Latest / Cinema Yūgen / KENT'S CLASSICS: A Legend Unleashed: The David Argue Interview Part 2

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KENT'S CLASSICS: A Legend Unleashed: The David Argue Interview Part 2 · Cinema Yūgen

• 0:00
  G'day, that's right, it's that time again. Time for CINEMA YUGEN!
• 0:07
  Music.
• 0:19
  I don't know. Yes, welcome back little yugenites. Kent's Classics as promised part 2 of David Argue.
• 0:27
  You gallipoli bmx bandits razor back
• 0:30
  escape from absalom or no escape he is
• 0:35
  an australian icon he is the man
• 0:38
  you don't argue with he is david argue get
• 0:41
  ready for part two unleashing the legend david argue here he is you told us
• 0:51
  a great story the other day i wasn't recording though about you witnessing your
• 0:56
  own head getting cut off in blood oath well.
• 1:00
  I had bandages on and all this stuff from these Japanese guys and they got this,
• 1:07
  this pitch big 12 foot dug pit obviously for body stuff and they were shooting
• 1:14
  the execution scene where my character was on the front of the box for a little while,
• 1:20
  didn't get a look in much but you heard me I was,
• 1:24
  screaming in terror, but that was only because my agent was on it.
• 1:28
  I'm sitting out there. We're sitting down in the middle of this gulch in Queensland somewhere.
• 1:33
  It's a hotel truck counter, and it's a really sweaty, hot, awful day.
• 1:38
  All these people looking too real.
• 1:40
  I mean, it really looked like they were going to kill me. I thought I wondered if they might have.
• 1:45
  Anyway, they nearly did. Because what happened to me, I had the guy that was
• 1:49
  marching me in. was marching me in like he was sort of ushering me into a,
• 1:54
  you know, a booth restaurant.
• 1:57
  I said, no, don't be polite. Please.
• 2:00
  You're just about to push me down on my knees and chop my head off.
• 2:05
  You want to bolt it up a bit, will you? But the poor bastard,
• 2:09
  it's not his fault, but he got picked up.
• 2:13
  They needed some Japanese to, you know, march us around.
• 2:17
  And they could only get tourists.
• 2:20
  From Sea World, where we were all staying. So it was very strange.
• 2:24
  The guy was being very polite.
• 2:26
  And I had to explain to him that with this acting thing, I'm not on his side.
• 2:33
  Not tabby-tabby, but push. Anyways, so we come in.
• 2:38
  My hands are shackled by on the back. I can't see anything. They've gone in action.
• 2:42
  They've come in. They've gone, Do that.
• 2:47
  Oh, somebody going to fucking kill me or what.
• 2:54
  So then this guy goes, oh, I don't remember.
• 2:58
  And he gets these big hands on top of my shoulders and he pushes me so far into the dirt.
• 3:06
  My knees came loose of the dirt. Suddenly I was sort of flying mid-air with my hands down my back.
• 3:16
  Blindfolded in air. I didn't know how long it was going to and that was when
• 3:21
  that was what that felt like I was thinking something and it just stopped as
• 3:25
  I hit the bottom of this grave,
• 3:29
  with no, like, not a mattress or...
• 3:32
  And I thought, oh, man, come on. And I got up and I was screaming out. I just couldn't see.
• 3:38
  It was like, you know, people were starting to whirl around. I've never had that.
• 3:43
  And I said, oh, they're pulling on the stretcher. I said, oh,
• 3:46
  that's going to do me a lot of good things.
• 3:49
  They put us in that traffic. And it was just like that. It was just horrifying.
• 3:54
  Things were starting to... You know, I was having Johnny Young's flashbacks.
• 3:57
  That's sick I was a god was a god bummer so then I woke up they had the latex
• 4:05
  me out when I woke up right,
• 4:07
  kneeled at the side of the bay right and they're just going to shoot the sequence
• 4:12
  where the knife comes down and they get to use all their special effects right
• 4:16
  and my head's going to roll,
• 4:19
  so on action I've just sort of got up and wrapped my eyes and I go oh there's
• 4:24
  me and just as I saw that I looked at the knife I said, fuck that.
• 4:28
  And I saw my own head slide through the air. All this blood splurged all over the place.
• 4:34
  I said, if I wasn't stung, I'd be good. I fucking am now. I'm going back to bed. I'm pathetic.
• 4:41
  Somebody get me something, please.
• 4:44
  It had been a big day for David.
• 4:47
  Just saw myself killed.
• 4:50
  I wonder who scored the head. I was trying to football with it.
• 4:57
  Queensland, bloody movies.
• 5:00
  World up there.
• 5:03
  Someone's probably,
• 5:06
  got it. Where do you reckon? I don't know. They're sticking pins into it.
• 5:10
  That's what they're doing.
• 5:12
  Every time you get a headache, there's probably someone doing a bit of voodoo.
• 5:17
  No, I believe it, James.
• 5:21
  Somebody's got my head. Some voodoo actor that pissed off with me because I took his line.
• 5:27
  I remember what happened. No one was going to do this throughout the scene where
• 5:31
  they're all being checked to see what their teeth are and stuff.
• 5:35
  Right. The dentist is looking in my mouth and he says his teeth aren't too good
• 5:39
  and Mel's supposed to say he's supposed to shoot him and they might not bite him.
• 5:42
  And then he's supposed to say the next thing if you haven't got if you don't
• 5:47
  take in you don't take any of it.
• 5:49
  And I said why don't I just why don't I say we're supposed to shoot him and
• 5:54
  they might not bite him. You know.
• 5:56
  And then Mel it makes Mel's character stronger because he says Now if you don't
• 6:01
  want this not us and the other thing, you know, it might hint No,
• 6:06
  how about that? No. Yeah, that's cool.
• 6:09
  Everything's cool But that moments just snowy started to develop a little fan club.
• 6:16
  No Yeah The character really feet go.
• 6:21
  Yeah, and I was really fine It was beautiful to play because it was very gentle Yes.
• 6:30
  You know, he was, you know, so committed to whatever.
• 6:34
  And so sort of, oh, how dare they, you know, and oh, you know, all that stuff.
• 6:40
  Yeah. But such a, yeah, such a naive person to be going, you know, into the market.
• 6:47
  Right. I mean, it would be only mates with him. Yeah, yeah, okay.
• 6:51
  Yeah, but, you know, we had Pat Lovell, Peter Weir, David Williams, It's amazing.
• 7:00
  Just reached the people that knew what they were doing. Yeah.
• 7:03
  Every single department was, without fail, the best in what was going.
• 7:10
  Yes. And we had some great people. Yeah. Great, great, great crew.
• 7:15
  Yeah. And that's what I, and you miss those. Yeah, sure. You know,
• 7:19
  because I don't make them now. No, not anymore.
• 7:22
  It's all CGI and rubbish now. Yeah. I spent a lot of time in a green suite,
• 7:29
  you know, where I was in a space suit.
• 7:33
  Or I had my pajamas in a space suit.
• 7:37
  Anyway, I'm floating around in bloody Greenland.
• 7:41
  Right. And I still don't know what it looks like. I've got no idea what it's about.
• 7:46
  Because when I got off, when they put me back down on my feet, I just couldn't walk.
• 7:51
  About being detoxified from the real world or detached from it and put in was green.
• 7:58
  You've taken your mind somewhere else today and you can achieve this performance.
• 8:02
  When you come out and you go, where the hell did that just take me?
• 8:05
  Whoa, that ride was fast.
• 8:08
  That one shook me up. If anybody needs me for the next scene,
• 8:12
  I'll be crying over the next dialogue.
• 8:17
  Neither did your book It's all It's Listen a movie I've always wanted to ask
• 8:25
  Or talk to you Movies are a different A movie I've always wanted to Talk to
• 8:34
  you about is Hercules Returns,
• 8:38
  Oh, yeah, I'll throw it down one condition. Okay. You lower your nipples.
• 8:43
  So did you do a lot of... Yeah. Did you do a lot of... Yeah.
• 8:53
  Very trying to tell. So did you do a lot of the voices in the dub?
• 8:57
  I did some. You did some? I did some. I have no idea what they eventually ended up using.
• 9:03
  Right. I was going to mail them the... yeah I
• 9:06
  think mainly it was Sally Patience Lance
• 9:10
  Mangan Michael King Matthew King
• 9:14
  of course I've heard a little
• 9:17
  guy that was in Crop Shop for a while I'm not sure he's
• 9:20
  a good actor but just a few people you know Phil Jaroslow who was behind Anki
• 9:27
  Cat on Home Cookies he's I mean he's he's so he's still got the rights to the
• 9:35
  play a piano in his family. I'm like, what?
• 9:40
  That's like some legacy. That's like having Isaac Newton's first phone. Right.
• 9:47
  Like it was a seven. Rated music.
• 9:50
  That movie's always cracked me up. I thought I'd forget to talk to you.
• 9:56
  It's very clever. Very clever.
• 10:00
  And David Diver just wrote a scary one. He could have pushed us a bit more.
• 10:05
  You and Bruce play very well together.
• 10:11
  We've been together. I was thinking that I'll send him a thing like that on Facebook.
• 10:16
  We've been together. It just seems to me that out of all my working life,
• 10:20
  they keep putting us both.
• 10:23
  And it works. It does work. You know, I'm the sort of angry little one.
• 10:27
  He's the sort of cool, stand-up one. Yeah.
• 10:31
  Slow to anger. I love that line. When he cuts off. I love that line.
• 10:35
  I love that line, the line that you tell him, okay, I'll pay your shit wages
• 10:39
  and you can live in the theatre.
• 10:40
  Yeah. That's what a line. Yeah. I'll do it on one day. I'll do it.
• 10:45
  All right. How about this? I'll pay your shit and you can live in the cinema. Yeah.
• 10:51
  Deal. I thought, well, great deal, because I'm living there as well.
• 10:55
  Yeah, yeah. I'll be down in the dressing room.
• 10:58
  And then you had, oh, geez, what was her name from Acropolis now?
• 11:02
  Mary. Mary, yeah. She was good in that as well. Yeah, she was a lovely girl. Really nice.
• 11:11
  Because as Bruce says, you know, if there's a God in heaven,
• 11:14
  she's come for the job as a publicist.
• 11:17
  Absolutely. Absolutely. Absolutely. Yep. That, yeah, that was all,
• 11:22
  that was all written, well, that was written by Des Mangan, all of the screenplay was. Yeah.
• 11:28
  But, yeah, it's just, like, everybody that got aboard the screenplay,
• 11:32
  they're just, you know, yeah, whatever you want to do, Parker, whatever you like.
• 11:36
  Yeah. And we can try things out, you know, do this for this bit.
• 11:41
  We could have shown a few more sound effects that we were making.
• 11:45
  Yeah. A bit more slap bang.
• 11:47
  You know, like, and Usher could have come up and just got caught. Yeah.
• 11:51
  People kept slapping it. There was a lot of hits, you know.
• 11:57
  And it kept cutting back to us slipping around in swimming pools and stuff. Yeah.
• 12:02
  What a bizarre day. It's full of great lines like, you know,
• 12:05
  he looks like a condom full of walnuts and... Oh, it's every pub joke you've
• 12:10
  ever heard in your life. Yeah. It is.
• 12:14
  That's why it's good. But it's perfect. Just really a sense of humor.
• 12:18
  I've got a home, but I've got a boy named Sue.
• 12:24
  Do you know a guy named Scott? No, but I've got a boy named Sue and something
• 12:28
  else. We both get the same thing.
• 12:31
  Yeah, good on you. I like Samson's line. He says if I have to fight Hercules,
• 12:36
  I'm buggered not to marry him. I'm buggered again.
• 12:58
  When you look at it you actually think how these people actually made this and
• 13:03
  somebody's convinced them that that's what they're doing. Right.
• 13:07
  It still makes me laugh. I just, I'll let you with the sound out. I just do it that way.
• 13:13
  Do you think today, like in the age of the instant celebrity,
• 13:18
  that actors are only interested in being famous and not so much being actors?
• 13:23
  Oh, yes. Yeah. Oh, yes.
• 13:26
  I don't know how the hell it is. Yeah. You know, it's like it's getting like Hollywood now.
• 13:33
  Yeah. You know, where everybody's an actress.
• 13:36
  Yeah. And they're serving you coffee.
• 13:38
  Everyone here is a filmmaker. Yeah. You look on Facebook, there are so many filmmakers. Yeah.
• 13:45
  And it's just a.
• 13:49
  It's indie, indie making films. Yeah.
• 13:52
  I don't understand it. I think it's just stupid, you know, just to make make new directors. Yeah.
• 13:59
  But the actors seem to always be brought into the stick.
• 14:03
  You know? This time, this time I'm just thinking about what I might,
• 14:08
  what I might like to direct.
• 14:10
  Yeah. Because that's one thing I've always been good at.
• 14:15
  I think it's the one thing that John Clark, when I was talking about NIDA,
• 14:18
  he came out and he showed me helping another girl.
• 14:22
  And we both got in. And that was because John was looking for that in me.
• 14:26
  You know I was really inspiring her she was doing Let Me Entertain You from
• 14:32
  Jitsi horrible Smile Baby Gensmar you know,
• 14:37
  anyway I was playing Ethel Merman for her right anyway so I had,
• 14:44
  the big wing that I saw that, and he thought, all right. So he said,
• 14:48
  so we're all in a big meeting.
• 14:50
  He said, okay, I think we'll do it. So it was about 80, I would say.
• 14:56
  And there were people from 32.
• 15:00
  But mainly sort of 24 down, 24ish, 25, they'd done a couple of units in psychology.
• 15:07
  So they thought they'd do a couple of units in something, fuck drama.
• 15:13
  Yeah. You know, I was just a guy that neither auditioned me and when John Clark
• 15:22
  said, I go, we'll do it by audition.
• 15:25
  And he said, who wants to go first? So I put my hand up, literally thought,
• 15:28
  I just wanted to get out and go home.
• 15:31
  So I said, okay, right, I'll do it. So he said, what's your name? I said, don't know.
• 15:37
  He said, David, how do you say that? I said, I give it a lot of looks.
• 15:43
  I think it was easy. Yeah.
• 15:45
  I was going to get a name change immediately, but Peter argued it didn't sound right.
• 15:52
  And most of the room laughed. Yeah. And I said, shall I start now?
• 15:57
  He said, yes. I said, what's the input? He said, okay, you're a boy,
• 16:00
  take it. The dog's a wolf.
• 16:02
  And I said, okay. I did all these sort of Jackie Gleeson's made from upstairs,
• 16:08
  or Norman. I went, you know, lots of this bullshit hand is preparing.
• 16:13
  And I finally said, how old's the boy? And I looked at each other and I went, eight.
• 16:20
  All right, thank you. And I went back to thinking, how big's the dog?
• 16:26
  And I said, it could be anything. I said, could it be a wolfhound?
• 16:30
  I said, yes, that's right. I said, great.
• 16:34
  What sort of day is it?
• 16:37
  Can it be raining? I said, yeah, if you'd like. I said, yeah,
• 16:40
  well, make this tram for it. I thought, well, there is a team.
• 16:44
  I said, I see it. So I suddenly turned into this, like I was lifting,
• 16:48
  I was being pulled off the ground by big dogs dribbling off my head.
• 16:53
  Right. And I was actually quite good at mimicking the mind stuff because of
• 16:57
  the ice skating comedy stuff, you know.
• 17:00
  And I just did a little bit more on them. You know, I just, I think,
• 17:05
  or Robin Williams, Yeah, so I threw myself up when I saw another one.
• 17:12
  I was just thinking, well, that was very slow.
• 17:17
  Yeah, so just, what was I told then? I just, off I went.
• 17:21
  You were helping this young girl with the scene. Oh, yeah.
• 17:25
  So I did this audition where I basically, what I did was I answered all the
• 17:33
  texts that you need to really know. No, I was interested in their direction. Right.
• 17:40
  I wanted to know what they wanted, not what they didn't want. Right.
• 17:45
  And that is something that has got me through every film.
• 17:49
  Yeah. Just go to the director and say, what don't you want from me? Yeah. No.
• 17:56
  Now what do you want? Can I have a baby?
• 18:00
  Yeah. Okay, yeah. you know and you establish that you've got you've got the
• 18:04
  baby and you know you know yeah and all that right but it's just a little sort
• 18:10
  of thing that a director you do right yeah,
• 18:15
  either way I had to take he took us aside once it was a bit overwhelming I think
• 18:20
  the whole shoot and sort of did that it was like one of those good slaps in the face guys.
• 18:27
  Remember you're lying to me,
• 18:31
  I mean, we were quite nervous and raw, you know, but that was good because it
• 18:39
  translated into the characters anyway. It's fantastic.
• 18:42
  But yes, I thought I'd like to teach to people, but people can't get to peace, so I don't know what.
• 18:49
  You know, the really committed ones, they're great. The ones with a natural
• 18:54
  gift, but they all have to go through this. It's one of those old ringers.
• 19:00
  You used to put towels and things through to get the water in. Right, yeah, yeah.
• 19:04
  It's a ringer to make them flat. Yes. You know?
• 19:10
  Now, this one doesn't fit. We can roll him up. Oh, he can fit in that way.
• 19:15
  There was a guy, the last guy, I just did a film with Aaron,
• 19:19
  my brother-in-law, and he said to me, when you were on school,
• 19:24
  you had a certain, he described me as a snake well he said he had this analogy
• 19:31
  I want the snake you know I don't want a medicated or sort of,
• 19:41
  earthled out friggin snake on people I want you and this whatever this whatever
• 19:52
  this funny valentine of my,
• 19:54
  My parents and I have got a sense of humor.
• 19:58
  I mean, and it's important when all your senses are on.
• 20:05
  It's like, you don't just turn your sense of humor off, or, well, I live with mine because.
• 20:10
  It's just been activated and I can't stop it. It's too interesting.
• 20:14
  Right. You learn so much truth from comedy. Yes.
• 20:18
  You know, and observing people in the street there, you know,
• 20:24
  you actually end up, if you're an actor, a decent one, you're very sensitive.
• 20:31
  You're a very sensitive person because you can sense what somebody else is actually
• 20:36
  going through, not just observe it.
• 20:38
  Right. And you can create that.
• 20:41
  You can remember it, think it through, style it, and so I can use it. Yeah.
• 20:47
  And if you don't, you're a wanker.
• 20:52
  I do the stratified method. That's why you've got string up in a house.
• 20:59
  Yeah. Potential. I love them.
• 21:02
  Yeah. Well, you stopped just saying that and just get off the stage. That's what it means.
• 21:09
  Yeah. Not for you to say it, John. Oh, I thought I had an extra line. Well, you didn't.
• 21:15
  Now, what's lost?
• 21:18
  Well, I'm seafront.
• 21:22
  I think I'm so tall. I had a close story.
• 21:26
  I didn't come to the wife one night. But the opening night, I had a panic disorder most of my life.
• 21:33
  I think everybody has. They just get bored and they rush you out.
• 21:37
  It's like being in a thing with a machine that says, show fetus farting to another
• 21:41
  and then put it in a fetus farting tub, you know? Right.
• 21:45
  That's it. Monty Bison had it down flat.
• 21:49
  Right. But there's just this.
• 21:55
  And, like, I'm a mad artist as well.
• 22:01
  Every five seconds I'm either making a puppet or half-wakes,
• 22:05
  we're making a big stupid duck at the moment. Right.
• 22:10
  But just, you know, otherwise your brain, that's what people go through, that they're being fed,
• 22:17
  when to die, you know, and, like, half-wakes we're doing the hoovering,
• 22:22
  there's an ad on at 10.30 in the morning about your prepaid shopping right,
• 22:28
  yeah the first thing Neil Mitchell said in the morning and how many people are
• 22:32
  getting out to Scustadese about it yeah it's just like just hop along through
• 22:38
  all those channels and just take your full day full of misery yeah,
• 22:42
  yeah and then you get the 9 o'clock one and then they put on all the misery
• 22:46
  shows like deaf people being pulled over and I mean obviously
• 22:52
  two pets you know and these being some of their role model pets like them and
• 22:59
  there's recreation there was a recreation last night of some,
• 23:05
  some you know some sort of whole panel van rapist that had an evil wife and
• 23:14
  they both used to attack you know it's just looking you think I will at least
• 23:19
  get many young mid-summer yeah at least I can follow that one,
• 23:25
  you know another one it's already it's too greedy I've had two storylines already
• 23:32
  can't have another one no Whoops, I just found another body.
• 23:35
  Oh, shit. I was going for another three hours.
• 23:39
  Yeah. I hope it's a house I need to watch. I quite like those.
• 23:42
  Yeah, yeah, yeah. It's annoying, isn't it? Yeah.
• 23:45
  But listen, David, it's been a singular thrill to finally get to talk to you.
• 23:51
  Yeah, it's been great. Yeah. I think we need to put our heads together and get
• 23:55
  a hold of Trenchard and get BMX B. Oh, absolutely.
• 23:59
  Yeah. Yeah. And you'll imagine. It would be a bigger turnout than a rocky high pitch. I think so.
• 24:10
  Start selling him. I'll start investing in red wigs. Yeah.
• 24:18
  Because I think maybe... Make her a fashion statement.
• 24:21
  Oh, yeah. Because I think this time, maybe since so much time has gone by,
• 24:26
  you might have a son and you're playing like the father, You know trying to
• 24:30
  teach you something, you know educating with the life of crime or something
• 24:33
  on it Yeah, we're still be stuck in it myself,
• 24:37
  By now I would have learned You know we met.
• 24:45
  That's the third dialogue sequence so we met and all of a sudden it's just back on again and,
• 24:51
  Because I think Nicole needs a hit, so I think she needs to come back and get the frizzy wig on.
• 24:58
  It would be great to see her having a laugh. She was great. One thing she did
• 25:01
  where she was through the old
• 25:04
  housewife was just have murder in her veins to be a weather girl. Yeah.
• 25:10
  Whatever it was. It was very funny. I thought, that's it. Good on you. Yeah.
• 25:16
  Made a bit of a gag out of yourself. You know, why you can't.
• 25:19
  Yeah. And she's just like a levitating.
• 25:25
  She just levitates everywhere now. That's their walk.
• 25:30
  She drips. She drips. Like a queen.
• 25:36
  The boat, Tasmania. Drifting off into the distance.
• 25:42
  Wow. It would be funny. Yeah. But it's been... I'm so enraged with that too.
• 25:53
  I'll re-imagine Re-imagine, do A re-imagined version of,
• 26:00
  Roosevelt Or I think
• 26:03
  I'd actually bury it Yeah Because it won't When Roosevelt came out We had made
• 26:10
  it a thing like that Yeah Our version of Jaws Sure That was the Aussie Jaws
• 26:16
  We did a creature picture And it was great Yeah Preach it all stupid.
• 26:21
  In one shot When he comes in To bite my leg off It's But they've cut that very
• 26:27
  well I still look at it today And go no It's all right It's good So this guy's
• 26:31
  got So much He's picked much better now Yeah Much better,
• 26:36
  Everything's bigger Better about the pig And he's all talked about The fucking
• 26:40
  pig And how it's not like Just another,
• 26:43
  Razorback Right Except he's actually Spoken to me on the phone Hmm you know,
• 26:49
  up until the point where I wasn't in it.
• 26:51
  Yeah. I was when he first started to talk to me on the phone.
• 26:56
  You know, he ended up putting Chris Hayward in.
• 26:59
  He got his nose out. Yeah.
• 27:02
  But they look you up on Facebook and suddenly just get you.
• 27:07
  And I sort of seem to basically want to help anybody that said, well, I'm a director.
• 27:12
  You know, good luck.
• 27:15
  Well, I think the climate's right for a sequel there, too. Oh,
• 27:19
  mate, I'm tried for the question. Yeah.
• 27:22
  We can call it... I think Australia actually needs to actually say to its folk,
• 27:30
  this is our Bill Murray. Yeah.
• 27:32
  You know? Yeah. With all our actors in Australia.
• 27:37
  Yeah. Not just, you know, start the film with the producer's name. Yeah. That. Yes.
• 27:45
  Nobody is interested. And I thank you for your 300 fucking million investment,
• 27:49
  but no one wants to read your name. You're not in it. That's right.
• 27:53
  The closest you'll get to fucking showbiz is you'll be invited when we're finished. Have you got it?
• 28:00
  Geez, I've made a great producer. Oh, I think so. Oh, I think so.
• 28:05
  Can you imagine me doing it? Oh, that'd be great. I'd love to see it.
• 28:09
  I'd have to have the making of me following me around everywhere.
• 28:14
  You know? I could see you in the plus cores with the riding crop.
• 28:20
  Oh, absolutely, absolutely, with the lead sink. Yeah, and the little monocle, perhaps. That's it.
• 28:29
  All right, darling. Yes. Magic time.
• 28:36
  Sparkle, darling, sparkle. We're shooting a war film.
• 28:41
  Yeah. Okay, everyone.
• 28:45
  It's on the top. Can you die more passionately, darling?
• 28:50
  I saw that death wasn't real. I didn't believe him.
• 28:53
  There were hundreds in the scene, but there was one there, and he wants to reshoot it. Yeah.
• 29:00
  Jesus, Tony's here. Yeah. So they put each other over the director's mouth,
• 29:05
  and he wakes up, and he's coming to get a great scene, which he didn't actually
• 29:10
  do. They did it while he was out. Right.
• 29:14
  I'm checking I'm checking Well it's Yeah it's been a blast Yeah it's been super
• 29:20
  mate I'll cut it up And I'll Give you a listen,
• 29:23
  Yeah It's kind of Sunny Especially
• 29:26
  when you Oh I know I know It's
• 29:30
  been great I threw the question sheet Out about an hour ago So I
• 29:33
  know I know That's what happens
• 29:36
  When they get me on set Yes That was the legend David
• 29:39
  Kent's Classics and what a classic
• 29:42
  it was a laugh yourself off your seat classic and as always thank you little
• 29:50
  yuganites for listening to us on spotify or wherever you choose to listen to
• 29:56
  your favorite podcasts i'm kent hill and we'll see you next time on the one and only cinema.
• 30:04
  Music.