Peter Weir's Cinematic Vision: Picnic at Hanging Rock

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Speaker 2: You're listening to Monster Kid Podcast.

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It's 1900 in Australia.

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A group of students from a girls boarding school, brimming

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with the enthusiasm of youth, embark on what's supposed to be

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a carefree Valentine's Day outing at the iconic hanging

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rock.

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The ambience is idyllic and the laughter is contagious.

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But as the day unfolds, this innocent trip takes a dark turn.

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Four girls, drawn inexplicably to the rocks embrace, venture

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deeper.

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By sunset only one returns, her memory erased, and a teacher is

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mysteriously gone.

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Behind this masterpiece is director Peter Weir who, fresh

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from his first full-length feature film, the Cars of Eight

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Paris, crafts an atmosphere that is seen and felt.

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The cast, led by talents like Ann Louise Lambert as the

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ethereal Miranda and Rachel Roberts as the stern Mrs Appell

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Yard, breathed life into Joan Lindsay's iconic novel.

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But this film isn't just about the mystery of the missing.

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At its core, picnic and hanging rock delves into the themes of

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nature versus civilization.

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The untouched beauty of the Australian wilderness stands in

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stark contrast to the Victorian era restraints and social

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expectations.

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The girls grapple with Themes of time.

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Both its palpable passage on that faithful day and the

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metaphysical aspects play heavily into the film.

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It challenges us to consider sexuality, the mysteries of

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adolescence and the clash between the known and the

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unknown.

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This isn't just a movie, it's a mood, an atmosphere, it's a

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dreamlike state that lingers, asking viewers to grapple with

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the line between reality and the ethereal, the known and the

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unknowable, the haunting soundtrack and the Australian

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landscape.

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Cinematic beauty, craft, a visceral and cerebral experience

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.

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And today, as we traverse this intricate cinematic landscape,

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we're joined by Tab with her unique insights and deep

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appreciation for film.

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Were set to embark on a deep dive into this masterpiece.

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So, listeners, join us as we explore, analyze and celebrate

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the intricacies and enigmas of picnic and hanging rock.

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G'day and welcome to a didn't go ate my movie, a podcast that

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celebrates the weird and wonderful world of Australian

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film from the 70s, 80s and beyond.

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As ever, I'm your host, pete.

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Today I'm joined by tab from the stiletto badges podcast to

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discuss picnic and hanging rock.

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How are you tab?

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Speaker 1: Thank you so much.

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I'm great.

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I'm excited to talk about this movie because I I feel like I

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try to talk to people about it and they've never seen it before

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.

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Speaker 2: Isn't it funny?

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It's interesting, even just talking to like friends of mine.

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We had some friends over last night and they were just asking

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what we're going to coming up is it on doing a podcast recording

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tomorrow?

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And we're doing picnic from hanging rock and they're like oh

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, we haven't watched that for years, I haven't seen that for a

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long time and even myself I hadn't seen it for years.

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Like I saw this.

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The first time I ever saw this film I was.

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It came out in 75.

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I saw it I think in 77 or 76 on a school excursion and I think

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at that age I was probably 13, 14, something like that.

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It just went right over her head.

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So I think for that age group they're not really gonna not

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really gonna understand a lot of it, right?

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Speaker 1: it's vibes.

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The movie is how I described it to my friend Micah, because it

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is very visual first of all, and it's about the atmosphere of it

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.

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Speaker 2: It has a loose plot, but it's not super dependent on

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that no, I know, and much has been said about it, it has no

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ending.

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Nothing wraps up and there's a wrap up but there's no clear in.

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Speaker 1: I don't think we're spoiling anything, because I

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think at the very start you pretty much know that's gonna

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happen yeah, I don't think you can really spoil this movie,

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other than some girls on a school trip disappear, but that

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happens at the beginning that's right.

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Speaker 2: There's no spoiling this movie.

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So anyway, picnic at Hang Rock was released in 1975 and was

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directed by Peter Weir, film stars and Louise Lambert, rachel

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Roberts, dominic Guard and Helen Morse.

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It also features again in my podcast a very young John

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Jarrett yeah what was his second film role?

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Speaker 1: she's so young in this I think the youngest I had

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seen him prior to this was next of kitten and he's probably in

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his early 30s and that yeah, he's really young.

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Speaker 2: I can't remember.

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I was looking yesterday and I thought I've got to write down

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the name of the first film and I forgot.

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I'm sorry about that.

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It's his second feature film and he said he's so young.

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But you can see, he can see the talent in him in this movie.

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He's not yeah, billing but he's he's quite good in this film, I

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think and I think he's.

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Speaker 1: His character is supposed to stick out this way,

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but everyone else is so like posh and upper-crust, and that's

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really sets him apart from yeah from everyone else, and I think

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it's supposed to, because yeah like a servant or a worker for

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one of the rich families he's the larrican Aussie guy in the

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movie.

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Speaker 2: So the movie was based on the book of the same

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name written by Joan Lindsay, and it was first published in

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1967.

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I've not read it.

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I actually just bought it on Apple Books last week and I try

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and read it and I knew I wouldn't get through it before

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this, so I started to read it.

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Speaker 1: It's very similar, it's very have you read it?

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Speaker 2: have you read it?

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Speaker 1: yeah, a small copy came with my criterion, dvd so I

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read it several years ago so.

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Speaker 2: I'm looking forward to reading it and I think, if I

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think about the start of the book, even I think she writes at

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the start of the book that she says because the big thing about

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this movie is, they kept asking her all the time is this a true

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story or is?

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This something you made up and she never really answered the

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question and she was told she used to tell people.

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I think when Pb we first went to meet her, he was told by her

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publicist or publisher not to ask her whether it was a true

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story or not.

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But he couldn't help himself and did, and at first she said to

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him I hope you're not gonna ask that question again.

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But then she said it's she didn't really.

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Say she didn't really answer it straight and the start of the

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start of the book.

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It actually basically says it doesn't matter whether this is

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true or not, because so much time has passed.

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Speaker 1: The people in this book are dead yeah, it's

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presented almost like a true crime book in the way that it's

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written.

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It's written as if it is a real thing that people talk about,

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at least yeah not everything in, it, is true, but urban legend

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kind of.

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Speaker 2: Thing so I'm looking forward to getting into it and

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reading it.

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It'll be really good.

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So where to watch it?

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So it's a weird one, because in Australia I didn't find it on

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any streaming service for such a seminal Australian film.

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Yeah it's almost it's really.

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I looked on places where I looked in all the regular places

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, but then I looked in places where I thought I'll absolutely

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be on ABC I view, but no it's not there and then I thought

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I'll be on the SPS one.

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So ABC is like our national broadcast and.

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SPS is like a.

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It used to be mostly always foreign films and foreign TV and

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stuff like that, and it's still like that.

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But they have a lot of Australian content as well and I

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thought it'd be on their streaming service for sure

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because they have a lot to Australian stuff and so does the

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ABC and I thought I'll be on there for sure.

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So I don't know if there's a rights thing in Australia at the

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moment, but it's not an any streaming service.

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You can buy it, like on Apple I think, and things like that, or

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rent it right there's.

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I ended up having to order a DVD from a cellar on eBay and wow,

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because I was gonna order it through Amazon.

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But it might have been a bit, might not have made it in time

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and I know there's a 4k on Amazon, I think that's second

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site released which looks interesting, and there's a

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couple of other few versions.

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Funnily enough, I only found out the second viewing and

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watching a documentary, because the DVD I got is Super Bear

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Bones.

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It's the movie, it's the trailer and that's it and

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there's nothing else on it.

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So I found a documentary on YouTube that's split into two

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parts, which I think is off one of the later umbrella releases,

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and I found out that the version I watched that I got on DVD was

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a director's cut when he had a second go at the movie a few

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years later.

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Oh, wow, okay and took some scenes out and things like that.

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So, yeah, so it's.

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There's not really much there.

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There's a rumor that umbrella are releasing a new, fully

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restored 4k before the end of the year.

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There was a an interview I watched with one of the guys

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from umbrella it was last week and he mentioned that they're

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working on a 4k of a beloved Australian film.

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So I'm thinking maybe it's that .

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So if that comes to fruition, I'll definitely pick that up as

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well so where have you been?

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Speaker 1: able to watch it so I noticed that it is currently in

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the US at least on max, which would be HBO max.

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So, yeah, I saw that it was on max or HBO max.

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When I was trying to, I was actually trying to find the mini

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series to look at and then I have it as a criterion DVD and I

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checked the criterion website and they do have a blu-ray

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available, but that may only be.

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I think it would be region A for the US so it would probably

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be region locked, unfortunately yeah, yeah but if you're a US

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listener, there's a couple different ways you can get it,

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which is surprising.

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Usually it's the other way around.

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Usually.

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Speaker 2: Europe or.

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Speaker 1: Australia has it when we don't.

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Speaker 2: Yeah, if you're an Australian listener and you do

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want to get something from Europe.

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So if you get something, I think anything from Britain uses

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the same region as we do, so you can safely buy stuff, I

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think that's from the UK.

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So if you get it off the Amazon UK store or something like,

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that.

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So, yeah, it's funny because, as an aside, when I was looking

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for this movie I was looking on ABC I found this Nick Cave and

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Warren Ellis concert at Hanging Rock.

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Speaker 1: Oh nice.

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Speaker 2: And it was really cool, and so I ended up getting

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totally sidetracked for 30 minutes.

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Speaker 1: It's watching that we just went and saw Nick Cave in

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Milwaukee a week ago.

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I know.

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Speaker 2: I saw Micah mention.

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That Was it great.

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Speaker 1: Oh, he was awesome.

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It was on the level of I imagine seeing somebody like

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David Bowie or.

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Speaker 2: Tom.

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Speaker 1: Weitz or Leonard Cohen, and unfortunately, like

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Leonard Cohen and David Bowie, I wouldn't be able to see them

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because they're from now.

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Speaker 2: But Nick Cave was amazing.

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Speaker 1: It was just him and a piano, and then the bass player

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from Radiohead was accompanying him.

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Speaker 2: Oh wow, that would have been good.

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Yeah, it would have been excellent.

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So the movie had a budget I think I missed.

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I mistyped this.

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I put $443 million to get it.

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It was $443.

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And its box offers.

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It made $5.12 million in the show.

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It's actually not too bad theatrically.

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Yeah, I don't think it cost $443 million.

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Imagine a copy.

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Speaker 1: Yeah.

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Speaker 2: It'd be quite extravagant.

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On Rotten Tomatoes it's 91% and the audience score is 83, which

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is really high, which is great, and the IMDB rating is 7.4.

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So I forgot the letter box, but I'm assuming it's pretty high,

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so it's a very well loved film.

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I even watched a Siskel and Ebert review of it yesterday and

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I can't tell them apart which ones were, but one of them

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really loved it.

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The bigger guy Is that Siskel.

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That's Ebert Ebert right, he really loved it and Siskel

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didn't really.

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He liked cinematography, loved everything else about it, but he

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hated the fact and I guess we'll probably come back to this

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again that there was no ending to the movie.

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Speaker 1: Yeah.

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Speaker 2: He described it as like having somebody give him a

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present in a beautifully wrapped box, and when he opens the box

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up, there's nothing in it, and yeah, I feel like Americans are

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very literal and so if you don't have a set, three act, story

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structure and an unambiguous ending.

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Speaker 1: They're like what is this?

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Speaker 2: Yeah, well, if you look at the documentary on

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YouTube or on one of the DVDs or Blu-ray releases which I'm sure

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it's on I think it's one of the McElroy's one of the producers

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basically says when they sold it into the US, a lot of the

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reaction they got was what the hell's is?

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It doesn't have an ending?

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Yeah, and so, yeah, it's very interesting.

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I think that's what really makes the movie, though, is the fact

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that it's so open-ended, because you end up watching the movie

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and again and I've said this before on this podcast there's

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you watch this movie and then for the next few days it's

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actually milling around in your head.

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Speaker 1: Oh yeah.

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Speaker 2: And you're sort of going, oh, what did happen, what

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actually did happen to these people?

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Speaker 1: So and it's not that it's a realistic movie, because

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I don't think that's the intention, but in real life

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there are just things that don't have an ending or don't get

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solved.

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It's super common, so why wouldn't you have a story that

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doesn't?

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It's a mystery that it's not solved.

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Yeah, that's more realistic than mysteries that are solved

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in some respect.

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Speaker 2: True, and the only logical ending this movie could

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have is they find the bodies, or they come back, or something

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like one of them did right, but you know they're going to happen

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.

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I think I like it.

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For that reason it's good.

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The novel was originally published in 1967.

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And after reading the book four years after it's released, pat

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Lovell who at the time was an actress she did daytime TV and

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other sorts of things and soapies and stuff she thought it

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would be great, would make a great movie and eventually

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secure the rights for a total of $300 in 1973.

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I think she paid.

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I think I read that she paid $100 a month for three months or

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something and that got her the rights to the book.

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And then she hired Peter Weir to direct it and he bought with

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him Jim McElroy to help produce the film.

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Speaker 1: That team.

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Speaker 2: I think one of them in particular has produced a lot

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of these films in Australia, Like I think Razorback was one

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that they produced as well, so they've got a long history with

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these sort of movies.

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So Pat Lovell originally wanted David Williamson screenwriter

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David Williamson, very well known in Australia as a writer

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of screen and stage to write the adaptation.

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However, he could never get his schedule to sort of match up,

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so he suggested Cliff Green, who was a noted TV writer, and he

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ended up writing the screenplay, and I think it's a good

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screenplay, yeah would have been interesting trying to adapt the

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book right.

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Speaker 1: Exactly.

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I read an interview with Pat Lovell where she talks about how

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she had to go to Hanging Rock for the shooting of the film and

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she said it was so eerie that she hated being there.

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And I think she said she wouldn't one other time.

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And it was.

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She felt the same and she's never been back and she's

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actually very scared to be there .

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Speaker 2: That's really interesting.

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I'd love to go there one day, I think, next time I get on.

00:17:04
Melbourne for a holiday or something.

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It'd be really good to go check it out, Because it looks

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fantastic, like just the rocks itself.

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Speaker 1: Yeah, I think it's the perfect place for something

00:17:14
that feels otherworldly, because it does.

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Speaker 2: It's beautiful, but the rock is very imposing yeah

00:17:20
yeah, they started filming in February 1975 and principal

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photography last around six weeks.

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The locations for the film included Hanging Rock in

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Victoria, Martindale Hall near Mentaro in South Australia and

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the studio of the South Australian Film Corporation in

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Adelaide.

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So bits here and bits there, and because South Australia is a

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different state to Victoria, obviously and so they moved

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between the two.

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But yeah, it's an interesting shoot.

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The part of Miranda was originally given to Ingrid Mason

00:17:53
.

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However, after a few weeks of rehearsal we decided that it

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wasn't working out, so he cast Anne Louise Lambert in the

00:18:01
pivotal role.

00:18:02
From what I recall, from the documentary as well, he

00:18:05
mentioned that he originally was going to hire Anne Louise

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Lambert to play the part, but he felt she was a bit too worldly

00:18:15
and he wanted them all to be very innocent and when they

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started rehearsals and whatnot, he was thinking back to her and

00:18:22
actually thought that she would be a better fit in the way that

00:18:25
she was that worldly sort of person.

00:18:28
And because when you look at that character with the other

00:18:32
girls on the college she is completely different in a way in

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regards to she seems more worldly and she seems she's

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almost like the I don't know the probably the wrong word to say,

00:18:47
but the alpha woman, alpha girl of the whole group sort of

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thing.

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She's someone they all look up to, someone they all like and

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that sort of thing.

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Speaker 1: Yeah, even the French teacher seems to be sort of

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fascinated.

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Speaker 2: Yeah, yeah, exactly Right, and so she ended up

00:19:04
getting the role.

00:19:05
When I think about the film, it often looks like an

00:19:09
impressionist painting.

00:19:10
It is certainly a lot of scenes , especially that scene with the

00:19:14
girls all just sitting, that long shot with the girls all

00:19:17
just sitting around the rock, the base rock.

00:19:19
That reminds me of a few pieces of art I've seen over the years

00:19:23
, and Peter Weir and cinematographer Russell Boyd

00:19:28
achieved this kind of dream like look by just draping very

00:19:32
thicknesses of bridal veil fabric over the camera lens,

00:19:36
which is quite I'm not sure exactly how that works, but it

00:19:40
certainly makes a difference.

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Speaker 1: Yeah, I've read that as well and I was like I.

00:19:43
They must have just been able to focus the right, where we

00:19:47
were creates almost like an interglow for everything, and

00:19:51
not actually see the lace.

00:19:52
But I was really impressed by that.

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Speaker 2: Yes, great.

00:19:55
What are your general thoughts on the film?

00:19:58
Speaker 1: So this movie is so beautiful I'm a big fan of Anne

00:20:03
of Green Gables and particularly there was a Canadian miniseries

00:20:07
that they did several of the books and smashed them together,

00:20:11
and the way everyone was dressed really reminded me of

00:20:14
that.

00:20:14
So I was instantly on board because, oh, I know this time

00:20:19
period through other things that I've watched.

00:20:20
But it was just beautiful and the way that they were all sort

00:20:26
of reading poetry to each other I think it was from Valentine's

00:20:30
Day cards that really set the atmosphere right away.

00:20:35
It was very dreamlike and I think it sets it up to be like

00:20:39
there's something off about what's happening right away

00:20:43
before they even get to the rock .

00:20:44
So I felt like the atmosphere and the setting were really well

00:20:49
established.

00:20:50
Speaker 2: I think there's also a lot of themes in this movie,

00:20:53
like there's this sort of overarching, almost not sense of

00:20:57
dread, but there's that bit of putting, there's it feels a bit

00:21:01
strange.

00:21:02
There's also a lot of reaching forwards here, like looking at

00:21:08
relationships between the girls.

00:21:10
Sarah's relationship or infatuation with Miranda is

00:21:14
really interesting part of the movie as well.

00:21:17
There's a lot of that going on in the film and I think it's

00:21:21
quite interesting.

00:21:21
And the teachers that are there and then, of course, the what

00:21:26
would she call like the headmistress.

00:21:29
Speaker 1: Oh, mrs.

00:21:29
Speaker 2: Avilio, yes, it's really interesting watching her

00:21:33
character go from very uptight, upright sort of in control

00:21:40
headmistress at the start of the movie and just watching her

00:21:44
descent into kind of not madness , but just like this massive

00:21:48
descent into, just like disrepair.

00:21:50
She's out of control and doesn't really know what's going

00:21:54
on by the end of the movie.

00:21:55
It's just amazing, and she's really well played as well.

00:22:00
Speaker 1: Yeah, and her relationship with Sarah too.

00:22:03
Just the almost like sadistic kind of relationship she has to

00:22:09
Sarah, where she's punishing for her for things, but it seems

00:22:13
more like she is offended by the fact that she's lower class

00:22:17
than the other girls.

00:22:18
Speaker 2: Yeah, that's what I took from it.

00:22:19
That's really what's motivating it.

00:22:21
Yeah, I took that as well because I think all the other

00:22:24
girls seem to come from fairly well to do families and she's a,

00:22:29
you know, an orphan.

00:22:31
And I think the sadness, one of the sadnesses in this movie

00:22:35
that I never picked up until my second viewing, is that her

00:22:39
brother is actually close by and neither of them know.

00:22:44
Speaker 1: Yeah, neither of them know.

00:22:45
Speaker 2: They just never cross paths.

00:22:47
Speaker 1: I thought that was so cool because basically it seems

00:22:50
like she comes to him in a dream after she's died, yeah,

00:22:53
and that was really heartbreaking.

00:22:55
And they are so close.

00:22:56
If she had gone to the picnic she would have been within like

00:22:59
feet of him.

00:23:00
Speaker 2: Yeah.

00:23:00
Speaker 1: But also I loved the way that they distinguished her

00:23:03
from the other girls using an Australian accent, because the

00:23:07
other girls have more English sounding accent, at least to me.

00:23:11
And then she was really the only girl that had an actual

00:23:15
Australian accent and that sort of seemed like the way they were

00:23:19
indicating that she was possibly of a lower class or

00:23:22
separate from that.

00:23:23
Speaker 2: So I thought that was really interesting.

00:23:24
She's such a tragic figure too, through the whole thing yeah,

00:23:28
it's so sunny.

00:23:28
So there's a whole lot going on in this film that's good of

00:23:31
like in parallel with the main storyline.

00:23:35
To me, that really struck and I couldn't believe it.

00:23:37
I didn't pick it up at first viewing.

00:23:38
I obviously didn't pick it up when I was a 14 year old kid.

00:23:43
Speaker 1: Right.

00:23:44
Speaker 2: Back in, whatever.

00:23:45
I was back in 1976 or whatever it was.

00:23:48
And even the first time I watched it, I didn't really pick

00:23:51
it up and I was like, hang on, what's going on here?

00:23:54
Oh, it's his sister.

00:23:55
And I was like, oh my God, this is so sad and tragic.

00:23:58
Speaker 1: And it's really sad.

00:23:59
What was sad to me also was that she was so defiant and

00:24:04
clearly wanted to be an individual and she was just

00:24:06
being like squashed down and they indicate that she may have

00:24:10
died by suicide.

00:24:11
But I also read that there's a theory that Mrs Appley Yard

00:24:14
killed her because she clearly didn't go away with her guardian

00:24:19
the way that Mrs Appley Yard said.

00:24:23
Speaker 2: I'm not sure about that, because I thought, because

00:24:26
to me what I took from it is she was so infatuated with

00:24:30
Miranda and Miranda goes missing .

00:24:31
When Mrs Appley Yard says to her that we're basically kicking

00:24:36
you out of here and you have to go back to the orphanage, there

00:24:39
was almost like to me, almost like a little smile.

00:24:45
Speaker 1: Yes, yeah.

00:24:46
Speaker 2: From her when she was told and I was like, okay, this

00:24:49
is where she made the decision that she was going to kill

00:24:52
herself to be with Miranda, and that was where she got the smile

00:24:56
and I think that's my take.

00:24:57
But this is a great thing about this film is you can see it so

00:25:00
many different ways.

00:25:01
Speaker 1: Yeah, it's open to interpretation, for sure.

00:25:04
Speaker 2: Yeah, like I said, such a tragic figure.

00:25:07
The other character I really liked was the French teacher

00:25:11
played by Helen Morse.

00:25:12
She was a great character and where Mrs Applebee was firm with

00:25:19
the kids that were there, the girls that were there, she was

00:25:22
almost like their friend more than anything, and she was very

00:25:25
close to them and nurtured them and was a really good sort of

00:25:29
character.

00:25:31
Speaker 1: I felt like that.

00:25:31
A lot of that was because she was so much closer and aged to

00:25:34
them.

00:25:34
And then she's also.

00:25:35
She looks right Like she looks like she should be sitting with

00:25:38
them, where they even have Miss McCraw in a dress that is very

00:25:45
richly colored, so it sets her apart from everyone wearing

00:25:48
white.

00:25:48
She looks like she's in the wrong picture.

00:25:51
Yeah.

00:25:51
When they're moving the camera across everyone, like she really

00:25:54
stands out because she's wearing red.

00:25:57
And isn't this beautiful young girl?

00:26:01
Speaker 2: And it's also interesting that she goes

00:26:03
missing as well.

00:26:04
But you mostly just concentrate on the three girls that are

00:26:07
missing.

00:26:07
There's a couple of times in the movie where you forget that

00:26:10
she went missing as well.

00:26:12
Speaker 1: Oh yeah, I did laugh when they were.

00:26:15
When Edith says, oh, I saw her, but something was wrong, and

00:26:19
then she can't say to the police directly that she was only

00:26:22
wearing her underclothes.

00:26:24
Speaker 2: Yeah, it's quite the whole thing's very strange.

00:26:27
Speaker 1: Yeah, yeah.

00:26:29
Speaker 2: I guess we start talking about this.

00:26:30
One of the features of the movies that's very open-ended,

00:26:34
the theories and the was it supernatural or logical, like I

00:26:38
think.

00:26:38
In the movie, one of the characters I think one of the

00:26:41
gardeners or groundsmen says oh, maybe they just fell down a

00:26:45
hole or something like that.

00:26:46
And you don't know what happened.

00:26:48
I'm like, well, did they just pass into some other realm?

00:26:51
Or was it as simple as there was some big hole there that

00:26:54
they fell down, or something like that?

00:26:56
But one of them came back?

00:27:00
Speaker 1: Yeah, to me, I think, especially like the first time

00:27:02
I watched it, I just assumed that it was sort of a like a

00:27:07
gateway place to maybe another dimension or some kind of

00:27:11
supernatural realm, and the way that they were sort of in a

00:27:17
trance walking to it, and then the humming that the rocks made,

00:27:22
and then the way that they reacted when they got to that

00:27:25
circular area where they all fell asleep and then walked up

00:27:29
into the crevice and that Edith is the only one that's like what

00:27:33
are you doing?

00:27:34
We can't go up there.

00:27:35
So I felt like it was Definitely.

00:27:38
Yes, there was some sort of supernatural element, but it

00:27:41
seems to be something.

00:27:42
It's tied to Miranda too, because she, where they leave,

00:27:46
she's I'm not coming back.

00:27:50
Speaker 2: Yeah, there's a few times where she says things in

00:27:52
the film and it's almost like foreshadowing.

00:27:56
Speaker 1: Yes, yeah.

00:27:58
Speaker 2: I think early.

00:27:58
I'm trying to remember what she says.

00:27:59
She says something very early in the film.

00:28:01
I think she says to Sarah that she's not gonna be here for long

00:28:05
.

00:28:05
There's one thing.

00:28:06
Speaker 1: Yeah, yeah.

00:28:07
She says you're gonna have to find a new love because I won't

00:28:09
be here much longer.

00:28:10
Speaker 2: Yeah, and does that mean she's leaving the school or

00:28:13
does that mean she knows that she's about to pass into

00:28:15
something?

00:28:15
And Then the way that she waves when they're leaving to go on?

00:28:19
Speaker 1: the walk.

00:28:20
Speaker 2: It's all very it's all very interesting and, yeah,

00:28:24
it's great how it's open for that interpretation.

00:28:28
Speaker 1: Yeah, even the thing that she says about all things

00:28:30
begin and end at the right time, or something like that, that

00:28:33
felt very tied to some sort of unconscious knowledge of what

00:28:39
they were going into and then when Michael's searching for her

00:28:43
later which is was a really good scene as well he almost

00:28:46
gets taken as well, I think, because he does the same thing.

00:28:50
Speaker 2: he comes to the circular area and falls asleep,

00:28:53
and he gets found eventually by what's the guy?

00:28:55
What's John Jarrett's character's name?

00:28:57
Speaker 1: Is it?

00:28:58
Speaker 2: No, I forgot the name .

00:29:00
Speaker 1: He gets Albert.

00:29:01
Speaker 2: Albert, that's right, yeah, I think that's right and

00:29:04
he gets found by John Jarrett or Albert and he looks like he's

00:29:08
in some sort of comatose state.

00:29:10
Right, he's had a very close in-game encounter with this

00:29:13
thing, whatever it is.

00:29:14
Yeah, but it's shown that he's got a piece of one of the the

00:29:19
dresses in his hand and so he got very close and obviously we

00:29:23
find out later that when Albert goes back and Finds one of the

00:29:28
girls and brings her out and they don't know what happened to

00:29:31
her, she doesn't remember anything.

00:29:33
She's really interesting.

00:29:34
And then the connection with Miranda and the swans.

00:29:39
All the time, did you remember that bit?

00:29:42
You see, when Michael's looking at different times and he'll

00:29:46
see Miranda, we'll have a thought of Miranda and then

00:29:49
he'll see a swan.

00:29:50
I'm like, is there some sort of connection here, or I?

00:29:53
Speaker 1: thought maybe it was just because swans are

00:29:57
considered really beautiful and sort of regal and aloof birds.

00:30:04
I don't know.

00:30:04
I guess it fit that way.

00:30:06
I don't like birds, so I I don't like swans, and swans are

00:30:11
mean.

00:30:12
Speaker 2: So, I never think of them as being really graceful

00:30:15
things, but I think that's the way they're viewed by everybody

00:30:17
else with those scenes as well, I believe, because the version I

00:30:22
saw there's scenes.

00:30:24
Is there scenes existing when Michael is interacting with

00:30:29
Miranda, because it seems like he knows her more than just

00:30:34
infatuated with her, just seeing her on the day, because in the

00:30:38
version I watched all he's doing is sitting with Albert having a

00:30:42
drink and he sees the girls crossing the little bit of river

00:30:45
.

00:30:47
Speaker 1: That's yeah, that's the version that I watched and

00:30:50
he, like imagines her being at his house Looking over her

00:30:55
shoulder.

00:30:56
Yeah she's not really there, obviously any sort of has these

00:31:01
Almost, as if he is in touch with her telepathically, where

00:31:04
he has these memories of things that were said the day that she

00:31:08
was at the rock, but that's more when he's in that circular area

00:31:10
.

00:31:10
So there's some sort of supernatural Connection there.

00:31:14
I just know that, like Sophia Coppola was inspired by this

00:31:17
movie to make virgin suicides and there's a the big plot point

00:31:20
of that is that there's these boys that watch a group of

00:31:24
sisters that live across the street and they've never talked

00:31:27
to them, but they create this fantasy version of them and

00:31:31
their heads based on the little bit that they do see, and I

00:31:34
almost think he's doing that.

00:31:35
I think he's he's creating this fantasy version of her based on

00:31:40
seeing her that for that brief period of time.

00:31:44
Speaker 2: So he's, he's actually looking for her at the

00:31:46
rock, obviously, and he's obsessed with that kind of thing

00:31:48
, or Fractuated, probably a better word, obsessed is

00:31:51
probably a pro word.

00:31:52
But yeah, and the same way they're crossing the river is

00:31:55
quite funny because it's got that line From John Jarrett

00:31:59
where they're crossing over and John Jarrett says something

00:32:01
about their legs going right up to their butt or something Like

00:32:04
that, and Michael says zoom, oh, I wish you wouldn't talk like

00:32:06
that.

00:32:07
And he says I talk if you just think it, or something like

00:32:10
right.

00:32:11
Yeah, and the other thing, when there's a lot of themes of

00:32:15
femininity in this film, yeah, which I think is really

00:32:18
interesting, which obviously as a as a older bloke, I probably

00:32:23
don't really understand as much, but from this I see there's

00:32:28
Themes that run through it.

00:32:30
They're quite interesting in the whole femininity side of

00:32:33
things.

00:32:33
There's a first, obviously there's that Infatuation Sarah

00:32:37
has with Miranda and then, and the way the girls Turn on one of

00:32:43
their own when she comes back and sees them again.

00:32:46
Speaker 1: Yeah, there's some interesting stuff there, because

00:32:48
I think that the hanging rock location itself represents a

00:32:55
sense of freedom for them, literal freedom from the school,

00:32:58
because they're in a different location and their headmistress

00:33:02
isn't there.

00:33:02
And Then also, like she makes a comment like once you get past

00:33:06
this point, you can take off your gloves.

00:33:08
You're having, where these are, heavy white cotton gloves in the

00:33:11
middle of summer, I imagine and they get to take those gloves

00:33:14
off once they're away from society, which they're very

00:33:17
excited about, and I would be too, because that doesn't look

00:33:19
fun.

00:33:19
And then, when the girls go up to the actual rock once they are

00:33:24
sort of In the trance that they're going to go through the

00:33:30
crevice, they take off their stockings and shoes, yeah, and

00:33:33
tie them around their waist, and Edith is horrified by this.

00:33:36
But it is like this sense of freedom, like where we're going,

00:33:39
we don't need this stuff, and we can also just be ourselves

00:33:42
and we don't have to cover up.

00:33:44
So yeah.

00:33:44
I think there's elements of that .

00:33:46
I also think that somehow the the rock represents this Lack of

00:33:54
oppression that they've been feeling at the school or just in

00:33:57
society in general.

00:33:57
When Irma comes back and To say goodbye to everyone, she is

00:34:03
dressed like a grown-up, like she has her hair pinned up and

00:34:05
she's wearing very grown-up clothes and they're in a very

00:34:07
rich red.

00:34:08
And the rest of the girls are wearing their school uniforms

00:34:12
and look much younger.

00:34:13
So that struck me when they were.

00:34:15
What happened?

00:34:16
Where are they?

00:34:16
And they attack her.

00:34:18
Yeah she is, she physically looks separate from them too.

00:34:23
Speaker 2: That scene is amazing because like she comes back and

00:34:27
I think she's half expecting them to just be happy that she's

00:34:30
back.

00:34:30
Yeah to fauna over her and yeah , and really what happens is

00:34:35
they kind of Sounds like they blame her for what happened or

00:34:39
they just want to know what happened and there's like this

00:34:42
hysteria, yeah there's like the shot of one of the girls

00:34:45
screaming and shaking her head like in a real hysterical way.

00:34:48
Speaker 1: I Think it is the not knowing.

00:34:51
I think they're like we have to know.

00:34:54
You can't you were there tell us what happened?

00:34:57
Speaker 2: Yeah yeah, it's great .

00:34:58
And then there's that whole scene once again, that that

00:35:01
scene is topped off With seeing Sarah basically tied to this

00:35:06
apparatus that's supposed to help us stand straight, or

00:35:09
something, it's just so terrible the whole.

00:35:11
Speaker 1: thing, yeah, oh yeah, and I think we get a glimpse

00:35:14
that maybe she's been other eyes from the other girls the whole

00:35:17
time yeah because clearly this is not the first time she's been

00:35:20
tied to that thing.

00:35:22
Speaker 2: Yeah, yeah.

00:35:23
Speaker 1: And she also.

00:35:23
She's one of the few girls that have dark hair.

00:35:26
Most of the other girls are blonde or have lighter hair and

00:35:29
she has very dark hair, and so that really sets her apart

00:35:32
visually as well the music in this movie is fantastic.

00:35:35
Yes, yeah, it was beautiful score.

00:35:38
Speaker 2: Oh yeah, the score that the George Sanfair Pan-Pied

00:35:42
piece.

00:35:43
It's so tied to this film in Australia, If you hear that

00:35:46
piece of music in Australia the first thing you think of most

00:35:48
people, especially my generation the first thing they think of

00:35:51
is this movie and Because it's just was it's so Connected to

00:35:56
this film.

00:35:56
But the music is fantastic.

00:35:58
There's bits of music where the girls are climbing the rock.

00:36:02
And some of the music to me is almost goblin.

00:36:06
Speaker 1: Yeah.

00:36:06
Speaker 2: Dawn of the dead.

00:36:07
This there's that string that's kind of string sound that do

00:36:11
and the boob that goes underneath.

00:36:13
All that I was like yeah just like goblin right.

00:36:18
Speaker 1: It reminded me almost a come of a combination of that

00:36:20
.

00:36:20
And then the score for haunting of Julia is a really early

00:36:24
synth score I can so it sounds very otherworldly because it's

00:36:28
not quite the synth that you're used to, you from the 80s.

00:36:31
Yeah but it's got elements of that.

00:36:34
Speaker 2: Yeah, it's fantastic.

00:36:35
The sounds just amazing and the music's night.

00:36:38
The piano pieces are really nice and there is a lot of stock

00:36:42
music.

00:36:42
There's some some classical music in there that they use,

00:36:45
but it's.

00:36:46
The soundtrack to this film is great.

00:36:48
I really like it.

00:36:49
I've been.

00:36:49
Actually there's no soundtrack for this film officially.

00:36:52
There's a playlist on Spotify that's called picnic of man rock

00:36:56
and it's got most of the pieces in it.

00:36:58
And it's really no.

00:36:59
It's really nice to listen to where you're working actually.

00:37:03
Speaker 1: I watched a movie again last night and I had it on

00:37:06
the surround sound and turned up really loud and I'm like man,

00:37:08
this score rule.

00:37:09
Yeah, the score is great, it's really good.

00:37:12
I love the score.

00:37:13
It's just a really good film.

00:37:15
Speaker 2: Yeah, what else was I gonna talk about?

00:37:17
Like I said, it just the whole movie is just so open for

00:37:22
interpretation, the whole thing, there's so many questions in

00:37:25
this movie it's actually, in a way, almost not difficult to

00:37:29
talk about.

00:37:30
It's easy to have this conversation, but it's difficult

00:37:33
because you there is no end to the movie, and I think that's

00:37:37
the big thing, right.

00:37:39
Speaker 1: Yeah, and the story structure is very loose too,

00:37:42
like beyond the girls going to the rock and then going missing,

00:37:46
everything else is sort of just Like what is happening to to

00:37:53
the people at the school and, yeah, the folks and yeah the

00:37:56
fallout from that, but it's very nebulous, I think.

00:37:58
I think it is hard to talk about because so much of the

00:38:01
storytelling is really visual.

00:38:03
Do you have an idea of what you think happened at the end?

00:38:08
Speaker 2: I don't really know.

00:38:08
And then there's the whole bit with Mrs Appleby right.

00:38:11
What happened?

00:38:12
Because there's a whole ending that isn't in the version I

00:38:15
watch, which was in the original , where she actually walks up

00:38:19
the up to the the rock as well.

00:38:21
Did you have that ending in yours?

00:38:23
Speaker 1: The ending that I had ends with her sort of in what

00:38:26
looks like morning clothes, yeah , and then a voiceover comes

00:38:29
over and that's what I had as well, but yeah, original

00:38:32
apparently had her going up the rock Herself, like you see her

00:38:37
going up the rock and oh wow, top, and then they have the

00:38:40
voice over.

00:38:41
Speaker 2: At the end there's like a free swing.

00:38:42
But I think the ending on obviously what's like the

00:38:45
director's cart is much better, because that look on her face Is

00:38:49
just just amazing and because it's and this is where I think

00:38:53
you get the idea of did Sarah jump or was she pushed, kind of

00:38:56
thing- because, she knows what's about to happen and she got all

00:39:00
the bags packed and everything, because obviously everyone yeah

00:39:02
.

00:39:03
And all the bags are packed, she knows that Sarah is dead.

00:39:06
She must know, right, because she was she told everyone she

00:39:10
saw her go off and she obviously didn't go off right.

00:39:14
Yeah and she's just sitting there in these morning clothes

00:39:17
and it's just, and it's a great last scene and I can see why,

00:39:22
peter, we Changed it to that and because it looks I don't know

00:39:27
it's just like in the voice over , where it explains what

00:39:31
happened to her, and it's a really good ending.

00:39:35
And there's a screaming outside the door before yes, yeah the

00:39:39
guy comes in.

00:39:39
I'm wondering who that screaming is, whether it's I.

00:39:43
Speaker 1: I assumed it was one of the teachers.

00:39:44
Yeah, he came and said hey, I just found this girl outside and

00:39:48
it's her reaction.

00:39:50
Speaker 2: Yeah, and that whole lead up to that scene where the

00:39:53
guy the, the green keeper.

00:39:54
Goes into his greenhouse and sees the broken glass first and

00:39:59
then sees the bit of wood.

00:40:01
Eventually they just see her body there and it's really well

00:40:05
put together.

00:40:05
But that last scene is great.

00:40:07
It's really good, love it.

00:40:08
Yeah, there's really I don't know.

00:40:11
You just got to see the movie.

00:40:13
I think if you haven't seen this movie, it's definitely

00:40:16
worth checking out.

00:40:17
Speaker 1: Yeah, I agree, and I think, especially for if you're

00:40:20
in the US, it's on max and if you have a subscription it's

00:40:24
right there for you.

00:40:25
And then also the criterion Criterion also always package

00:40:30
things beautifully.

00:40:31
I think there is a little making a feature out on the

00:40:34
second disc of the one I got and mine came with the book that

00:40:37
that's a pretty good deal.

00:40:38
It is a good.

00:40:40
Speaker 2: Yeah, it's really good.

00:40:41
I'm really liking it.

00:40:42
I'm liking Looking at some of these films.

00:40:45
When I think about where my podcast started, where I am now,

00:40:47
I was like I would never have thought of doing picnic at here,

00:40:50
right, because right at the start I was like, oh, I'm just

00:40:53
gonna do all these hospitalization stuff and blah,

00:40:55
blah, blah and all this Other stuff, and I'm like, yeah, you

00:40:58
get to a point where you go, well, I would just want to

00:40:59
expand things a little bit.

00:41:00
Then you expand it a bit further and be further, and then

00:41:03
we end up talking about young Einstein and we talk about, yeah

00:41:06
, rock and what's next?

00:41:08
Crocodile and not at the moment I don't think.

00:41:10
Yeah, it's a really interesting bit of the few ten.

00:41:15
It's not ospoitation as such, but it's been that the style of

00:41:20
that like new wave sort of.

00:41:23
Speaker 1: Australian art house, which was definitely something

00:41:27
that was a big deal in the 70s and 80s.

00:41:30
Speaker 2: Like that's where Mad .

00:41:31
Speaker 1: Max comes from and all.

00:41:32
Speaker 2: Yeah, and they call this there's a lot of people

00:41:34
that call this a strain gothic, this film.

00:41:36
Speaker 1: Oh, really.

00:41:37
Oh, that's good, yeah it feels, very much like a gothic story.

00:41:42
Speaker 2: The other thing I didn't realize until I was

00:41:44
having a look around just they looking at some different things

00:41:46
is there was a stage production of this back in 1970.

00:41:49
Really I wonder how they would do that 27, 8, 20, 18, they

00:41:54
showed bits of it.

00:41:54
It was like a little promo thing of people's reaction to it

00:41:58
.

00:41:58
It looked really interesting how it was done.

00:42:00
But most people they were interviewing when they were

00:42:02
coming out of the play was saying that it was eerie and it

00:42:06
was like quite scary and it wasn't what they expected.

00:42:09
And I was like, oh, this would have been really good to see at

00:42:11
the time yeah, that's cool, that sounds cool.

00:42:14
And that was back in 2017.

00:42:15
So there must be a.

00:42:16
There's obviously a treatment for stage for this hanging

00:42:18
around.

00:42:19
Speaker 1: It'd be interesting to see some revive it, or and

00:42:22
there's also a mini series from 2018, although I think it has a

00:42:26
very different feel, like I started watching it, just to

00:42:29
compare.

00:42:30
Speaker 2: Yeah.

00:42:30
Speaker 1: And it's.

00:42:30
I think what works about the movie is that it is this sort of

00:42:35
brief snapshot, yeah, into this area and these girls' lives,

00:42:41
and the mini series obviously because it's longer goes much

00:42:45
more into Mrs Affleard's backstory and the backstory of

00:42:49
some of the girls.

00:42:50
I don't even know if you need that, I think the way that it

00:42:54
works as a mystery is that you don't really know anything, and

00:42:58
that's what makes it interesting , right, that's what makes it

00:43:00
good.

00:43:00
Speaker 2: And yeah, I think sometimes that's a scene of

00:43:03
remaking or turning things into longer series.

00:43:07
Yes, yeah Is that you get too much information and you're like

00:43:11
I don't need all this and it doesn't ruin it because the

00:43:13
original movie is always there to return to, right, but it

00:43:17
takes away something about the film.

00:43:19
And to me, when you go too deep into these sort of things I

00:43:23
know some do it well, like I remember seeing Bates Motel,

00:43:26
which I thought was quite good, yeah, but because I think in

00:43:31
that case the story of what happens with Norman Bates and

00:43:36
this is the lead up to see how he got there, so there's always

00:43:39
an interest to see, ok, how do we get to this point?

00:43:41
But with and like I said, I haven't seen it, you've seen a

00:43:46
bit of it but with a remake or a series for this movie and

00:43:52
they're going to start looking deeply into each of the

00:43:55
characters.

00:43:55
To me that's a bit of a turn off.

00:43:57
Speaker 1: Yeah, and especially the way that they present Mrs

00:44:00
Afflehard she's.

00:44:00
I don't want to give anything away in case people want to

00:44:03
watch it, but she's almost presented like a con woman.

00:44:06
She's not who she says she is.

00:44:08
Speaker 2: Right yeah.

00:44:09
And, and so the mystery becomes more about who she is than like

00:44:14
the central mystery of the girls disappearing and once

00:44:18
again I don't think it's a film that would be Worth remaking.

00:44:23
I'm sure one day someone's going to go, let's remake Picnic

00:44:26
and Hanging Rock.

00:44:27
I don't know how you Get that the feeling and the atmosphere

00:44:34
from the original and put it with.

00:44:37
I don't know.

00:44:38
Sometimes when I look at these older movies and they remake

00:44:41
them, the biggest problem to me is the equipment they're using

00:44:45
now versus what they're using then.

00:44:46
That's true, yeah, and that's what gives it a lot of the feel,

00:44:49
especially those 70s movies and the 80s movies.

00:44:52
Speaker 1: Yeah.

00:44:53
Speaker 2: And they remake them and they're all made with

00:44:55
digital cameras and digital this and digital that, and to me

00:44:58
that just makes it Just like a plastic toy.

00:45:03
Speaker 1: Yeah, it doesn't have the same atmosphere, for sure,

00:45:07
but I think it's like Suspiria.

00:45:09
I never thought they could remake Suspiria, because it's

00:45:12
such a singular thing and really the only way they were able to

00:45:16
remake it as successfully as they did is they changed.

00:45:19
They kept the basic story and they changed almost everything

00:45:23
else.

00:45:23
Like it's not the same feel or the same atmosphere and they

00:45:29
took it a different way and all this stuff.

00:45:30
I think you almost have to do that, because with something as

00:45:35
iconic as Suspiria or a picnic hanging rock, if you try to

00:45:39
remake it exactly it's, you're always going to have it being

00:45:42
compared to the original, because the original did it

00:45:44
right the first time.

00:45:45
Speaker 2: Exactly Like when they remade Psycho.

00:45:48
Speaker 1: Yeah, exactly.

00:45:51
Speaker 2: The summary makes it work and I know we're getting

00:45:53
off the subject here, but you know, when I look at genre

00:45:56
remakes, that for me worked.

00:45:58
With things like Evil Dead worked because I think they

00:46:01
tried, they took a slightly different bent and different

00:46:05
look at it.

00:46:05
But that really wasn't a remake .

00:46:07
Speaker 1: That was definitely just like a reimagining or a

00:46:11
Right or something like this might not be a popular opinion,

00:46:15
but I thought the Fright Night remake did some interesting

00:46:18
things with the Fright Night story.

00:46:20
I don't think it was better, but at least it felt like a

00:46:23
successful remake.

00:46:26
Speaker 2: But back to this movie.

00:46:27
For me it's definitely a must watch If you've got access to it

00:46:32
.

00:46:32
It's really worth watching.

00:46:33
If you're expecting it to be like a scary movie, it's not a

00:46:36
scary movie, definitely unsettling right.

00:46:39
Speaker 1: There's lots of unsettling and there are sort of

00:46:44
horror elements to it, but I would not say it's a horror

00:46:46
movie.

00:46:46
It's not even really a thriller .

00:46:47
It's like an episode of Unsolved Mysteries.

00:46:50
It's a drama right, it's a drama.

00:46:53
Yeah, it's a drama, with supernatural overturned.

00:46:57
Speaker 2: That's the way I'd put it, and it seems like people

00:46:59
have been trying to figure out what's going on, figure out what

00:47:03
is the ending.

00:47:04
Speaker 1: Because there was a book in 1980 written by a woman

00:47:08
named Yvonne Rousseau, called the Murders at Hanging Rock,

00:47:11
where she explores the different theories people have put out

00:47:14
about what happened to the girls and there's a parallel universe

00:47:17
UFO abduction, the fact that they were murdered by two men

00:47:21
and their bodies are still there somewhere.

00:47:23
And then the actual author of Picnic at Hanging Rock wrote a

00:47:27
book called the Secret of Hanging Rock.

00:47:30
It was actually the last chapter that her publishers made her

00:47:33
cut off the end, and if you want to know what the ending would

00:47:38
be some people just want to preserve the mystery you want to

00:47:41
know what the ending would be.

00:47:42
I would look that up because it explains how Joan Lindsey

00:47:45
thought the book should end.

00:47:46
Speaker 2: OK, that's interesting.

00:47:48
I might have to check that out.

00:47:49
Maybe, I don't know, some part of me doesn't want to know.

00:47:53
Speaker 1: Yeah right.

00:47:55
Speaker 2: That's what.

00:47:56
Speaker 1: I had it written out.

00:47:56
But I was like I don't know if I want to tell people because

00:47:58
some people might not want to know.

00:48:00
Speaker 2: Anyway.

00:48:01
So that's Picnic at Hanging Rock.

00:48:02
I hope you enjoyed listening to that.

00:48:04
It was like I said, it's an interesting one to talk about.

00:48:06
It's definitely not one of those movies we can sit here and

00:48:09
talk beat by beat, because I think we just get really boring.

00:48:12
Speaker 1: Oh yeah, and it would never do it justice, so you

00:48:14
just got to watch it, you just got to watch it.

00:48:16
Speaker 2: So tell me a little bit what's going on with you,

00:48:19
Tab, and where people can find you.

00:48:21
Speaker 1: Okay, if you want to listen to me talk about horror

00:48:23
movies, I have a podcast called test pattern.

00:48:26
That just ended last year, but there's tons and tons of

00:48:29
episodes, so it's the back log of that.

00:48:33
And then I currently have a panel podcast with a bunch of

00:48:36
other people where we talk about femme representation in media

00:48:40
and we're a intersectional feminist podcast.

00:48:43
So we have a lot of different viewpoints in that and that's

00:48:47
called the stiletto banshees and it's been really fun.

00:48:50
We only have a couple episodes out right now, but we're putting

00:48:53
out more and we're also hosting monster kid marathon this year.

00:48:56
So we're doing a lot of horror movie lists.

00:48:59
But, yeah, you can find me at horror flick tab on Instagram

00:49:04
and you can find the slido banshees at the stiletto

00:49:07
banshees on Instagram and threads.

00:49:08
And then we just got on blue sky, thanks to Pete, and I think

00:49:13
we're just slido banshees on that.

00:49:16
Speaker 2: So it's a bit quiet over there, but I'm hoping it'll

00:49:18
pick up.

00:49:19
Speaker 1: Yeah, I think, because it's invite, only it's

00:49:21
hard, yeah, they haven't really opened it to everyone.

00:49:25
Speaker 2: I only got in through an invite and it seems like

00:49:28
once you've been it almost seems , once you start interacting and

00:49:31
doing things, after a few weeks you usually get an invite to

00:49:34
hand out to someone.

00:49:35
But yeah, I hope it takes off or hope it works, because

00:49:40
Twitter, or whatever it's called these days, is like a cesspool

00:49:45
and I'm only on there because it's full day.

00:49:49
I'm only on there because you have to be in a way to do some

00:49:53
promotion.

00:49:54
I still do a favorite through Facebook with the page, but it's

00:49:59
hard and all the monster kids have gone, or there's only a few

00:50:03
left and there's not much conversation there anymore, like

00:50:06
it used to be.

00:50:07
Speaker 1: Right, it's sad.

00:50:09
Speaker 2: So I think when I sent you the invite I was like

00:50:11
I'd be great if we could eventually get everyone over

00:50:12
there again and, yeah, if that community happening again,

00:50:15
because yeah, exactly.

00:50:17
It was really great.

00:50:18
Yeah, I love the stiletto.

00:50:19
Banshees is great.

00:50:20
I'm probably most the way through the carry episode of the

00:50:25
movie.

00:50:25
Oh yeah, so that's really good.

00:50:27
I'm really enjoying that.

00:50:28
Speaker 1: Oh, good yeah.

00:50:30
Speaker 2: So it's interesting because the way you position the

00:50:32
podcast, it's almost you would think and don't take this the

00:50:36
wrong way, please that it's just for women.

00:50:39
Speaker 1: Right.

00:50:40
Speaker 2: But it's not.

00:50:40
If you're a bloke, you can get a lot out of this.

00:50:43
And it's really good getting, like you said, this feminist

00:50:48
perspective on things Right yeah .

00:50:50
Which and this is part of the thing that's wrong with Twitter

00:50:54
there's nothing wrong with having these perspectives that

00:50:57
are not your own right.

00:50:59
Speaker 1: I understand Exactly it's exactly how you learn.

00:51:02
Yeah.

00:51:04
Speaker 2: And all these people have put that stuff down and

00:51:06
really bugged me.

00:51:06
But yeah, it's really good and just listening to you guys talk

00:51:10
about Carrie is really great.

00:51:12
Speaker 1: So yeah, exactly, we are just talking about the films

00:51:16
the way we would on test pattern to.

00:51:17
We just all happen to be fun people or have an experience

00:51:22
being perceived as a FM person.

00:51:24
We also have a trans man on the show, so it's more just about

00:51:29
like how we see these things as women within a conversation

00:51:35
overall about whatever we're talking about.

00:51:37
Speaker 2: It's really good.

00:51:38
I really enjoy it.

00:51:39
It's great fun, yeah, yeah.

00:51:42
Speaker 1: I'm hoping we get a very large audience.

00:51:43
So, like you said, it's not just for women, it's for anybody

00:51:46
who wants to see things from a different perspective and hear a

00:51:49
bunch of FM people talk about movies.

00:51:52
Speaker 2: So what do you give you?

00:51:53
Got anything interesting coming up that you can talk about?

00:51:56
Speaker 1: Yeah, we just recorded an episode on the

00:51:58
lesbian vampire trope, so we talked about Daughters of

00:52:02
Darkness, the hunger, and a movie that came out more

00:52:05
recently called bit.

00:52:06
And so with our trope episodes we usually talk about the trope

00:52:10
as a whole and then we do a deeper dive using a couple of

00:52:14
examples, and so that was a really fun episode and we got to

00:52:18
talk a lot about.

00:52:19
A lot of it was just gushing about how beautiful the movies

00:52:22
were, like picnic hanging rock.

00:52:24
So, that was really fun.

00:52:26
Speaker 2: Great, excellent.

00:52:27
It's always great having you on .

00:52:29
It's always so good having your perspective and I know you put

00:52:32
a lot of.

00:52:32
Even when I asked you to come on to this show, you put a lot

00:52:34
of work in the background, so I really appreciate that.

00:52:37
It's fantastic.

00:52:38
Speaker 1: Oh, thank you.

00:52:39
Speaker 2: I love talking about movies, so now not to say that

00:52:44
all my other guests don't prepare.

00:52:45
It's very obvious with you.

00:52:47
I share the notes with you and there's always extra bits in

00:52:50
there and things like that.

00:52:51
It's really good, all right.

00:52:54
So thanks so much for coming on .

00:52:56
Speaker 1: Yes, thank you for having me.

00:53:02
Speaker 2: Thank you for taking the time to listen to this

00:53:04
episode.

00:53:04
Thank you to all my guests who give their time to make this

00:53:07
podcast possible.

00:53:08
A special thanks to you for listening.

00:53:10
Don't forget you can follow a dingo eight, my movie, on social

00:53:14
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00:53:14
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00:53:20
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00:53:24
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00:53:31
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00:53:38
Once again, thanks for listening, stay safe and I'll

00:53:42
see you on the next episode of a dingo eight, my movie.