Gooday, Pete Hall, are you here?

Welcome to You ain't seen nothing yet?

The Movie podcast where our chat to a movie lover about a classic or be loved film they haven't quite got around to watching until now.

And today's guest National icon Tim Minchin.

Oh blow, I want to.

Stay here with you.

Get to the jobble.

My hate snake sucked my hail.

They couldn't haven't any right now?

You ain't seen nothing yet.

I mean.

The thing about my guest today is where do your bloody start?

This is it's Tim Minchin.

He's a national icon, national treasure.

Beyond this being a household name, I think he Yeah, he truly is a national treasure.

He is just one of the sharpest satirists Australia has produced.

He I don't like to use the word genius loosely, but I think Tim fits that bill.

He started up doing comedy and in stages around Melbourne and then started traveling more abroad to the Edinburgh and the UK and has just built and built and built until he's become this, this juggernaut he has.

Uh you was responsible for Matilda the Musical and Groundhog Day.

Both were just utterly brilliant I've had the opportunity to to interview Tim on the project and and you know, kind of hang with him.

When I hosted the Melbourne International Comedy Festival Garala.

They like to have a musical spot and I'm not musical.

That may shock you, I suspect it doesn't.

So they kind of had Tim have a song and I come of played around with it as on stage, not musically, playing around with it.

And yeah, and he's a lovely bloke.

He's a lovely bloke.

He's a smart bloke.

He's a funny bloke.

He's also on tour at the moment almost it just comes out a national tour.

Go see any change, see you chance to see Tim Lynch and live, take that opportunity.

He is absolutely brilliant live and you both this funny but also just musically just just a genius.

Like I said, there are too many superlatives.

I'm bloody stokes to be hanging with Tim Inchin today.

Tim, welcome back, Thanks for coming all the way back in to do part two.

No worries there.

I am of the weekend.

Let's do it every week.

More than happy to hey the the two, the other films and we won't have the discussion about it, but it's to mention the other films you mentioned.

Magnolia was, which is you know, one of my favorite films.

Bob Murphy ABC Radio.

Bob Murphy former a fel footballer.

He's covering Magnolia for us very soon.

Really.

Bob Murphy is obviously works at the Dockers now, so.

He's he's moved on from the doors.

He has he left the Dockers.

When did he leave the Dockers?

About a year ago.

Right, is what I know.

We also ran the Melbourne Marathon together me and Bob last week.

He's a good guy.

Yeah, I feel like he's someone who should be my friend, but I don't know him.

Oh well tell.

Him, tell him to call me and be my friend.

But if he's not working for the Dockers anymore, fuck him.

Which we ABC Melbourne, So you know, I mean that's I feel like you can find some simpatico.

Also Books Smart, which is a great film.

Super Bad gets so much love and I do like super Bad, but I think Books Book Smart is a superior film.

Well so, I I mean it has benefited from super Bad.

It it inherited all that was good about it and kind of rattured.

Did the speed and the comic timing up.

I just remember thinking, especially the first half.

I mean, once you know what the jep it is and you have to play the story out, I'm always like cool.

But the tone, the tone set up in that first act is just whip smart for.

Those haven't seen it, specially two girls who have graduated that they've been very studious, They've studied, and they just decide all the all the kids who partied also got into the colleges that we got into as well.

It's all been for nothing.

So we're gonna enjoy this one night.

We're gonna we're gonna come up with a great anecdote, you know, you know, and and I think you know, I'm sure getting having sexy is part of it, but having a big part of.

Trying to lose virginities is definitely on the cars.

Yes, so, but it's it's it's so good.

And the conversation was another one you mentioned.

Well it's trying to be cool.

Well, I mean I don't really I'm not really a film buff, but yeah I do.

I haven't watched it for years, but I remember just I think I was just in the mood for the pacing.

And we'll get onto talking about the pacing of that era when we talk about Bullet.

But if you're in the mood for it, it's a beautiful film.

Yeah, and Wayne's world.

We all know when there's a obviously one of the all time classics.

Let's talk about the movie we are here to talk about nineteen sixty eight, directed by Pete Yates, starring Course, Steve McQueen, jaque Line Bassett, and Robert Vaughan.

Tim Minchin.

Did you enjoy Bullet?

Yeah?

I did, certainly I get out of I got out of Bullet what I get out of that often get out of that era of filmmaking, which is a really lovely experience of settling into a really meta pace and these long shots and just I don't know, I won't go into the detail, but I'm sure we'll get there.

But I you know, it's it's not really brooding men who don't communicate much.

I you know, I'm a words guy.

I like you look at the films I've chosen.

You know, it's all about what people say and them trying to express themselves and about wit and movement and existential questions.

I mean, Bullet has a big It plays with nihilism in the opposite way that everything everywhere all at once.

It's sort of it does talk definitely is there's this sort of exploration of what's the fucking point?

But yeah, it's not you know, I don't.

I don't go out of my way to watch everything Clint Eastwood's ever done it, even though I think he's a great filmmaker, just like strong silent damage blokes, I'm like, yeah, but the thing is, I'm sick of that because of Bullet start at Bullet actually started its right.

Yeah, so he's almost the first anti hero.

So that's one of the legacies of this film.

I was watching it for the first time so so and I had a pretty similar reaction.

It sounds like you did.

I was a bit wow, when is this?

You know what?

Well, first of all, the plot is very hard to get your your head around.

There's there's little I would suggest, little care for the plot.

I will say that Peter Yates, the directors, Steve McQueen, they they also to be on the same page as like this is this is style, a little bit of style over over substance, Like you know, the I think Quentin Tarantina I said that Steve McQueen.

No movie star has has achieved more in this role by doing less than Steve McQueen.

I found it frustrating.

I'm okay with the brooding type, but I do need something to inform why he's like that, What what has happened in his life to get him to this point.

I know not everybody, but I felt like I needed a hint.

That's why I watch stories, you know that I want to know what I don't need to know.

I'm happy for everyone to make what they want, but I'm attracted to the question of how are we to be?

You know when that's what I try to make And only in hindsight I realized that's what I've been doing.

But how are we to be in the world?

What do we what do.

We take from our triumphs and tribulations?

What is it to be human?

Blah blah blah.

That's the big camera out sort of question.

And yeah, I think the best you can get is that Jacqueline us Set sort of says, how can you be in this world?

She sees a dead body, are quite horrific dead body, and she says, this doesn't this damage you.

You just the more you see, the less you care, basically is what she seems to be saying.

And I don't know if I can be with someone who's just caring less and less about this swamp that we live in.

It's kind of like saying you can't have hope here.

Maybe if you're like really trying to squeeze out the theme.

But as you say, that would land a lot more if we knew where he'd come from these days, we'd find out he'd lost a child.

Or you know, there's all these tropes.

You know, his daughter got killed or became a draduct, or there'll be some big backstory, and we'll want that because we want to know what drives people.

I mean, I was slightly frustrated by the fact that, you know, a whole he's meant to be protecting a witness.

The witness gets killed, it turns out that that witness was a sub, but you don't really hear about how that witness became the sub and what that impact is.

But then they find the real witness, and his whole job is to find that witness to bring him back, to bring down the mob, and of course he ends up shooting that witness dead.

So not only does he fail to protect the witness, he kills the witness himself.

And presumably that's because the witness was firing a gun and an airport and it was just self defense or protecting people.

But it's like, well, what and then Charmers has meant to be a bad guy.

But I thought Charmers were going to turn out to be there, there'd be a conspiracy, and it's just it's just like they went, oh, we spent nine minutes on a car chase.

We don't have time to finish the story, so well to stop now, you know.

And that is what like if you know one thing about Bullet or even know two things, it's like Steve McQueen's in it.

And there's the car chase that begins American action cinema in a way, and it is the best part of this film.

I suspect we're not talking about this film if that car chase isn't in the film.

No, I suppose not.

And the cultural I don't know whether the Dodge Charger versus the Mustang fast Back is the thing that made the Dodge Chardra and the Mustang fast Back.

The two iconic muscle cars of America or whether they were already that.

Presumably they're already the two iconic muscle cars, but I'm surely embedded it so much in culture because when I was over there and I lived there for a while, as you know, and I thought, shits and giggles, I want to get a muscle car.

And because I lived on one side of Griffith Park and dream Works was on the other side, I was never going to burn much fuel.

I wasn't, you know, feeling too guilty.

I drove about, you know, twenty k's a week, and I thought, I'm going to get either a Dodge Charge or a Mustang and They're like, do you want a convertible and I'm like, absolutely not, They're so ugly.

I want the fastback, I want the you know.

And I didn't realize that this film kind of just stamped them with iconic status.

I mean that it's but you know, unfortunately, it was such an amazing car chase.

But now, I mean, the Blues Brother's car chase is better.

I mean, now, now there's been so many unbelievable car chases that it sort of looks funny, especially when they reuse the same shot from three different angles.

You notice that they're coming down the hill and they pass a green V dub yet and then they're coming down the hill passing the green V dub.

And then they're coming down the hill passing the green V dub because I've.

To save and time.

They've done the same shot and shot it from three directions and just cut it so it looks like, I don't know, were we meant to think it was three moments in time or we meant to feel like we were just watching it from three angles.

Yeah.

Yeah, the green volksbag is one of the kid But it is like what I liked about the car Chase.

I think it's really well shot and and obviously, but the the I like watching, We're so used in this fast, post fast and furious kind of world where it's always obviously car chase, it tends to be experts who know how to drive cars.

These were like unqualified people to be driving this fast.

It seemed to me, even though Bullet actually kind of he overruns and he has to kind of reverse and goes back, which is a mistake.

Apparently that the McQueen mailing the day and they kept that in.

When he goes into the dirt, or that he kind of slightly the corner.

This is the corner, Yes, and he has to back up and that was a mistake and and they used it.

And I kind of love that because it felt like, yeah, Frank Bullet's a cop and he's a cool cop, but and he could.

Drive better than most, but he's not spent his whole life becoming a stunt driver.

Exactly right, Yeah, exactly right.

To go back to one battle after another, I felt that this must have been, you know, totally certainly an influence on that.

I was watching it, going, oh, this is that camera on the front of the on the front of the front of the bonnet, going up, up and down those San Francisco hills.

I mean, the one battle after another was just sickening.

But yeah, once once you realized why they was setting up those shots because of what happened, how how she got out of it was so brilliant.

But I mean the shots are beautiful.

The whole film as a look at.

How cinema used to be made, and just the.

Like the the establishing shots that in early film they went, well, we have to see that they're driving to the to the hotel, and we have to see them get out and go in, because otherwise how will the audience know?

And over the years it's just like, don't need that, don't need that, don't need that, don't need that.

And we now watch us We have inherited, you know, generations of filmmaking, so now we understand the form so much that you have to do so little and you can use all your time moving the action forward because you just everyone just goes, oh, they drove there, and they came into the hotel, probably had a bit of a chat.

But in Bullet they're is like, and they're getting out of the car and they're walking towards the hotel.

And the shots are pretty but not.

Not like arms they're stunning, you know.

Yeah, they're not Where's Andersen paintings.

They're just like nice shots with nice light, you know.

But it's just amazing how much information filmmakers felt they needed to give the audience back then compared to how much audiences just know all that now.

Yes and out how you interpret it?

Well, yeah, I like I like having time in movies, like you know, whether it's establishing shots or those moments where it's very easy for a producer to go, we don't need that shot.

And those debates.

I'm sure you've had those debates many times, and they can be quite frustrating, because my point is always like you need to let the audience either catch up, take a breath, sometimes just to have the thought like I'm enjoying this movie, like like just to have those those I think are really important and what I loved.

You know about watching movies, if everything's just all about the action, I find it a bit too much.

Now with Bullet I found there was a little too much time to have those thoughts where it went.

It wasn't me going, what's going on or I'm enjoying this movie, It was like why, why is it so slow?

And why?

And I know there's a different pace in the movies, you know, you speak about the conversation.

That's a very different pace.

So maditative.

Yeah, yeah, absolutely, And I'm happy for a movie that let me wash wash over me and maybe I'll watch it again.

And I just know that I'm so glad when I did some research that everybody agrees the plot is kind of ridiculous and it doesn't really matter, and everyone seems to be on the same page with that it's about the McQueen looking cool and it's.

Like a male model sort of piece, but you know, the.

To try and imbue it with just kind of give it it's due.

Those shots give you an environment of the sort of squalid, laconic, lethargic kind of like, here we go, another fucking murder, another in this shitty city where everyone dog eats dog and the politics are corrupt and everyone's out for themselves, and it just it does give you a feeling that you don't get from all.

It's very interested in the procedure of police work, which I think it was one of the first films that really kind of you know, have that at the forefront as opposed to even the crime to be honest that they were actually you know, talking about and that you know, we've seen films.

I think the films of the influences that French connection, I think is influenced by it.

I think the conversation, those kind of long lens kind of you know, shots and heat I think is obviously one, particularly the final the final scene.

Yeah, and a lot of my Michael Man's work in fact, I mean, I think when you have this restaurant scene where nothing he said, this is his jazz band that could have been out of Anchorman.

To be honest, it's fun.

It's really fun, and it's the only time you see Frank Bullet smile, but you don't hear a single word.

Yeah, that was my favorite scene in the film because it was just sort of honoring the time and yeah, and it was the way of going what's old is Argentina an American guy who wrote this.

I mean the score, the score is super weird because there's really cool moments that are very of its time, obviously jazz and Latin and stuff, but it's so sparse.

They just there's like bidding as someone walks out, and then score disappears for the whole scene.

And these days, if a scene with that little story and that many action sequences would just be a music video, it'd be completely scored.

Or or not scored.

It would be using songs, you know, pre existing songs.

But I loved the music and I thought the scene in the restaurant with the band playing it was just sort of honoring the aesthetic.

It was really a kind of yeah, a bit of a swing noir thing, and I just thought it was cool as fuck.

I agree and it kind of said to me, you know, like, yeah, we are, and maybe more in hindsight, but we are.

This is there's a little his style here, there isn't you know.

I'm not to say it's it's it's there's no substance, but it's certainly stilover substance.

I think I think they I think they're here for a good time.

Like I said, i'd like more, a bit more action, if you know, if we're viewing this as an action film.

Yeah, that's right.

But that's so you know, if you'd never seen a card choset like that, Let's go back to the cinema and watch it again.

Imagine being in the cinema in nineteen sixty eight and watching and watching that like you see nothing like it before.

And there's there's always the aesthetics they shot on location there, they use natural light, they use real sound, you know.

So it's almost the arrival of the European New Wave in mainstream America.

Yeah, that's right.

And it's so interesting watch listening to the sound and how they hadn't quite worked out how to clean up sound.

And because I don't I'm not, as I say, I'm not a buffer I've watched very few movies.

Before nineteen eighty.

I don't.

I not watch many old films.

But you know, the camera's facing this way and Steve McQueen go, and you've got this background noise, and then suddenly the oral environment changes because the shot reverses, and of course it was shot now later and the light's different, and they hadn't quite worked out how to clean up sound and to put white noise behind it to match the I mean, this is stuff I didn't know about at all until, you know, the last decade when I started getting involved in making film and TV.

But once you've been involved in a sound mix for a show, you're like, oh my god, they could not They just didn't know yet how to do it.

And of course they're working on tape and they don't have digital technology and all that.

So you notice all that stuff, and you without a doubt the pace, the lack of story, the kind of you know, the ways in which technology has so called improved filmmaking that made it maybe arguably a little bit clean and a little bit sort of clinical.

I had to put myself in that.

Okay, I'm not going to be a twenty twenty five person thinking this is too slow.

I've got to let it be pretend I've only seen the films it up until A nineteen sixty seven.

But it's very hard to do that we do.

I was a bit fucking bored, you know.

Yeah, yeah, I was a bit the same.

And the other the other element is is with Steve McQueen, is you got the mustangs and the cars and him being cool, but it's also the clothing, the wardrobe.

A he's a rough, rough looking guy, like in the sexy kind of hot.

You don't even have the language for how sexy.

But it's such a straight guy.

He's not rough, he's like hot and cool, and he's got beautiful blue eyes and a gorgeous jaw, lovely lips.

When I watched Cashiy in The Sundance Kid for the first time with Bob Murphy, he's returning with Magnolia, As we mentioned, I my wife the next morning, she said, how do you have the film?

Go?

I said, and I google image Paul Newman and Robert Redford.

I said, look at their eyes.

Look at their eyes.

These are the best looking men you'll ever see in your life.

And McQueen's obviously right up there but is also a sense of style, like Turtle Next became a thing because all cops up to this point where like dressing dark suits and they pop pie hats and all of that.

Where he brought style.

Because Steve McQueen embraced being a movie star like he was.

He did not want to disappear under esthetics or you know, like fake beards or anything like that.

He knew, check this shit out exactly right.

Yeah, And that was the people who work with him like really appreciated it because he was like, no, he knows what the audience wants and he wants to.

Get to them and what angle to hold his face.

So I mean that is huge these days that the actors really do understand and are taught to go, well, you you know, you know where the camera is, you know what angler is going to get your cheek bones, and they are thinking about that stuff, especially the ones who have made it to the top partially by being unbelievably hot.

Yeah, and the tweet jacket with the patches, I always consider it hot.

Right, there was all those heat shimmer on the shots and you get all this heat on the shot and I don't know about the lens conditions, that make that happen.

But it was very popular, and I mean it was very prolific in the time.

Those shots where the shimmer of heat reads on the on the picture, but it looked hot, and he's in a turtle neck and a jacket and like chinos.

I'm like, Jesus, do take your turtleneck off.

It's got to be itchy.

Well, I always kind of, you know, for my mind connects tweed jackets with the patches to librarians or professors.

But you always forget that something always fashion.

It starts off as cool and then it gets dwindled down as it becomes more accessible.

To until librarians are still wearing it.

Yes, well, I bought this after I saw a bullet that was forty years ago.

Grande.

There's not much female representation, I mean, Jackulber said, it's it's a bit of a thankless character.

In fact, there's one scene where she's talking and her mouth not even in shot.

It's a shoulder.

It's covered by the shoulder of Steve McQueen, and it's yeah, you know, it's a pretty thankless task.

And she was still in that English hyper articulate, you know, you say every line a bit like you're a stage actress and.

You know Trevor crane Roll.

It is like whenever she spoke, you're like, oh, now we're getting a monologue from someone who was trained at Rada.

Yeah.

Yeah, because it.

Does seem like, like I said, everyone feels like they're in the same movie, maybe a part of jaquelb Set.

And because Robert Vaughan I think is very good.

It's weird because there's no natural traditional antagonist in this in this movie, like Robert.

No one feels like it's going to be Charmers.

But yeah, but it's not really.

But I think he's he's really kind of good in this, Like he's on the same performance level I think is as McQueen.

He's not overdoing it.

Fact, let's have a little listen to a scene between Charmers and Bullet.

And what went wrong with channel?

Who else knew he was?

What who else knew?

Worry was?

What even blind?

Well, do you know where to look for him and use your name to get in?

Are you suggesting I disclosed his whereabouts and somebody did and it didn't come from us.

That's hardly the issue.

What certainly is I've I've got an officer with a family, and he shot up pretty bad.

And I've got a witness who can't talk.

I wanna know about a Ross.

What was the deal you made with did.

Noetendant?

Don't try to evade the responsibility in your parlance.

You blew it.

You knew the significance of his testimony that you've failed to take adequate measures to protect them.

So do you?

It was a job no more or it more?

And you the dedication.

I was led to believe.

You believe what you want.

You work your side of the street and I'll work mine.

I think Rubberbone's really good in this, and it does give us something to hang your hat on if you're looking for.

What is this movie about, is that this trust in the establishment in politicians that they don't They certainly don't labor the point that I don't think this is a movie with a massive message.

It is interesting because it's nineteen sixty eight and there's massive things going on in America's post cand of the assassination.

It's it's it's unrest over Vietnam, and so that it doesn't touch on any of that stuff interestingly.

Well except yeah, it maybe right.

It is definitely an early reflection of what has become this catastrophic loss of two institutions, and it did start around then and Watergate, and it's just so you're seeing, maybe again, if we're giving it as much credit as we can, a sort of early example of this, you know, I'm sure it's not an early example.

It's a tailor as old as time, but that everyone is compromised, and everyone's Machiavelian, and no one can be trusted, and there's no good guys.

There's just as Jacqueline says, you're just all in the swamp and you're not even noticing it's a swamp anymore.

I mean, she didn't say that, but that's the implication.

Thank god that the swamp's been drained.

Now, Oh that's much better now.

Those days we just needed we just needed a handsome six foot.

Four person at the right time.

Yeah, before we wrap out, I just wanted this go back to the car chase.

One big choice that was made by the composer.

They had score all the way through it.

Let's have a little listen to the score.

This is when the chase is just just kind of starting out before it really kicks in.

So you have it at both going on.

It's a nice score.

It's where the cars are kind of still working there, they're not really chasing yet, they're not chasing just yet, and they hold up and it kind of does stay with it a little bit.

And then the composer that said, I can't compete with the Mustang and the charge is so let's let's just drop the joy to sound of the cars, which you know became and he's right.

It's a it's a great call.

It's it's it gives it an energy that I think that you know, often scored does lift.

Well, yeah, a score will always I mean, it's just a look at other examples where you can choose to have score or not score in a in a really emotional scene, I've always loved you, or your mum's dad or you know, and score.

It's it's always a dial that you have to consider because score can.

Bolster the subtext.

It can say and in this moment, the person felt hopeful forbody whatever, or this is portentous or whatever, but it can steal from the scene because actually just watching two humans have that moment can make you feel more in the moment because it's not being enhanced and Similarly in a carchase, it's sort of felt more realistic.

The stuff you were saying about the driving being realistic.

I'd say that's partly.

It's a lot of that is editorial and score because how you cut it changes how you feel about how realistic the driving is.

And just hearing the squeal of tires and the roar of engines makes it feel like you're just there on the street, because on the street, when you watch a car zoom pass, there's no orchestra to tell you how to feel.

Yeah, yep.

So you must have times when you're scoring some thing where you you know, you probably you're a musician, so you want to put scoring, I imagine, but there, you know, there must be times be like, no, I don't think I'm needed here.

Well, you know, I don't.

I'm not a composer in that way.

I don't score.

But I was quite and I've only really been a producer, sort of played that role in one thing, which is upright.

But as you can imagine, I loved, I adored the guys who composed it, but I was in amongst it, and they wanted me in amongst it because they're composing for a musician, and yeah, without a doubt they would send their edit where they're their first pass and there's music all through it.

And a big part of what I was able to do with some confidence just because I don't know why I was confident, cocky fuck.

I suppose I just went nothing there, nothing there.

I know a lot of it was about taking score out because I thought, yeah, exactly that it can.

It can cheese it up a bit.

It can take away from the impact of a thing if you are putting it kind of.

I think Sundeim said, it's a hat upon a hat.

You know you don't you shouldn't always put a hat on a hat, but you gotta be careful about putting a hat on a hat.

And if the emotions already there, you don't you don't want to put another hat on it.

No, No, don't put a hat on a hat unless you're a spring carnival and then it probably looks like and then.

Just hat up, hats all the way out, the turtles, all the way.

Down to mention you are a national treasure.

We have taken up way too much of your time, but it's been a bloody delight just to hang out with you.

And chat movies.

What where can people see you?

Where can people do to get more tim intioned into their line?

Is coming out?

Pete mate?

This will be out like next Week'll be soon?

All right?

Well, I mean I'm starting touring.

There you go, probably this week when this comes out.

I'm my first show for my Australian tour of songs the world will never hear, celebrating twenty years of hardcore, fucking rock and roll nerding love it.

I love a short title.

My first show is the thirty first Is that Friday or Saturday?

It might be Friday, maybe Saturday.

I'm yet again up against Oasis.

When I was touring in the UK, I was playing in Manchester for two nights at the Manchester Royal Opera House, the same two nights that the Boys were playing their first concert in their hometown for whatever since two thousand and nine.

And now I'm in Melbourne.

I'm fucking playing there at Marble around the corner while I'm at the palais.

But all the cool kids will be at the palais, all the middle aged men in bucket hats, they'll all be at Oasis, and all the cool kids will be at the Palais.

So I'm at the Palais for three nights next week.

I think there's a few tickets for the third night still left.

And then yeah again, because I'm doing reagionably big rooms, I think there are still a few tickets in most towns.

Yeah, so I'll be on tour all through in November, basically in early December.

Get on your Google machines and find out when Tim's coming to a place.

Tim mension dot com to make sure you don't get sucked into those assholes scale upping ticket prick exactly right.

Yeah, go to my website and I'll make sure no one's scamming out.

Tim mention dot com.

Mate, thanks so much, it's been a real pleasure.

And I'll get Bob Bonfie to give you a call.

Yes, please tell Bob to send me a dick pic.

There we go.

That was Tim Minchin and he's three favorite films, or three of his favorite films.

It is interesting because when you people ask for, you know, three favorites.

I can't do songs.

I find it ridiculous when people ask me for my favorite meal or my favorite color, but for some reason, my three favorite films.

It's quite easy for me.

But we'll discuss the movie we're here to talk about with Tim Minchin National Icon next week, which is nineteen sixty eights Bullot starring Steve McQueen, directed by Peter Yates.

That's next week.

And you ain't see nothing yet.

If you haven't seen Bullet check it out see then.

M hm.

And so we leave old Pete safe and soult and to our friends of the radio audience, we've been a pleasant good night