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I actually will remark on this - Unremarkable (2026) ft Xavier Coy!
40 Plays1 month ago
Matthew and Mitch got the chance of a lifetime to watch the incredible indie Aussie comedy Unremarkable, and they got to have the amazing director, producer, and star Xavier Coy on to speak about it!
Remarkable!
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Transcript
Introduction & Special Request
00:00:00
Speaker
This is your under southern screens spoiler warning and just like a little clarification as well. um We said we were going to start Mad Makes this week, but then we got a very interesting and special request, a cold DM as it were, from a Xavier Coy who has directed a film called Unremarkable. um And me and Mitch gave it a watch and we absolutely love this film. We wanted to shed some light on it. So the first episode of Mad Max will be premiering it next week. so I'm sorry if you wanted to hear about Mad Max 1, but trust me, the wait will be worth
Film Overview & Inspiration
00:00:31
Speaker
it. But yeah, for now, here's this really enlightening conversation on a fantastic micro-budget Australian feature film that honestly is really inspiring for all Australian filmmakers and all Australian creatives. So yeah, we'll be chatting with Zave in ah in now.
00:00:48
Speaker
Roll that intro.
00:00:57
Speaker
muriel talk to me you gonna do that myup hugger today
00:01:05
Speaker
no that's it it's the vibe G'day fellow Aussie film lovers and welcome to another episode of Under Southern Screens, the most unremarkable Australian cinema podcast.
00:01:15
Speaker
I'm Mitch. And I'm Matthew and you're really selling this podcast well aren't you Mitch? Just getting it, I mean we've got a guest here Mitch, you gotta really sell it. We're the most remarkable podcast all time. Can I try it again? Yeah, we're the most remarkable. The movie's called Unremarkable, he's nailed it. I'm gonna be real with you guys, I think I'm getting mixed sets of signals, have I done a good or bad job here? No, you've done amazing. I think you've nailed it. You've nailed it. Thank you. On brand because today already here in the call that the immersion is broken completely, but we have a very special guest on the pod today. Someone who reached out to us. Yes, we do have a following. It seems that's crazy. He reached out to us and he's got a really special project out the moment. It's called Unremarkable.
Mindset & Commitment to Filmmaking
00:01:56
Speaker
It's a feature film to Australian comedy. We'll let him explain it. But ladies and gentlemen, it is the writer, director, producer of this very special film, Unremarkable, Xavier Coy. Welcome to the podcast. Thank you. Thanks for having me. Clapping, clapping. How's going, mate?
00:02:10
Speaker
Far out. It's such a fever dream, man, because this thing happened so quickly and then it goes in this stasis where you're just kind of hanging around for a while and then it's released and then it's the chaos again. Yeah. And you're just kind of like, where was that stasis? Where was that downtime? Like, love a balance, you know, a little downtime, but that doesn't happen. The ebbs and flows of movie making is crazy. I mean, like, first off, straight out of the gate, congratulations on making a feature film. Yes. the amount of just effort and time and blood, sweat and tears and effort again to make a feature, much less something that has excellent writing and excellent heart and character.
00:02:51
Speaker
Yeah, just congratulations on getting it across the line, you know. Thanks very much, man. Thank you. I appreciate it. It's like so Herculean to put anything to film. So like putting a whole feature, I can't even imagine the trials and tribulations you've gone through, but you're here today to talk to us about said trials and tribulations. I'm just kind of one of those people. It's like, if I set my mind to doing it, like I'm doing it. The kind of thing where it's like, yeah I'm not going to say it out loud unless I'm going to do it. You know, I'm not one of those people. It's like, Oh, I'm going to go do this. And it just never happens.
Story Summary & Character Journey
00:03:22
Speaker
So the thought process is for me to go, I'm going to do this. It's locked in. It's a done deal. So before we go full, diving can you give us like a rundown of the film, like just a general summary like of what it is, just for people? Yeah, for sure. So the film's called Unremarkable, and it is following Sydney's most unremarkable man's attempt to make a million bucks this year with his wacky business partner. And I say that loosely. He's just a local sort of nutjob, I suppose. chris His suits are immaculate though. I must say his suit is on fleek. I wish I had that drip. Yeah. He's a sharp man. He's a sharp man. He's actually, he's actually my groomsman. So I think he might be pulling that suit out. yeah we Yeah. So they're trying any wacky business venture they can until Tim, the main character, his health shifts.
00:04:11
Speaker
He gets very sick. It's a life-affirming odyssey with all sort of weird and wonderful adventures is how I'd put it, with a lot of heart and him going to do the important things in life and like pole dancing. Oh, well, yeah, that as That was good. That was good. An all-encompassing feature, mate. I mean, we'll go into the background, but how is that to film just in general? Because I'm guessing you're not an experienced pole dancer. You're not you not trained in the arts. Dude. There were so many times in the movie I'm like, why have I written this for myself? Yeah, so real. I was like, it'll be funny, but I'm really, really, like, they're self-deprecating and then there's just like, okay, there's there's another layer which is just like, you are f***ing going hard on taking the piss out of yourself here. But it's the committing to it. that I think is so strong as well because it radiates on screen like the heart of this protagonist. Tim Smith is the lead character and he's just such a relatable everyman. And i was saying earlier, the best part of this film, in my opinion, is the excellent colloquial writing, I think. So dear tell us about how you sort of formulated the script and got the idea flowing originally. be honest, I actually don't remember. I write a lot yeah and I write very quickly. So I sort of get into this weird like zone and then it just, once I'm there, it's kind of impenetrable sort of like life just sort of flows around me and I'm just like locked in all the time. And then all of a sudden it's sort of done. It's this weird thing. I kind of describe it as it's my subconscious meeting my conscious mind. And I'm sort of like, that's what I don't really understand the ego around this sort of shit because you can't account for stuff that's just happening up in your head. It's not me. There's a portion of me writing it, but my subconscious is doing a huge amount of the work. Exactly. And I'm sure you you think about it twenty four seven and then ideas come and go and it's such an everlasting process. yeah Totally. like as in you know Like the conscious part of me is going, well, here's the structure. Here are the character
Character Dynamics & Film's Heart
00:06:16
Speaker
arcs. like you know It's kind of the A to B to C. But you know I've never sat down to write a script and known a single line of dialogue I was ever going to write. you just have to trust that that's going to come out and that in your head the characters, you know them well enough that by the time they get to talk on the page, they're going to ring true to what you've conceived in your head. I wrote the first draft very, very quickly, like maybe three or four days or something. Wow, Okay. Yeah, that's good. And then constantly churned away at it for a while. But from the time of writing to the film being finished, it was only like nine months or something. like a child, mate. Yeah, exactly. It was a pregnancy. It was a term of a pregnancy. It was nuts. Yeah, the conception happened where I'm sitting, I guess. Yeah. how beautiful yeah yeah i know never actually thought of it in those terms yeah how plain this is what happens on under southern screens we throw you with the first question mate yeah i but that so it was it was nuts right like i literally wrote the script and i was like oh no there's something in this because as i said i've written lots and lots of things but when you're making a movie like this with limited resources limited money and all You have to just be like a million percent like, no, there's something in this one that I have to go for.
00:07:37
Speaker
And I just, felt I felt it with this, like the blend of comedy and heart. I just sort of felt like from the outset, pull the trigger, go, just make it happen. This is it. Yeah. With like the concept of this one, did you start off with it's a guy trying to make a million dollars, but then he gets this health issue? Or did like one come after the other? like Where did you marry those two concepts together? The initial sort of skeleton idea was i really like the tragicomic figures, you know for example. So like an unremarkable man, the health scare, and then where that film goes, blending drama and comedy. I really love the moments. I've written a bunch of characters like this where – They are ostensibly the people you're sort of laughing, like you're laughing with, but you're laughing at. And they're sort of like, you know, not clowns, but you're laughing at them a lot of the time. Yeah, yeah. And then just going, bang, really pulling the rug out and going, oh, s***.
00:08:31
Speaker
Yeah, they're people. Yeah, hitting them with their sympathy. Like actual reality of the person itself. Yeah, exactly. Just going like, oh, I've been laughing at this person, but that's right. There's their humanity. And I mean, that's such an Australian concept as well. I mean, like films like Muriel's Wedding, for example, is like a great example of that sort of archetype where... you know, you judge a book by its cover as like, you know, you judge the Australian character by its stereotypes and its aesthetics. And then as you gradually dig deeper, it is such a Australian aspect. Were there any Australian films in particular that inspired this or any films in general that inspired the story or the type of comedy that you were trying to produce with this? I love the working dog guys. Like obviously, you know, like front lines, one of my favorite shows. And the amazing thing about that, like,
Scriptwriting & Improvisation
00:09:17
Speaker
I mean, that still holds up today. It's mental. And obviously the castle, Kath and Kim. I mean, I grew up on Kath and Kim rewatch that every year, yeah you know? And the thing I love about those things is like, and why I think the comedy holds up so well is they're so specific. Like they're just really locked into exactly who the people are in the area they're in. Like it's not,
00:09:38
Speaker
trying to broaden it to fit everyone because you can't yeah and so if you just like really local and specific they're kind of my main ones that i always i mean i'll yeah frontline kath and kim i'll watch them like every year as you should but everything the working dog crew do it yeah it's incredible I was going to say, i really like how at the start you see this character who is kind of disconnected from the community at large, but then by the end of the film you see this community he's built up with, the inner circle of people and how much he's touched them. And I like this idea of a character who hasn't managed to touch everyone, but the people they have touched, Who really matter? I i was wondering, like was that a conscious effort or did that just kind of come through in the writing process? or No, that that that's I'm glad, yeah, because that was the idea, right? That it's like an unremarkable person on the surface who hasn't achieved much can make a remarkable impact. And even if it is only on a handful of people, it's not his head that makes the impact on the world. It's his heart. So, yeah, that's definitely what it was driving towards from the outset was just going like, well, yeah, he is unremarkable if you look at him as like book smart.
00:10:48
Speaker
But the idea that those people can still make a remarkable impact on your life. Yeah. you know Throughout the film, his best friend and business partner has been making these insane claims about all these people he's met and all these shoulders he's rubbed with. Iconic. And you kind of let the believe, because it is a comedy that Tim does maybe believe him that all these things happen. like Because, you know, in a comedy, they believe things that normal people generally wouldn't believe they're functioning. Yeah, exactly. yeah But then you get to the end and it actually turns out Tim's kind just been humoring this guy all along. like He just goes, dude, who is the most famous person? And then he hits you with the Matt Preston reference. Yeah. But I just like this idea that he's not as idiotic as he's come across either. He's just happy to live as like this carefree person who doesn't need to prove themselves to people. And that I really liked that as a character. Yeah. Yeah. And I think it's just, that's kind of all Christo, he kind of needs to hear is you're my mate. And then it's like, you don't need to like, it's okay. I'm not here because of all the stories. I'm here because I i love you. You're a bud. Yeah. So human. That's so beautiful. That's a beautiful um message, I guess. The way you've been able to balance that real humanity with mundane bits of colloquial comedy. I'll constantly ride that point to the day. like My favorite exchange in the whole film is the scene between Tim and Christo talking about how people graduate from eating chips to eating biscuits. What? That's true. That is absolutely true. It is true, though. remember when I wrote that, i was just like, hang on, this is like a yeah a proper epiphany, man. Like, what the f***? When did just going like water thin? I mean, you can read into it a million ways from like, as you grow, your life becomes more savoury and blah, blah, blah. And sort of, you know, like it's just the metatextual levels that I'm, you know, I'm sure... People read into it are crazy. But I mean, talk to me about those bits of just at a level, mundane, back and forth bits. How much of that is in the script? And then how much of that comes out in improvisation or like just through working it with the talent?
Production Challenges & Logistics
00:12:52
Speaker
So basically the way we did it was we'd shoot him clean, especially and Christo, because he's one of my best mates. Nice. Yeah. And he's an incredible artist as well. Got to shout him out for that. he' He's incredible. And he's just a very funny dude. You can tell His performance is fantastic. Like I wrote it for him because the challenge with a character like that is you've got to keep him grounded, that he is believing everything he says, heightened enough that he can deliver these ridiculous tales. And to get that balance right, it was like I could only write it for him, but we would improvise a lot after we got the clean takes. Yeah, right. The issue became in post that the rough cut came out at like nearly three hours. Right. Because... There was so much improv. But you're not Peter Jackson. You can't do a three-hour cut of your movie. Dude, who wants to watch a three-hour comedy? Hey, man that's a great experiment, mate. Next feature on the cards. Uncut, unremarkable. Yeah, exactly. There was a lot of improvising, but we just couldn't make it in. Like, there was...
00:13:55
Speaker
stuff that was improvised i can't remember i remember one thing that was like i just remember i don't know if you remember at the start with the sign yes said dreams live here yes that whole bit i just saw it and went yeah okay let's go let's run with that that was actually a really good bit i like the part where he just kind throws on the ground it's like it's still going in there Yeah. So, yeah. So, little bits and paces, but it was pretty true to the... It just had to be because time. In the end, it ended up being pretty true to the script. When watching the final party scene, I noticed that the person who plays your sister looked a lot like you. And so, I was like, oh, wonder, like, how many family members are in this. And then you get to the end and there's quite a few cois in the last name section of the cast. I was wondering, like, is there anyone that you auditioned for is it all just friends and mates and family? So, my sister... Hannah in the movie is my sister. She's literally my best woman at the wedding. Like we're super tight. That's fantastic. My mum played my mum and they're all like my close mates. I think that's so great because you get that chemistry. you know what I mean? It's that colloquial familiarity that radiates off the screen. They also really sell that heartbreak at the end as well. Yeah. Obviously everyone's really sad in it and it's like they all really sell the sadness of the ending but I think they were the two that really broke my heart the most in that ending. It really worked, yeah. With something like this, especially like it being a mockumentary, they're all great conversationalists, very funny people. So I knew that from the outset, it'll land and how it'll work. I knew with a film like this, that was a mockumentary, so documentary style, the key was like, they're naturally funny people. They know how to hit a comic beat. And as long as we're all in the same world, one person's not up here and down here, you don't think what you're saying is funny. You know, no one's trying to get a laugh, which is, you know, you say a lot and it's just like deadpan delivery. I knew that we could work with that and they're all fantastic. I mean, the soundtrack, Cam's music, he's my oldest mate. Oh, that's amazing. Honestly, amazing. Actually, here's a funny thing. As everything's sort of coalescing into a very sad moment in the rainforest, that song is a beautiful song called Forget Me Not. A guy who was my next door neighbor, he was few years older than me when I was like a teenager, He is a hobby musician. He's not like musician who plays with fun. He wrote this song, right? So I've had that for 20-something years. He wrote this song, lost it. Only a handful of people had ever heard this song.
00:16:32
Speaker
I had the only copy on an MP3 on an old, old laptop that I made sure I'd always emailed to myself so I kept it. He lives in Germany now. i called him and I'm like, mate, I found the project. to put the song in. That's incredible. And he's like, you've still got it. I'm like, yeah.
00:16:50
Speaker
Yeah, so there's all these little things that it's like, i was like, I'll never be able to make a movie like this again. Like, I've got to lean into it like that, you know? Yeah, just hearing those anecdotes, it shows the homegrown, homespun atmosphere. It's just, yeah. And you're making me cry here at the podcast, man. I'm so beautiful about
Balancing Comedy & Drama
00:17:08
Speaker
that. No, no. I mean, on that, this is a micro budget film. so So talk to me about like the production phase and working within the micro budget sphere. Obviously there's going to be like limitations, but then also it provides a lot of creative solutions. So talk to us about the hell of making a micro budget feature. Yeah. i was It was very, very full on. I thought it was a walk in the park, mate. You know, just just a fun shot. Yeah, it seemed like it was pretty easy. It seemed like we'd just whip out a camcord, you know? That's what mockumentaries are about, yeah, bro. Oh, my God.
00:17:38
Speaker
He's about to delete the call. Yeah, so I think you're right, like in terms of there's obvious limitations, but that's why I could run with the format, like yeah in terms of it being a mockumentary, like it's run and gun. So like the outdoor stuff, natural light, like you're not looking to bounce light off any like you just you are a fly on the wall. yeah But they're not limitations because they're working within the form. Like, for example, the Pulse studio, just friend of a friend, it just popped up as like, oh, you could shoot here. And it was like... Might as well. Yeah, that type thing. Yeah. Well, that actually makes perfect sense. Like, I have to now. But because I was writing it and directing it and it was in it, like, it was just kind of like if I saw an opportunity that made sense within this already to explore that I could just go, all right, sweet, well, we're going there. from the outset it's like that scrapyard for example you talk about your limitations and having to get creative and blah blah blah but that scrapyard is literally around the corner from my house and you know i walk past that and i go oh that's the perfect location to shoot tim and candace's scenes i'm the exact same like i'll walk past a place yeah and i'll be like i could film a scene there i don't know what scene i could film but i see cinema and Exactly. I'm like, okay, this is a scrapyard. It's so visual. It's so like, it's such a inner West Sydney vibe as well. And it's like, well, these two people who their life is kind of a scrapyard.
00:19:07
Speaker
Like it's just kind of like, you know, they're just sort of these average people that their lives aren't going to like huge heights. Yeah. So it feels like the perfect sort of thing. So I guess the main limitations were just the fact that I was doing the job of about 20 people. Yeah. So not having really much help was the main limitation. And you made a film. You made a feature film. You made film. The proof is in the pudding as it were, man. The pudding is the world. yeah You can tell that we haven't written much in our full time.
00:19:45
Speaker
One of the best bits of advice I got from my time, it was from a friend of mine who was in film school and I was also in film school. We we went to different schools. At a student film level and I guess at a micro budget film level, it's always wise to make it funny, to make it a comedy. because even if the production value is lower or you don't get that preconceived film look, if the writing's there and it's funny, you can say that it's all
Distribution & Reception
00:20:10
Speaker
intentional. And I i think playing within that mockumentary style definitely radiates that same thing. So yeah, I just, I love it.
00:20:18
Speaker
I love it, man. I'm actually curious, that was the outset of it always going to mockumentary or was that a pivot you made just at some point to be like... No, yeah it was it was always going to be mockumentary because yeah if I was going to go ahead and make this, exactly those things, it's like, it's really hard to make. they I had this other comedy that I was working on and then you start going like, well, if it's an out now comedy, you start budgeting that and you're like, well, it's not like, you just, you cannot. There's so many non-starters, you know, it's especially with the way funding works in this country and and that type of thing. is They don't want you to succeed from the outset. So it's just like, yeah. If you think about this film and the sort of trajectory it goes on and all the wild and then, you know, there's a lot of dark stuff too, I think the best chance of getting it made is by making it. yeah It's different to what is getting made through traditional systems, I guess. That system's breaking down too. Like, you know, the overwhelming amount of micro budget, no budget, like to get that propelled to the mainstream, it's vastly outweighing the amount of professionally funded projects out there. And I think that eventually the pendulum will swing. That's my opinion anyway. just was like...
00:21:33
Speaker
tell a really really good story that's interesting that does something a bit different so but to and answer your question it was like no it was it was always going to be mockumentary but what i wanted to do was i did want to shift it to sort of blend it into at points a more traditional comedy drama and then lock back in a reminder say oh no it's a mockumentary but then you just you do have traditional dramatic scenes or comedic scenes So that was the experiment with it. as it sort of As the film went on, it sort of blended into a slightly different formula. Was that like a proof of range or just you having fun with it? i knew where it was going.
00:22:12
Speaker
And I think in order to... get there, you needed to set up the story baits that are very locked into, like, if this is a dramatic scene, it's dramatic scene that you feel like, you know, it's not the camera fly on the wall anymore. It's like the camera's just seeing a scene of these two people where...
00:22:30
Speaker
you know, the camera shouldn't be there sort of thing. Cause it's like a really intimate, dramatic moment. So I think in order to have this, the crescendo of where it goes, those moments are really important. So that's why it felt like it was like, okay, let's subvert things a little bit into this direction. And I think it's seamless as well. Like, yeah, I'm i'm a massive fan of the trajectory of the narrative. I wanted to sort of talk about sort of the other end of making a feature film, especially a micro-budget feature film, which is the back end, the distribution, actually getting it seen because I think that is such a lost art and and something that people don't think about at all. I used to work in film distribution for like a little while, so I know
Promotion & Indie Film Support
00:23:12
Speaker
how... crazy it gets and how the amount of supply versus how many eyeballs there are watching like to tell us about your mindset of distribution for this film well i i'm working with bounty who do a lot of comedy stuff nice nice so they're they're my distributors that i've been working with and you know i was only thinking about this the other day i mean i spoke to a lot of companies and
00:23:36
Speaker
as you do, yeah comedy is very hard. Mockumentary is also hard. Yeah, right. And micro budget is hard. so Three strikes. You sort of chat to people, you feel people out, and then the one that I'm working with is like comedy-based, right? So it's like, yeah okay, so it's it's in the niche of what what I'm doing. It's found its home, yeah. I think it's pure insanity to just go, oh, f***.
00:24:01
Speaker
I'm going to make a movie and then let's just like, it'll it'll get out there. Cause that was the attitude. it was just like, well, I know I backed this movie. I'm going to make it once it's done. That's when I go into the next stage of figuring it out. Yeah. And fortunately it happened, but it is, it's insane.
00:24:19
Speaker
It's, it's, it's insanity. But it worked out, so that's good. We got there. The method of the madness, mate. It's always tough, man, like finding eyes to watch your projects. But I want to stress, like from the outset, I highly implore everyone to watch Unremarkable. Like the writing, is it harkens back so well to that 90s resurgence of Australian comedies that Priscilla, that Muriel's wedding, that lackadaisical, colloquial nature is just so ever-present and it has the heart. It has the soul within, the human quality that really resonates with all sort of coming-of-age tales. So i yeah if you if you have the means, invest in up-and-coming talent, invest in in micro-budget film.
00:25:04
Speaker
Spiel over. I'm leaving the room. Ditto. Sick. I'll stay. That's it. And now Xavier is hosting the rest of Undersudder Screams for the rest of the season. Going forward, yeah. no Can you tell us where and when it's dropping and where people can find it Yeah, so it's out now.
00:25:20
Speaker
It's available on Amazon Prime. Nice, nice. It's also on a new streamer called Relay, and then it got further distribution from a company in the US yesterday today called Futures Today. Congratulations. You got an international deal. That's fantastic. Congrats. Yeah. So we're pretty happy with where it's started because it's not the end of the conversations either. So that's, fantastic we don't know where else when, but you know, where to the moon baby to the moon yeah we're available on three different platforms. So that's pretty sick for a micro budget Aussie comedy. we're We're pretty happy. And the fact that it is available in Australia out now just speaks to that sort of Aussie-ness quality of it. So I think that's, you know, it's pretty cool. Yeah, we're the underdog. Made it for nothing. We just went and did it. And you can do it too. Did it. Yeah, exactly. Inspirational.
00:26:11
Speaker
Yeah, it's not that hard.
Encouragement for Indie Filmmakers
00:26:12
Speaker
I mean, it is very hard. Get resources, get help, don't do it by yourself. Just go out there in the middle of the street and film something. Yeah, exactly. Does anyone else get kind of peeved when like Steven Spielberg or someone just says like, just shoot it on your iPhone, mate. It won't like... It's like... Soderbergh did one. soderbergh did an iphone movie i mean like a lot people do and like they filmed um 28 years later on an iphone as well but you see the setup they but you see the setup that they had for the iphone as well but they have like 16 layers over it it's like yeah the base camera was an iphone but they also have to like break the hell out of it as well so it would stop auto filtering and doing a bunch of other crap that we can't do legally i mean i think think you're taking the piss a little bit with those like iPhone movie. Yeah. It's doable, obviously, but it's not as easy as they claim it is either. Yeah. I don't know if you can just whack it on black and white and go, it's art house. Actually, that's a brilliant idea. Oh my gosh, get to writing. Well, where can people find you? Like, if you have anywhere you can be found or like- He's gone missing. He's gone missing. He's going into Bali. He's disappearing off the face of the earth after that. He's off the grid, mate. That would actually, how baller would that be? Directs a feature film, then dips. It's like Night of the Hunter or whatever. You remember that movie? The guy that directs Night the yes. Yeah. Yeah, that's a good movie. went to film school. Yeah.
00:27:38
Speaker
where do you Where do you find... what ah How do I answer that question? If you want the public to find you somewhere, I guess there's the Unremarkable Instagram. You're not handling this very well, Mitch. Where can people find you in real life? What do you want from me? In the inner west of Sydney? That's the where's Wally. Just come around the inner west of Sydney and try and find me.
00:27:58
Speaker
Instagram is the Unremarkable movie account. put it in the show notes. You don't have to listen to this drivel. I loved it. What dog s*** way to end. Well, let's end it better. Okay, Xavier, one thing that we ask all of our guests, and we've only had one on so far, but you're number two, so that's pretty cool. What is the most Australian thing about your film, Unremarkable? I reckon it's got to be referencing that we could probably get sperm off Jimmy Barnes. Yes. Oh my God.
00:28:30
Speaker
I love that. Just that last one. was like, I reckon we can get it. Because that's so Aussie. That like, you know, he's just within reach. That's got to be it, doesn't it? It's good and it's Aussie. I love it. Yeah. The writing on this movie is insane. You guys have to check it Very, very good. Very funny. Very witty.
00:28:47
Speaker
But Mitch, where can the audience find us in real life? Well, they can find us in the northern suburbs of Melbourne. um No, you can find us at Others Under the Screens on TikTok threads and Instagram. And you can email us at undersouthernscreenspod at gmail.com. And look, I think this is a testament. Like if you have something that you want greater, wider traction on, and if it's good enough, yeah if it passes our standards of quality...
Closing & Acknowledgments
00:29:16
Speaker
our huge standard of you saying hello and then giving us the link to the movie well yeah i mean like if you have something you want to show there's tons of micro budget films australian micro budget films amazing up-and-coming talent just give us a text give us an email see what you think uh and yeah we'll make some magic together baby this is the exact kind of film we want to be putting on our podcast this is exactly what we want to be talking about like we want to talk about everything but one of the big reasons we started this was to highlight underseen australian films and we want to shout it out we want to help with it being seen no i appreciate that yeah and i mean xavier thank you so much for jumping on the pod as well like yeah just really awesome to talk to you thanks for having me on guys it was it was a joy to make something else come this way
00:29:59
Speaker
That's it, bro. You got some free publicity at the ready, brother. Do not worry. We'll hopefully be better at this the next time you come on. We won't ask our first guest on where they live. I didn't mean to say that, all right? I meant where to find you online, all right? That's what I meant. I love you, bitch, man. What a moment. What a moment. I was just curious. I was going to pop around, check on it while he's away. All right. Just make sure. Well, yeah, yeah. Yeah. This has genuinely been such a pleasure. Xavier, thank you for coming on and everyone listening. Xavier, do you want to close us out with our classic closing line that everyone knows? Keep an eye on those Southern screens. Ooh, sultry. That was awesome. That was awesome. That was amazing.
00:30:44
Speaker
Beautiful. Bye guys. 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.
00:31:03
Speaker
See you next time.
00:31:07
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.
00:31:20
Speaker
Sovereignty was never ceded and we pay respect to all Indigenous Elders past, present and emerging. Always was, always will be Aboriginal land.