Jason KingMary and Max ($16-)
March 27th 2009 01:44
Category: No Category
Mary and Max ($16-)
The opening night selection of the 2009 Sundance Film Festival, MARY AND MAX is a clayography feature film from Academy Award® winning writer/director Adam Elliot and producer Melanie Coombs, featuring the voice talents of Toni Collette, Phillip Seymour Hoffman, Barry Humphries and Eric Bana.
Spanning 20 years and 2 continents, MARY AND MAX tells of a pen-pal relationship between two very different people: Mary Dinkle (Collette), a chubby, lonely 8-year-old living in the suburbs of Melbourne, Australia; and Max Horovitz (Hoffman), a severely obese, 44-year-old Jewish man with Asperger’s Syndrome living in the chaos of New York City.
As MARY AND MAX chronicles Mary’s trip from adolescence to adulthood, and Max’s passage from middle to old age, it explores a bond that survives much more than the average friendship’s ups-and-downs. Like Elliot and Coombs’ Oscar winning animated short HARVIE KRUMPET, MARY AND MAX is both hilarious and poignant as it takes us on a journey that explores friendship, autism, taxidermy, psychiatry, alcoholism, where babies come from, obesity, kleptomania, sexual differences, trust, copulating dogs, religious differences, agoraphobia and many more of life’s surprises.
An intro to Mary and Max - who Dave and I had the pleasure of sitting in on a talk they gave at AFTRS. Intro by Adam Elliot (Director) and Melanie Coombs (Producer). Adam and Melanie make the perfect film making duo. He is shy and artistic and will often get lost in the world he is creating but Melanie is the over the top marketer that can see and nurture his genius.
Adam Elliot:
MARY AND MAX is my fourth clayography, and up to now, each of my films has explored the life of a singular person. With MARY AND MAX, I explore two simultaneous biographies. I see this film as the third major artistic leap in the creation of my films over the last ten years.
The Trilogy, UNCLE, COUSIN and BROTHER, are all very similar in style, structure and delivery. My aim with those films was to tell very droll, minimal and static, short 'mini' biographies that enjoin the audience to see and celebrate the unique qualities of ‘ordinary’ people.
HARVIE KRUMPET, the next film, was a much longer and thorough exploration of a person's life. The production values were much higher, the animation more dynamic, and the plot structure more complex. With HARVIE, I again aimed to maintain the simplicity of my visual style and again chose deliberately to maintain the single narrator delivering the narrative. And again, the story explored themes of difference, acceptance and loneliness.
With MARY AND MAX, I hope I’ve maintained my visual style, but delivered the story in a more dynamic way to ensure it maintains the audience’s interest over the longer duration. This film again explores our desire for acceptance and love, no matter how different we are! There is still is a narrator, the wonderful Barry Humphries, but to this I’ve added the voices of the two leads, MARY (Toni Collette) and MAX (Philip Seymour Hoffman).
I have always avoided too much self-analysis for fear of making my work too prescribed and constructed. I write from the heart, with a desire for a compassionate connection with audiences. I do not write for a specific niche audience, but rather try to tell stories that are universal. I imagine that I am telling the story of someone's life to a very large group of very diverse people from many various countries around an enormous campfire. I try to keep everyone engaged by peppering the story with moments of humour and melancholy. I attempt to mix and balance comedy and tragedy; humour and pathos in a rhythmic and potent manner. With each film I try and arouse ALL the senses; not just the ears and eyes! I see that my job is to 'nourish the audience in a compost of sensory stimulation.
I have found it very hard to compare MARY AND MAX to other films. I can't find anything 'animated' that is similar. In fact I find more similarities with 'live action' films than animated ones (45 CHARING CROSS ROAD, ABOUT SCHMIDT).
My creative storytelling influences are mainly from other art forms. I am inspired by the portrait photographer Dianne Arbus, the performer Barry Humphries, and the cartoonist and philosopher Michael Leunig. I treat each new film as a blank canvas that I try to fill with original, potent, and often taboo content. I really hope and feel that MARY AND MAX will push the boundaries and present to the audience something refreshing and different that the animation world has not yet served up. The film has many dark moments; there is a lot of 'black' amongst the colour palette to heighten the mood of the story. There are two simultaneous worlds represented: MARY's Australian Suburban world, and MAX's New
York City Urban world. MARY’s world is in a brown palette and MAX's is in tones of black, white and grey. Both worlds use spot red to make certain objects more symbolic. I always try to keep the variety of colours to a minimum; this ensures the visual style is strong and acts as a point of difference to the ‘wacky,’ ‘zany’, ‘colour’-filled world of most animated films.
Finally, MARY AND MAX has far more dynamic camera moves than in my previous films, as a result of working with our cinematographer Gerald Thompson, who is also a motion control expert. Gerald has made the film far more potent with his very fluid and seamless camera moves and lighting design that makes the worlds far more realistic than a conventional animated film. He has applied live action principles to create an original aesthetic.
Melanie Coombs:
As he has already stated, Adam doesn’t enjoy being analyzed and prefers not to talk about the motivations for his work in detail. This doesn’t mean that he doesn’t know. Rather, he just prefers not to articulate it, leaving the work to speak for itself.
As his Producer and long time creative collaborator, I am often required to speak to this question. I see the pattern in all of Adam’s work is about accepting difference. That we all look for acceptance and love is probably a universal truth; that we are all different, is another. So to make films about characters opening themselves up to one other’s differences is, I think, compelling and meaningful story material. Adam’s voice as a writer is one that is innocent and yet not naïve. Like the little kid who points to a disabled person shouting “that man has no legs”, causing social embarrassment to those who ‘know better’, his questions and observations are correct, honest and come to us without judgment.
I first wanted to work with Adam after seeing COUSIN. I’d never seen such an extraordinarily honest film about disability. Not only did the film clearly articulate what Cerebral Palsy seemed like to him as a child but also how difference can be confusing and difficult to deal with.
And I think this is the crux of what Adam says in his work. It’s not easy to be open and kind and welcoming all the time. Accepting others’ differences isn’t easy BUT it is worthwhile. In fact it is richly rewarding. I think all artists work with the fantastic idea that they may change the minds and hearts of those who engage with them, for the better. That is certainly our hope.
Jason's Thoughts:
A visual masterpiece that succesfully deals with more themes in a film than anything that has been released in the last ten years. I echo Melanie Coombs' words. Adam's questions and responses to them are so naiive they have a childlike enjoyment in their telling. These films could easily be watched and enjoyed by the youngest children but can easily be thoroughly moving to the educated viewer.
It is astounding how something so moving and beautiful to watch can be a claymation film. I had friends who refused to watch it because "it's stupid stop motion crap". Foolish foolish them - this film equals my fave film of the year so far ("Let the Right One In").
The pallatte of the film is more complex than Schindler's List and as Elliot stated "I wanted my Schlinder's moment" - and he does so with the style of an artistic master.
The lead characters are played brilliantly by Collette and her younger character counterpart Bethany Whitmore, Eric Bana is only in it for a total of about 5min screentime and Philip Seymour Hoffman is beautiful channeling Robert Deniro for his charcter. One thing that blew my mind in the talk with Elliot and Coombs was that they had never met Hoffman - he recorded all the sound in London and only finally agreed to voice the character in the last year of the production after a once a year pestering call from Coombs - it does prove persistance pays off because he gives more life to this character than most actors do in their own skins.
The film does have some tacky moments that while they may seem corny as hell can also be taken as Elliot's beautiful naiivety in his storytelling. The man has the patience and an eye beyond our time. This is a man with vision who can also pull it off. If you watch his films in order you can see him learning and building to a masterpiece - this I believe is the first of many more masterpieces to come. This a film with appeal to everyone in the world - do yourself a favor and have a family outing to this one when it comes out. It can answer lots of questions you may have trouble answering for your kids and will leave you with a massive smile on your face.
Worth $15.50-
Dave's Thoughts:
This film is a massive achievement in the world of animation, it’s extremely gorgeous to look at and is often draw dropping in what it has achieved. It is so great to experience that wow factor in a cinema, which is sorely missing in this day and age, in which the term ‘special’ no longer applies to the phrase ‘special effects’.
Beyond the near perfect animation, design, cinematography and voice acting, Mary and Max has an excellent humorous yet depressing, and ultimately uplifting storyline, which rarely misses a beat. It is difficult to say much negative about the film; it is such a satisfying experience (the fact that it is an Australian feature is amazing – Our films just should not be this good; how does it happen like this when we have no industry!). The only negative thing I could conjure about the film is an overuse of a specific song, which is used half a dozen times that begins to lose a little of it’s impact; when the film was over I initially felt Elliot had copped out slightly in the ending, but after mulling it over for a while I cannot help but think the right decisions were made for the purposes of the storyline.
It’s a very dense and complicated picture. That deals with every aspect of human life, from love to its downright absurdities. Elliot has a remarkable understanding of Human Nature and that is what eventually makes the film so incredibly important and unmissable, besides of course the absolutely astonishing visual power.
This film is again Academy award winning caliber for Elliot, and as the producer Melanie Coombs and Elliot himself told us after the screening: go out and tell everyone you know how great this film is so that they go and see it when it comes out around Easter…why? Because the extent to which Elliot and Coombs can make further works is dependent on the success of Mary and Max. And for what possible reasons would we not want to see that?
Worth $16.50-
Trivia:
1) Mary and Max is a 92-minute ‘clayography’ film that has taken almost five years from script to screen to make.
2) The shoot ran for 57 weeks, with a production crew of 50 people working together to produce an average of two and half minutes of animation a week. Each of the six animators on average created 4 seconds a day.
3) There are approximately 132,480 individual frames in the film, which was shot on six high-resolution Canon digital stills cameras.
4) There were ten animation stages overseen by a camera department of seven.
Adam Elliot, the writer and director, was also the film’s production designer and designed all the characters.
5) Adam is inspired by the New York photographer Diane Arbus’ black and white portraits, which explore difference. There is a character modelled on Diane Arbus who appears briefly, looking out a window, in the opening New York montage.
6) Adam also hand-drew any lettering needed for such things as miniature beer bottle labels, street signs and a lot of the actual letters between Mary and Max.
7) The sets’ and props’ concept designs were created by a company called ‘Square i,’ who spent hundreds of hours drawing every asset first, before it was then handmade and built
by the art department.
8) The 212 puppets were made for the film from a variety of polymers, clays, plastics and metals. The complex puppets had fully articulated ball and socket armatures. There were up to a dozen multiples of the lead characters.
9) 133 separate sets were constructed for the film. The film is set in the suburbs of Australia and the metropolis of New York, with two very different colour palettes, (brown for Australia, grey for America). The diversity and complexity of the sets was extreme; everything from a desert island to a chocolate heaven needed to be made.
10) The New York skyline set was the biggest and most time consuming and took two months to complete by the entire art department crew of twenty people.
11) 475 miniature props were made—everything from a miniature, hand-blown wine glass to a fully functioning Underwood typewriter (which took one of our prop makers 9 weeks to design and build).
12) To enable our characters to speak and have expression they needed plasticine replacement mouths that were removed and replaced in every frame. Over 1026 mouths were cast by pouring melted plasticine into rubber moulds. Max had over 30 mouths so he could express his emotions and speak.
13) 886 plasticine hands with wire skeletons (armatures) were cast and prepared. 394 individual pupils, the average size of a ladybird, were hand-punched and then had a white sparkly dot painted on them.
14) 147 tailor-made costumes were designed and created by our two costume designers. Mary’s wedding dress was based on Lady Diana’s, and Ivy’s jumpsuit was modelled on the photographer Annie Leibowitz’s mother’s jumpsuit.
15) 38 miniature light globes were needed to be designed, built, wired and lit for everything from a miniature lampshade, to the headlights on an ice cream van.
808 miniature Earl Grey tea bag boxes were hand cut, folded, glued, wrapped and air-brushed. At one point, all staff helped create the teabag boxes, with everyone from the producer to the runner having a hand in them.
16) 632 rubber moulds were needed to create the massive number of characters, sets and props. Everything from eyeballs to floorboards was moulded at some point.
17) 120 Noblets were made and their creators were given a great deal of freedom with their designs, some of which are quite risqué!
18) 73 kilos of plasticine were used to make the mouths, hands and original sculpts of the puppets. Each batch of plasticine had to be perfectly colour-matched and mixed for exact texture, consistency and melting point.
19) 12 litres of water-based sex lube (or 2,400 teaspoons) were needed to create everything from a tear to a surging jungle river. Our runner was always reluctant whenever he had to go to the chemist for another dozen tubes.
20) To feed our crew, our chef used over 260 kilos of tomatoes, 280 kilos of coffee beans, and 2600 litres of milk. Over 7800 muffins were consumed (5236 by the director).
JK Says it's worth: $15.50
Dave says it's worth: $16.50
Salty Popcorn says it's worth $16- Releasing 9 April 2009 (Australia)
The opening night selection of the 2009 Sundance Film Festival, MARY AND MAX is a clayography feature film from Academy Award® winning writer/director Adam Elliot and producer Melanie Coombs, featuring the voice talents of Toni Collette, Phillip Seymour Hoffman, Barry Humphries and Eric Bana.
Spanning 20 years and 2 continents, MARY AND MAX tells of a pen-pal relationship between two very different people: Mary Dinkle (Collette), a chubby, lonely 8-year-old living in the suburbs of Melbourne, Australia; and Max Horovitz (Hoffman), a severely obese, 44-year-old Jewish man with Asperger’s Syndrome living in the chaos of New York City.
As MARY AND MAX chronicles Mary’s trip from adolescence to adulthood, and Max’s passage from middle to old age, it explores a bond that survives much more than the average friendship’s ups-and-downs. Like Elliot and Coombs’ Oscar winning animated short HARVIE KRUMPET, MARY AND MAX is both hilarious and poignant as it takes us on a journey that explores friendship, autism, taxidermy, psychiatry, alcoholism, where babies come from, obesity, kleptomania, sexual differences, trust, copulating dogs, religious differences, agoraphobia and many more of life’s surprises.
An intro to Mary and Max - who Dave and I had the pleasure of sitting in on a talk they gave at AFTRS. Intro by Adam Elliot (Director) and Melanie Coombs (Producer). Adam and Melanie make the perfect film making duo. He is shy and artistic and will often get lost in the world he is creating but Melanie is the over the top marketer that can see and nurture his genius.
Adam Elliot:
MARY AND MAX is my fourth clayography, and up to now, each of my films has explored the life of a singular person. With MARY AND MAX, I explore two simultaneous biographies. I see this film as the third major artistic leap in the creation of my films over the last ten years.
The Trilogy, UNCLE, COUSIN and BROTHER, are all very similar in style, structure and delivery. My aim with those films was to tell very droll, minimal and static, short 'mini' biographies that enjoin the audience to see and celebrate the unique qualities of ‘ordinary’ people.
HARVIE KRUMPET, the next film, was a much longer and thorough exploration of a person's life. The production values were much higher, the animation more dynamic, and the plot structure more complex. With HARVIE, I again aimed to maintain the simplicity of my visual style and again chose deliberately to maintain the single narrator delivering the narrative. And again, the story explored themes of difference, acceptance and loneliness.
With MARY AND MAX, I hope I’ve maintained my visual style, but delivered the story in a more dynamic way to ensure it maintains the audience’s interest over the longer duration. This film again explores our desire for acceptance and love, no matter how different we are! There is still is a narrator, the wonderful Barry Humphries, but to this I’ve added the voices of the two leads, MARY (Toni Collette) and MAX (Philip Seymour Hoffman).
I have always avoided too much self-analysis for fear of making my work too prescribed and constructed. I write from the heart, with a desire for a compassionate connection with audiences. I do not write for a specific niche audience, but rather try to tell stories that are universal. I imagine that I am telling the story of someone's life to a very large group of very diverse people from many various countries around an enormous campfire. I try to keep everyone engaged by peppering the story with moments of humour and melancholy. I attempt to mix and balance comedy and tragedy; humour and pathos in a rhythmic and potent manner. With each film I try and arouse ALL the senses; not just the ears and eyes! I see that my job is to 'nourish the audience in a compost of sensory stimulation.
I have found it very hard to compare MARY AND MAX to other films. I can't find anything 'animated' that is similar. In fact I find more similarities with 'live action' films than animated ones (45 CHARING CROSS ROAD, ABOUT SCHMIDT).
My creative storytelling influences are mainly from other art forms. I am inspired by the portrait photographer Dianne Arbus, the performer Barry Humphries, and the cartoonist and philosopher Michael Leunig. I treat each new film as a blank canvas that I try to fill with original, potent, and often taboo content. I really hope and feel that MARY AND MAX will push the boundaries and present to the audience something refreshing and different that the animation world has not yet served up. The film has many dark moments; there is a lot of 'black' amongst the colour palette to heighten the mood of the story. There are two simultaneous worlds represented: MARY's Australian Suburban world, and MAX's New
York City Urban world. MARY’s world is in a brown palette and MAX's is in tones of black, white and grey. Both worlds use spot red to make certain objects more symbolic. I always try to keep the variety of colours to a minimum; this ensures the visual style is strong and acts as a point of difference to the ‘wacky,’ ‘zany’, ‘colour’-filled world of most animated films.
Finally, MARY AND MAX has far more dynamic camera moves than in my previous films, as a result of working with our cinematographer Gerald Thompson, who is also a motion control expert. Gerald has made the film far more potent with his very fluid and seamless camera moves and lighting design that makes the worlds far more realistic than a conventional animated film. He has applied live action principles to create an original aesthetic.
Melanie Coombs:
As he has already stated, Adam doesn’t enjoy being analyzed and prefers not to talk about the motivations for his work in detail. This doesn’t mean that he doesn’t know. Rather, he just prefers not to articulate it, leaving the work to speak for itself.
As his Producer and long time creative collaborator, I am often required to speak to this question. I see the pattern in all of Adam’s work is about accepting difference. That we all look for acceptance and love is probably a universal truth; that we are all different, is another. So to make films about characters opening themselves up to one other’s differences is, I think, compelling and meaningful story material. Adam’s voice as a writer is one that is innocent and yet not naïve. Like the little kid who points to a disabled person shouting “that man has no legs”, causing social embarrassment to those who ‘know better’, his questions and observations are correct, honest and come to us without judgment.
I first wanted to work with Adam after seeing COUSIN. I’d never seen such an extraordinarily honest film about disability. Not only did the film clearly articulate what Cerebral Palsy seemed like to him as a child but also how difference can be confusing and difficult to deal with.
And I think this is the crux of what Adam says in his work. It’s not easy to be open and kind and welcoming all the time. Accepting others’ differences isn’t easy BUT it is worthwhile. In fact it is richly rewarding. I think all artists work with the fantastic idea that they may change the minds and hearts of those who engage with them, for the better. That is certainly our hope.
Jason's Thoughts:
A visual masterpiece that succesfully deals with more themes in a film than anything that has been released in the last ten years. I echo Melanie Coombs' words. Adam's questions and responses to them are so naiive they have a childlike enjoyment in their telling. These films could easily be watched and enjoyed by the youngest children but can easily be thoroughly moving to the educated viewer.
It is astounding how something so moving and beautiful to watch can be a claymation film. I had friends who refused to watch it because "it's stupid stop motion crap". Foolish foolish them - this film equals my fave film of the year so far ("Let the Right One In").
The pallatte of the film is more complex than Schindler's List and as Elliot stated "I wanted my Schlinder's moment" - and he does so with the style of an artistic master.
The lead characters are played brilliantly by Collette and her younger character counterpart Bethany Whitmore, Eric Bana is only in it for a total of about 5min screentime and Philip Seymour Hoffman is beautiful channeling Robert Deniro for his charcter. One thing that blew my mind in the talk with Elliot and Coombs was that they had never met Hoffman - he recorded all the sound in London and only finally agreed to voice the character in the last year of the production after a once a year pestering call from Coombs - it does prove persistance pays off because he gives more life to this character than most actors do in their own skins.
The film does have some tacky moments that while they may seem corny as hell can also be taken as Elliot's beautiful naiivety in his storytelling. The man has the patience and an eye beyond our time. This is a man with vision who can also pull it off. If you watch his films in order you can see him learning and building to a masterpiece - this I believe is the first of many more masterpieces to come. This a film with appeal to everyone in the world - do yourself a favor and have a family outing to this one when it comes out. It can answer lots of questions you may have trouble answering for your kids and will leave you with a massive smile on your face.
Worth $15.50-
Dave's Thoughts:
This film is a massive achievement in the world of animation, it’s extremely gorgeous to look at and is often draw dropping in what it has achieved. It is so great to experience that wow factor in a cinema, which is sorely missing in this day and age, in which the term ‘special’ no longer applies to the phrase ‘special effects’.
Beyond the near perfect animation, design, cinematography and voice acting, Mary and Max has an excellent humorous yet depressing, and ultimately uplifting storyline, which rarely misses a beat. It is difficult to say much negative about the film; it is such a satisfying experience (the fact that it is an Australian feature is amazing – Our films just should not be this good; how does it happen like this when we have no industry!). The only negative thing I could conjure about the film is an overuse of a specific song, which is used half a dozen times that begins to lose a little of it’s impact; when the film was over I initially felt Elliot had copped out slightly in the ending, but after mulling it over for a while I cannot help but think the right decisions were made for the purposes of the storyline.
It’s a very dense and complicated picture. That deals with every aspect of human life, from love to its downright absurdities. Elliot has a remarkable understanding of Human Nature and that is what eventually makes the film so incredibly important and unmissable, besides of course the absolutely astonishing visual power.
This film is again Academy award winning caliber for Elliot, and as the producer Melanie Coombs and Elliot himself told us after the screening: go out and tell everyone you know how great this film is so that they go and see it when it comes out around Easter…why? Because the extent to which Elliot and Coombs can make further works is dependent on the success of Mary and Max. And for what possible reasons would we not want to see that?
Worth $16.50-
Trivia:
1) Mary and Max is a 92-minute ‘clayography’ film that has taken almost five years from script to screen to make.
2) The shoot ran for 57 weeks, with a production crew of 50 people working together to produce an average of two and half minutes of animation a week. Each of the six animators on average created 4 seconds a day.
3) There are approximately 132,480 individual frames in the film, which was shot on six high-resolution Canon digital stills cameras.
4) There were ten animation stages overseen by a camera department of seven.
Adam Elliot, the writer and director, was also the film’s production designer and designed all the characters.
5) Adam is inspired by the New York photographer Diane Arbus’ black and white portraits, which explore difference. There is a character modelled on Diane Arbus who appears briefly, looking out a window, in the opening New York montage.
6) Adam also hand-drew any lettering needed for such things as miniature beer bottle labels, street signs and a lot of the actual letters between Mary and Max.
7) The sets’ and props’ concept designs were created by a company called ‘Square i,’ who spent hundreds of hours drawing every asset first, before it was then handmade and built
by the art department.
8) The 212 puppets were made for the film from a variety of polymers, clays, plastics and metals. The complex puppets had fully articulated ball and socket armatures. There were up to a dozen multiples of the lead characters.
9) 133 separate sets were constructed for the film. The film is set in the suburbs of Australia and the metropolis of New York, with two very different colour palettes, (brown for Australia, grey for America). The diversity and complexity of the sets was extreme; everything from a desert island to a chocolate heaven needed to be made.
10) The New York skyline set was the biggest and most time consuming and took two months to complete by the entire art department crew of twenty people.
11) 475 miniature props were made—everything from a miniature, hand-blown wine glass to a fully functioning Underwood typewriter (which took one of our prop makers 9 weeks to design and build).
12) To enable our characters to speak and have expression they needed plasticine replacement mouths that were removed and replaced in every frame. Over 1026 mouths were cast by pouring melted plasticine into rubber moulds. Max had over 30 mouths so he could express his emotions and speak.
13) 886 plasticine hands with wire skeletons (armatures) were cast and prepared. 394 individual pupils, the average size of a ladybird, were hand-punched and then had a white sparkly dot painted on them.
14) 147 tailor-made costumes were designed and created by our two costume designers. Mary’s wedding dress was based on Lady Diana’s, and Ivy’s jumpsuit was modelled on the photographer Annie Leibowitz’s mother’s jumpsuit.
15) 38 miniature light globes were needed to be designed, built, wired and lit for everything from a miniature lampshade, to the headlights on an ice cream van.
808 miniature Earl Grey tea bag boxes were hand cut, folded, glued, wrapped and air-brushed. At one point, all staff helped create the teabag boxes, with everyone from the producer to the runner having a hand in them.
16) 632 rubber moulds were needed to create the massive number of characters, sets and props. Everything from eyeballs to floorboards was moulded at some point.
17) 120 Noblets were made and their creators were given a great deal of freedom with their designs, some of which are quite risqué!
18) 73 kilos of plasticine were used to make the mouths, hands and original sculpts of the puppets. Each batch of plasticine had to be perfectly colour-matched and mixed for exact texture, consistency and melting point.
19) 12 litres of water-based sex lube (or 2,400 teaspoons) were needed to create everything from a tear to a surging jungle river. Our runner was always reluctant whenever he had to go to the chemist for another dozen tubes.
20) To feed our crew, our chef used over 260 kilos of tomatoes, 280 kilos of coffee beans, and 2600 litres of milk. Over 7800 muffins were consumed (5236 by the director).
JK Says it's worth: $15.50
Dave says it's worth: $16.50
Salty Popcorn says it's worth $16- Releasing 9 April 2009 (Australia)
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gee there are some clever creative people out there!
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Wilson - it's way better than Wallace and Grommit but same kind of thing. This is more adult and innocent. I hope you love it as much as I did.