Transcript
Speaker: I am the night rain. You're terrible Muriel. Talk to me. You gonna do that Pogger Pogger? You've been talking the cop. Today is a brand new No, that's it. It's the vibe.
Speaker: G'day fellow Aussie film lovers and welcome to another episode of Under Southern Screens, the most dying of thirst Australian cinema podcast. I'm Mitch. I'm Matthew. You said that in a very, like, way too goofy way to make that such a point. Mitch is drinking your beer as we're talking about this. yum Is this the first cold one in our Australian cinema podcast? The first cold one podcast. What a legend. He's sinking that down. He's loving in it. I should have cracked open a Cooper's, actually. I've cracked open a Kironichibon. What about a Foster's or a Carlton Draft? I like Carlton Draft. Carlton Draft's good. You enjoy soapy dishwater? My favorite beer back when I used to drink was Corona, to be fair, because I i like Vin Diesel. I don't like Foster's and I don't like Carlton Draft. I've never had a Foster. I've never had a Foster. That's the one that they think we drink, right? Yeah, yeah, 100%. Yeah, it's the one that when you go overseas, like, this is a classic Australian beer. Everyone drinks it. And you're like, is it? I don't know. I don't see anyone order that, ever. A person at work argues that the best beer is VB. It's certainly the most popular in Australia.
Speaker: yeah but it's not good, is it? No. This is not good. It's also soapy dishwater. Yeah, legit. Anyway, it's all right. Also, brother hasn't had a nice creamy Guinness before? oh I'm sure he has. I'm sure he has. Like, every time we go out on a shoot, he'll have like a... And I says one prerequisite is i like a slab of VB at the end of the shoot. I'm like, what a legend. There's so much VB to drink. That's Australian video making, and ladies and gentlemen. A little peek behind the curtain. Bloody hell. I wonder how many beers were drunk in the production of the film we're watching today, Mitch. Yeah, well, what movie is that, Matt? you that's like That was incredible. Today we are watching the, well, firstly, it's Wargust. Surprise, Wargust again. So I was thinking of doing a themed hello, yeah but I couldn't think of anything that wasn't overtly insensitive. Probably a good call not to. It means though that when I did Mad Max, I was able to do Witness Me, which really put me in the Mad Makes mood, you know I'm saying? Whereas it's like, it's a bit more introspective, you know? This is a bit bit bit more thoughtful, you know? Yeah, honestly, I'm already regretting the fact that I put on such a silly voice for this in the intro for this movie. It's okay, you're chilling, bro. It's fine. It's Wargust, week two. You know, we're loving life and today we are watching, it is considered one of the best Warwick Thornton films yeah by many a critic, including David Stratton. One of the best Aussie films. One of the best biggest Aussie films, 100%. We're watching Sweet Country, 2017's Sweet Country. I'd never seen it before this. Mitch had never seen it before this. And this was technically his first Warwick Thornton film, as we found out last week, apparently. Yes. If you listened to the last episode, you'd know we're kind of recording this directly after we recorded the last episode. Hence the beer. God, it's such a hard life watching movies and then talking about them. It's such a hard life. Technically, the first episode we have recorded since the unfortunate passing of Sam Neill, who is in this film. Which, by the way, by the time i' recording this, happened yesterday? Happened yesterday, yeah. It's very raw. So, I watched Sweet Country on Sunday, and then two days later, he died. I was like, wow did I do that? Like... Am I the cause of this? Am I the reason this happened? um Obviously not. Like, crazy thing to think. But for a second, though, I like, that's too close to horror. We'll talk about Sam Neill throughout this movie. But yeah, what a generational talent. Everyone knows that. What a legend. Yeah. We should do a Sam Neill month. That'd be cool. I'd be down to do that. he's He's done so many great Aussie films. My Brilliant Career. So many great Aussie films. We don't even have to touch the most famous film he ever did.
Speaker: what's up date day blood What's the vampire one he did? The vampire one he did. It's an Australian film. It's by the guys who did Predestination. I know he was almost James Bond. that was That's pretty cool. was almost James Bond. Vampire movie. Daybreakers. There you go. You've seen Daybreakers? I have not. Oh, that's an awesome movie. We should do that. that Those guys, the Spearig brothers, they shoot some cool stuff. Because they always get um they got Ethan Hawke in each time as well. i love Ethan Hawke. He's great.
Speaker: Not an Australian actor, but but we'll we'll take him. But let's talk about Sweet Country. That's it. yeah Have you got an intro for us? I do, I do. it's But it is a name that even as I hear it, I keep thinking of Sweet Herm, Alabama. Oh, no.
Speaker: I'm amazed that that didn't play over the credits, but they did a parody in it's Sweet Home Australia something like That have been funny if they did And also totally, totally dissonant. Especially given the ending of this film. Spoilers for Sweet Country. Give us your intro of Sweet Country, my lover.
Speaker: With a name that would make you think it's about some sort of lolly empire, Sweet Country tells the inspired by real events tale of an Aboriginal man chased through the outback after shooting and killing an Anzac rancher who really had it coming. Yes. based on the true events and story of wilberta jack in one twenty nine the film follows sam kelly a middle-aged aboriginal man who works the kindly preacher fred smith and samuel when he kills a rancher of the name harry march in self-defense he runs into the desert and is quickly pursued by sergeant fletcher who shouldn't have really bothered as sam and lizzie his wife hand themselves in once it becomes apparent lizzie is pregnant with harry march's baby
Speaker: after he had sexually assaulted her. oh The movie has been described as a meat pie Western, a subgenre of the Western genre that describes films set in the Australian outback and generally are usually actually a kind of like a more recent edition. Like they're more more current, like, you know, the type era. Yeah, definitely. Set between World War I and World War II, it touches on the ever-present animosity the white settlers had towards the Aboriginal people who were trying to stimulate it into a life that had been forced upon them by gunpoint.
Speaker: It was shot at Uramina Station, which is a cattle station about 40k from Alice Springs, and was received well upon release. It won the Adelaide Film Festival Audience Award in 2017 and has taken on a 96% run to Mario score as well as an 81 out of 100 score on Metacritic.
Speaker: It was also nominated for and received a bunch of awards at the Australian Academy of Cinema and Television Arts Awards, also known as ACTA, which is not to be confused with ACTA, A Court of Thorns and Roses, and is overall considered a very good movie. Matthew, tell me, what do you think of this movie? I really liked it. I thought it was pretty solid. It's not as good as I liked it to be, though. It's one very slow, isn't it? Yeah, it's a slow film. It's kind of plodding. What a shame.
Speaker: What a disappointment to me. And that's not me saying the movie is bad, because I think no there are so many epic elements to this movie that I should be commended and have already been commended by dozens of other people, not counting the movie watching next week, which is an anthology. This is the follow-up to Samson and Delilah, which is... the best Australian film ever made according to a lot of people. It's the best Warwick Thornton film. It's his first film. It's his breakout film. And unfortunately, it doesn't really reach the raw heights of that film in terms of its themes and message. And even though it is a meat pie Western, it doesn't really meet the level of, you know, drama or action that you would expect from that type of genre. Sure. I think that the themes are really, really rich and powerful and meaningful. I think the performances are fantastic. Obviously, the cinematography is excellent. The world building again, it's another strength of Warwick Thornton, just that world building. It just didn't wholly grip me and i'm I'm really, really annoyed that I can't get more out of this because, man, I just wanted to love this. I wanted to love this. It's quite a slow burn. Yes. It reminds me a lot of a movie. Have you seen Bone Tomahawk? I've heard the name. i have not saying it reminds me a lot of this movie in that that movie is mostly just four guys riding through a desert bouncing their personalities off each other this movie's always not the exact same thing but it has very similar aspects in that it's got you know the four people chasing sam kelly the back and forth between fred smith the preacher and the dickhead policeman Mr. Brian Brown. Sergeant Fletcher. Yeah, exactly. There's no like big shootout or anything like that.
Speaker: there's yeah I guess maybe at the start there kind of is. Sort of. But again, that's it's not the focus. So when people say that it's a Western, it's it's I think it's not being wholly accurate. Western is such a weird genre. so You say Western and you think... John Ford, you know, really sort of swashbuckling. and But there's...
Speaker: Westerns that aren't like that, like I think a interesting kind near Western is First Cow. I know. Yeah, that that's actually one. yeah Which is not, it's not even set in a desert. It's set in like a Michigan style. Yeah, yeah, yeah. Yeah. And so I think Western's kind of a weird genre, which can entail certain ideas, but don't always have to. So I do you think this counts as a Western. If you disagree, that's okay. yeah' that's That's what we're here for, man. We're here to bounce different ideas off of each other, you know? i will say though, these performances are off the flipping chain. Pretty damn good. They're going like actually crazy. Pretty damn good. This is what real movies look like in terms of performances. Real movies are made of. Yeah, like genuinely, I think that every performance is fantastic. Again, like as we said in The New Boy, our lead character is not a professionally trained actor. That's just the guy playing Sam Kelly who actually... Yes, yes. Exactly. Hamilton Morris. hamil Hamilton Morris. The pain and the weight that they face, especially in that final trial scene, it's just like... well
Speaker: That's kind of where lot the active acting happens. There's lot passive acting that occurs throughout the film. A lot of the active acting happens in that final section during the court scene, which that court scene is, it's the highlight of the film, I'd have to say. Yeah, I agree. I think visually the highlight would have to be that I'm just agreeing with an Alexi Tollopoulos review of this film. Go for it, Legend. We agree with everything he says. Yeah, everything he says is true. And if he ends up turning really racist or something, that's going to be such a great soundbite.
Speaker: Can you imagine if he turned out to be a horrible guy? Would actually be horrendous. Fingers crossed. The legend's in his letterbox review, the moment where they're at the edge of that white desert, and you can see the divide between the normal, in quotation marks, normal desert, and then the the actual arid plain of white desert. Yes, yeah. And I think visually that's the most stunning moment of the whole film. He says something similar as well. And it's just, that is crazy. Yeah. But I think plot wise and actual stakes wise, you feel it the most at the end in that court scene. 100%. It's crazy that he doesn't get sentenced to death there. Yeah. I think it's rare moment of humanity. Well, it's based off a true story. So it almost makes me think that maybe that's how that ended. And then of course, though he's immediately shot afterwards. It's horrible. That snapped back to reality. This is one of those movies where when you start it you immediately go, this is not going to end well. Yeah. This movie is not going to end nice at all. And as soon as um Sam Kelly, I i mean, I knew he was going to shoot Harry March because that's just, that's the movie. That's the conflict. That's the linchpin. That's the concept of the film. Yeah. But as soon as you he shoots him, he signs his own death warrant because you just know that these horrid white settlers are not going to let something like that go. Even though Harry March, objectively, to a T, is a horrible, horrible man. And the act of his death is 100% in self-defense. And that's ruled as that in the court. It's ruled as self-defense in the court. And yet the fact that a black man shot a white man and got away with it is too much for some white guy to deal with. And they shoot him. They cowardly snipe him from afar. It's telling. It's very, very telling of the era. And it's disgusting to watch. But it makes for such compelling and thought-provoking drama in this film. I think what's even more interesting is the fact that Harry March is an Anzac. He was part of the Great War, fought in the Great War. Implied has witnessed great human tragedies. Horrendous meat grinder of a war. So he's not only has he witnessed great tragedies, so you would hopefully think would make him more susceptible to being empathetic to other people. Doesn't. Second all, the Antics are blanket in Australian culture considered heroes.
Speaker: It's just a blanket fact that these people were good boys. boys like who went out there and got themselves killed. And they did for the country. They did it for um Queen and Liberty. And regardless of ethnicity, that that's one ah aspect of history, Australian history, where ethnicity is sort of equalized. Decent...
Speaker: contingent of aboriginal boys who signed up to be anzacs and they they do unfortunately actually often go unrecognized in our um yeah recognition of the anzacs but at the actual time a bunch of people got together a bunch of young australians from all walks of life going out there and fought are blanket considered heroes and this guy's an absolute prick He's like the worst monster. He's a rapist. He's a racist. He's angry. He beats kids. He beats kids. He chains them to rocks. He then hunts them down when they escape, which then leads to his own death. But it's just... Yeah. Can we talk about that scene of sexual assault quickly? I know it might be a trigger for some listeners, but I think... What a, as awful as it is to say, given the subject matter, what masterclass of building tension in cinema. But what I think is really interesting, and maybe I'm forgetting something, but I don't think I am. What I think is really interesting is you don't see any of the actual assault, right? No, no. It's just a black screen. It's just all audio. All audio. It's that gradual lead up. So for context, Harry Marsh has taken an interest in Sam Kelly's wife. Lizzie. And unfortunately proceeds to assault her in his house, in his hut. He gradually walks over to every corner of the house and shuts the blinds. You know what I mean? So it's like blind eye to the world, blind eye to the Lord, whatever it is. And there's no music. It's all diegetic sound effects. The camera follows him to every single corner of the house. And it's just this building foreboding nature without the need for any additional prodding, you know, in post-production.
Speaker: And it's a slow scene as well. It's about a minute and a half of closing the windows. And then once all the windows are closed, we're in complete darkness. And all we hear are the sounds of the assault taking place. And I think, firstly, I think it's more tasteful in contrast to just broadly showing it and bluntly showing it. But I also think that it's just so thought-provoking and what a masterful use of the camera. Again, just mise-en-scene in general. Absolutely. As awful as the scene is, I think it's just excellently produced. When we were talking about the Mad Max movies, we brought up sexual assault because that occurs in it. And we were kind of talking about how, especially in the second one where it's kind of shown, it feels a bit... It feels icky. It feels like... the fact that you're showing me in this way it's not essential to this viewing yeah it's it feels exploitative of like the female body and whereas in this case you just feel gross because what's happening is gross like it doesn't feel like the sexual assault being is occurring in a way that is anything beyond just horrific because of that's what's happening to the characters yeah and it draws you into the movie more i think in that way yeah exactly It continues on into that courtroom scene at the very end, the court, well, I guess court town scene where she can't talk about it. She cannot reflect on her experiences. And even when he's dead, his threats live on through her own fear. Her trauma, 100%. And she's a smart person. She knows that if she speaks up, there might be retribution from other people. They probably won't believe her. because they're horrible, horrible people who don't believe. So stays silent and it's heartbreaking to watch for her character. And the fact that, again, in that scene, the camera does not move from her as the judge is incessantly prodding and trying to get the... Because everyone knows. Everyone knows in that scene. But she's in court and you have to say it. It's a hard watch. It's a hard watch, but it's so gripping and well produced. Again, I'm looking at it from a construction angle. know I mean? It's just like, you might not realize it yet, but he's a master class. Like he knows how to frame a scene. He knows how to construct a scene. He knows how to use a camera.
Speaker: He knows how to use the camera. He knows how to do it. Worthy to re-mention. We mentioned last week, but we should re-mention it again. He is also the cinematographer on this. He does his own cinematography and he's brilliant at What did you think of the idea, though, that there's just that part in the, not even the middle, of going towards the back, where Sam Calley kind of raises his fist to his wife and threatens her? What did you think about that? Well, it's that building tension, right? You know what I mean? It's that unspoken thing because I don't think she ever admits to him that she's been assaulted, right? I don't believe so. Growing, I imagine, jealousy, but also mistrust from Sam, right? Yeah. Again, it's just such a nuance. It's nuance. It's all nuance. And that's what I want out of movie. It kind of paints Sam to not just be like this innocent guy who got stuck in a bad situation. He's kind of like, he's not. He's towing with the violence that, and maybe it's a reflection of this violence that he's being subjected to throughout this whole ordeal. You know what I mean? It's, it just paints such a great picture of the world that he's surrounded in and the pitfalls that he, he has to navigate through in that way. Yeah. I really quite enjoy the bond that pair have throughout the film, the relationship between the two and how ebbs and flows and through the end, they're able to sort of stick together in their trauma, I guess. It's really sort of interesting to watch. And again, I want to say it because it sounds like I'm like glorifying and being like, this is awesome that all these characters are going through so much trauma. That's not what I'm saying. I'm saying that it's really enlightening to watch. don't think it sounds makes me think, you know what mean? It makes me think about the things that are still happening to this day. Yeah. I mean, that's the thing, right? Is that while maybe it was more overt back then, it's still occurring now And what for? You know what I mean? Like, why are we doing this? know what mean? Because we're horrible people and it's systemic. Yeah, very, very true. Yeah. It's a hard movie to watch. It's not fun. Compare it to The New Boy. It is more dour, depressing and overt in its messaging. Australia feels more oppressive in this film in comparison to The New Boy. know, in The New Boy, it's hot. And, you know, there's a fire that occurs in The New Boy as well and stuff like that. And that's dangerous. Yeah. And there's moments of levity as well in the new boy. We're in this though. Australia straight up just like, it just drains you. Sergeant Fletcher, he almost dies basically due to dehydration and he's only saved by Sam giving him water, which is an interesting moment. Another interesting moment. What do you think of Brian Brown's character of The Policeman? Because I think it's, again, that's nuanced as well. Oh, I think he bloody well ruined a good showing of Story of the Kelly Gangs, think. I know, yeah, we'll get out here. We'll talk about that in a second. I saw that, I was like, oh, reference to us, us reference. I love stuff like that. Yeah, it was good. Brian Brown, what a character. His relationship with that barmaid. Is she a barmaid or does she even earth? own the tavern like i'm a bit confused maybe i don't know well maybe i shouldn't say barmaid then i should say uh businesswoman his relationship with the businesswoman and yeah i'm progressive forget the fact that i assumed she was a barmaid at the start his relationship with her and her daughter is interesting because as far as i'm aware they weren't in a relationship like they weren't married which is kind of like back in the day that was the dumb thing was they were to be married but they loved each other But also he's a dick, but also that's like, is that just because he's a white man in Australia? Does he want to be racist? Yeah, exactly. There's no redemption for this guy. And he doesn't deserve it either, because he is like whispering into the ear of the judge being like, oh, this guy is like a piece crap. crap you know like he's like he's trying to sway the judge's stance and it's interesting i find two white men in this film who are stand up one of them's a preacher sam neill's character and the other one is a judge i don't even want to say the judge is stand up per se but he's fair because he comes to a fair ruling it harkens back to our conversation we had in the new boy where he's not claiming that all white settlers were horrendous people but every white settler was part of a bad system systemic issue yeah systemic problems And on that, I think we talk about Sam Neill's character, Fred. He's one of the first characters we see throughout this whole And he's such a sweet guy. I love him. He's so good. Oh my gosh. Sam Neill. My boy, my boy. Oh gosh. We don't even know what happened at this point. We just got thing saying it was sudden. He was going through a big sort of cancer battle. But he was apparently cancer-free when he died. So there you go. So the plot thickens. Do you reckon foul play? See, now that would be an interesting story. I love Jurassic Park. Yeah, Jurassic Park's awesome. He's done some great Aussie films as well. Oh yeah. I mean, look. rough to mention the big american thing he was in but i love alan grant he's great in the dish we should do that's probably my favorite sam nill performance is the dish we'll have to do like all of the working dog films so the castle the dish do a month of working dog or a working dog three weeks because there's only three working dog film we can do cracker jack is the fourth something spiritually that's working dog yeah yeah yeah but he's great in this film such a good actor like you think about his work you know he like the stuff he puts out and you think of some other greats in new zealand films that he's in because he isn't he is a new zealand a hunt for the world of people that's another i was just about to mention that hunt for the world of people incredible film beautiful film supported by his performance straight up like it's like look i'm not gonna say the film hinges on him but he's a great it does if he wasn't a good actor the movie wouldn't be good but i think the movies has other pillars of greatness in it as well
Speaker: Yeah, I think Sam Neill was fantastic in this role. I think the epitome of that is at the very end, when he's reacting to the death of Sam, when he yells out, like, you cowards! And it's just like, oh, acting. He brings such a humanity to every role he has. Apparently he's in the next Godzilla. Oh, there you go. in Godzilla Supernova or something like that, so... It was Event Horizon where he had the Australian flag. Yeah, he had that awesome flag. And he's the one who wanted that as well. He said, let's do this. Why don't we do that just in real life? I feel like that's... Because we're still stuck on the fricking Union Jack. In honour of Sam Neill, let's change the flag. Yeah. Yeah, let's do it. Bad time to watch this movie, eh? Or maybe a good time. It honors him, to be honest with you. It's a great performance. No, I just think, like, to talk about it, though. What, would you prefer to watch Jurassic World Dominion? You know, that's the most expensive movie ever made. Is it really? $600 million. Jeez Louise. And it made its money back, dickheads. It made $1 billion. And I bet you guys didn't even remember Jurassic World Dominion existed. The number one most expensive film of all time and you don't even remember exists. I bet most of that went to Sam Neill to get him to come back as Alan Grant because after Jurassic Park 3, he was just out of there. He did not want to do another one of those. I'll tell you what, I came to this movie not knowing and what we've talked about earlier. Yep, yep, yep.
Speaker: Story the Kelly Gang. Yes. Is in this movie. Crazy. How insane is that? I love it. And I love that they're like, it's actually thematic. Yeah, yeah. Because they play it when Fletcher, the policeman, comes back. And he gets pissy about it because he's been out in the outback hunting for outlaws. Or outlaws, in quotation marks. Yeah, he almost died. Everyone at home is just enjoying this film about outlaws. Yeah, yeah. And he and he gets grumpy about it. And he rips the sheet off the thing. Yeah. Oh, it's...
Speaker: It's crazy. Were you expecting that? No, I was so shocked. I was i was like, they said the start of color game. was like, oh yeah. And then I did something really embarrassing and I thought to myself, that's not Russell Crowe. Sure, that's not Nicholas Hoult. That's not George McKay. that To be fair, at the start of that movie, it's not George McKay for like 30 minutes. It's a little boy that looks like a person I went to high school with. Famously. a Famous second episode of Unisodent Screens information dump that Matthew gave. I think it's so cool. Like, Shawshank Redemption does something similar where they like play an old movie within the movie. I just think it's so cool. Old movies and movies. It's awesome. It's even more awesome when we've seen that. and it's an australian film and it's celebrating australian film history and like yeah but then it's also like giving it a thumbs down to it it's very funny i think warwick thornton's give a little wink i know i do that we're not supposed to side with sergeant fletcher in any moment in this film so i don't believe we're supposed to side with him at that point either he just hates movies he's just a hater he would not like under southern screens don't be like sergeant fletcher enjoy under southern screens You heard it here first, guys.
Speaker: Brian Brown hates Under Southern Scream. Imagine if he's like the first famous guy we get on. That'd be incredible. It could happen. You never know. Brian Brown, would love to have you Prove us wrong that you love Under Southern Scream. What's has he been in? Everything. was Gods of Egypt? He was in The Travelers. He was in Two Hands, Breaker Morant. Wait, was it Brian Brown in Stone or was he in... He was in Cocktail. That's cool. Is this episode 25 or 24? 24. think this 24. No, Brand New Day is 21. Leviticus is 22. Beast is 23. Oh, this 25.
Speaker: leviticus is's twenty two beast is twenty three oh This is 25. Oh, hell yeah. Happy Bison, Bison, quadcentennial? Happy bisexual day. Happy bisexual day, everyone. 25 movies. We've watched 25 movies. Which, just going back to the story of the Kelly gang. Yes. what a full circle moment. After seeing all these Australian movies, how cool is it just to see that back again? On the 25th movie. Technically speaking, the 24th movie I watched for the show, but the 25th movie that we talked about. I love Australian film. Oh, you love Australian film? I've never disliked it.
Speaker: I just didn't watch a lot of it. Let's do a little check-in while we're here because... Yeah, I i guess now's a good time, isn't it? Yeah, 25. Halfway through August. What do you think? Like, how's... What do I think? i feel like I've talked about this before on the thing, but Australian film itself has a national identity.
Speaker: I reckon I couldn't do it at this point, but i reckon you could kind of at some point pick out a movie and be like, that's Australian. Like this is an Australian movie without knowing it's Australian going in. I really enjoy them. They have a penchant to go dark, yeah but there is also a brightness in a lot of them too. And a wicked comedy as well. And a wicked sense of humor. Yeah, I was going to say that as well. A wicked sense of humor.
Speaker: I really enjoy these movies. I haven't liked every movie. Neither have I. Beast? Oh, okay. All right. Anyway. Yeah, you didn't like Beast. so Beast was the movie that made me stop writing Letterboxd. That's actually hilarious. Not even Leviticus. Beast.
Speaker: I know. Beast. Anyway. but yeah Sorry. Yeah. Go on. I love movies and I love getting to know my country through this. Me too. Yeah. I really loved getting to know the actors, the directors, the general stories throughout. It shows different bits of Australian history. Films like Stone, for example, like those what an era. It's a crazy movie. It doesn't get talked about. Crazy sub-sector people that did exist in Australia at the time. So cool that we get to experience and that. And I think tying it back to Sweet Country, that this is another type of story like that. You know what mean? It's a lot darker. It's a lot more serious, but I think it is a story that needs telling because it is indicative of the thoughts and feelings of the time and now. So yeah, I'm glad we're doing this, man. I'm glad we're 25 FC. No, I'm enjoying this. This is good. Let's keep going.
Speaker: Let's keep doing it. Up until the end of time, baby. We run over Australian films. This whole tangent is all because of Sam Neill. I love Sam Neill. Me too. I'm go to miss you, man. going miss you, Sam Neill. Pour one out. I mean, you just had a beer, so pour one out for... Sam Neill. I think he'd be frustrated that I wasted a beer for him. That does sound on brand.
Speaker: Mitch! I forgot it was me who has to do it. Yes. It's you. I'm putting you on blast here. That was a really beautiful moment, by the way. I just want to say. That was awesome. really like that. What is the most Australian thing about Warwick Thornton's Sweet Country? I think the most Australian thing about Warwick Thornton's Sweet Country is the dry wit of one of the guys saying, yeah, we got that. what was When Sam Neill says the name of the song he sang was Jesus Loves Me. yeah i remember that sergeant fletcher goes sing us a song sam neill is a preacher so he sings a jesus song and it's like jesus loves me yes he does clap clap clap you know all that yeah and it repeats at the very end he goes that was jesus loves me and just one guy goes yeah we got that it was so aussie dude i was it's so and in like a slight nasally accent as well yeah it's just like yeah we got that yes
Speaker: uh matthew what may be watching next week that's a good question next week we're gonna be watching the anthology film the dark side from 2013 directed by warwick thornton it's a collection of ghost stories retold by actors so there you go it's uh yeah continuing the theme i reckon this is gonna be sad i reckon it's gonna be sad reckon it will be sad but then again once you hit samson and delilah that one's gonna be even sadder yay Love being and sad. Debra Mailman's back. And Brian Brown. Well, they're not back because they they wait this came before. For us, they're back. For them, they're here. what do you want from me, man? What do you want just drink your beer, man. don't know. Oh, he's trying to fight me now. He's arcing up to me. I've got one beer in me. I've got fighting in my blood. Fighting round the world, speaking of Russell Crowe. a good reference.
Speaker: What's that from again? It's from South Park. That's It's from South Park. Brush to grow. Fight around the world. I love that. It's so good. Mitch, where can they, the audience rather, not they, they can find us at TikTok, Instagram, threads, and YouTube at the username under Southern Screens pod. That'd be awesome.
Speaker: They can also give us emails. We didn't check between episodes like we said we would. It's been 10 minutes. It's been 10 minutes between episodes. You can send those emails at undersouthernscreenspod at gmail.com. Matthew, do that should they do something with the podcast on their podcast apps? If you're really special, you can go to your... heart You can go to Spotify or whatever and give us five stars. Thanks. Bye. And a review, please, as well. Yeah, that as well. The review can say anything, but please give us five stars. I don't know why said that. So weird. If they're special. If they're special little snowflakes. Read. Read. Do you think Warwick Thornton will ever listen to this? Oh, God. I kind of hope not. So many tangents. We love you. we love you. come It's just unfortunate that we got talking about a Sam Neill film the day after Sam Neill died. No, Warwick Thornton, if you listen to this, surely you heard us praise you a bunch, surely. You are probably the most goated Australian filmmaker currently still making movies. I'm curious to see what the Philidoo brothers will do. Philidoo? Philidoo? Is that what their name is? Philidoo? Philidoo. Philidoo. I don't know their names. Those guys who made those spooky moves. Anyway, we'll see you next week for the dark side. I'll see you later. Have a good night. Dinner's so bad. Oh, i'm keep an eye on those other screens.
Speaker: 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. See you next time.
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.
Speaker: Sovereignty was never ceded and we pay respect to all Indigenous Elders past, present and emerging. Always was, always will be Aboriginal land.
