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Podcast – Eric Bana and Robert Connolly on The Dry

The Dry star Eric Bana and co-writer/director Robert Connolly on bringing a bestselling novel to life on the big screen.

Robert Connolly and Eric Bana stand with one another talking on the set of The Dry

Robert Connolly and Eric Bana on the set of The Dry

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They may have shared an office for years, but actor Eric Bana and director Robert Connolly had yet to find the perfect project to collaborate again on.

Bana had an executive producer credit on Paper Planes, but before then the last time they worked together was in 2007 on Romulus, My Father, which Bana starred in and Connolly produced.

That is, until Connolly pitched to Bana the adaptation of Jane Harper’s best-selling crime novel The Dry, which he was already co-writing, directing and producing.

“Rob came in and said ‘I’ve just read The Dry and I’m thinking of directing it’ and I’m like ‘I read the book, I love it’ and we just kind of looked at each other, like ‘could this be?!’,” Bana says of the film, which releases in Australian cinemas on 1 January through Roadshow Films.

Bana came on board as both producer and as the lead role of Federal Agent Aaron Falk, who returns to his drought-stricken home after more than 20 years for the funeral of a childhood friend – who allegedly murdered his wife and child before taking his own life. Pulled into the still-fresh murder investigation, Falk begins to suspect the crime could be linked to the death of a teenage girl that happened when he was a teenager.

Throughout the podcast, Bana and Connolly speak to bringing Harper’s book to life on the screen; how they were able to balance the past and present mysteries in the edit; and why The Dry was shot using large format cameras and what that meant.

“In this era of streaming and the capacity for people to watch so much stuff at home, what is cinema?" Connolly says. "And how do you make cinema that invites an audience to see something they have to be in a cinema (for), no matter how big your home TV is. And this camera helped. It’s a big, epic frame. It’s like 70mm, when we shot on film.”

The pair also spoke to their future collaboration: a feature in development about British Grand Prix motorcycle champion Mike “The Bike” Hailwood that Bana is set to write, act in, and co-direct with Connolly.

The Dry releases in Australian cinemas on 1 January 2021 through Roadshow Films and is one of four big features set to release over summer, alongside Penguin Bloom on 21 January, High Ground on 28 ­­­­­­January, and the feature documentary Firestarter – The Story of Bangarra releasing 18 February.

For feedback about this episode, please email Podcast.

The Dry movie still. Eric Bana is walking, turning his head looking back over his shoulder towards the camera.The Dry

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Audio Transcript

[00:00:05] Caris Bizzaca Welcome to the Screen Australia podcast, I'm Caris Bizzaca, a journalist with Screen Australia's online publication, Screen News. On this episode of the podcast - our final episode of 2020 - we're joined by Robert Connolly, the co-writer, director and producer of the new feature The Dry, and Eric Bana, who both acted and produced the film, which releases in Australian cinemas on January 1st through Roadshow Pictures. The Dry, which is also produced by Bruna Papandrea, Jodi Matterson and Steve Hutensky through the production company Made Up Stories, is based on Jane Harper's best-selling novel of the same name. It follows federal agent Aaron Falk, played by Eric Bana, as he returns to his drought-stricken country hometown for the funeral of his childhood friend Luke, who allegedly murdered his wife and child before taking his own life. While there Aaron reopens Luke's case, but as he digs further into the investigation, he starts to wonder if the crime is linked to a different death: one of a teenage girl, which happened when he lived in the town some 20 years earlier. Throughout the podcast, Eric and Robert speak to bringing Jane Harper's novel to life on the big screen, including how Eric as a producer was able to be much more involved in the edit than he's been before, and why Robert wanted to shoot The Dry using large format cameras and what that meant. The pair also talk to collaborating again on a feature in development about Mike "the Bike" Hailwood, which Eric is writing and set to co-direct with Robert, as well as the advice for Australian creatives. Before we get to the chat, remember, you can subscribe to the Screen Australia podcast through places like Spotify and iTunes, and you can also subscribe to the fortnightly Screen Australia eNews and we'll send you all the latest updates from the local screen industry. Also, just a huge thanks to everyone that has listened to the podcast throughout 2020; we've really appreciated all of your support and feedback. And another big thanks to everyone that has shown their support for the Australian screen industry by watching local content at home or when you could, in cinema. For those keen to get back to the cinema, The Dry is actually one of four big Australian titles that you can see at the movies this summer. There's also Penguin Bloom on January 21st, High Ground on January 28th, and the feature documentary Firestarter: The Story of Bangarra, which releases February 18th. But now, without further ado, here's Eric Bana and Robert Connelly to talk about The Dry.

[00:02:43] Caris Bizzaca Welcome to the Screen Australia podcast, first of all.

[00:02:46] Eric Bana Pleasure.

[00:02:46] Robert Connolly Nice to to you.

[00:02:47] Caris Bizzaca Likewise. And so, Robert, I was speaking to Bruna Papandrea, the producer, recently and she was saying that you both go way back to the beginnings of her career in the industry. But is The Dry the first time you've actually worked together?

[00:03:01] Robert Connolly It is, kind of. I mean, I produced the film The Boys in 96, it came out in 97 and the director, Jonathan Teplitzky, asked me to produce a film called Better than Sex, which I was unable to do. But I'd met Bruna and thought she was this most impressive emerging kind of producer, encouraged him to work with her. She produced it. It went on to be a massive success. I think I liked to call myself a consultant, but I think I just said I'd help her so everyone would get out of the way. And she was a dynamo and she went off and made that film. And of course, we kept that friendship up over many, many years. She's tried to get me to do things before and sent me things. And she did send me a book once and said, 'could you read this?' And I took two weeks to read it. And by the time I got back to her, she'd found a different director for it. So when she sent me The Dry, I read it very quickly.

[00:03:50] Caris Bizzaca Got in quickly on that one.

[00:03:52] Robert Connolly She's got a great eye for books. If you look at her career, she's [done] Gone Girl, Wild, the Liane Moriarty books. She's really impressive with literary works. I don't know how she does it, how she reads as much as she does. But I paid serious attention when she sent me this unpublished manuscript to read and said that she thought it was great and I should look at it.

[00:04:17] Caris Bizzaca Yeah. And just kind of linking again to long collaborations. You both have known each other for a very long time. But Eric, when was the first time that you and Robert worked together?

[00:04:28] Eric Bana So we met working on Romulus, My Father, which which Robert produced and which was also shot in regional Victoria. And we just got along really, really well and became mates and kept in contact. And then when Rob moved his operation down to Victoria out of New South Wales, we stayed in touch and I said, 'why don't we get an office together?' I was looking for a new place and we moved in together a bit over 10 years ago and just have this really wonderful, kind of non-committal working relationship where we have separate companies, we support each other, we share information and just hang out. But we don't have the pressure of having to work together all the time and we just literally support each other. And then, you know, if something comes along that works for the both of us, then we get involved. And so this was one of those times where Rob came in and said, I've just read The Dry, I'm thinking of directing it. I'm like, 'I read the book. I love it.' And we just kind of looked at each other, like 'could this be' like a blind date, you know? You know, and I known Bruna, funnily enough, I met Bruna in Telluride a million years ago when she was promoting Better Than Sex and I was there with Chopper. So that was the first time I met Bruna all those years ago. And so it's just wonderful to see that all come full circle.

[00:05:42] Caris Bizzaca Yeah. And I suppose it makes it easier to pitch ideas when you share an office, Robert?

[00:05:46] Eric Bana It's fantastic. Yeah no it's great. Well we kind of test ideas I think too, because we don't work on everything, but there's always scripts around. We've had a lot of younger emerging filmmakers that have come through the company and that's kind of kept us on our toes as well. And it's been really delightful, actually, to kind of have somewhere to go and be a creative hub for us, really over the the ten years actually, believe it or not that we've had that.

[00:06:10] Eric Bana Yeah. And I think also that unique thing where we don't have any pressure between the two of us to be creating together, do you know what I mean? So we're just kind of coexisting. It's almost like a house share, it is kind of like a share house.

[00:06:25] Caris Bizzaca A nice support network.

[00:06:27] Eric Bana Exactly. Exactly. Yeah.

[00:06:29] Caris Bizzaca And you also listed as producer on The Dry, Eric. What have you enjoyed about producing and in particular on this film?

[00:06:40] Eric Bana Well I guess initially the chance to work with my dear friend Rob, but also just to support him and to back him in all the choices. I knew early on that his vision for the film was exactly the same as mine and we shared that. So I just wanted to be supportive of Rob in that. I also wanted to use all of whatever I could offer from my experience. I'm not usually in a position where I'm able to contribute to the pre and post in such a way because it's happening on the other side of the world. So to be a part of the film, you know, all through those phases was a gift because obviously we edited in our backyard and it was an opportunity to be involved on a level that I don't normally, I'm not normally able to just from a physical standpoint. And so that collaboration was really special.

[00:07:28] Caris Bizzaca And Robert, you shot The Dry on large format. And as far as I understand it, it's the first Australian film to be shot in Australia on large format. Can you for anyone that's listening that maybe doesn't know what that is, could you explain what it is and why you chose to do that for The Dry?

[00:07:44] Robert Connolly Yeah, we shot on a a new Panavision large format system. And interestingly, the guy that created it, who's an American film colourist, was in Australia to test it and talk about it and Panavision reached out. And Eric and I got to go and have a peek at it, which was incredible, because at that point I think people perceived large format as something that was just too hyper clear and you saw too much detail - that it lost something of the magic of what film had. And we were stunned and really surprised by it. We had cinematographer Stefan Duscio come on board. I'd worked with him on Barracuda for the ABC and he's done Invisible Man and many other films and is an extraordinary cinematographer. And so we explored the Panavision large format system. They've built it, it's got an 8K sensor. So it's a very big sensor. If you think that in the normal cinema you're seeing a quarter of that resolution. And we had this kind of feeling and something Eric and I have discussed and some of my other contemporaries have discussed, which is in this era of streaming and the capacity for people to watch so much stuff at home, what is cinema? And how do you make cinema that invites an audience to see something they have to be in a cinema [for], no matter how big your home TV is. And this camera helped. It's a big epic frame. It's like 70mm was when we shot on film, back in those days. And I think it's a format I'll be reaching for in future projects. I think the bar is high for us - we have to really lift as filmmakers to get people back into cinemas. And Stefan's work on this is pretty awesome: big, epic compositions and beautiful detailed closeups. I think the large format system that they have is just incredible.

[00:09:35] Caris Bizzaca And maybe another reason why Australians should be trying to go see this in the cinema to see those kind of big landscapes and that kind of beautiful cinematography on screen.

[00:09:46] Robert Connolly Yeah. And the music. And we've actually got a 4K Atmos DCP, which is playing in all the big cinemas on Jan 1. And that's the first time I've ever created one of those. And, Soundfirm, who're one of our investors, put a lot of effort into atmos sound. I think sound is just as massively important in this film. Peter Raeburn, whose composition is incredible - he recorded the music at Abbey Road in Studio Two, where the Beatles recorded their album, [and he] has done an epic, massive job with the music. So a combination of that large frame lensing, atmos scale sound and big music, and an incredible ensemble of actors, is part of our move to kind of go 'only in the cinema', really. And I love that Roadshow [Pictures] have had the guts to go out on the biggest day of the year with a campaign that says 'only in the cinema'. It's definitely delightful as a filmmaker: terrifying and exciting.

[00:10:48] Caris Bizzaca And Eric, you were saying before about being a producer and getting to be involved in the edit and I was wondering if you could talk through that process a little bit more and particularly, you know, seeing it come together with something like The Dry, which has these two mysteries playing out - one in the past and one in the present.

[00:11:05] Eric Bana Yeah, well, for Rob and I, I guess it was it was a combination of being both close and apart in the edit. And what I mean by that is I was kind of part of the B team that would come in at certain points in the edit to watch as a cross check just to sort of check some of the logic flow, some of the other narratives that we had in the film. And, you know, Rob and I, like I said before, we both had the same vision for the film. So our notes were always very, very similar. But it was just great being being a part of that.

[00:11:41] Robert Connolly And, you know, I showed Eric the assembly of the film. So a bit of a tradition that John Maynard - who produced all my early films, and Romulus, My Father with me as well - got me into was you really have to have the courage to show your creative collaborators the film at the earliest possible time. The other school of thought is leave the director alone and they polish it up and then they show you. That doesn't work for me. And so the very first assembly, the three hour version of this film, I sat Eric down and showed him and people were going, 'you're not showing you lead actor that are you?' But even from that stage, opening up like that really helped us shape it. So Eric, as a filmmaker himself and a producer, could help with shaping what was a really, really tricky edit, actually. A long and tricky edit.

[00:12:26] Caris Bizzaca Do you feel like this genre in particular can have its difficulties because you are kind of playing with the audience and where their perspective is? You know, is that with Eric's lead character or are they behind the lead character, that kind of thing?

[00:12:40] Robert Connolly Yeah, you're absolutely right. This isn't a genre that Australian cinema does very often. It's not a genre I had ever directed. And the bar's pretty high in TV, you know, the Scandi Noir, the detective genre on TV, there's a lot of stuff. And so, you know on a base level audiences expect the plot to work pretty well. And we know that cinema lifts beyond that. It's a chance to look into the heart of the characters and the landscape in a quite profound way. But we had to get the nuts and bolts of it working. And, you know, I also wanted the audience to enjoy this feeling that the book has, which is that you kind of feel like you might be able to work out who the culprits are before the detective. And so calibrating this film: six month edit, reshoots. I enjoyed it, but it was challenging and I'm glad we were that rigorous because really, at the end of the day now sitting with audiences, I can see that that work's paid off. I think that, you know, you have to suspect everyone really.

[00:13:40] Caris Bizzaca And then, Eric, from like an acting point of view, what were some of the challenges then with this film, I mean, playing a character so stoic in a way?

[00:13:49] Eric Bana Yeah, the challenges were all really enjoyable. I love the fact that there are two timelines, and it means that your character is imbued with a past that the audience is experiencing in real time. And that's a gift because it means that kind of less is more because, you know, the audience is being informed. They're being told part of that backstory. So there's a lot of mystery about Aaron, which I found fascinating, which I really wanted to explore, because I also wanted the audience to treat him with a little bit of suspicion as well. I knew I wanted to be a part of the film when I read the book and there's that scene between Aaron and Gretchen in the farmhouse after they've had just that beautiful afternoon together and it's full of hope that they could end up together. And it ends somewhat differently, without giving too much away. And I just thought, 'what a great scene'. And sometimes when you read a book, you just put yourself - you can literally imagine what it would be like to film it on the day, like you literally go there in your head. And that was the moment for me in the book where I really felt like this would be an amazing role, because a lot of Jane's work is really subtle in that in that respect.

[00:14:59] Caris Bizzaca And Robert, talking again about the past and present, how do you visually convey that, you know, whether it's with colour or if it's in certain costumes, how do you kind of show those different changes in past and present?

[00:15:13] Robert Connolly Yeah, I like showing it. I like seeing that it's different. A lot of my films actually doing entwine the past and present. And I like subplots and threads. It's something I guess I'm fascinated by how the past and present are like hand in glove and-.

[00:15:27] Caris Bizzaca Memory.

[00:15:28] Robert Connolly That's right. Memory. And so, you know, in this film, we made a lot of very strategic choices. The contemporary story is shot on these beautiful modern Panavision lenses, that large format, that are sharp to the corners, that are kind of almost beautiful, but brutally revealing of the world for the contemporary story. And the past is shot on these 1970s Panavision lenses that are anamorphic, that flare, that are imperfect as our our memories and have, you know, little vignetting and moments that, you know - so those lenses aren't looking for the visual perfection. They're more looking into the heart and soul of the characters. And then you add to that the element that the present is all dry and dead and crunchy in it's sound and desaturated in colour. And the past is lush and wet and that speaks metaphorically as well about the life that those young people live, so there's a whole different colour palette there. And then as a kind of final technique, we used an American company called Live Grain that have gone and filmed all of the film grains - 16mm, 35mm. And so they've actually filmed them and built algorithms about how they react to light and with our colourist and [cinematographer] Stefan, we explored applying a 16mm grain to the past and a very sharp 35mm grain to the present. And that texture, I think, speaks to me of like a kind of... I don't know, in the screen language I think there's something about the past that grain takes away the sharpness from or something, and 16mm I shot Balibo on that and I've always loved it as a format and remain profoundly despondent that there's nowhere you can shoot 16mm in Australia. I think we abandoned film far too quickly. But Live Grain's an amazing company. So they're just a few of the examples of technical things that we did to distinguish the past and present.

[00:17:31] Caris Bizzaca Yeah. Okay. Yeah. I think they used Live Grain in Judy & Punch as well.

[00:17:33] Yeah they did.

[00:17:36] Caris Bizzaca Which Stefan also worked on so yeah no it's interesting. And so just to kind of talk a little bit about some future projects as well. So you're going to be collaborating again on another project, can you tell me a little bit about what that one is?

[00:17:52] Robert Connolly Well, this is the one that Eric's actually directing and writing at the moment - we're collaborating on the directing side, Eric's written an amazing screenplay. And it's been a project over many years now, actually, of great personal kind of - it's very, very exciting kind of project.

[00:18:09] Eric Bana Yeah, it originally started out as a separate idea that I had. I'm sort of fascinated by sporting retirements and retirements in general. You know what they mean to us as individuals, and our cycle of life and morbidity and all that sort of stuff, and I had a very large idea that would have taken 10 to 15 years to make. And then I realised when I read the story of Mike Hailwood's comeback to motorcycle racing in 1978 after a 10 year hiatus, that was an analogy of this larger idea that I had. And I read his story and I'd always been a fan of of his career. And Rob and I got talking one day and he said to me, you know, 'that's a story for you. You should really explore that.' And so I did. And then just decided to approach Mike's then widow, who has unfortunately since passed, Pauline. And we flew to the UK, sat down at an Indian restaurant and pitched the idea that I had for this film, which is not a biopic. It's the story of his comeback to the Isle of Man - most dangerous motorsport event in the world, after having retired for 10 years, which is kind of like mind-bending when you think about it for any sport. I mean, even to pick up a golf stick after 10 years is crazy. But it's a project that's in development that we would love to someday turn into a feature. Obviously, COVID put our plans on hold for this year, but we're working away in the background and would love to someday turn it into reality.

[00:19:40] Caris Bizzaca And how did you find the writing process, Eric? It's been a while since you've done some writing - most people remember your sketch comedy days. How was that process of writing a feature then?

[00:19:53] Eric Bana Well, I actually really enjoyed it. Look, it was really difficult. But again, I had a great mentor in Rob. Rob, he knows me so well. He knows how to encourage me. He knows how to keep me going. And he did it in such a great way. And he would sort of read it every now and then as the next sort of 20 pages would come along. And so whilst I was writing it on my own, I had Rob as a sounding board to sort of keep me in check, which was great. But I really enjoyed it. It was an unbelievably satisfying experience to get to the end of it. [I'm] still working on it now, obviously. But yeah, it was a great learning experience and, you know, kind of like getting involved in The Dry as a producer. Like I selfishly wanted to learn as much as I could from Rob and all the people that were working on the film and getting to spend time with Stefan in preproduction and see the way Rob and Stefan would work. Cinematography, I just love. And so anything that gets you closer to learning more about your craft and cinema in general is just, is a gift. And I'm hugely envious of writers and cinematographers. So it was it was fun to at least try.

[00:21:00] Caris Bizzaca Yeah. And I mean, most people would know, having seen Love the Beast, that you're definitely maybe a bit obsessed with cars and things like that, but that was a documentary that you directed, are you looking forward to the feature drama directing side of things and working with Rob in that way?

[00:21:19] Robert Connolly Yeah, after Love the Beast, which was, you know, I think I had about 140 hours of footage to turn into this idea that I had in my head, which was quite aethereal actually.

[00:21:28] Caris Bizzaca The beauty of docos.

[00:21:28] Eric Bana Yeah.

[00:21:28] Robert Connolly Yeah.

[00:21:30] Eric Bana The idea that you could write something down and then create that and it would actually happen as you wrote it. Doing Love the Beast first was fantastic because when I sat down to write Mike the Bike, I literally just felt this freedom of 'I can create dialogue here that will be said by an actor and they will say these words'. And it was quite liberating and amazing to think that that was possible. But I appreciate it more having having been involved with a documentary first. I think it's a great introduction.

[00:22:02] Caris Bizzaca And Robert it with your company, Arena Media, you've got a massive slate of features coming up and they're all very different, you know, animated anthology, Magic Beach, Jub Clerc's debut feature Sweet As, you've got a Tim Winton adaptation in there with Blueback, feature docs - I'm just wondering, how are you feeling then about the future of cinema? Are you optimistic, cautious, excited? How are you feeling?

[00:22:36] Robert Connolly Look, I love cinema and I've been very lucky to also work with some great collaborators like Tony Ayers on TV, like the Slap and Barracuda, but my first and most passionate love is the experience in the cinema, and I feel post-COVID optimistic that we're a social society. You know, Australians per capita, are massive cinemagoers. We have the most incredible chains of theatres and exhibition. I've pondered this - I think it's interesting, I think exhibition got used to the big American tentpoles and the income from them and got hooked on it. And they're pulling out, you know, because of COVID. And it's a great opportunity as a result for Australian stories. Talking to the independent exhibitors recently at their conference and all of them were saying, 'we want more Australian films'. I haven't heard that for a long time. They've had great success recently with Rams. We've got The Dry on Jan 1, Penguin Bloom, High Ground, even a feature doc like Firestarter that I can't wait to see. I feel optimistic that Australians have always gone to Australian cinema and an opportunity has created itself. But you couple that together with, you know, the way the government can support cinema and the challenges of that. And I'm not completely convinced that the recalibration that's just happened in the legislation that's been proposed is nuanced enough and that it cares enough about cinema to be frank. And so I do feel that in the New Year, when the government tables that legislation, that there will be an opportunity for filmmakers like me and my peers to actually have a say. And wouldn't it be awesome if that legislation, which will damage the ability for Australian cinema to be made, is being debated at a time that is our most successful in many years for Australian cinema. And that's why I'm really proud of The Dry and the timing. The support I've had from Roadshow, you know, a big Australian company that cares about Australian cinema, that goes back to Muriel's and Priscila and way back to films long before that, has been really amazing. So optimistic, yes. But I feel like for filmmakers that care about cinema, it's time to roll up our sleeves and and pay attention to what's happening. I'm also really worried about emerging filmmakers, and I feel like there are changes that have happened, that have been proposed in the federal government's legislation that are devastating for younger filmmakers, you know, raising thresholds and removing the Gallipoli clause and blah, blah. And I kind of look at it and go, come on, everyone, and we're going to abandon the new generation, you know? And so, looking to the future, you know, I think it's up to people like me to actually be vocal and be part of that conversation and be positive and propose a path forward. So bring it on Jan 1, big Australian [film]. And I see Screen Australia is really supporting this whole initiative of 'our summer of Australian films', you know, and Screen Australia's got behind a massive, big campaign to support all of these films over summer, which is awesome. So here we go. They're big commercial films for Australian audiences. I really have my fingers crossed it will go well.

[00:26:08] Caris Bizzaca And so just finally, we always ask a question around advice on this podcast. Do you have any advice for Australian creatives working in the industry? Eric, maybe producing or writing? Robert, producing, directing? You wear so many hats, both of you.

[00:26:24] Eric Bana Oh, I should be deferring to Robert on this on. He's got way more experience. I think you just have to really find your joy and and remind yourself of why you chose that particular field or why you chose that particular pathway and never forget it, you know, because I think there's a lot in the industry, there's a lot about the industry that can try and take that joy away. You know, they can chip away at it. And it's really important to try and stay focused on the craft and keep a really, really long term goal in mind. I mean, short term goals are really important, but I think you just got to really, really keep an eye to the far, far future, you know, to try and stay focused, because I think there is a lot that can sort of veer off course.

[00:27:13] Robert Connolly I'm actually going to give some advice that Eric gave me many years ago that he's probably forgotten that he gave me. But it's really stayed with me. And I really think young filmmakers early in their career can really think about it. And it's the idea that when you when you do a creative work, you need to do the work at hand because you want to do the work at hand, not because you think it will lead you somewhere else. So, you know, and as a director, I take something on, if someone says 'oh take this on, because if you do it well, you'll be able to do A, B and C' denies the great joy it is to work on the work at hand. So I always encourage emerging filmmakers to know why they want to do it, what they want to say, to be personal, to expose some of themselves, scary and terrifying as that is in the work at hand and look to what they're doing, whether it's a short film, a feature doc, a web series, an emerging feature. Just look at the work at hand. But yeah, and great advice, Eric.

[00:28:08] Eric Bana I tried to live by that.

[00:28:09] Caris Bizzaca And a great point to end on. Thank you so much for joining us today. Appreciate it.

[00:28:14] Eric Bana Thank you.

[00:28:15] Robert Connolly Lovely to chat to you.

[00:28:18] Caris Bizzaca That was Eric Bana and Robert Connolly and a reminder that The Dry releases in Australian cinemas on January 1st. The Screen Australia podcast will be on a break for a few weeks, but we'll be back with more podcast episodes in mid-January 2021. Thanks again for listening.