaker 3: Do you still get paid a thousand dollars to shave
Speaker 3: your head?
Speaker 2: Yeah? Actually every film after they wanted me to shave
Speaker 2: my head, and I said, I'm sorry, but there's a criteria.
Speaker 2: It's going to cost you a thousand bucks. And it's
Speaker 2: funny enough when my agent told the producer that was
Speaker 2: going to cost him a thousand should what I can
Speaker 2: remember when rude your work for a thousand back season,
Speaker 2: that's what they say. Now when I say, look, it's
Speaker 2: not across a thousand book.
Speaker 5: Oh jeez, I'd trying to port that.
Speaker 2: Oh sorry, you want to get it? So I do.
Speaker 2: I prefer to have hair. I'd like to have hair,
Speaker 2: but everybody wants me bald. My wife works me bald.
Speaker 2: Every time my hair gets a fraction of her stubble.
Speaker 2: She worked me to shave it. So I can't win.
Speaker 3: Do you tell her it's going to cost her a
Speaker 3: thousand dollars.
Speaker 2: Yeah, I try that. I didn't vigure that I'll have
Speaker 2: to give her the thousand to give it to me.
Speaker 2: You yea. Even my daughter says, I prefer you with
Speaker 2: the bald head and the verstache. Dad. Even my daughter
Speaker 2: perfers me like this.
Speaker 3: I don't know why, mister Ward. Thank you so much.
Speaker 3: I really appreciate you talking to me about this.
Speaker 2: Good Thank you.
Speaker 3: Thanks Mike, before we even start to talk about Turkey shoot.
Speaker 3: I'm so curious how you decided or how you got
Speaker 3: into the movie business, just because you have had such
Speaker 3: an interesting career.
Speaker 4: I've been very lucky with my career and I just
Speaker 4: happened to be in the right place at the right time.
Speaker 4: I decided I wanted to be a filmmaker after seeing
Speaker 4: Albert Hitchcock's Vertigo on its re release in England when
Speaker 4: I was thirteen, double pilled with it. Rory Calhoun Western
Speaker 4: four Guns to the Border with Nina Fosch, whose name
Speaker 4: was given to this pronunciation quite a lot in Hollywood,
Speaker 4: and she was in the ten Commands. And I eventually
Speaker 4: took acting lessons as a director, wishing to learn better
Speaker 4: how to relate to actors from Nina Fosch when she
Speaker 4: became the drama coach, and she was a fine drama
Speaker 4: coach and actress. I did a six month course with
Speaker 4: Barry Manilos in the class as a flair for comedy,
Speaker 4: I could tell the class, but seeing Vertigo convinced me
Speaker 4: that it made me feel something that I realized. I
Speaker 4: loved movies. I loved how they made me feel, and
Speaker 4: I wanted to make other people feel that way. And
Speaker 4: I'd even experienced a little bit of that manning the
Speaker 4: school projector at my boarding school, the sixteen milimeters projector
Speaker 4: that I was taught how to monitor it, and it
Speaker 4: was great to watch the audience enjoying a Mickey Mouse
Speaker 4: cartoon something like that. I liked the feeling of a show,
Speaker 4: like the feeling of an audience reacting to a drama
Speaker 4: of some kind or a comedy playing out on the screen.
Speaker 4: And I guess I said, I want to do that.
Speaker 4: Just we a great deal of good fortune I was
Speaker 4: able to. I made an eight milimeter film at school,
Speaker 4: which included a battle scene using the Cadet core. As
Speaker 4: a result of that, I got to edit the sixteen
Speaker 4: millimeter film for an industrial film for the father of
Speaker 4: my girlfriend as I was leaving school, and they paid
Speaker 4: me ten pounds to hack this four hundred feet of
Speaker 4: sixteen millimeter footage of the industrial developments at the central
Speaker 4: electricity generating board, shipping good as it by helicopter, not
Speaker 4: damaging farmers, and all that had to be put into
Speaker 4: some sense of coherence to what random cameraman had shot.
Speaker 4: And that was my first editing experience. I got odd
Speaker 4: jobs in the Bridge film ministry for the next two years,
Speaker 4: but there was no rapid advancement due to it being
Speaker 4: a closed shop. There was a trade union that said
Speaker 4: that you couldn't hire anyone outside of the union if
Speaker 4: there was still a union member in that particular category
Speaker 4: that was unemployed. And suddenly if you were the relative
Speaker 4: of a union member or were related to famous actors
Speaker 4: or famous producers and directors, he was easy to get in.
Speaker 4: But I had no such family connections, and so I
Speaker 4: had worked as a clapper boy for a company, a
Speaker 4: non union company or French actually a French newsreal company
Speaker 4: operating in London, and I wrote myself a reference on there,
Speaker 4: they saying I was basically the greatest things in sliced
Speaker 4: bread and took it to the boss. And so I'm
Speaker 4: going to Australia, to the land of my father, to
Speaker 4: see what I can do over there. Would you mind
Speaker 4: signing this and it'll help me get a job, And
Speaker 4: he said, oh, okay, fine, so off I went. I
Speaker 4: sailed to Australia during the British seamen strikes. That was
Speaker 4: an interesting voyage. Within three weeks of getting.
Speaker 15: To Australia, I was working as a news film editor
Speaker 15: at Channel ten Sydney, having cold called one day and
Speaker 15: presented my reference.
Speaker 4: I think I can be reasonably persuasive when I put
Speaker 4: my mind to it, and I had a good interview
Speaker 4: with personnel officer who was recovering from an armed robbery
Speaker 4: at the television station, a payroll robbery which he and
Speaker 4: his assistant were tied up. The seven thousand dollars dollars
Speaker 4: was stolen, the thieves were eventually caught. I think about
Speaker 4: four months later I was interviewed by him. I don't
Speaker 4: know whether any of these strange coincidences had any bearing
Speaker 4: upon my hiring anyway. He's a nice guy, but that
Speaker 4: was my start, and news cutting led me promoting well,
Speaker 4: saying I think the station promos are dull. I can
Speaker 4: do better, and they said okay. In Australia in those days,
Speaker 4: it was if you want to have a go, or
Speaker 4: let you have a go, you better not fuck up.
Speaker 4: So I did and the premos I said, I've put
Speaker 4: sex and violence so far as you were allowed to,
Speaker 4: or maybe a bit more than you were allowed to.
Speaker 4: And this attracted the attention of another television network. They
Speaker 4: stole me. I made promos for them and they were
Speaker 4: very happy. And I just had a flare of picking
Speaker 4: the bits out of what I saw that would attract
Speaker 4: you to want to see more. And I had already
Speaker 4: been unconsciously making a study of this throughout my childhood
Speaker 4: because I always wanted to see the trailers and anyway,
Speaker 4: and trailer making became an adjunct to my filmmaking career,
Speaker 4: and I've made over a one hundred. When I stopped
Speaker 4: counting trailers for theatrically released films, either on cinemas or
Speaker 4: directed video or those of the two, made countless more
Speaker 4: promos for television. I launched the Australian launch of the
Speaker 4: original Star Trek series and that famous Red Raymond Burr
Speaker 4: series ironside A mod Squad Time Tunnel. I made Australian
Speaker 4: pemos for those and anyway. So promo making and then
Speaker 4: trailer making for cinema well. Promo making on Australian television
Speaker 4: led to an American company sending me to London to
Speaker 4: work for National Screen Service, their subsidiary that made seventy
Speaker 4: percent of the trailers for English language product in Europe,
Speaker 4: which included spaghetti westerns amongst others. So I made the
Speaker 4: trailer for SERGIOI only his Months upon a Time in
Speaker 4: the West. You can find still on YouTube if you're
Speaker 4: a diligent cinema historian. And it's actually not a bad trailer.
Speaker 4: I would say that most of my trailers are too long,
Speaker 4: and like all trailers, give too much away. But I,
Speaker 4: being a great one, longtime lover of trailers, now I
Speaker 4: try not to see them till after I have seen
Speaker 4: the mute. Then I said, ah, where did they choose
Speaker 4: that bit? I think don't know why that bit was wasted?
Speaker 4: And why didn't they choose that shot, et cetera. Why
Speaker 4: did they give away that plot point there, et cetera.
Speaker 4: We go on, But to promo making has a great
Speaker 4: deal to do with my analytical process when creating a project.
Speaker 4: And The Man from Hong Kong, my first big feature film,
Speaker 4: was basically created almost on a trailer maker's formula. An
Speaker 4: action scene, one dialogue scene, you know, propel the narrative
Speaker 4: as economically as possible through the interaction of characters, and
Speaker 4: get to the next set piece and give the audience
Speaker 4: a variety of what they came to see. And an
Speaker 4: action picture that could go all over or it can
Speaker 4: be strictly martial arts. And I chose to combine a
Speaker 4: bit of Bondish action to basic kung fu material in
Speaker 4: The Man From But it was it was done to
Speaker 4: a formula that would keep things moving. I'd make them
Speaker 4: laugh and laughs and gasps. I think, I guess two
Speaker 4: words that would I have lived by.
Speaker 3: But where were you as far as your career when
Speaker 3: it came to Turkey Shoot?
Speaker 4: Turkey Shoot actually initially was a setback to my career
Speaker 4: and is now actually considered to be one of the
Speaker 4: more interesting films that I made. It's funny how things
Speaker 4: turn out. But in nineteen eighty two when it came out,
Speaker 4: it was reviled by critics and did great business in
Speaker 4: the drive in theaters of America and sold to Roger
Speaker 4: Corman's New World Pictures, where it actually it grossed over
Speaker 4: a million dollars on a basically just to drive in
Speaker 4: double release, which was not bad, pretty good from Australian
Speaker 4: film in nineteen eighty two in the American market. But
Speaker 4: as for where my career was at that point, my
Speaker 4: career after Man from Hong Kong, I was not let's say,
Speaker 4: not consider an A Levis director of Australia. Directors who
Speaker 4: chose different subject matter, a more serious minded subject matter,
Speaker 4: more Australian a subject matter. They were directors that tended
Speaker 4: to state and federal funding bodies who wish to be
Speaker 4: associated with higher cultural product, let's say. But also the
Speaker 4: distributors who were involved, who have reluctantly forced into investing
Speaker 4: in Australian films by the government regulation, thank you. They
Speaker 4: want to lose money, and of course the occasionally they
Speaker 4: made a lot of money. Alvin Purple hugely successful Australian
Speaker 4: sex comedy that men could bring their wives to at
Speaker 4: the beginning of the brand new R rating, which was
Speaker 4: a sort of suddenly nice surprise and seventeen so I
Speaker 4: Man from Hong Kong had not gotten me an American career,
Speaker 4: and it hadn't gotten me an Australian career other than
Speaker 4: anything I could generate myself. So I went and generated
Speaker 4: Death Cheaters, which was a curious hybrid. I managed to
Speaker 4: sell it to a distributor to be a G rated
Speaker 4: Christmas release action picture, sell it to a television distributor
Speaker 4: international television distributor as the pilot for a potential television series,
Speaker 4: and somehow I had to please both masters and get
Speaker 4: it out in time for Christmas. When I was shooting
Speaker 4: in July now and shooting on sixteen millimeter, blow it
Speaker 4: up thirty five and it's for one hundred and fifty
Speaker 4: thousand dollars moving. Actually it passes the time. It's a
Speaker 4: very interesting time capsule today. After Death Cheaters and then
Speaker 4: stunt Rock, I knew that I used stunt Rock as
Speaker 4: a stepping stone to see if I could get a
Speaker 4: picture going in Hollywood or at least bring investment back
Speaker 4: to Australia. But that only resulted in me getting useful
Speaker 4: experience in America of my may Day of the Assassins
Speaker 4: and doing a lot of promotional work and making contacts
Speaker 4: with major distributors. So it was a useful a couple
Speaker 4: of years, but Turkey shoot was what brought me back
Speaker 4: from the US and I thought, okay, this will be
Speaker 4: my film with a reasonable budget that I could really show.
Speaker 3: My staff that.
Speaker 4: Unfortunately, we lost a third of the bus and it
Speaker 4: had to come out of the below the line. And
Speaker 4: this happened during pre production, and no fault of the
Speaker 4: producer was because government changed the tax incentive regulations and
Speaker 4: so the extraordinarily generous one hundred and fifty percent of
Speaker 4: your tax liability if you invested it in an Australian
Speaker 4: feature film had to be theatrically released and qualify to
Speaker 4: an adequate amount of Australian content. Then that's and that
Speaker 4: really got a lot of films made, and maybe a
Speaker 4: lot of films that really needed greater thinking through before
Speaker 4: they were rushed into production. But that's another story. Bees
Speaker 4: to the honey. So when the regulation changed and you
Speaker 4: couldn't get one hundred and fifty percent, get on twenty percent,
Speaker 4: said ah, yeah, I'm not doing that, and the money
Speaker 4: didn't show up, and so two weeks before shooting, clearly
Speaker 4: the thirty six day schedule was not going to happen.
Speaker 4: We actually had to lose seven days of shooting too,
Speaker 4: and we couldn't afford the cost of the first fifteen pages,
Speaker 4: which I replaced with a stop footage credit title sequence,
Speaker 4: which did the job just as well. So it's funny
Speaker 4: how things turn out. I wanted to do nineteen eighty
Speaker 4: four meets the Camp on Blood Island, and then they
Speaker 4: play the Most Dangerous Game or the Naked Prey or
Speaker 4: Battle Royale or the Hunger Games or whatever derivative run
Speaker 4: of the arrow, whichever derivative of the most Dangerous Game
Speaker 4: which and I thought that combination of those three genre
Speaker 4: supsets would be an entertaining cocktail shaken, not stirred. I
Speaker 4: was going to make it violent and sardonic. In yeah,
Speaker 4: basically mission accomplished, but not with the finesse that I
Speaker 4: had hoped, and had to do a lot of improvisation.
Speaker 4: You know, the somewhat spacey futuristic vehicle that Camp Commandant
Speaker 4: was going to drive that turned out to be a
Speaker 4: simple agricultural vehicle to be found in Cares, but it
Speaker 4: was red and it was a different shape. That was
Speaker 4: a start, and one has to be philosophical about these things.
Speaker 4: But I realized that I was going to have to
Speaker 4: veer more into camp than I probably had intended to,
Speaker 4: And maybe the natural absurdity of some of the things
Speaker 4: that were going on, both in front and behind the scenes,
Speaker 4: ratcheted up my natural sense of the absurd. Because I am,
Speaker 4: after all, the child at Monty Python. I see the
Speaker 4: absurdity of a lot of human behavior. But there are
Speaker 4: strange shifts of tone in the film. There are some
Speaker 4: extreme cruelty and yet there's some rye chuckles. Some people
Speaker 4: find that they're they're strange bedfellows, But it's an interesting
Speaker 4: sort of smorgasbord, of which maybe some items are a
Speaker 4: little too bitter. Think of it that way, that that
Speaker 4: Extrajlipanio in the burning of the inmate sequence harsh. But
Speaker 4: on the other hand, I thought, every now and again
Speaker 4: I have to hit the political message, and there's another
Speaker 4: side that creeps into my films. Roger Corman was very smart.
Speaker 4: He put political messages into exploitation pictures. The Wild in
Speaker 4: the Streets a really interesting idea that he got across
Speaker 4: cleverly and drew a bigger audience by doing so, and
Speaker 4: it had some interesting, thought provoking ideas in it that
Speaker 4: are still worth thinking about. Today. It's amazing how some
Speaker 4: things may come true. Look at Network, one of the
Speaker 4: great films of all time. It's all coming true anyway.
Speaker 4: The beating up of the inmate on the break ground,
Speaker 4: coupled with the right wing mantra readings obredience as workers
Speaker 4: of life are part of work, consumed silent die that
Speaker 4: needed to be brutal and yet sardonic. I wasn't able
Speaker 4: to bring a sardonic quality to the Death of the
Speaker 4: Young Kid. I just went for the brutality of it
Speaker 4: and it sits strangely at that point. But by now
Speaker 4: you probably know this film is bizarre. It's going in
Speaker 4: strange directions. I haven't seen anything quite like this before.
Speaker 4: I'm going to keep watching. I may not like it
Speaker 4: talk about it, but it had that kind of response.
Speaker 4: Critics damned it. In England, it opened to queues around
Speaker 4: the block. Somehow the word had spread in four minutes.
Speaker 4: It would have been cut out, but it has a
Speaker 4: residual slug in the guts, an effect even with the
Speaker 4: British sensor cuts. Now, the total version that is available
Speaker 4: on Blu ray seems almost tame by today's standards, where
Speaker 4: gizzards and kidneys are being flung in your face on Netflix.
Speaker 4: There's no dismemberment that we haven't tried yet with the
Speaker 4: aid of digital effects. What new part can we cut off?
Speaker 4: The boys as a good example of political satire being
Speaker 4: taken two extremes, we're using sex and violence, using basically
Speaker 4: all the forbidden fruits, getting your eyeballs to watch the extremes,
Speaker 4: and doing an interesting portrait of a surreal portrait of front.
Speaker 4: Parts of it make me WinCE because I could have
Speaker 4: done it better, but I'm proud of it overall, for
Speaker 4: somehow getting through it, somehow turning a script that had
Speaker 4: been reduced to seventy two pages and a shooting schedule
Speaker 4: that I was told to do in thirty days got
Speaker 4: done in twenty eight and just they were going to
Speaker 4: cut me off, and I managed to do those opening flashbacks.
Speaker 4: It says that gave the reason for the character's capture,
Speaker 4: which had been originally part of a ten minute, big
Speaker 4: action scene. I managed to get that done in a
Speaker 4: jewelry shop and a back shed, with me bashing Steve
Speaker 4: Rail's back over the head. That Steves was a really
Speaker 4: nice guy. He hated what had happened in the movie.
Speaker 4: He hated out the budget cut, but he got with
Speaker 4: the program. He was never difficult and he is a
Speaker 4: good actor. And I wish I'd had the opportunity to
Speaker 4: use what he had and what you could see in
Speaker 4: all his early work. Look at him in The Stuntman
Speaker 4: and even some of his ex files portrayal something naturally terrifying.
Speaker 4: But so Steve was great that the cast was uniformly good.
Speaker 4: The cast was basically given to me, and I think
Speaker 4: I lucked out in a lot of areas. Orianna Pinoso
Speaker 4: is great, beaten to death. Roger Ward, the Guard from Hell,
Speaker 4: what a guy. I love him. We remain in contact,
Speaker 4: and he's a great guy. And he was in my
Speaker 4: very first film, The Stuntman, along with Grant Page. Wilst
Speaker 4: Grant now but Roger, I hope you'll stick around a
Speaker 4: bit longer. But yeah, so I've had Roger and six pictures.
Speaker 4: Gus Mercurio, wonderful guy. Used to do trailer narrations for
Speaker 4: me too, and he does the trailer narration for Turkey Shoot,
Speaker 4: which is I think one of my fun trailers that
Speaker 4: still stands up today, along with Once Upon a Time
Speaker 4: in the West. I think my trailer for the Vampire
Speaker 4: Lovers as a hoot Lahola.
Speaker 3: Was it shot under the title Turkey Shoe because there
Speaker 3: are so many titles to it that I've seen over
Speaker 3: the years.
Speaker 4: Yes, it was a script written by three rations that
Speaker 4: had been optioned by John Daly of Mdale. It was
Speaker 4: called Turkey Shoot You. Was set in the nineteenth thirties
Speaker 4: where in a Deep South I was a fugitive from
Speaker 4: a chain gang, cool hand loop kind of thing common
Speaker 4: Dad and some of the local gentry get together, deside
Speaker 4: to have a little hunt. Prisoners are expendable and release
Speaker 4: a few out of the swamps, et cetera. They had
Speaker 4: things including balls and chains like chain gang things, and
Speaker 4: somebody eventually get sucked into a quicksand ball and chain.
Speaker 4: I used the ball and chain and the fire the
Speaker 4: death of a kid, but that was the only thing
Speaker 4: I lifted from that. But as you can see, it
Speaker 4: was a period piece that we were to shoot in Australia,
Speaker 4: American period piece and had to qualify for Australian PAX
Speaker 4: subsidies by being an Australian film. There was so I
Speaker 4: thought kick it into the future, the sort of authoritarian
Speaker 4: corporate future, and make the prisoners political dissidents of let's
Speaker 4: say the English language version of Soviet Russia, and this
Speaker 4: is the Gulag, and then think you could pass this
Speaker 4: off as an Australian production because it's in the future,
Speaker 4: and because people speak, there are Americans, there are Brits,
Speaker 4: they're Olivia Hussey was allowed to qualify. Steve Railsback was
Speaker 4: allowed to qualify. Michael Craig had become he was a
Speaker 4: British I had had some starring roles in British films
Speaker 4: for many years, and he had moved to Australia qualified
Speaker 4: as an Australian resident. And so I think Michael Petrovitch,
Speaker 4: who had done a Hammer Horror, and the rest of
Speaker 4: the cast, Carmen Duncan, big TV star, the Destona Big
Speaker 4: TV star, and Gus Mercurio was a TV star as
Speaker 4: well through Cash and Company at Tandara he toasted wrestling
Speaker 4: Australian televisional Bot and so Graham Kennedy was going to
Speaker 4: be the Mad helicopter pilot and one of the hunters,
Speaker 4: and he was going to be hunting Bill Young, whom
Speaker 4: I had already had in hospitals Don't burn Down, and
Speaker 4: I waded him for being so good that film by
Speaker 4: having him riddled with arrows and run over by a
Speaker 4: truck in a Turkey shoot. Anyway, that I had to
Speaker 4: do that because I couldn't have Grayam Kennedy chase him
Speaker 4: with a helicopter firing rockets and bursts of machine gun
Speaker 4: fire all over the jungle, which would have been quite spectacular,
Speaker 4: but cost money. So I was told, get rid of
Speaker 4: that character. He wants fifty dollars. That's far too much money.
Speaker 4: I know he's a big star of television, but forget that.
Speaker 4: Get some give his function to other hunters. Oh okay,
Speaker 4: so when you're on a slippery slope, do the pragmatic thing.
Speaker 4: That's how Bill Young got hunted. Yeah, Thatcher and and commonductor.
Speaker 4: But I think the cast was overall good. But I
Speaker 4: pitched the plane to be right because it's a right piece,
Speaker 4: you know. I think people get with the fun of
Speaker 4: it and it takes the curse of some of the violence.
Speaker 3: Anyway, I grew up in the States, so I'm aware
Speaker 3: of what was going on in eighty two here in
Speaker 3: the US, as well as a little bit of what
Speaker 3: was happening in the UK. And you've got the character Thatcher,
Speaker 3: what was going on in Australian politics at the same time.
Speaker 3: Was it that also leaning more towards the right or
Speaker 3: embracing the right like we were doing here in the States.
Speaker 4: In the UK, No, I think we were really more
Speaker 4: embracing the left through Bob Hawk, i'll be, former trade
Speaker 4: union leader who then became Prime Minister, and he didn't
Speaker 4: give about a number of useful social reforms. The Labor
Speaker 4: government that had briefly made some difference in the early
Speaker 4: seventies was thrown out in seventy five and took till
Speaker 4: eighty three for labor to get in. Anyway, it was
Speaker 4: there was part of the political thinking in the film,
Speaker 4: and I developed it to to rewrite with two new
Speaker 4: American writers. I never had anything to do with the
Speaker 4: original three writers because they wanted money to work, and
Speaker 4: I got two new writers who wanted less money, let's say,
Speaker 4: and they were well enough paid. But I was developing
Speaker 4: it in ninety eighty and into eighty one, and I
Speaker 4: was concerned about Reagan or Ronald Raygun as he was
Speaker 4: sometimes known in Australia, which was the first strike target
Speaker 4: of Soviet Russia that Kine Gap in South Australia and
Speaker 4: this by network. There Australia does feel vulnerable. Britain must
Speaker 4: feel very vulnerable, particularly currently. I would say, yeah, there
Speaker 4: was a it's part of the swing to the left
Speaker 4: by nineteen eighty eighty one eighty two, the strong body
Speaker 4: of opinion in Australia that possibly in danger of starting
Speaker 4: the World War. There's bellicose attitude that Reagan seemed to
Speaker 4: be displayed. Now with retrospect, I can see why Reagan
Speaker 4: took that posture and it worked to out distanced Soviet
Speaker 4: Union economically and made them come to terms effectively. That
Speaker 4: has now been Yeah, at first because Russian redemptism. But
Speaker 4: we must not get sidetracked into politics. But there again,
Speaker 4: I see, movies are full of so many issues. But
Speaker 4: anyway back to this one. What we wanted to get
Speaker 4: across in the script is what would happen if a
Speaker 4: consumer society, capitalist society got taken over by an authoritarian
Speaker 4: regime that felt that harsh measures were necessary to bring
Speaker 4: society under control after some period of dislocation. See, and
Speaker 4: extreme measures are necessary and just got to get the
Speaker 4: distance re educated in a milk and form, and inevitably,
Speaker 4: in any authoritarian system, corruption will result in atrocity, make
Speaker 4: the whole movie, set it in Russia and say, yeah,
Speaker 4: I totally believe that. What if you said it here?
Speaker 4: See could this happen here? But yeah, I think there's
Speaker 4: a germ of a thought there. It caught on people
Speaker 4: to see black hearted, fancy dress, let's say anyway, so
Speaker 4: that that was the thinking behind it. But also I thought,
Speaker 4: let's make a fast paced, knockdown, drag out, tough action
Speaker 4: picture with a risense of humor, and that will entertain
Speaker 4: them for ninety four minutes. And I think it takes
Speaker 4: a lot to entertain people for two hours. Down something
Speaker 4: about that three act structure in ninety minutes? An what
Speaker 4: can you say?
Speaker 3: Tell me about the remake and tell me about how
Speaker 3: that happened.
Speaker 4: Yes, I what did I have to do with the remake?
Speaker 4: I was never asked to remake it perhaps should have been,
Speaker 4: And when I heard it was happening, I didn't have
Speaker 4: any rights to it. Of course I was paid out eventually.
Speaker 4: It took a legal letter, but I was paid, but
Speaker 4: I was not sent a script. But then eventually I
Speaker 4: was asked, can I please put your name on it
Speaker 4: as executive producer? And we have so little money maybe
Speaker 4: I'll give you a thousand dollars or a really nice
Speaker 4: bottle of wine. Neither has ever arrived. I did eventually
Speaker 4: see it. I heard lots of stories about its difficulties
Speaker 4: in post production, and I think the post House did
Speaker 4: a magnificent job. I believe I did see it, and
Speaker 4: I have great sympathy for the director who had to
Speaker 4: do it in fifteen days, fifteen ten hour days with
Speaker 4: very slender resources. So I take my hat off to
Speaker 4: him for effort. And I think that the newscasters in
Speaker 4: the satirical newscasters are excellent, but the leading man is charmless.
Speaker 4: Now you could say that Jimmy Woe knew in man
Speaker 4: from Hong Kong is charmless. He just punches people. You
Speaker 4: could say that. I mean, one critic called him the
Speaker 4: coln Fura. Anyway, many an action hero is charmless. But
Speaker 4: I'm traded this guy. I loved seeing Roger Ward, but
Speaker 4: I wished he was there for longer. Could be not anyway,
Speaker 4: but he was a waiter, homagely Richard. I just I
Speaker 4: felt that I had maybe he would have if I
Speaker 4: had been involved. Maybe they could have found a bit
Speaker 4: more money to make it with making films is very
Speaker 4: odd and making for no money particularly, and so I
Speaker 4: sympathize with the director there, and it was a noble
Speaker 4: effort if it was to be done, and I wouldn't
Speaker 4: have done it unless I felt I could bring it off.
Speaker 4: And maybe I could have been shown what there was
Speaker 4: and I would have said no, but I was not
Speaker 4: given that opportunity, and then ultimately got nothing out of
Speaker 4: it except well, such disappointment. I've never spoken about it publicly,
Speaker 4: but I don't have to say, oh, I actually feel Look,
Speaker 4: that's showbuss. I don't feel hard done by. I just
Speaker 4: feel I would have handled it differently if I'd been
Speaker 4: the man in charge. But that's just me. I don't
Speaker 4: have too many unhappy, bleeding bodies behind me, I believe,
Speaker 4: But I'm not bleeding. I'm very happy. And once again
Speaker 4: Turkey Shoot gets screened in a drive in in Oregon.
Speaker 4: Really yeah, good to see it like that and see
Speaker 4: it on the drive for a long time.
Speaker 3: The thing that always gets me with this movie is
Speaker 3: the mutant, just the appearance of what some people would
Speaker 3: call the wolfman when he shows up, and I was
Speaker 3: just curious, if you can tell me a little bit
Speaker 3: more about that.
Speaker 4: I yes. Originally the mutant was written to have like
Speaker 4: a semi prosthetic arm that it could be so he'd
Speaker 4: obviously been mechanically altered in some way he was going
Speaker 4: to be. He was written to be a sort of
Speaker 4: challenged to the prosthetic makeup department. Bob mccarrum excellent makeup
Speaker 4: artists who were distinguished a number of films, both in
Speaker 4: Straight Out of New Zealand and elsewhere. He came up
Speaker 4: with the makeup effects, and look how well he created
Speaker 4: thatcher's head blowing off and so forth. He came to
Speaker 4: me and said, the Bud, so much of my budget's
Speaker 4: been cut. I can't do what I had in mind. Really,
Speaker 4: all I can do is give you some strange eyes.
Speaker 4: There's a lot of hair. So we put together what
Speaker 4: we could change. The scriptures, say found him in a
Speaker 4: circus and so forth. So at one point he'd been
Speaker 4: a product of genetic engineering anyway, and the teeth obviously
Speaker 4: it was added, and so I thought, we're just going
Speaker 4: to have to go with it, and maybe the laughs
Speaker 4: will compensate. We had a special section of the tree
Speaker 4: built that we could drop him up again, and of
Speaker 4: course we built the what we call the traveling pants,
Speaker 4: which we filled with leftovers of the lunch we had
Speaker 4: that day. We had a lot of steak and sausages,
Speaker 4: and there were leftovers, and so we just created a
Speaker 4: layer with some ketch up, some stage blood and sausage
Speaker 4: and awful et cetera to be his bottom half for
Speaker 4: that insert shot. And we got piano wire so we
Speaker 4: could jerk it around a little bit. I know, I'm
Speaker 4: a sick puppy. It just seemed the logical touch of
Speaker 4: absurdity to add to a scene in which Petrovitch had
Speaker 4: fired a rocket launcher. Best oh shit, he says, And anyway,
Speaker 4: I just went with the inherent absurdity of the scene.
Speaker 4: Ran you're talking to a man who loved the Evil
Speaker 4: Dead too.
Speaker 3: I would love to know a little bit about some
Speaker 3: of your writing projects, because I know in twenty twenty two,
Speaker 3: if you're a fan of Brian Trenchard Smith, you are
Speaker 3: in for a treat, because there was both The Adventures
Speaker 3: in the B Movie trade and then I want to
Speaker 3: say that Alice through the Multiverse came out that same
Speaker 3: summer as well. Is that correct?
Speaker 4: It came out before b B before Okay? Ah, right,
Speaker 4: Alice through the Multiverse is a time tripping, paramorbal female
Speaker 4: driven adventure with the twenty year old history student whose
Speaker 4: psychological issues combined with maybe paramormal activity to cause her
Speaker 4: to bounce back and forth between her fifty century ancestor,
Speaker 4: who was the daughter of a rural executioner, and her
Speaker 4: present day self, a history student with mental health problems
Speaker 4: that is somehow caught up in an international assassination plot
Speaker 4: to which she was designated to be the patsy. It's
Speaker 4: conspiracy Fever Dream, It's Game of Thrones meets Jason Bourne
Speaker 4: on Freaky Friday. It's intended to be a page turner
Speaker 4: to make you wonder what's going to happen next to
Speaker 4: and it has a sort of ecological message. So my
Speaker 4: stuff occasionally I plant seeds with my personal messages, reject
Speaker 4: authoritarian regimes, my turkey shoot and watch dead End, drive
Speaker 4: in and beware of the post economic breakdown future and anyway,
Speaker 4: so that there's a a promotion of econological themes and
Speaker 4: a little no gretit to berg one character. There's all
Speaker 4: that wrapped up in a nice genre cocktail. Alice through
Speaker 4: the Multiverse Really have to Pay eighteen dollars to get
Speaker 4: it as a paperback, but for some it's a rewarding read.
Speaker 4: And I really always wanted it to be a movie
Speaker 4: or to be a streaming series, and this girl's adventures
Speaker 4: in both time zones will, I think be a really
Speaker 4: interesting way to ventilate contemporary issues, feminist issues, issues of
Speaker 4: toxic maxculinity, of political corruption, of the manipulation of media,
Speaker 4: and all sorts of things which actually went on just
Speaker 4: as much at the time of Alice the Executioner's daughter
Speaker 4: in fifteen to fifty four and Jane, who is living today. Anyway,
Speaker 4: intrigued readers have a go at Alice with the multi verse,
Speaker 4: and maybe one of you is an aspiring film producer.
Speaker 4: I'll actually bring it to the small screen. It's a
Speaker 4: story that should I've mapped it out to be in
Speaker 4: ten episodes. I've done a screenplay. I've mapped it out
Speaker 4: in ten episodes, and it could go to a second
Speaker 4: season obviously anyway, So yeah, I do write these things.
Speaker 4: I've written my version of the true story of Richard
Speaker 4: the Third, which is basically the case for defense in
Speaker 4: the trial of Richard the Third for the murder of
Speaker 4: the Princess of the Tower which he was not guilty,
Speaker 4: and my screenplay and what I think could be adapted
Speaker 4: out of it is like a four part dramatized documentary
Speaker 4: series that proved his would I suppose to use the
Speaker 4: Scottish term not proven whether you would ever get not guilty,
Speaker 4: you might get not proven. But I think it's convincing
Speaker 4: historical evidence that Richard didn't do it. More likely it
Speaker 4: was Buckingham who had the request, with the commitment, with
Speaker 4: the agreement of Himry Tudor, to whom it was the
Speaker 4: most beneficial get those princes out of the way Lake Richard. Anyway,
Speaker 4: that's one of my writing projects currently. I writing My
Speaker 4: Father's War, which is non fiction and about my father's
Speaker 4: Air Force career and trying to put what the greatest
Speaker 4: generation did into perspective in the light of the fact
Speaker 4: that they were certainly my British Britain was well basically
Speaker 4: a beneficiary of colonialism. So now colonialism is a dirty
Speaker 4: word and with some justification, but we shouldn't necessarily consider
Speaker 4: that those that supported the British Empire necessarily were bad
Speaker 4: people and they were just following the ideology they would
Speaker 4: be taught. So I'm trying to put a balanced picture
Speaker 4: of people who performed extraordinary. The greatest generation effectively saved
Speaker 4: the world from fascism, and the greatest generation is needed
Speaker 4: again anyway, So I'm writing about that as a in fact,
Speaker 4: you can if it's on my website. It's a work
Speaker 4: in progress, so I don't let any people know that,
Speaker 4: but occasionally i'd let somebody know and if they want
Speaker 4: to give me any feedback. I'm not sure what I
Speaker 4: will eventually do it that. I guess I will publish it,
Speaker 4: but it could also be a documentary anyway, if you
Speaker 4: care to, you can access it through my website. It's
Speaker 4: latest my father's waarly. I'm still dealing with nineteen fifty
Speaker 4: two to nineteen fifty five, and then I need to
Speaker 4: do a conclusion and I need more research as to
Speaker 4: my father's involvement in the sex at that time, and
Speaker 4: which obviously there is very at all information available, but
Speaker 4: I know what he told me, and I'm trying to
Speaker 4: get a bit more documentation. Anyway. That's all work in progress,
Speaker 4: but I think that's possibly all that I can do
Speaker 4: now at seventy eight. They're not going to allow me
Speaker 4: fifty man crew again. Much. They're much fun than that
Speaker 4: would be. I could shoot several horror movies on my property.
Speaker 4: Every angle is a jabman. Okay, lovely to talk to you.
Speaker 4: Happy to talk to you another time and let me
Speaker 4: know how it goes.
Speaker 8: I studied your file, rig I can make it all
Speaker 8: go away. Sleep now when you wake. All you gotta
Speaker 8: do is play Turkey shoots the game and you were
Speaker 8: the turkey.
Speaker 5: Just who is our new turkey?
Speaker 4: He's Rick Tyler, just freest former Navy seal Courk Marshalls
Speaker 4: three years ago for massacring women and children Navy Seals
Speaker 4: Marine for pussy a Hurrah.
Speaker 16: The game has three levels, and hidden in each level
Speaker 16: is this box. Open all three boxes you win your freedom,
Speaker 16: run out of time, and you're eliminated. Eliminated sounds a
Speaker 16: lot nicer than dead, but that's what we're talking about.
Speaker 16: Level one has four shooters, but double that amount introduced
Speaker 16: each level.
Speaker 8: Their job is to hunt and kill you. Of course,
Speaker 8: you can return the.
Speaker 2: Favor all you see it.
Speaker 17: I can tell you things you don't remember.
Speaker 1: You can't kill those kids, your friend.
Speaker 6: It is imperative to the security of this nation that
Speaker 6: Rick Tyler will be silent.
Speaker 5: Yes, sir, you are game changing. Rick, the audience love you.
Speaker 17: You realize he's planned this whole thing. He wants me
Speaker 17: to get to it. Hold on, I'll see you on
Speaker 17: the next level.
Speaker 8: It's game.
Speaker 3: All right, We're back and we were talking about Turkey Shoot.
Speaker 3: And as I always say, any good movie deserves a
Speaker 3: really bad remake, let's talk about Elimination Game aka Turkey
Speaker 3: Shoot aka most Extreme Elimination Challenge. It is possibly one
Speaker 3: of the poorest directed, edited, acted, and shot films that
Speaker 3: I've seen in a long damn time. Though I know Andrew,
Speaker 3: you messaged me off show and told me how much
Speaker 3: you enjoyed watching this, And you know I don't blame you.
Speaker 3: I'm not going to cast dispersions on your taste level here.
Speaker 1: Yes, as I refer to a Turkey Shit, really that
Speaker 1: two thousand and there's very few times Mic where I
Speaker 1: think ill of you, but making me waste an hour
Speaker 1: of my heart, I'm never going to get back in
Speaker 1: my life watching the two thousand and fourteen version of
Speaker 1: Turkey Shoot or Turkey Shit is one of them, absolutely
Speaker 1: one of them.
Speaker 3: And then did you watch this movie?
Speaker 5: I feel bad now because you made you didn't May
Speaker 5: I guess you didn't make you were like Andrew, I
Speaker 5: have a mutant wolf man and a dandy. It's like
Speaker 5: a dance that will come for you if you don't
Speaker 5: watch this. I couldn't do it. I'm sorry. I like
Speaker 5: you and I've potted together for how many years now
Speaker 5: fifty out at the weird Eyelanders. But I couldn't do it.
Speaker 5: I'm sorry. I couldn't. I couldn't do it. It's like
Speaker 5: it's like when it was like when Chris or beloved Christatue.
Speaker 5: Our good friend asked me if I wanted to watch
Speaker 5: the Indian like the Bollywood version of Forrest Come. I
Speaker 5: couldn't do it. I just couldn't do it. I have limits,
Speaker 5: and that was remaking this film. And then just what
Speaker 5: I saw was it. I did entertain the idea of
Speaker 5: doing it. Okay, I'm gonna Woosie, but I farly I
Speaker 5: am good.
Speaker 1: But what you sign hither is that there's some things
Speaker 1: you won't do, oh one.
Speaker 5: One hundred percent. I don't have many. I'dn't have many,
Speaker 5: love it's but this, I just this was one of them.
Speaker 5: And also why that's the thing when you see a
Speaker 5: shitty remake, Why.
Speaker 3: And Apparently the makers of this were really big fans
Speaker 3: of the original because they got back some of the
Speaker 3: actors from the original, including Roger Ward. But even the
Speaker 3: woman that played Jennifer's back in it. I think she's
Speaker 3: like the President or something.
Speaker 1: The President. She plays the President, President Shila Faw.
Speaker 3: Yeah, just they got her, put her in front of
Speaker 3: a green screen and just said go nuts. Because this
Speaker 3: movie is so poorly directed. I just want to talk
Speaker 3: about one scene, one scene in particular. I went back
Speaker 3: and I rewatched it today just to make sure that
Speaker 3: I wasn't seeing things, and it was really about what
Speaker 3: I wasn't seeing. There's a moment in the film where
Speaker 3: Dominic Purcell, who plays our main character, and it's just
Speaker 3: the one character. There's not three characters going on here
Speaker 3: or five. Even when it comes to the Turkey shoot.
Speaker 3: He is in the shower. Yay, you know, very buff
Speaker 3: man looks fantastic. Dominic Purcell is pretty handsome guy, terrific.
Speaker 4: Great.
Speaker 3: He's in the shower and he's looking straight ahead and
Speaker 3: then cut to a guy who is it. The lighting
Speaker 3: is the exact same, it's this blue light and he
Speaker 3: is facing to the left, and then they cut back
Speaker 3: to Dominic Purcell, and I'm like, is he looking at
Speaker 3: this other guy? Where is this other guy? And then
Speaker 3: they cut back to the other guy again and it
Speaker 3: looks like he's got a knife in his hand, and
Speaker 3: I'm just like, does he want to fuck Dominic Purcell?
Speaker 3: Like are they in the shower together? Like what is
Speaker 3: happening here? And they kept going back and forth between
Speaker 3: these guys. Finally, finally they do a shot where you
Speaker 3: realize that this guy is actually on the wall opposite
Speaker 3: of the shower, like around the corner, waiting to sneak
Speaker 3: in and kill Dominic Purcell, after they've had all of
Speaker 3: these looks between them, because Purcell's staring straight ahead and
Speaker 3: I'm just like, it looks like he's looking at this dude,
Speaker 3: and it looks like the dude's looking at Purcell, and
Speaker 3: I'm just like, Okay, are they going to fuck now
Speaker 3: or what? And no, it's it's a kill rather than
Speaker 3: a fuck with this, and I'm just like, did I
Speaker 3: really just see that? Was that put together so poorly
Speaker 3: that you think that these two characters are in the
Speaker 3: same room when they're not. Yes, the answer is yes.
Speaker 3: You get to see Roger Ward's head explode a few
Speaker 3: times you get to see, God, it just looks so awful.
Speaker 3: There's a gentleman who's from The Meg one of my
Speaker 3: favorite films, who I thought he was fucking Kevin Sorbo
Speaker 3: when I saw this the first time because he looked
Speaker 3: so bad. And the movie is bizarre because first off,
Speaker 3: it starts ripping off blatantly the Running Man, because all
Speaker 3: of this stuff is being televised, which I think is
Speaker 3: pretty funny because I want to say, there's even a
Speaker 3: line about like how secret they want to keep stuff. Well, here,
Speaker 3: Turkey Shoot is the big game show like The Running Man,
Speaker 3: and then eventually Purcell escapes from the island or whatever,
Speaker 3: and then it suddenly becomes the Milliams game, which we've
Speaker 3: talked about actually on our Running Man episode, which is
Speaker 3: hunting people inside of a city. It's kind of Tenth
Speaker 3: Victim esque. But all of these movies, I'm saying, every
Speaker 3: single one that I've talked about, is so much better
Speaker 3: than Elimination Game, which just it looks fucking cheap. I mean,
Speaker 3: the graphics for Turkey Shoot are decent. But then also
Speaker 3: tob was not doing me any favors because every time
Speaker 3: they would break for a commercial for Turkey Shoot the movie.
Speaker 3: They weren't doing the commercial breaks and to be the channel.
Speaker 3: So it was bizarre because I would get commercial breaks
Speaker 3: in the show, in the movie, and then I would
Speaker 3: get a commercial break like five minutes later, and I'm like,
Speaker 3: it was very, very poorly timed, is what I'm trying
Speaker 3: to say.
Speaker 5: This is I've messed out.
Speaker 1: Oh you've dodged a massive bullet, shitty reality TV aesthetic, nasty,
Speaker 1: ugly facile. It actually made no sense. The plot made
Speaker 1: no sense to me. And it's actually hard to fuck
Speaker 1: up a people hunting people film, I think, because it's
Speaker 1: basically fairly simple, and even the crappest people hunting people
Speaker 1: films makes sense because you've got someone who's been hunted
Speaker 1: by a group of people. But this sort of this
Speaker 1: was actually sort of more. I mean, because there's two
Speaker 1: types of those films. I suppose there's the people hunting
Speaker 1: people film, where you've got a bunch of rich, weirdos alah,
Speaker 1: the original Turkey Shoot are hunting people for for sadistic pleasure,
Speaker 1: you know. But or then you've got what I sort
Speaker 1: of call murder game films, which are films which are
Speaker 1: about people who organize these hunting games as a sort
Speaker 1: of and then televised them to a sort of passive
Speaker 1: audience as a sort of way of passive pacify their
Speaker 1: rebellious instincts. So this was sort of more a murder
Speaker 1: game film than a sort of murder than a people
Speaker 1: hunting people film, I suppose because it was being him.
Speaker 1: The Turkey Shoot was being televised for the masses and
Speaker 1: was apparently the highest rating television show in the world,
Speaker 1: and it just got higher and higher ratings as Rick
Speaker 1: Taylor disgraced former Navy seal.
Speaker 3: The Butcher of Bakersfield.
Speaker 1: Yes, yes, Dominic for who the fuck is Dominic Purcell.
Speaker 3: He is mostly known for being Dracula Blade three and
Speaker 3: being the guy who was stuck in prison during Olive
Speaker 3: prison break, well prison break until they broke out of
Speaker 3: the prison, and then the show just fizzled. Like nobody's business.
Speaker 1: Everyone deserves paycheck, everyone's got to make a living. I
Speaker 1: don't want to, I certainly don't want to criticize anything
Speaker 1: to do with any of the Three Blade films, but
Speaker 1: he was terrible. It was terrible. It made no sense.
Speaker 1: It all the ram rob the Marksmen that ridiculous character
Speaker 1: ram rob them. Why didn't you just call him, you know,
Speaker 1: call him anal intercourse or something like that.
Speaker 4: What do you what do you know?
Speaker 1: Don't bother coding it, just come out and say it
Speaker 1: all the other shitty characters. I think it's also you
Speaker 1: can always tell when a film is going to be
Speaker 1: crap when they call something neo neo Alcatraz, which was
Speaker 1: this sort of I suppose a bit of a nod
Speaker 1: to the Guantanamo Bay ABU Gray. It looked ugly. It
Speaker 1: was just it was just terrible on every level.
Speaker 3: They tried to sully the good name of Charlie Verick
Speaker 3: because Anthony Ganen is back as President Charles Verick. I'm
Speaker 3: just like, for fox sake, guys, what really breaks my
Speaker 3: heart is so this was directed by John Hewitt, written
Speaker 3: by Belinda McClory, who also is in it. She's his handler.
Speaker 3: And Melinda Belinda McClory, she was switched in the Matrix
Speaker 3: and I love her character, but not in this, not
Speaker 3: in this.
Speaker 1: I got to say, it really annoyed me the way
Speaker 1: that everyone spoke in American accidents, even when they were
Speaker 1: you know, they were all astraight, and it didn't. It
Speaker 1: didn't work, I thought, Belinda McClory.
Speaker 4: Yeah.
Speaker 1: She was in a film, a really weird Melbourne sort
Speaker 1: of cereal cop cop investigating a serial killer film called
Speaker 1: red Ball. Oh.
Speaker 3: I remember red Ball in.
Speaker 1: Nineteen ninety nine that John Hewitt did. John Hewett also
Speaker 1: did this version of Turkey Shoot that we're ragging on
Speaker 1: at the moment. She was in the Matrix film. She
Speaker 1: was in two really good Australian true crime shows in
Speaker 1: the nineties, one called Janus and one called Phoenix. I
Speaker 1: really like her. I think she's really good and she
Speaker 1: was really good in Red Ball, and I actually quite
Speaker 1: liked red Ball, even though I didn't think it completely worked,
Speaker 1: but I liked what it was trying to try and
Speaker 1: do so and to see her reduced to playing some
Speaker 1: weird faux American handler of discrossed former military Navy seal
Speaker 1: Rick Tyler was just a bit sad. Actually.
Speaker 3: She was also in one called The Book of Revelation,
Speaker 3: which we're actually going to cover next year.
Speaker 1: What's that I haven't heard of that.
Speaker 3: It's an interesting one. It's an erratic mystery. Basically, these
Speaker 3: women I think they kidnap.
Speaker 5: Oh.
Speaker 1: Yes, the Book of Revelite. Yes, yes, they kidnap a
Speaker 1: guy and sexually abuse him and release him. I've never
Speaker 1: seen that. I've never seen that film. I've got it
Speaker 1: on DVD somewhere, I must. Yes, and the Kokonos.
Speaker 3: I remember watching that years and years ago for an
Speaker 3: article I was writing and actually really liking it, so
Speaker 3: I threw it down the schedule for Dirty December twenty
Speaker 3: twenty five.
Speaker 1: Dirty, You're theming in months now? I like that even
Speaker 1: more so.
Speaker 3: Yeah, Well, I just was like, well, we got Conspirators
Speaker 3: of Pleasure and Story of Oh. I'm like, yeah, these
Speaker 3: are all going in one area please, and then it'll
Speaker 3: be a very fun November for me next year, so
Speaker 3: I don't have to you know, I'll be a missed
Speaker 3: family holidays, but having a much better time watching these movies.
Speaker 5: Also, do you think the movie would have been better
Speaker 5: if they just called the character anal intercourse? The marts it.
Speaker 1: Says, what was it trying to be? Just a sort
Speaker 1: of shitty reality TV film. I don't know it lacked
Speaker 1: any of the final I know it's strange to sort
Speaker 1: of say that Turkeys. The original Turkey shot has some
Speaker 1: finesse and some playfulness to it. But it does, and
Speaker 1: it's like, let's take all that out.
Speaker 3: There was a movie with Steve Austin and Vinnie Jones
Speaker 3: called The Condemned. It was another people hunting people movie.
Speaker 3: I went to see that piece of shit at the
Speaker 3: movie theater. It was ten times to one hundred times
Speaker 3: better than an elimination game. And like I made that
Speaker 3: joke about most extreme elimination challenge. When you call it
Speaker 3: elimination game, I picture two guys on toilets staring at
Speaker 3: each other and trying to shit faster. The new reality show.
Speaker 1: Would have been a better film.
Speaker 5: Oh my god, I hope there's not fanfic for that.
Speaker 1: Just don't see it. Don't waste your time. Watch something,
Speaker 1: Go and watch, Go and rewatch something, Go and do so,
Speaker 1: go and don't do Just go read a book over
Speaker 1: a walk, tell your partner you love them, do something else,
Speaker 1: but don't watch this film. That's my that's sorry, And
Speaker 1: I'm glad that Brian Trench and Smith may Adola as
Speaker 1: I think he was an executive producer. Don't want to
Speaker 1: criticize that, but just an absolute pace of staving shit.
Speaker 3: We're going to take another break and play a preview
Speaker 3: for next week's show. Right after these brief messages, thank
Speaker 3: you for.
Speaker 5: Agreeing to make this documentary. Mnis Rucker Rouse with Trucker.
Speaker 3: That's my wife, Darlene.
Speaker 4: She's a real looker, ain't she? What is your contribution
Speaker 4: to society as Truckers? A contribution to society? Twenty eight
Speaker 4: years of my life. I've been working on this poetry.
Speaker 5: It's lonely up there on the road.
Speaker 4: You gotta love where you can.
Speaker 3: I love Darlene.
Speaker 2: I'm not saying you don't love your wife.
Speaker 3: Yeah, it's hard to being on the road.
Speaker 4: Hellone, it looks a lot lacker because Darling's much pretty.
Speaker 9: Your wife not doing it for you anymore?
Speaker 4: Do you want to show you how I do it?
Speaker 5: Do you think you're like your masterpiece when you're Jonathan
Speaker 5: master Piece?
Speaker 1: I like the ring of that.
Speaker 4: Pay attention.
Speaker 5: You're not taking advantage of her, are you sure?
Speaker 2: Rucker?
Speaker 5: Trucker?
Speaker 3: That's right. We'll be back next week when they look
Speaker 3: at the film. Rucker. Until then, I want to thank
Speaker 3: this week's co host Andrew and Heather. Heather, what is
Speaker 3: the latest with you, ma'am?
Speaker 5: I actually, since we were talking about Austria and cinema,
Speaker 5: I'm going to mention an essay I did somewhat recently
Speaker 5: for the Blu Ray release of Midnight Spares and if
Speaker 5: I let's see if you're up for there, the nineteen
Speaker 5: eighty three Australian film directed by Quentin Masters, and it
Speaker 5: is a wild ride that is wild as Turkey shared,
Speaker 5: but it's a great it's a great film and it
Speaker 5: has David arc here, so I feel like this is
Speaker 5: David Argue, a heavy keeps lotting he is in this film,
Speaker 5: as in Bruce Spence. They're side characters, but they are phenomenal.
Speaker 5: Bruce Spence of Chris is another one of those guys.
Speaker 5: It's just like a gift and everything. So it's available
Speaker 5: on Vinegar Syndrome. So check that out and you read
Speaker 5: my little essay for it as well. But in the meantime,
Speaker 5: to keep up with all of my sundry activities, you
Speaker 5: could go to my link treelinktree dot com, Forward, Slash, Mondo,
Speaker 5: Heather and Andrew.
Speaker 3: What's going on in your world, sir?
Speaker 1: You know I'm rolling a law. I have a new
Speaker 1: book out which I've co edited with New York critic
Speaker 1: Sam Degan, Revolution and thirty five Millimeter political violence and
Speaker 1: resistance in cinema From the Art House to the grind
Speaker 1: House nineteen sixty and nineteen ninety. And that book is
Speaker 1: out through PM Press or it's wheeling its way out
Speaker 1: to the world. I believe pre orders are going out. Mike,
Speaker 1: you have an essay in US.
Speaker 3: Not only do I have an essay, and I've got
Speaker 3: the cop I've got the book right here.
Speaker 1: So you might want to pick that up. Otherwise you
Speaker 1: can if you want to hear my read my various
Speaker 1: thoughts on things. I have a sub stack under my
Speaker 1: name Andrew Netty, which you can you can subscribe to
Speaker 1: or not, It's up to you.
Speaker 3: Well, thank you so much folks for being on the show.
Speaker 3: Thanks to everybody for listening. If you want to hear
Speaker 3: more of me shooting off my mouth, check out some
Speaker 3: of the other shows that I work on. They are
Speaker 3: all available at Weirdingmaymedia dot com. Thanks especially to our
Speaker 3: Patreon community. If you want to join the community, visit
Speaker 3: patreon dot com slash Projection Booth. Every donation we get
Speaker 3: helps the Projection Booth take over the world.
Speaker 2: All deviates assemble immediately in center compounds. All deviates assemble
Speaker 2: immediately in center compound.
Speaker 9: All deviates assemble immediately in center compounds, all debates