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“Ben Mendelsohn Breaks Down His Most Iconic Characters | GQ” by GQ

Transcript by CCKN is under the cut

[0:00]Ben Mendelsohn: Sissy Spacek was my mom.

[0:05] What do you - what else do you want?

[0:10] The Year My Voice Broke

[0:12] It was gonna be a tele movie, almost called The Year My Voice Broke.

[0:14] It was actually called

[0:15] Reflections at that time, that was its working title.

[0:17] And Trevor Leishman was...

[0:20] ...kind of like the town’s bad-boy.

[0:24] Trevor would steal cars and

[0:26] drive around and

[0:27] around the the racetrack...

[0:30] ...until the car ran out of petrol and then...you know,

[0:33] the cops would be sort of standing there.

[0:34] This was in a country town.

[0:36] And they would be standing there waiting for him to run

[0:38] out of petrol and try to arrest him.

[0:39] Trevor had a laugh that was very distinctive.

[0:43] Trevor: Sounded hollow, I reckon.

[0:46] Huhhuhhehehe.

[0:47] Hehehehehe!

[0:51] Ben: Which was John Duigon picking up on my sort of, at that time,

[0:52] “hehehehe”

[0:54] kind of like silly kind of laugh.

[0:57] Like that's the film that you know

[0:59] made it so that I made films basically.

[1:05] Spotswood known in America as

[1:07] The Efficiency Expert.

[1:09] You know he's a working-class gormless boy

[1:11] working in this factory.

[1:12] He wants to kiss the pretty girl

[1:15] but he doesn't quite know how to do it.

[1:16] It has the distinction of being Toni Colette's first film,

[1:23] It's one of the early films with Russell Crowe in it,

[1:27] And of course it has Anthony Hopkins in the film

[1:30] that he had made immediately after he made

[1:33] Silence of the Lambs.

[1:35] Silence of the Lambs wasn't released by this point

[1:38] but he had just made it.

[1:39] I probably learnt things on that job

[1:43] from... from Hopkins really that have

[1:47] stayed with me the most.

[1:49] There was something about his ethos and something

[1:51] about the way he worked.

[1:53] He's a very, you know, gentle soft kind of guy

[1:56] but you can see in his performances

[1:59] this other world going on.

[2:01] So I owe an enormous debt of gratitude to him for

[2:05] just transmitting that, you know, just

[2:06] passing that stuff along

[2:08] more than anything else was what that film means to me.

[2:13] Mullet

[2:14] I like Mullet.

[2:16] I like Eddie ‘Mullet’ a lot.

[2:18] Eddie ‘Mullet’ is a guy that-that comes

[2:22] from a small town.

[2:24] He wants to leave all these idiots behind him,

[2:27] goes off to the city, burns out in one way or another,

[2:30] and returns home to this sleepy fishing town.

[2:46] Eddie’s Dad: Where’s ya mother?

[2:47] Eddie: Oh, she's still not talking to you?

[2:48] Eddie’s Dad: Just call her.

[2:50] Eddie: Mom!

[2:51] Ben: And that's kind of what Mullet is.

[2:52] Now this is made by David Caesar and

[2:54] Davy is

[2:57] someone incredibly important to me

[3:01] because we go back to the beginnings

[3:03] of both of our careers.

[3:05] I did his student film for him when he was still in school

[3:08] and I think there's this incredible

[3:10] lyricism in what he does.

[3:12] They are really deeply, personally important films.

[3:17] Australia

[3:19] Captain Dutton is meant to be

[3:20] the sensitive of -

[3:22] the sensible alternative to Hugh Jackman's, you know,

[3:26] vastly more appealing proposition for

[3:29] Nicole Kidman's affections in Baz Luhrmann's Australia

[3:33] He's a slightly sort of uptight proper -

[3:35] a lot of people think he's an English character

[3:37] even Australians think he's an English guy.

[3:40] But he's not, he's an old - it's an old-fashioned

[3:42] what I was trying to do

[3:43] was do an old Australian

[3:45] upper-class speak

[3:47] which sounds very similar to British

[3:50] in a lot of ways.

[3:51] But anyway they didn't get picked up on.

[3:52] That's either my fault or whatever.

[3:55] I felt awesome about doing a film for Baz.

[4:02] Strictly Ballroom remains one of the like...

[4:04] ... It's absolutely - it remains in

[4:06] my top five most enjoyable experiences

[4:09] I've ever had going to a cinema.

[4:11] And of course you know he's got that - he's got

[4:13] the secret weapon.

[4:16] Martin Scorsese, he’s got

[4:15] Thelma School[maker], you know Thelma.

[4:18] But you know Baz has got C.M.

[4:20] Baz has got Catherine Martin

[4:22] and that is like -

[4:24] [Ben Mendelsohn does a lip pop]

[2:25] That's a combo.

[4:29] Animal Kingdom

[4:31] Pope is the elder statesman of a really... very tough... violent...

[4:40] Melbourne crime family.

[4:43] There's a culture there that is a lot more about,

[4:46] you know, guy to - a guy growing up.

[4:48] It's a lot more about being tough and not showing stuff

[4:51] and having the sense of a threat

[4:54] that you might hurt someone if they do or

[4:56] if they transgress in some way.

[4:59] Pope: This is what I’m talking about, mate.

[5:01] I just want you to tell me things, you know. it just kills me to -

[5:03] It just kills me to see you living a lie.

[5:04] J: Look, mate, fuck off. Seriously.

[5:06] Ben: Davy Michôd.

[5:08] I knew for a long time and

[5:12] Davy Michôd was a guy who wrote for a film magazine

[5:16] and Davy wanted to make a film and it was like,

[5:18] “yeah, yeah, whatever”, you know?

[5:20] It’s sort of, you know, “yeah, yeah, go on.”

[5:22] And Davy, you know, said “I want you to play this character”

[5:26] and I was like “whateverrrrr!”

[5:31] The good thing about, you know, being around and being basically a pessimist,

[5:34] you just get proved wrong a lot.

[5:37] And I love being wrong about stuff.

[5:40] [The] Animal Kingdom is without question the most

[5:43] career-wise important film that I ever made.

[5:46] I mean without Animal Kingdom you -

[5:49] I mean, you know, you don't give a fuck about me

[5:51] without that film because none of the

[5:53] rest of this stuff happened.

[5:56] The Dark Knight Rises

[6:00] This is the period

[6:01] When I was like,

[6:02] “Something's going right.

[6:03] Something's really, really going right.”

[6:06] Lucius Fox: This meeting will now come to order.

[6:08] John Dagger: You know, I’d like to point out that

[6:10] we have an non-board member here

[6:12] which is highly irregular,

[6:13] even if his family name is above the door...

[6:15] Fredericks: Bruce Wayne's family built this company -

[6:19] Board Member 2: And he himself has run it -

[6:20] Daggett: Into the ground!

[6:21] Ben: That was the first time I'd ever

[6:22] been on a film set of the biggest movie

[6:25] being made on the planet Earth at that time

[6:28] and I was like -

[6:29] [Ben shrugs with a giddy grin]

[6:30] No, it's just like...

[6:32] it's pretty awesome.

[6:34] I don't remember much about Daggett.

[6:36] I don’t particularly care about Daggett in one way or another,

[6:38] you know what I mean.

[6:39] I went in,

[6:40] I flipped a couple of burgers,

[6:41] I tried not to disgrace myself.

[6:43] That was basically -

[6:44] you know.

[6:45] There's very limited,

[6:46] you know, stuff.

[6:47] There's some boardroom stuff going on in there.

[6:49] And then there's all that stuff of

[6:50] “I've hired you to,

[6:51] you know, to be my, you know, my guy

[6:54] and please don't, you know -

[6:55] Oh, are you gonna hurt me?

[6:56] Oh, this is kind of confronting.”

[6:59] But I just remember just being on set with like,

[7:02] you know, there’s Christian Bale,

[7:03] there’s Gary Oldman,

[7:05] there’s Morgan Freeman

[7:06] like

[7:07] [Ben does a lip pop again.]

[7:08] And what I really, really, really, really remember

[7:11] having reinforced is

[7:13] this game’s exactly the same.

[7:15] Doesn't matter if you're making the crappiest,

[7:16] most down and dirty, shitty

[7:20] kind of indie that no one's ever can

[7:22] in the world see

[7:24] or you're making the biggest movie on earth.

[7:29] Bloodline

[7:31] I was skeptical, and I was touched,

[7:34] and I was, you know, a little bit chuffed that

[7:36] these guys came to me and said,

[7:38] “Listen, we want to make a film - a series, pardon me,

[7:40] about, you know, the black sheep of the family

[7:43] and we want to kind of investigate that dynamic and what it is

[7:46] in a family and, you know,

[7:49] and they're gonna kill him. you know I never get

[7:50] You know, I’ll never gonna get another Danny Rayburn, you know what I mean.

[7:53] Like you do one of those guys, like there's a

[7:55] like there's a few of these guys

[7:57] that you're never going to get them again.

[7:59] I'm never gonna get another Pope,

[8:00] I'm never going to get another Trevor. Leishman.

[8:03] There are certain things, which for whatever reason,

[8:05] everything kind of forms up

[8:07] and the thing in and of itself is people,

[8:09] you know, it -

[8:10] people take it into their hearts

[8:12] and it becomes part of their life.

[8:1] They talk about it, they enjoy it.

[8:18] Danny: You sent a load up the same highway that I did

[8:20] unless you took a detour.

[8:21] Did you take a detour?

[8:26] Ben: Yeah I love Danny.

[8:29] I - I love love love Danny.

[8:34] Rogue One: A Star Wars Story

[8:36] Middle manager as principal villain.

[8:39] It's an interesting idea.

[8:40] I have peddled the line

[8:42] and I will continue to peddle the line

[8:44] that he is the man that built the Death Star

[8:46] even though there's a very strong argument

[8:48] that Mads Mikkelsen’s character may have

[8:51] but you know...

[8:52] Fuck it, right?

[8:53] I mean you build the Dea-

[8:55] you get a chance to claim you built the Death Star.

[8:56] I'm taking it,

[8:57] I'm running with it.

[8:58] Star Wars.

[8:59] I mean, you know.

[9:01] I went there, I watched that film as a kid in-in-in Melbourne in,

[9:04] you know, in the city.

[9:07] Star Wars was just

[9:08] like huge for me.

[9:10] Gareth, he approached me in this

[9:12] sort of super secret - shh - meeting

[9:15] and I went to the top of some Beverly Hills Hotel

[9:18] and sat on the thing. La la la.

[9:22] And he said, you know, I want you to play the

[9:24] villain in this upcoming Star Wars movie

[9:27] and I was like, “okay, great.”

[9:30] [Ben sucks in lips]

[9:32] And I had to keep a lid on it for like foreeverrr.

[9:36] I mean when Darth Vader turns up on a set.

[9:43] Yeah.

[9:44] Darth Vader: Director Krennic.

[9:48] Director Krennic: Lord Vader.

[9:52] Ben: Ready Player One

[9:54] That's the best screening of a film

[9:56] that I've ever been to in my life.

[9:58] South by Southwest screening of Ready Player One in Austin,

[10:04] the first time anyone ever got to see that film in the public.

[10:07] That is the wildest experience

[10:09] and the best experience I ever had

[10:12] watching a film.

[10:13] Mr. Spielberg and Kate Capshaw, his wife, had had seen Bloodline

[10:18] and were fans

[10:19] and so essentially it's Bloodline that gets me Ready Player One.

[10:24] When I got to meet with them -

[10:26] [Ben laughs.]

[10:27] Spielberg, you know.

[10:29] Look, I'm a fan of, you know,

[10:31] I grew up. I love all this stuff, you know,

[10:33] I still feel like a kind of a fanboy nerd

[10:37] and I do pinch myself and

[10:39] kind of get a bit blushy in a bit like -

[10:41] essentially you're dealing with

[10:43] a film which you know, is very, very

[10:46] largely in virtual reality.

[10:49] That took an enormous amount of time and discipline.

[10:51] So technically for him it's a really a

[10:54] post-production piece

[10:56] but what it meant for us in terms of the capture stuff

[10:59] is really, kind of, as usual

[11:03] but in this sort of white blank space where you've

[11:05] sort of got a play ‘tendie ‘tendie, you know,

[11:08] I meant pretending

[11:11] about what's where and whatnot.

[11:12] That's the fastest most quick [/kept]

[11:14] crew I've ever seen in my life.

[11:17] Spielberg's crew is beyond

[11:20] and there's no one that thinks in terms of

[11:24] camera moving through stuff in real time

[11:28] that I've ever seen.

[11:30] There's no one, there's no one like him.

[11:35] The Sheriff is really, you know, political

[11:39] modern political speaker kind of,

[11:43] as you know, -esque villain

[11:45] Friar Tuck: Sir, surely the church -

[11:46] It's a law and orders issue.

[11:47] I'm the law and order here.

[11:49] I can't afford to lose another penny.

[11:53] Friar Tuck: Sir it's been a bit since your last confession.

[11:57] The Sheriff: My conscience is clear.

[11:59] Ben: He's a modern kind of political populisty type of,

[12:04] you know, operative sleazebag dude, you know?

[12:06] Power power, money money, give it give it.

[12:08] It's really the way that Otto talked

[12:11] about what he wanted to do within

[12:14] the world of hood that was kind of like

[12:17] the world of Nottingham in

[12:19] this piece which is an origin story.

[12:22] We're going to teach you things about

[12:23] Robin Hood you never even knew, all right?

[12:27] Cheap! Cheap for the price of admission.

End of transcript

Video Channel: GQ

Video Description:

Ben Mendelsohn breaks down his most iconic characters, including his roles in 'The Year My Voice Broke,' 'Spotswood,' 'Mullet,' 'Australia,' 'Animal Kingdom,' 'The Dark Knight Rises,' 'Bloodline,' 'Rogue One: A Star Wars Story,' 'Ready Player One' and 'Robin Hood.' 'Robin' Hood' is in theaters now!

Still haven’t subscribed to GQ on YouTube? ►► http://bit.ly/2iij5wt

ABOUT GQ For more than 50 years, GQ has been the premier men’s magazine, providing definitive coverage of style, culture, politics and more. In that tradition, GQ’s video channel covers every part of a man’s life, from entertainment and sports to fashion and grooming advice. So join celebrities from 2 Chainz, Stephen Curry and Channing Tatum to Amy Schumer, Kendall Jenner and Kate Upton for a look at the best in pop culture. Welcome to the modern man’s guide to style advice, dating tips, celebrity videos, music, sports and more.

https://www.youtube.com/user/GQVideos

Ben Mendelsohn Breaks Down His Most Iconic Characters | GQ

Disclaimer and Preface: None of the videos I transcribe belong to me. They belong to the content creators and the crew behind the videos. My transcripts may not be 100% as I am not a professional. I'm just someone who wants to provide video transcripts for people to understand and enjoy these videos. For this video, I focused on the speaker. If there are any corrections you would like me to make, let me know in the comment section of the post.

If you like this video or any other video from GQ, please support by watching the videos on the YouTube platform and through other means by them.

Personal Notes: Once again, I’m on another Ben Mendelsohn video binge so here we are. This is an old video from 2018. I tried very hard to not get distracted by his voice and face. I succeed.... somewhat. Also, I remember refreshing the page so many in time hoping that they have already have subtitled the video. They didn’t and so here I am.

P.S. The timestamps are down below

[0:00] BEN MENDELSOHN’S ICONIC CHARACTERS

[0:10] THE YEAR MY VOICE BROKE

[1:05] SPOTSWOOD

[2:11] MULLET

[3:16] AUSTRALIA

[4:26] ANIMAL KINGDOM

[5:55] THE DARK KNIGHT RISES

[7:27] BLOODLINES

[8:33] ROGUE ONE: A STAR WARS STORY

[9:50] READY PLAYER ONE

[11:32] ROBIN HOOD

P.P.S Here are the sites I used to assist me with the transcript. Please support these resources and websites if you can. 👍🏼

The Year My Voice Broke video clip and transcript provided by Australian Screen which is apart of the National Film and Sound Archive of Australia. I found the site through the The Year My Voice Broke page of the Melbourne High School Library website that appeared in the Google search. It’s a wild rabbit ride.

Someone by the username of Caballero uploaded the entire Mullet movie on YouTube. The only closed captioning option is auto-generated English but it’ll do.

The Dark Knight Rises Script By Jonathan Nolan And Christopher Nolan from archive.org

Flip to pages 72-73 for the scene

Click here if you wish to donate to the Internet Archive

#Ben Mendelsohn #gq #the year my voice broke #spotswood #mullet #australia #animal kingdom #the dark knight rises #bloodlines #rogue one #rogue one: a star wars story #ready player one #robin hood #CCKN transcripts

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junker-town · 4 years

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Secret Base Media Club: Sax & Sonnets

This is where we talk about what we’re enjoying this week

Music: Moon Hooch

I am currently obsessed with Moon Hooch, which I heard on Spotify one day a couple weeks ago and have not been able to stop playing since. I am likewise incapable of not sharing my love for Moon Hooch, which led to my friend Nate describing this song as “the thinking man’s Yakity Sax,” which was apparently meant as a compliment and in any case I liked enough to steal.

I’m not sure how to describe Moon Hooch’s ouvre as anything but ‘a sax dance party’, and as someone who has no particular affinity for either the saxophone or dance parties I’m a little surprised by how much I’m enjoying them. But the ears want what the ears want, or so I’m told.

Songs: Nonphysical, Old Frenchmen, Number 9, Ewi, Red Sky.

youtube

Book: Sonnets from the Portuguese, Elizabeth Barrett Browning

How do I love thee? Let me count the ways...

Perhaps I’m demonstrating my complete lack of fitness to be talking about poetry here but when I read Sonnet 43 my reaction was something like “Oh look, a Shakespeare reference.” How do I love thee? is such a well-known line that it seems to have escaped authordom entirely and entered the world of cliche, which generally means it came from either Shakespeare or the King James Bible. But nope, it’s from Sonnets from the Portuguese, Elizabeth Barrett Browning’s collection of love poetry, published in 1850, and you’ve been able to quote from it the whole time. Wild!

Here are some other passages — none of the rest of her work is nearly as famous as the start of 43 — that grabbed me.

Sonnet 29

I think of thee!—my thoughts do twine and bud About thee, as wild vines, about a tree, Put out broad leaves, and soon there’s nought to see Except the straggling green which hides the wood. Yet, O my palm-tree, be it understood I will not have my thoughts instead of thee Who art dearer, better! Rather, instantly Renew thy presence; as a strong tree should, Rustle thy boughs and set thy trunk all bare, And let these bands of greenery which insphere thee, Drop heavily down,—burst, shattered everywhere! Because, in this deep joy to see and hear thee And breathe within thy shadow a new air, I do not think of thee—I am too near thee.

Sonnet 44

Belovëd, thou hast brought me many flowers Plucked in the garden, all the summer through, And winter, and it seemed as if they grew In this close room, nor missed the sun and showers. So, in the like name of that love of ours, Take back these thoughts which here unfolded too, And which on warm and cold days I withdrew From my heart’s ground. Indeed, those beds and bowers Be overgrown with bitter weeds and rue, And wait thy weeding; yet here’s eglantine, Here’s ivy!—take them, as I used to do Thy flowers, and keep them where they shall not pine. Instruct thine eyes to keep their colours true, And tell thy soul, their roots are left in mine.

The language of love here is entwined with nature and creeping growth, an entanglement of roots and vines. It’s interesting to compare Barrett Browning’s sensibility to that of, say, Sappho, for whom love is molten. Here’s the last chunk of lyric 31, translated from Greek by the brilliant Anne Carson:

oh it puts the heart in my chest on wings for when I look at you, even a moment, no speaking is left in me

no: tongue breaks and thin fire is racing under skin and in eyes no sight and drumming fills ears

and cold sweat holds me and shaking grips me all, greener than grass I am and dead—or almost I seem to me

Poetry translations, no matter the merits of the translator, are always a thorny proposition. Ionic Greek is hardly going to produce the rhythms natural to a modern English speaker, and although they can be represented in higher or lower fidelity there’s always something of the translator in the poem, superseding the original. But what doesn’t (or shouldn’t) change is the imagery the poet uses to transcribe reality. Even when Sappho uses plants and growth — “greener than grass” — her mode is bright against Barrett Browning’s to an almost startling degree.

It’s tempting to try to parse the two styles as being linked in some way to the poets’ lives, but this is futile both on account of knowing depressingly little of Sappho and more generally because I have less than zero in the way of psychoanalytical talent. And you could with some justice accuse me of a) cherry-picking and b) not knowing anything about poetry besides. So we’ll skip all that and just talk more vaguely about the lyrics themselves.

Personally, I prefer the vivid slashes of Sappho’s vision to the clinging entanglements invoked by Barrett Browning, but I think that the latter’s sensibilities are perhaps truer to life, which is marked less by Sappho’s lighting and searing fire than by a slow, almost insensible, together-ing. Sonnets from the Portuguese, even discounting its most famous line, is instantly recognisable even 170 years later.

This is Secret Base Media Club. Every Wednesday, a member of Secret Base staff will talk about what they’re reading and anything else they happen to be enjoying. Feel free to join in the conversation or start your own — books, movies, music, tv shows, sports (hah!) are all fair game.

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