Episode 32 of This Week in Comedy brings hosts Lily Geddes and Morry Morgan together with guest Tony Rogers for a lively conversation about Australian comedy, filmmaking and the strange paths that turn small ideas into enduring screen projects.

Rogers discusses How to Talk Australians: The Movie, explaining how the project grew from an earlier pilot and web series set around a fictional language college in Delhi. Tony Rogers was the writer and director of How to Talk Australians Movie, as well as the creator, writer and director of Wilfred.

He also reflects on Rats and Cats, the award-winning convict comedy Bruce, his advertising work, and the long-running development of Fun TV, a satirical project about an analogue network attempting to compete with streaming platforms.

The discussion explores Rogers’ preference for carefully written comedy, while still leaving room for performers such as Rohan Ganju to contribute sharp improvised lines. He praises the acting ability of comedians, including Shane Jacobson, Ben Knight, Nick Capper, Stuart Daulman, Rohan Ganju and the Nelson twins, and shares behind-the-scenes stories about casting, accents, props and practical effects.

One memorable detail concerns the realistic kangaroo prop built by Rogers’ partner Carol Van Rees, using altered toy fur, stitching, sand and extra weight to make the carcass move convincingly on camera. Rogers also talks about the challenge of getting Australian films into cinemas, noting the enthusiasm surrounding limited screenings and festival appearances for How to Talk Australians.

Beyond the interview, Lily and Morry cover comedy news, upcoming productions and tours, including The Fox, Taskmaster Australia, Adam Kay and the development of a fourth season of Fisk. They sample a Sailors Grave Vienna lager, revisit comedy history through Mick Molloy, A Fish Called Wanda and The Hollow Men, and trade observations about karaoke, science fiction and everyday Australian behaviour.

The episode retains the show’s relaxed, irreverent rhythm, moving easily between industry insight, cultural satire and spontaneous jokes. Rogers’ stories reveal a filmmaker drawn to modest, recognisable moments, collaborative performers and handmade movie magic, while the hosts keep the conversation grounded in South Melbourne connections and playful tangents. It is an energetic portrait of a distinctive Australian comedy career, capped by practical advice, affectionate teasing and excitement for Rogers’ current and future projects across film, television and advertising.

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