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Let the mad begin! - Mad Max (1979)
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Welcome to Mad Mayx! The maddest that all of May has ever been! Maxly! Woooooh
Join Matthew and Mitch in the first ep of their series of deep dives into the main Mad Max movies!
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Transcript
00:00:04
Speaker
I am the night rain. You're terrible Muriel. Talk to me. You gonna do that Pogger Pogger? You've been talking the cops. Today is a brand new No, that's it. It's the vibe.
Introduction to Podcast and Series
00:00:17
Speaker
Witness me, fellow Aussie film lovers, and welcome to another episode of Under Southern Screens, the most mad Australian cinema podcast. I'm Mitch. That was very, very intense. I'm Matthew. And welcome to the first episode of Mad Makes. Mate, he's on it. I'm on a mad. He's mad. Are we going to roll a specialty intro for this? I was hoping we would. I haven't talked about it with you. Do we want to do, like, car noises? Yes. yeah Yes, I do.
00:00:45
Speaker
Three, two. one and but and and mad nice six that was good that was a really good intro that was awesome i love this unplanned and you're welcome and you're going to be hearing it for the next four weeks dear listener we're definitely going to match the match that every single episode it's The same noises. Are we going to it raw each time? i think we should do a raw each time. I think that's funny. All right. Different car noises each time. Of course. Because,
Significance of Mad Max in Australian Culture
00:01:16
Speaker
so guys, it is the first episode of Mad Makes. Our first like month of for Under Southern Screens. Mitch is- So excited. You're raring to go, aren't you, mate? You're just- Well, as everyone knows, because I can't shut up, I love Mad
00:01:30
Speaker
That's right. We all do, mate. It's part of the citizenship test for good old Australasia. very true. You get asked if in our constitution, if there's a freedom of speech thing, there isn't, by the way. also you get asked if you like Mad Max. And if you don't, you get kicked out. They ask you, what are you? And you have to respond with the Knight Rider or else you're gone. Like a media deportation. Exactly. Exactly. But
Mad Max Plot and Characters Overview
00:01:55
Speaker
first off, spoilers for Mad Max. Yes. Yeah. The first of four. So we're doing the first one today. Yes. Mad Max one. We'll be doing one through Fury Road. That's right. This month. We'll save Furiosa for just a little special time down the road. For another time. Yeah. That is a fantastic movie. And I sincerely hope that there will be more Mad Max films down the pipeline. So yeah, we'll get to it, mate. Don't worry. It's just as good as these ones. But yeah. We have to hold out till the next Mad Max movie comes out. Because unfortunately, there are not five weeks in a month for most months. In fact, any month. There is not.
00:02:28
Speaker
It's true. But yeah, Mad Max 1. This is crazy. Mad Max 1. Spoilers for Mad Max 1. The one that started it all. Mitch, yeah how many times have you seen Mad Max 1 in your time? I think at least four times, including the most recent watch. yeah This was my second watch of this. I'd seen it years ago. I think just when I like started getting into like film academically, when I started it at university. Yes, yes. And I wanted to seem like I knew what I was talking about. But yeah, like this is the second time I've seen it. you want to start our engines with a with a little introduction? I absolutely do want to talk about Mad Max, the 1979 dystopian action film directed by George Miller. oh was
Impact on Australian New Wave Cinema
00:03:12
Speaker
it 79 not 70 i messed up then yeah it was the 12th of april 1979 brother oh no i didn't i'm not really starting off mad makes off very strong am i it's right it's all right don't worry don't worry right set in a post-apocalyptic world that looks an awful lot like geelong in the late 1970s the movie follows a rough and tumble but ultimately charismatic cop who does daring stunts and rescues damsels from ruined cars jim goose reigns oh However, twist once Goose's goose is cooked alive by Toe Cutter and his motorbike gang, the police force's best pursuit man, Max Rokatankski, does not heed the call to action. No, it takes a combination of his supposed best friends getting burned to death, being given the last V8 car in existence, and his wife and kid being run over by a motorbike for him to finally get mad.
00:03:57
Speaker
He then proceeds to kill all them. He went crazy. Shot for $400,000, the movie earned $100 million in gross revenue and set a Guinness record for most profitable films, which which was only then beaten by the Blair Witch Project, which is another reason to hate found footage horror films. Of many. The success of this movie has been credited for furthering the presence of Australian New Wave films on the global stage.
00:04:20
Speaker
Shot in and around Melbourne, the movie features a wealth of the series' iconography, like the Science Works Museum's car park. at the University of Melbourne's car park, and the newly fixed Westgate Bridge after it had collapsed nine years prior to the release of this movie. The film was shot over six weeks, and it stars a 23-year-old Mel Gibson, who really tarnishes this film's reputation and overall legacy. He was 23? Yeah, I think he was 23. that makes me feel so like... I know. I'm almost 23, I'm not Mad
00:04:50
Speaker
oh My bad. He was 21 when he filmed it. He was 23 when it was released. That me feel worse. No. All the missed potential. Yeah, it's rough. He looks older
Cinematic Style and Visual Influences
00:05:02
Speaker
in this. does. He looks like a grown boy. He does. The movie received mixed reviews, both being condemned with phrases like all the emotional uplift of Mein Kampf.
00:05:11
Speaker
Oh my gosh. And praised as a directorial debut for Miller. has been since included in multiple best films of all time. lists Wow. Matthew. Yes. What do you think of Mad Max? Look, it's the first movie in a long series of nine out of 10, 10 out of 10 movies. And I think it is great for being the first movie in this. It's great.
00:05:35
Speaker
That was a great introduction. I didn't know this didn't do that well critically or like financially. I mean, it did well financially, but like not critically. Worldwide, it made a huge amount. However, as we'll talk about probably more in our next episode, it didn't do particularly well in America. Yeah, right. Which is a shame because it is like the American movie. It's got fast cars. It's got hot men and women. It's got a science works building. It's got everything Americans want. I know what you're saying. It's like Fast and Furious, but with the science works. Exactly. It's Proto, Fast and Furious with ScienceWorks. Can we just go back to that Mein Kampf quote real quick? Yeah. So... Can we rewind there? was some Australian commentator slash producer, film producer. What a bold claim.
00:06:22
Speaker
You don't see Lee Patch writing that these days in The Guardian. No, you do not. Although The Guardian, so The Guardian was one of the publications exactly that really loved Mad Max. That's good. That New York Times. It was Philip Adams, who is an Australian humanist, social commentator, former broadcaster, public intellectual. Public intellectual. Imagine that being on your business card. That's crazy. a column for bajillion different things. He's written for The Age, The Australian, The Sydney Morning Herald, The National Times. I can't beat that. I'll be brutally honest. But still, bold claim. And look, this has emotion. This has feelings. I can see why people wouldn't like it. But I think they're dumb if they don't. I'd love to immediately bring a comparison to a previous film that we've watched for USS, The Cars That Ate Paris. Oh my god, I am shocked and appalled that you would bring this movie up. After watching that with our dear friend Alex, the DNA that these movies share is almost uniform. It's got the same visual style, it's got the wild and wacky cars, it's got the outlandish characters. And the narrative is just slightly kooky. It's a kooky, tilted narrative. It's kind of like the slimmer, more unhinged younger brother of Casa de Paris, which isn't to say that like Casa de Paris is bloated or anything, but That's just Cars of Date Paris is this more introspective, slower, and as we discussed in that episode, go check it out, there's a lot of deeper themes that it really goes into. And that's not to say that Mad Max doesn't have deep themes per se, but I feel like it wears its themes more on its sleeve than Cars of Date Paris does. This is kind of quite clearly a critique on law enforcement Yeah, yeah, exactly. A the time, it's the law enforcement that's doing more damage to the public in these pursuits than the actual criminals. I do see that, yeah. Especially in that first opening section when they're chasing after the Knight Rider. By the way, we haven't forgotten he is indeed our intro. He is, he opens the brunt of our intro. He does. It's just such an iconic moment, iconic line. The dude is deranged as well as his GF, you know. It's like, what an excellent way to open the film with like a... Rip roaring car chase that shows that the police force is like inept as hell until Max Rokotansky steps in. Rokotansky. Rokotansky. Rokotansky. I was looking at that in my intro and I was going, I don't want to say that. It's funny as it sounds like a Street Fighter character. It's crazy
Themes of Law Enforcement and Societal Degradation
00:08:52
Speaker
that he's got like this Russian last name. That's true. Yeah, very, very true. Very Slavic. It's interesting. I like this movie a lot. The first Mad Max movie I watched was Fury Road. Yeah, so you started at the end. Yeah, I started at the end. So when I finally got my lovely Blu-ray set of all the films until Furiosa came out and ruined it, I was like, let's start from the start. Let's watch all four. I knew this would be different beast. I knew it couldn't be Fury Road. But the first time I watched this, even though I knew this was older, even though I knew this was going to be slower, it was going to be...
00:09:29
Speaker
different you have to build up to it i was disappointed by this the first time i watched this i think i was 20 i was younger 20s than i am now but the second time i watched it loved yeah i knew what was going into it this time i knew to expect not the same nitrous filled witness me um kind of stuff where's the orange you know what i mean that's where is the thing that's missing missing from mad max one it's very green and gray a rural it's a rural movie i don't actually think the apocalypse has occurred yet in this movie yeah i think it's like the lead up to the nuclear war that is the apocalypse yeah the but intentions yeah because it it is a degradation in society for sure there's all these motorbike gangs you know the turret cutter turret cutters gang played by hugh keys burn what a legend exactly exactly they mentioned that it's the last v8 car or it's the last of the v8s yeah um the car that he has um what happened uh all the other cars did someone eat them like the paris that ate the cars i think it is a reflection of george miller's making a very sort of subtle allegory for the 70s where you know impending nuclear war i mean vietnam for the first half of the decade yeah stuff that we mentioned in cars that ate paris all the like throughout that whole video like a lot of those thoughts and feelings are similar here at the same time
00:10:45
Speaker
I'm not sure if it completely disavows the police force just because of how badass it makes Max look throughout the whole movie. And also Goose as well. Goose is made to look pretty... until he gets mulched and cooked. That's Cooked and unk and red-pilled. Gets absolutely domed. The movie's kind like, oh, a lot these cops suck, but this one cop's cat. kind of that's it when we need to have a really cool action set piece then that's when the cops can be cool there's a sense of desperation in all the stunts in this because you kind of know that they only had one take for all of them and they just had to get it right because of that they look so real it's all so much fun right feel the weight of it right from the gate in that opening chase when they rip through that caravan and that like truck that little van all truck based stuff in this movie is pretty great on when they like fly over the river bridge or whatever it's just like man yeah that must have hurt think the actor for max's wife i remember the character's name who's great by the way this movie she's great yeah i think that was a replacement actor though rosie bailey was originally cast as max's wife and she was interested in a bike accident within what the first four days of shooting she production was halted and then bailey was replaced by who actually does now play the wife joanne samuel after a two-week delay you reading the making of this movie there is kind of crazy can i give you some more um tidbits fill me in man go nuts with it so they would close down roads without filming permits and they would not use walkie-talkies because their frequency was coincided with police radio the police so they couldn't like it um so they would just sweep the roads like get all the stuff that they left behind this is student film to the max i actually kind of love it however the victoria police actually eventually became interested in the production and just kind of helped them close down roads and escorted vehicles. That must be the most Australian thing about this film. They're like, oh, what are you guys doing? Are you making a movie? Oi, mate, what you got on there?
Guerrilla Filming Anecdotes
00:12:48
Speaker
Oh, you know what? We'll give you a hand, eh? Going into my own personal experience, no one really cares if you're shooting anything here.
00:12:55
Speaker
least from my experience. Like, you can just be on a beach somewhere, literally in the middle of the city, and people will just, like, walk by you. I think it's really circumstantial. I've heard of someone who tried to film at the Shrine of Remembrance that didn't go well. yeah right yeah they got got pretty early on well you have to get a specific permit for that one and they tried to gorilla it and they got caught i filmed at the shrine of remembrance gorilla style and i was fine you were lucky have that nice guy it looked to me have that good aura you looked like a tourist just like filming stuff honestly yeah it was solo it was like for a thing but they had a whole crew so that was maybe if you were solo then that would be it wouldn't be that yeah I think they had a whole like crew there that being said maybe don't bring a whole film crew to the Shrine of Remembrance like it's kind of a you know a sacred compeltative is that what it's contemplative contemplative that's the word thank you area anyway back to Mad Max just the rough and readiness of this film is kind of lost in the later ones think made so much money that they actually got a budget so they could actually go do stuff number two number three and number four number four especially would be so interesting to watch this and then watch number four yeah yeah and miss out the middle part where you can see the evolution of the series you just yeah start and end it's like reading chapter one and then the end chapter of a book you know what mean it's like how did we get here Take your analogy and like make it even bigger. It's like reading the first chapter of, don't know, Lord the Rings and then going to the last chapter of the last book of Lord of the Rings and reading that and just seeing like, what the hell just happened to you? To be fair, they both start and end in the Shire. So maybe not as big a change as what I'm hoping for. My point stands though. It's so curious and it's so, it's just fun. It is funny how long it takes for Mad Max to become mad. Or just for Max to do anything in this movie. Yeah. For a lot of it, it is the goose show. We found this when we were watching, because this is the first movie for this pod that we've watched together in person, because I was down in Melbourne for a couple of days. And so we watched Mad Max 1 together, and we were just commenting, like, when's Max going to show up, bro? When's he going to do something? Yeah. wanted to see Goose, I'd watch Top Gun. Ha ha, funny. He dies in that, too. Yeah, that's true. Spoilers. Oh, yeah, sorry. You know what? Screw it. Top Gun, you can spoil Top Gun. That's right, yeah. A, everyone knows he dies in that, and B, if you haven't seen Top Gun by now, If you want to, are you There's a whole sequel to Top Gun that revolves around main spoiler of Top Gun 1. Yeah, exactly. But when Max does show up, I think Mel Gibson, yeah, he's doing what he needs to do, I reckon. He's not the best part of this movie. Our audience surrogate. He's our gateway into this crazy world where everyone else is. He's so every man, isn't he? But I buy his relationship with Joanne Samuel as well. I buy all that and I find that very sweet. The main star of the show here is Hugh Keesburn as the toe cutter. Oh my goodness, Hugh Keesburn. he's been what a man it's great seeing him um a lot people would know that he actually comes back in the franchise later but in this he's such a fun villain so theatrical mustache twirling yeah he steals joanne samuel's ice cream which i think is like the worst crime a thing can do and then gets like weirdly sexual with it and it's odd and she kicks him in the balls and and slaps him in the face with the ice cream it's good stuff yeah
00:16:16
Speaker
There's no depth to him. Yeah. He's just insane. He's just sadistic. kind of love that. It's like the world is caught up with his insanity. you know what mean? Like he's always been this crazy fella and now it's all going downhill to match it. There's now a world that matches the kind of person that he is. Yeah. Oh,
00:16:32
Speaker
It's good. It's good stuff, man. It's very good.
Editing Choices and Action Sequences
00:16:35
Speaker
Yeah. That final sequence when Max finally goes mad. It was mental. Even there's that part where we pointed it out and he he's mad. It's like, that's the movie. It's unleashed. It's Max unleashed. There's that part, but just the part where he gets shot in the leg and he blows the guy away with a shotgun. It's gnarly. It's gnarly. That's something I want to bring up, actually. The editing of this movie is fantastic, I think. It's so good. lot of people say editing is at its best when it's seamless. I think here, some of the cuts, like for example, when Max's leg gets bloody wrecked by this shotgun, his leg gets raptured and then we quickly cut away. It's like, that's all you need to see. And similar thing in the car chase is when you get those close-up shots of eyes and stuff. And it's very... kind of roadrunner but it like it matches the vibe right before they crash and it like bugs out yeah yeah it's good yeah it's good stuff it's another ozploitation gem but i think everyone already knew that you know kind of feels like it manages to rise above the ozploitation in a way though does that make sense It's a good mix of the two because it starts off very typical 70s fare. It's got a bit of a soapy vibe at the start, especially with Max and his wife and child interplay at a little villa by the beach or whatever. And it's like they're just hanging out and doing their thing. And then it just goes crazy with all the car chase and stuff. So it's a great entry point into Ausploitation, I think. Yeah. And it's like the gold standard of Ausploitation too. as well you could argue I mean to be fair I'm not a exploitation knower you're getting there man you've watched a couple on our travels we're gonna watch a lot more as well it's a big part of Australian film but the film's reputation alone and the place it holds on the global stage it's gotta be like some sort of gold standard of the genre yeah Oh, look at that part, Wynn. Remember Wynn? Remember Wynn? Let's go for it. I love that part at the end as well when he cuffs the guy's leg to the car and then sets it ablaze and all that. big end. final big confrontation. And the guy doesn't even really deserve it. Yeah, he's just a little snake. It was coerced by Torricotta to do it. Like, he actually didn't want to set Goose on fire, Max doesn't care. Max goes, you can cut through the tensile steel in 10 minutes or your leg in five and it blows up in like two. So it doesn't matter. Oh man. Yeah. What find really interesting about this is you look at number four and there's these actions, like these hand to hand combat sequences, like where someone goes down with an ax on Max and Max grabs it, pushes him back. And you know, it's like an action movie. so calculated. choreographed and good stuff in this one it's just now max gets shot in the leg and so then he whips out his shotgun and shoots the guy driving towards him and the car chasers too while brilliant are so tame in comparison to where they go the main set piece is that they're driving at a fast speed know what i mean which is sped up in cameras exactly and lightly tapping each other unfortunately this one of my where one of my film prejudices comes in from strictly boring i said my prejudice was slowed down footage that is meant to look like slow mo that's the flip side of the coin but it's the same thing for me i just it doesn't look great for me that's interesting because i don't like the slow mo that you've described as well but actually while i don't think sped up looks brilliant i don't mind it as much It's not the end of the world. Just shoot it normally. you know what I mean? I don't know. Yeah. It feels very parlor trick. It feels very Lumiere Brothers parlor trick to augment the footage like that. don't know. That's just me. That's just me. And just you wait. In like a short film I'm doing in like 10 years, I'll probably be doing the same techniques and people will be like, I'm actually, but anyway. In Basil Oman's film, it feels more like a stylistic choice, which I don't enjoy. Whereas in this, it kind of feels like more a limitation of the time. necessity it's like we have to show the cars going fast yeah speed up the footage mate don't worry about it we can't speed this up in a way that looks any better like we have to keep people safe we have to as much as he can a guy gets hit in the face with a bike tire in this yeah there's a part where a guy just got absolutely bludgeoned in the back of the head by the poor guy that would actually yeah proper slow-mo too proper slow-mo real slow-mo and even then it looks like it hurts hard it's just like yeah
00:20:49
Speaker
Ouchie, we're
Realism and Unsafe Stunt Practices
00:20:50
Speaker
ouchie. A lot of the charm is just seeing all the stuntmen who eat absolute crap in this film. Obviously, I'm a big proponent for safe film practice. Like, that is so important. O-H-N-S. People's safety is the number one priority on any film set at all times. That being said. It lends a level of realism just seeing real people. It's like when you see someone get punched in the face for real. Like in Creed 1. Yeah, yeah.
00:21:14
Speaker
When he gets laid out. Michael B. Jordan actually got punched for real in the face. It sounds masochistic, but it looks so good, baby. I'm glad no one died. That's true. feel little bit bad saying it looks good because, and it lends to this film's charm, because it is super dangerous and it shouldn't have happened. Talking on the limitations that you were saying, can we talk about some of these filming locations, brother? Yeah, please. Science works. My favourite has to be the Melbourne University car park. It looks so cinematic, though. It looks so good. It looks very 60s architectural thing. I just find it so funny that you can go there now. You can go there and shoot a student film at this place. I'm amazed that the Melbourne University gear rental people didn't come around and be like, you're damaging the priceless Melbourne Uni sandstone or whatever, $10 million fine. You know what mean? better make sure you give back the exact same batteries that we gave you. Yeah. I wonder if they went to the Melbourne Uni film equipment place being like, hey, our Zoom mic is broken. Can we please borrow one for the day? And they were like, have you signed the equipment contract? Yeah. This is all trauma dumping, by the way. This is all from experience of dealing with very, very nice and very, very helpful gear rental people. I'm not trying to burn any bridges here. Work it out in a public forum like this podcast. No, we love you guys. You guys are doing great job, genuinely. You're dealing with pieces of shit uni students every day. I'm going to try for two seconds to talk about cars. I'm not a car guy, so... No, mate, this is the car hour. Let's go. Yeah, but I'm not good at cars, so... And also, Wikipedia is telling me that a lot of these sources may not have been reliable when they've wrote this up either, so... It's okay. Mitch's car corner. Mitch's car corner, the man who does not know cars. The yellow interceptors were Ford Falcon XB sedans, which were a Victoria police car for a while. The black pursuit special was a 1973 Ford XB Falcon GT351 with a limited edition hard top, which was primarily modified by Murray Smith, Peter Arca de Pan, and Ray Berkely. that's max's car right that's the that's the main mac that's the uh interceptor that is like an exceedingly rare car these days by the way it's also just sick in this movie it's so rad honestly so rad part of the plot of this movie is that max is going to quit the police force yeah and the main police guy who i don't think is a commissioner he's some sort of police chief or something there he basically tries to bribe max by giving him a v8 like a black v8 car The Knight Rider's vehicle was another Pursuit special, apparently, and that was a 1972 Holden HQ Monorow Coupe. Yeah, get him that Holden. Let's go. Australian car industry. RIP. Rest in peace. Max's car is the same car in number two as well. They actually gave the car up for sale after this movie was done filming. No one bought it, though, so they were just like, it's actually the exact same car because they just managed to get the same car back. They just managed to get it back. yeah there you go and now and it was for the longest time at acme they it on like a little plin now it's in miami i think globe trotting vehicle uh i remember there's that part where um the blue van gets hit and like a bunch of paint comes out and stuff like that yeah it's actually milk so it's easier to clean up Clever.
Legacy and International Influence
00:24:36
Speaker
If you want to know about the Mad Max cars, we'll talk about it next week, but you can go to the Mad Max 2 Museum in Silverton, New South Wales. We'll talk about next week, don't worry. Near Broken Hill. On the whole, Mad Max 1, it's a great first start to this very quite lucrative and influential and honestly just kind of stellar series of films that definitely put Australia on the map with regard to the Max. Oh!
00:25:02
Speaker
The max of Australian film. Dude, that was off the dome. Dude, you're so good. Thanks, man. Another point to note is that this film gets the prestigious Under Southern Screens Murdered Child Award. um Yeah.
00:25:16
Speaker
ah There is another murdered child. That is three murdered children on this podcast. d Ding. Ding. Put Simons ding in there. Ding. I will. I'll do right now. Yeah. Thank you. If I don't do it, I'm sorry. Anyway, Mitch. Yes. Level with me, baby.
What Makes Mad Max Uniquely Australian?
00:25:31
Speaker
What is most Australian thing about Mad Max? I'm sure it's been very hard for you to pin this one down. I going stick to the original one I told you on the day and that's just everyone driving on the left hand side of the road. Yeah, honestly. Yeah. It's so, I mean, obviously Australia is not the only place that has the left hand side driving. I think Britain does it as well. Yeah. A few Asian countries as well. few countries too. But it's just so, cause when I'm watching something, I'm expecting things to be on the right side of the Cause it's mostly American or Asian countries that don't have the left hand side yeah right or some other place in europe like um france or something most of the movies i'm watching so watching cars be on the left hand side in chase sequences was like damn they're going down the wrong side of the way no wait hold on hold on that's actually not as insane as they would do it yeah whoa they're really racing down the wrong side i guess adding on to that point a bunch of the cars were in right hand drive as well yes like so when they get in you're like
00:26:27
Speaker
Oh, right. Yeah. They're getting into the passenger seat. They're actually getting into the driver's seat. Small story from Mutual. I always played a bunch of Grand Theft Auto V and I didn't drive a really long time between playing that Grand Theft Auto And then I tried to get into my car and I went to the passenger side and I went, where the frick is my wheel? so funny. Look, obviously didn't take me that long to realize what had happened, but still there was a moment of, what the, oh, okay. had to walk around my car. Just a little readjustment period. Yeah. didn't get in or anything. Obviously I noticed it before I entered the car. Well, Mitch, I know I won't get into a car with you again in the future. You've driven me, I think, right? I've driven you here and there. On the Fury Road. On the Fury Road, but that's not for another couple of weeks. In three more weeks. In three weeks. You're just to have to be patient, dear listener. sure everyone's chomping at the bit for us to talk about Fury Road. I'm looking forward to it as well. There's so much to unpack with that movie. I'm also looking forward to next week's. And honestly, I'm excited to talk about the third one as well. Yeah, know. Mad Max, it's just the gift that keeps on giving, man. For four whole weeks. They don't miss. And I think I mentioned it last episode, but I've seen Mad Max 1, I've seen 2, but I haven't seen 3. And I've seen Fury Road, obviously. But so 3 going to be a completely blind watch for me.
00:27:40
Speaker
That is exciting. Yeah. Yeah. Yeah, I'm excited to enter the Thunderdome. A rare Mitchell has seen, but Matt has not. I know. It's an interesting flip of the format there, baby. This is my domain now. He is the Knight Rider. No, I don't want to be... He's a rapist. I don't want to be Knight Rider.
00:27:56
Speaker
Oh, yeah. Sorry. My bad. Cut that. Thank you. Thank you. Cut that. Cut
Social Media and Closing Acknowledgments
00:28:00
Speaker
that. cut up But you can get in touch with us to express your excitement for Mad Makes. Mad Makes. Mad Makes via TikTok, threads, and Instagram at UndersouthernScreensPod. You can also send us excitement mail at UndersouthernScreensPod at gmail.com. Excitement mail. Is that what it stands for? Yeah, that's what the e email stands for. It's excitement. Excitement mail. That wasn't even deliberate.
00:28:28
Speaker
Mate, we're just geniuses. What can I say? just that funny. I'm making jokes before i realize. Yeah, send us an email. That'll be cool. Give us some reviews if you want. like Tell us your your thoughts and opinions. Send pictures of you in a car and slash or wearing a leather jacket. Just in a car or a leather jacket. We'll do a compilation if we get it enough. yeah If no compilation appears on the Instagram, it means we didn't get any pictures. And then it's your problem. And that's your fault.
00:28:52
Speaker
Yeah. And that's it. I think that's the end of the podcast. Well, you know what? Mad Max has only just begun. Next week, we're going to be talking about Mad Max 2, The Road to Warrior. but bu bu bu bu from Sorry, were you saying something?
00:29:06
Speaker
I was just about to say i tried to sound gravelly and and really rough with that, but then you came in with the the car noises and it made me feel inferior. So, yeah. Well, keep driving towards them southern screens.
00:29:18
Speaker
Bye. Bye. Thanks for listening to another episode of Under Southern Screens. We'll be back next week to talk more films down under. We just want to attribute that our opening title is Heavy Duty by Zoo and our closing title is Heavy Weight by Fell Creek. Thanks so much for listening and Mitch and I will see you in the next episode.
00:29:37
Speaker
See you next time.
00:29:41
Speaker
Under Southern Screens would like to acknowledge the stolen lands on which this podcast is recorded and produced and pay tribute to the Wurundjeri and Woiwurrung people of the Kulin Nation and Kamaragal people of the Eora Nation.
00:29:54
Speaker
Sovereignty was never ceded and we pay respect to all Indigenous Elders past, present and emerging. Always was, always will be Aboriginal land.