Gary: |
How do I sound to you?
|
Lennie: |
You sound very good.
|
Gary: |
Ah, well that's great, that's great. Okay, I'll just bring Max back onto the line then. Max, are you there?
|
Max: |
Yeah.
|
Gary: |
Okay, and Lennie, you're there?
|
Lennie: |
I'm here.
|
Gary: |
Ah great. Well, everything's working. The miracles of modern technology, eh? Well, listen, I'm sorry we were interrupted there, but I had that first question to you, Lennie ... how did an English guy come to be writing a play about South Auckland?
|
Lennie: |
Okay ... as I was saying before I was cut off ... I knew Sam, Sam's the director of AYPT, and I wrote a film that was ... that the BBC made over here in England, and Sam saw it ...
|
Gary: |
Storm Damage.
|
Lennie: |
... and she brought it back ... hello?
|
Gary: |
That was Storm Damage?
|
Lennie: |
That was Storm Damage, yeah ...
|
Gary: |
Yeah ...
|
Lennie: |
... and Sam brought it back for the guys and they liked it, and we ... and they ... you know ... Sam proposed the idea of coming over and working with the guys and seeing whether or not we came up with anything.
|
Gary: |
Right ...
|
Lennie: |
... really, and that was basically all I needed ... obviously and plane tickets ... to kind of get to New Zealand and have a go. It seemed like a good adventure to have, and it was such an unlikely thing to kind of happen that it seemed like the best thing to do was just to see ... you know ... where we could go with it.
|
Gary: |
Yeah ... and did Sam approach you having seen Storm Damage, did she?
|
Lennie: |
Yes.
|
Gary: |
I see ...
|
Lennie: |
Yes, I mean ... we'd been speaking before, and I knew about her company, and it was very close to a company that I had grown up in when I first started acting, so it was always something I kind of knew about and then this opportunity ... after she'd seen Storm Damage ... it became a ... I think that ... I mean I think that most of the ... the kind of fire behind this happening was Sam and it was her idea to bring me over, and she made it possible, really, so I thought the least I could do was show up.
|
Gary: |
Yeah, right. And Max ... when did the idea first come up of that particular bunch of guys doing a play together. Can you remember that?
|
Max: |
Oh ... I think it was a couple of years back, eh. I think it was between me and Joe ... we wanted to do a show about ... just telling the truth and telling some stories.
|
Gary: |
Telling your stories ... the South Auckland stories ...
|
Max: |
Yeah.
|
Gary: |
Yeah. And you and Joe had worked together in ... well ... the Aotearoa Young People's Theatre before that, together, had you?
|
Max: |
Yeah, we worked with Sam when it was called MYT ... Maidment Youth Theatre ...
|
Gary: |
Yeah, Maidment Youth Theatre, yeah ... and what had you done before? I think the first time I saw you was in Still Moving.
|
Max: |
Oh ... I did a ... the first show I did with Sam was Blood and Bone ... that's where I met Joe.
|
Gary: |
Right. Yeah ...
|
Max: |
Yeah ... and then I just did a couple of shows after that with Sam, it was ... Still Speeding and ...
|
Gary: |
Yeah ...
|
Max: |
... Still Moving.
|
Gary: |
And you saw Storm Warning did you? You saw the tape of Storm Warning? Sorry, Storm Damage ...
|
Max: |
... Storm Damage ...
|
Gary: |
...Storm Damage, yeah ...
|
Max: |
...yeah, that was awesome, man, we were freaking out.
|
Gary: |
Oh ... right ... and did you feel that the ... did you ... when you saw that, did you instinctively feel that the guy who wrote that could write your stories?
|
Max: |
Yeah, man. It was real deep, eh. Like he went straight ... it was ... like he went straight there, he wasn't ... it seemed real to us ... and everything that we'd seen on stage about Pacific Islanders and stuff, it was--
|
Gary: |
Even though it was set in a different country ...
|
Max: |
... yeah ...
|
Gary: |
... different culture ... yeah, yeah. And what was your first introduction to Lennie then? What happened?
|
Max: |
After we saw that, Sam told us that maybe we should think about doing a show about ... and this guy writing it. After we told her sort of what we wanted to do. And she was going that way, about doing a show about men. Yeah ... and then she just said there's this guy in England, and we were like, Holy what the-- ?
|
Gary: |
Right, right, right ... And Lennie, when you came out that first time, what was the actual process that you went through? Well ... can you just describe the process ...
|
Lennie: |
The process ...
|
Gary: |
Yeah ... describe the process up to the writing of the script.
|
Lennie: |
Well, once I knew I was coming out, and I started speaking with Sam, and Sam came over again to London and we talked about it again ... and she said what did I want to write about, what were the things that kind of interested me. And I think ... I don't know whether it was a kind of coincidence or whether it was something that was kind of around ... but I said I wanted to write about men, and I wanted to write about rituals ...
|
Gary: |
About rituals ...
|
Lennie: |
... because those were the things that were just kind of interesting me at that particular moment in time. And ... so when I came out, I hadn't actually ... I deliberately kind of said I didn't want to come out and kind of ... go straight into kind of ... you know ... thinking I could write a play, or write anything about New Zealand ... or about South Auckland or about Pacific Islanders ... I don't ... I kind of said quite early on to Sam that I don't want to go in there and ... pretend I know anything, really, so I just want to go there and arrive and if something comes up then something comes up ... but there was always the possibility that I would spend three, four weeks, however long I was there, and I wouldn't come up with anything ... because I didn't want to ... you know, I didn't want to kind of patronise anybody or ... or think I knew something because I was from the other side of the world or something ... so in the beginning it was quite ... there was no blueprint ... there was no "we are going to do this and at the end we are going to have that" ... it was just literally us hanging out more than anything else ... just guys telling ... the guys telling stories ... introducing me to them, introducing me and my daughter, because I came out with my eldest daughter, and ... you know ... just joining in their lives, joining in their lives, joining in their families and trying to find a story that we could all tell together ... and I do think that the final project, the script as well as whatever will be the final performance and the final show ... will be something that we've all created together ... I didn't go over there, have a look at them, sit down, write a story, send it back and go "now perform this [over there] ..." While I were there I kind of ... we hung out and we did some workshops together, some ideas that I kind of came up with, we did some improvisations, we kind of asked questions, people told stories ... and all that kind of thing ... and then I went away and I kind of came up with a rough ... very rough idea ... almost on the plane coming home from New Zealand ... and sent it back and then we started talking about that, so then there was another stage which was the kind of ... the e-mail life of the play, where I would e-mail questions and the guys would e-mail back answers ... the guys would do read-throughs of the drafts and send them back and send me back their questions and I would send more questions ... so all the way, the process has always been a kind of mutual collaboration, it hasn't been a writer writing in isolation ... and I think that was important, because, you know, 'cause as much as anything, this play's written for the guys ... for what they have to say ... I mean, you know ... in a way, through my writing ... but I hope it's somewhere along the line towards what the guys want to say.
|
Gary: |
Gary: Yeah ... right ... and Max, how did you feel about telling your stories to Lennie ... I mean you'd got to know him, presumably, well enough over the few weeks to feel quite safe about telling quite personal stories to him.
|
Max: |
Yeah ... it was ... it was pretty weird at first when we told to do that to this guy that we'd never met before ... then it was really cool how we did hang out with him ... and we did take him into out lives and everything ... and then when it came to the time of telling our stories it was just ... it all came out, eh. It felt really safe.
|
Gary: |
It felt really safe?
|
Max: |
Yeah.
|
Gary: |
Yeah, that's really important. How did you feel at the read through on Saturday down at the marae ... how did you feel ... it seemed quite intense to me, the experience of replaying stories that were obviously quite personal to you ... and I remember you at the time when I asked you about it you just kind of went "Whoo ... tell you on Tuesday" ... so ... what was it like hearing those stories replayed?
|
Lennie: |
[laughter] Well it's Tuesday!
|
Gary: |
Yeah.
|
Max: |
Oh man ... it was freaky, man ... Lennie, that was the shit.
|
Lennie: |
[...] all right?
|
Max: |
That was the bomb, man!
|
Lennie: |
Good one. Good ... there's still ... there'll be more to go, but we'll get there.
|
Max: |
Yeah ... I was just ... ah ... the ifoga bit? ... you know, the forgiveness ... the forgiveness act that Ezra has to do ... it's called the ifoga ... and ah ... I felt that, eh, and ... like we talked about that before ... we talked about it before like how I was meant to do it and stuff, and it was ... it felt like I was doing it ... I wasn't doing it to [actor] Wesley and I wasnÕt doing it to Wesley's character ... it felt like I was doing it to the person that ... that I had to go to jail for ... it was strong, man. It was cool, bro.
|
Gary: |
Max, you've sort of ... this magazine that we're doing this interview for, Pavement, and the Holmes show, both had news on you when you were coming out of prison to rehearse the last show that you did ... Still Moving, I think it was.
|
Max: |
Yeah.
|
Gary: |
How do you feel about that being put into this ... I don't know how much audiences will know about the truth of these stories that are coming out ... they're obviously authentic but ... how do you feel about that part of your life being put on the stage?
|
Max: |
Ohh ... IÕm sweet about it, eh.
|
Gary: |
You're sweet about it?
|
Max: |
Yeah ... I think it's ... that's how it started ... that's how it started ... the stories are real and if we want to put something up there that wasn't real then there was just ... that's how we wanted to show ... and I feel real safe to put it out there ...
|
Lennie: |
I think ... I think ... hello?
|
Gary: |
Yep.
|
Lennie: |
I think one of the other things that's kind of important ... and important for me, and I think what Max means when ... you know, I'm not wanting to speak for him, but what I kind of understand by it being safe is that it isn't just that it's ... well hopefully it's not just that it's kind of real ... it's not just that we're putting maybe a part of New Zealand, a part of Auckland, a part of South Auckland that's not really represented, on stage ... up on stage with these guys ... it's also that their stories have kind of resonance ... it's not just that they're real, it's that big part of Max's life that we kind of used for this kind of story has a purpose in the sense that Max has done a particular thing in his life and he's gone past it and he's talking about something that he's gone past, and in a way it's real but it's not who Max is any more so he can talk about it ... and that's about the position that Max has got himself to and what he's done for himself ... and in his life outside of this one incident that kind of happened ... and so therefore it has kind of resonance and it has kind of a worth ... if Max was still that guy however real it would be it would be kind of irrelevant ... all the stories that were kind of shared were things that the guys felt safe with because in some way they'd kind of dealt with or were dealing with or were ... you know ... trying to deal with and that's what I think hopefully is what's going to make the project successful in the sense of having some kind of worth I think ... I hope.
|
Gary: |
Yeah. Were you going to add to that, Max?
|
Max: |
That's it, man.
|
Gary: |
That's it.
|
Max: |
That's it.
|
Gary: |
That's it. Yeah. Lennie, I found an interview that you'd done earlier in a magazine, and you said, "I write universal stories populated by people I see."
|
Lennie: |
Yeah.
|
Gary: |
It sounds to me that's what you've just said. That they're real stories ...
|
Lennie: |
Yeah.
|
Gary: |
... from real people, but they ... because they're so specific ...
|
Lennie: |
Yeah.
|
Gary: |
... they have that kind of universality, and they--
|
Lennie: |
I mean ... when I said that I said it around the time of ... when I did that interview I said it around the time of Storm Damage being made and Storm Damage being put on television and it was very much about how ... I think it's very easy for a project like Storm Damage ... and particularly ... anywhere in the world virtually ... but more specifically Storm Damage is a story about ... you know, on one ... on the main level, for me as a storyteller, it's a story about the fight for a young man's soul ... it was a story ... it was about a guy who had to make a ... who had got to an age in his life, in this particular case it was sixteen, where he had two very distinct roads to follow ... one was the road of a kind of street don, and the other was the road of a teacher who wanted to ... you know ... to kind of ... to save him ... and I wanted that to be what the story was about and so I kind of said this statement about "I tell universal stories" is because a lot of projects that aren't populated by the obvious ... you know ... if they're populated in ... where I grew up, if they're populated by black folks or if they're populated in the case of this ... in the case of Sons of Charlie Paora where they're Pacific Islanders, it doesn't mean that this is a story that is only true of Pacific Islanders or this is only true of black people living in Britain, this is true of anybody going through these situations, that's what makes it a universal story ... I don't sit down and write about black people, I don't ... when I was writing the play ... The Sons of Charlie Paora ... I wasn't thinking I've got to say something about Pacific Islanders ... it wasn't my job and I don't have anything to say about Pacific Islanders ... what I wanted to do was tell a story ... you know, the idea of the story is completely fictional ... you know ... it's not all reality, it's kind of about theatre as well ... but ... what's important to me is that these stories are universal ... you know ... there's hope that we'll kind of try and get this project, The Sons of Charlie Paora, over to London, and there's a theatre over here that's interested in reading it ... and if that's possible then we'll see just how universal this story is ... I mean it'll have a certain resonance in Auckland when we put it on, but it will have a whole other kind of resonance when we put it on in other places ... even other places in New Zealand let alone other places in the world.
|
Gary: |
Do you think--
|
Lennie: |
And hopefully ... and the story that I was trying to write was one that could do that ... and I do think the stories we used and the story we're telling is universal.
|
Gary: |
Do you think that there is any sort of commonality or parallel experience I suppose, that you and the cast are basically a minority culture in the country that you're living in?
|
Lennie: |
Yeah.
|
Gary: |
Yeah.
|
Lennie: |
I do think it, and I also think that it's ... I think it's true of ... you know, it's like when we were sitting down and hanging around and chatting and the guys would tell a story about some guy who was down the street, who did this or did that or knew this or knew that ... I knew somebody down my street who did this, did that ... you know, we grew up to a greater or lesser extent in the same kind of environments ... the relationships we had with our parents ... the relationships we have with our parent's countries ... in some cases in the country that we were born in but not in the country that we grew up in ... were very kind of similar ... I mean I think if there's any kind of difference it's just the difference of the fact that when I was kind of ... the guys ... the particular guys that I was talking to and dealing with ... we're a couple of generations further on ... so, you know, I'm now third, fourth generation Black British West Indian I suppose is my official title ... but ... so it's just how much the wider community ... how far along the road we've gone to being actually recognised ... and how far along the road we've gone to being included ... how far along the road we've gone to not being excluded ... is just slightly different ... but outside of that there are all number of commonalities and things that we have in common.
|
Gary: |
Yeah. Do you think ... do you think, Lennie, that anybody has the right to tell any story?
|
Lennie: |
No. I don't actually. But I do think that anybody has a right to tell a story.
|
Gary: |
To tell "a" story?
|
Lennie: |
I donÕt think ... to tell "a" story ... I mean I think if it's [a bit in] a story that you have no experience of, or it's a story that you ... you know ... you just pick out of ... you know, you hear something about somebody and you tell that particular story ... I mean IÕm not ... you know, I'm not a gossip. It's not ... you know ... I'm not just kind of "Oh, guess what I heard from Max" it's not really that kind of thing ... it's more about ... it's more about kind of ... I'm a playwright, I'm a writer, and there are ... I mean I'm just in the process of raising money on a film that I've written, and that film came from a story from an article in the newspaper ... but I'm not telling the story of the article in the newspaper ... it's what inspired me to tell ... what I don't even know if it's the truth of that story even though it came from a piece of truth in the newspaper ... but it's the story that I ... on one level it's the story that I want to tell ... and, yes, The Sons of Charlie Paora is the story that I want to tell and ... but it's also the story that I want to tell along with the guys, hopefully, that it's ... I'm telling their story but they're also helping me tell mine.
|
Gary: |
I see. Max, who do you want to hear these stories.
|
Max: |
Everybody, eh. I'm not ... we're not aiming at, like, Pacific Islanders or whatever. It's ... I reckon there's a story in there for everybody that would understand.
|
Gary: |
Well ... yeah ... I know that I understood it, I got a lot out of it. Are you ... do have you no sort of ... sort of desire for guys that are like you to come and see their own stories on the stage?
|
Max: |
Oh, yeah. But I'm not going to go out there and tell them that there's a story out there for you ... there's a show that's got stories for you to see ... similar to you.
|
Gary: |
Right ...
|
Max: |
I'm hoping that the people will just come and just see the stories, but I'm not going to go out there and make them come.
|
Gary: |
Right, right, I see. And between ... between the last ... Still Moving, and this, what have you done? Have you been performing in between?
|
Max: |
Yeah, I did a six-month tour ... the Duffy Show.
|
Gary: |
Ah ... that's the books in schools ... right ... when was that?
|
Max: |
Ah ... I think it was last year. I did it last year. When this ... when this thing started I was just being ... it's just been this, eh, we've just been hanging out waiting for this to come.
|
Gary: |
And how have you found the process of going back and forth ... you know ... with Lennie ... him sending questions over, you replying, and gradually evolving the script that way ... how have you found that process?
|
Max: |
Oh ... it was pretty easy at first ... it was pretty hard at first, sorry, but ... but then we were just thinking about what Lennie said when he came over ... he told us that ... he just said I don't want to write a story about guys that he didn't know ... I though that was real cool ... he goes I just didnÕt want to write a story about anyone that I didn't know.
|
Gary: |
I saw a ... in one of your little workshops there was a moment where you stood up ... stood up and rattled off all the street names ... and said where the streets were ... which street you turned into to go where and who all the people were that lived in those houses ... and that ... in the next draft of the script that was in there ... and it's a masterful moment in the script ... how did you feel about seeing your words ... not just your kind of ... the authenticity of the story but almost your very words reproduced in that ... that poetically.
|
Max: |
I got a shock, eh. [laughter] Ohh, Lennie, you're the man. I don't know ... it just feels right.
|
Gary: |
Well ... I remember when you did it you seemed quite passionate about it ... you sort of leapt up and just rattled them off in like a two or three minute tirade, it just ... just without stopping ... and I found myself thinking "HeÕs right. HeÕs right. I donÕt know the people at the end of my street."
|
Max: |
Yeah ... I just think ... there's like some people when they say stuff like that I just think "Ohh," ... like our stories when we say it, I think there are people that just like ... are going to think ... oh that doesn't happen ... that doesn't happen ... but it's true ... and things like that do happen, I do know people that live next to me and ... I just had to make a point.
|
Gary: |
Yeah ... yeah ... right. Lennie, what is the thing that youÕre working on at the moment. You're in Manchester are you? Or you have been?
|
Lennie: |
I am in Manchester, yeah, I'm doing a ... I don't know if you guys get it over there yet ... there's a thing called 'Cops' ... do you get 'Cops' over there?
|
Gary: |
Um ...
|
Max: |
Yup.
|
Gary: |
Do we get that, Max? I donÕt--
|
Max: |
We get 'Cops.' Yeah.
|
Gary: |
The English 'Cops.'
|
Lennie: |
Okay ... it's the guys who made 'Cops' and they also made 'This Life.'
|
Gary: |
Oh yeah.
|
Lennie: |
And they're now telling a story which is set in a prison. And I play a guy who has lived a proper life for all of his life and then in his early thirties he kind of gets a telephone call from his sister saying she's been raped by her boyfriend, and he goes to see the boyfriend, and they get into a kind of altercation and my character kind of goes away and he comes back with a gun and the gun accidentally goes off and I go to prison for ten years for attempted murder ... and so the story ... it's an eight-part series, so far ... and it's about my descent into the life of the prison ... and once we're in the prison we never come out, we never leave the prison, we don't have any outside shots, it's all done inside the prison, it's very claustrophobic, it's very hard-hitting, and ... you know, fantastic scripts, and it's the most amazing part and I'm having the most fantastic time.
|
Gary: |
And that's ongoing? You're still working on that at the moment and it's continuing?
|
Lennie: |
Yeah, I've got another four weeks to go. So I finish this, have five days at home and then I come to New Zealand.
|
Gary: |
Oh, great. And have you been doing other acting or ... either stage or screen since '24 Hour Party People?'
|
Lennie: |
Since '24 Hour Party People' ... yeah, I think I did one other film ... and a thing called 'Announcements' and then I've been writing ... and I wrote ... at the time when I was ... I think when I was doing the first draft of The Sons of Charlie Paora I was also writing a radio play which I've written and is done, and I was writing a film script which is written and done ... and as I said before I'm just working on this other ... we're trying to scout directors and raise money on this film project that I've written that's been around for a couple of years and it's ... it's time for the money to talk. So we're doing that at the moment.
|
Gary: |
Yeah ... and what about you, Max, have you got stuff coming up, or any plans for what happens after Sons of Charlie Paora?
|
Max: |
Ohh ... after Sons of Charlie Paora I'm thinking of going to ... Philippe Gaulier.
|
Gary: |
Oh yeah ...
|
Max: |
The school ...
|
Gary: |
Yeah ... yeah ...
|
Max: |
Yeah ... I'm really ... I'm seriously thinking about going, eh.
|
Gary: |
Right ... right ... have you had any contact with the school or have you been sort of encouraged by people who've been there?
|
Max: |
Yeah ...
|
Gary: |
Oh ... right ...
|
Max: |
Sam and Anna and them have been telling me about it ... and they've just been giving me all this information about the school and their timetable ...
|
Gary: |
Oh yeah ...
|
Max: |
Yeah ... and I think I might be going to see Gaulier, eh.
|
Gary: |
If you get into that, how long will you be there?
|
Max: |
I think for about two years ... two or three years.
|
Gary: |
Right ... so it'll be two or three years ... and ... whoo ... it's a long time ... and then you'll be back here ... and ...?
|
Max: |
Yeah, I'll be back here ... and hopefully teaching it.
|
Gary: |
And hopefully teaching it?
|
Max: |
Yeah.
|
Gary: |
Is that what you want to do?
|
Max: |
Yeah.
|
Gary: |
Right ... right ... and continue with the performing?
|
Max: |
Oh definitely.
|
Gary: |
Yeah ... it's a long time ahead though, isn't it.
|
Max: |
Yeah.
|
Gary: |
Yeah ... yeah ... all right, well look, thankyou both very much, guys ...
|
Lennie: |
Thank you very much ... can I just quickly say ... Max?
|
Max: |
Yo.
|
Lennie: |
Yeah, give my love to everybody, man.
|
Max: |
Sweet, dude. Send our love to Romy ... and the family.
|
Lennie: |
I will do, I will do ... I will do, I'm going to speak to her tomorrow ... I told her earlier that I was going to speak to you so she sends her love.
|
Max: |
Sweet ... I'll send her love.
|
Gary: |
Okay--
|
Lennie: |
All right, man ... and I'll see you when I get out there ... and did it go well on the marae in the weekend?
|
Max: |
Yeah.
|
Gary: |
Yeah.
|
Lennie: |
Okay ... thatÕs cool. IÕll see you soon, man.
|
Gary: |
Lennie, it did go really well on the marae ... I went to the reading there and my partner ... Janet ... was also there and she has not read any of the script or anything and she was really moved by it ... she connected with it straight away ... so that was ...
|
Lennie: |
Fantastic
|
Gary: |
... it's not sort of ... it's outside her experience too, it's not anything she has experienced herself so ... yeah ... it worked well.
|
Lennie: |
Well ... yeah ... that was one of the things I was going to say is that ... you know ... when I was ... when Storm Damage was going to be on the television somebody asked me in an interview what would be my ... you know ... you asked Max who you wanted to come and ... who he wanted to come and see this play, or he hoped would come and see this play and ... and when Storm Damage was on the TV I said I really ... my wish list would be that young people would watch the ... would watch Storm Damage with their parents ... and then afterwards they'd just sit down and talk ...
|
Gary: |
Right ...
|
Lennie: |
... and my hope for The Sons of Charlie Paora is not much different really ... I hope whoever is ... in this case who lives in Auckland comes and sees the play whether they're Pacific Islanders or ... you know ... Pakehas or whoever they are ... or Maori ... if they come and see the play and they sit down and watch it and then afterwards it just sparks some conversation ... just gets people talking ... would be nice.
|
Gary: |
Yeah ... now just ... to both of you, is there anything else you want to say that I haven't given you the opportunity to say because I haven't asked you the right question ... is there anything else you'd like to add to what you've said so far?
|
Lennie: |
Well ... me ... no I just ... no I just said it [laughter]
|
Gary: |
Yeah ... I think you did. Well thank you very much for your time, Lennie, I know it's getting a bit late over there ...
|
Lennie: |
Oh, that's okay ... thanks for the opportunity to get together with Max.
|
Gary: |
And thank you, Max ...
|
Max: |
Cool ...
|
Gary: |
I know it's quite early for you over there ... okay ... well thank you very much, and I'll look forward to seeing you when you come out, Lennie.
|
Lennie: |
Yeah, you too, thank you very much , thanks for doing this.
|
Gary: |
Bye bye.
|
Lennie: |
Cheers ... bye ... see you later Max.
|
Max: |
See you later.
|
Lennie: |
Yeah.
|
|
(long silence while Gary fiddles with the machine.) |
Max: |
Gary.
|
Gary: |
Yeah.
|
Max: |
Is that us?
|
Gary: |
That's us, man.
|
Max: |
Sweet.
|
|
(disconnected beeps from Lennie's line) |
Gary: |
We're all done. Okay did you think?
|
Max: |
That was cool.
|
Gary: |
That was cool. I'll just get rid of this--
|
|
(buzz as Gary battles with phone system) |
|
(beeps come back) |
Gary: |
Right, you there again?
|
Max: |
Yo.
|
Gary: |
Bloody machine, man ... it's driving me crazy I got this little screen and all these buttons. Okay, well look, I'll write that up now and I'm going to arrange for a photographer from here to come and see you, too.
|
Max: |
Ohh, cool.
|
Gary: |
Okay ... so I'll give them your number and they can arrange that with you themselves.
|
Max: |
Ohh, sweet.
|
Gary: |
Okay?
|
Max: |
Yo.
|
Gary: |
That's good, matey.
|
|
(Max lets out a big sigh) |
Gary: |
... so you have a good day.
|
Max: |
I will. I'm going back to sleep. (laughter)
Gary: |
Eh?
| Max: |
I'm going back to sleep.
| Gary: |
Ohh, ya slob. (laughter) Okay ...
| Max: |
Okay ... thanks, Gary.
| Gary: |
Yeah ... see you, man. Bye.
| Max: |
Okay, bye.
| |