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Speaker 1: Too Much Information is a production of I Heart Radio.

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Speaker 1: Hello everyone, and welcome to Too Much Information, the show

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Speaker 1: that brings you the secret histories and little known facts

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Speaker 1: and figures behind your favorite movies, music, TV shows and more.

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Speaker 1: We are your two boss men of banality. I'm Alex

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Speaker 1: Heigel and I'm Jordan Run Talk and Jordan's Today we're

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Speaker 1: talking about one of the towering achievements of mid century

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Speaker 1: American cinema, a film that still holds on rotten Tomato,

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Speaker 1: A film that answers the question, as one Twitter user

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Speaker 1: dared to put it, what if the hottest dude ever

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Speaker 1: went to prison. That's right, folks, we're talking about cool

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Speaker 1: Hand Luke. Before we even get into it, I just

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Speaker 1: want to add this anecdote that Paul Newman. It's from

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Speaker 1: his biography about women just throwing themselves at him. He

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Speaker 1: was at a charity event where he was ladling punch

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Speaker 1: out and a woman asked if he could stir the

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Speaker 1: punch in her cup with his finger, to which he responded,

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Speaker 1: I'd be glad to, but I just took it out

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Speaker 1: of a Cyanide bottle. Greatest American man, I know, man, God,

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Speaker 1: I love him so much and for somebody. You really

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Speaker 1: could have just become like an out of control, like

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Speaker 1: raging monster with all of his considerable gifts and charisma

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Speaker 1: at his command. He was like, Nope, I love my

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Speaker 1: wife and salad and racing and chill cool dude and

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Speaker 1: be oh yeah, he loved beer. Did I put that in?

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Speaker 1: Later on, Ethan Hawk said he would. He when he

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Speaker 1: when Joann Wilbard kicked him out and they're compromised, was

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Speaker 1: that he stopped drinking liquor, but he would still go

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Speaker 1: through like a case of beer at dinner. Man. Yeah,

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Speaker 1: I think I saw a Cool Hand Luke when I

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Speaker 1: was a kid, because it's pretty minus the spoiler alert dying,

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Speaker 1: it's pretty kid friend and the boobs. It's pretty kid friendly.

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Speaker 1: As with every dad in the world, he loved the

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Speaker 1: failure to Municate line. But it was also one of

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Speaker 1: the few like capital F films that I've back to

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Speaker 1: again and again in between the rest of my youth,

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Speaker 1: which was spent mainlining John Carpenter and Jackie Chan. It

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Speaker 1: is a perfect film. Let's just say perfect film, full stop.

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Speaker 1: If you, if you, if there are people out there

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Speaker 1: who like I don't like Cool Hand Luke, it's like

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Speaker 1: the Thin Lizzy bumper sticker. It says, if you don't

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Speaker 1: like Thin Lizzie, you if you know what I like

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Speaker 1: Cool and Luke. That is not a reflection of the film.

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Speaker 1: It is a reflection on your moral failing as a person.

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Speaker 1: Um the lie when when they when he says, when

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Speaker 1: they asked him why he's cutting the heads off parking

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Speaker 1: meters and he goes a small town not much to

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Speaker 1: do in the evenings. Still one of my go twos.

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Speaker 1: It's just a perfect movie. Jordan's go talk about how

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Speaker 1: hot Paul Newman is. Yeah, I mean this movie looms

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Speaker 1: large for me, has a direct mainline to my heart.

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Speaker 1: Uh what is it about Paul Newman? And Dad's like, well,

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Speaker 1: you rocked me our two movies that just have the

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Speaker 1: capacity to make men of a certain age weep. And

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Speaker 1: you know, I guess it makes sense because both of

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Speaker 1: these movies, Rocky and Cool Hand Luke, add a sense

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Speaker 1: of dignity to men being beaten down by forces bigger

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Speaker 1: than them, Rocky by Apollo Creed and Luke by drag Line.

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Speaker 1: During that famous fight scene, Uh, Paul Newman's character is

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Speaker 1: repeatedly getting hit by this beheamoth of a man over

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Speaker 1: and over in a scene that goes on for a

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Speaker 1: truly uncomfortably long length of time. He could barely stand.

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Speaker 1: And even the man beating Luke is telling him just

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Speaker 1: to stay down. And Newman says, what I think is

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Speaker 1: the crucial line of the movie, You'll have to kill me.

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Speaker 1: And you know, I'm almost embarrassed to say this. I

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Speaker 1: think about that line a lot in times of trouble

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Speaker 1: in my life, like, you know, you'll have to kill

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Speaker 1: me first. Uh. In Rocky and in Cool Hand Luke,

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Speaker 1: neither man buckles. They both go the distance, at least

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Speaker 1: according of their own moral code. Uh. There's a triumph

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Speaker 1: in just serve iving, which is maybe why both of

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Speaker 1: these films strike straight at the heart of I'll say anybody.

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Speaker 1: I mean, you know, insert cliche about the durability of

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Speaker 1: the human spirit here. Newman has this in a lot

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Speaker 1: of his movies, actually, or at least the ones that

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Speaker 1: I've seen that have stuck with me. Uh. He's a

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Speaker 1: dreamer that doesn't have a chance, you know. And he's

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Speaker 1: in The Hustler, He's in The Sting, and especially in

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Speaker 1: Butch Cassie and the Sundance Kid, he brings the sense

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Speaker 1: of tragic optimism in the face of odds that we

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Speaker 1: the audience know are absolutely crushing, and you know he

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Speaker 1: must know it too, And I think that gives this

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Speaker 1: movie and so many of Paul Newman's other movies this poignancy.

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Speaker 1: And that fight scene is the first thing I think

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Speaker 1: of when I think of this movie. Um, and of

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Speaker 1: course the poker scene where he gets his nickname because

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Speaker 1: he bluffs his way to winning, because you know, sometimes

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Speaker 1: he can just beat him with nothing nothing is pretty cool.

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Speaker 1: Hand like earlier today when he kept coming back at

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Speaker 1: me with nothing. Ad too good. George Kennedy, George Kennedy

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Speaker 1: is so funny in this movie. He's he's playing this buffoon,

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Speaker 1: and in all of the interviews he's so soft spoken

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Speaker 1: and erudite. Yes, yeah, so, but did answer you to

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Speaker 1: your question? I would go. You know, you didn't ask

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Speaker 1: me a question, you just told me to go. But

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Speaker 1: in answer to the prompt, wasn't Paul Newman hot I

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Speaker 1: have this to say? But yeah, I, um, I didn't.

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Speaker 1: I didn't watch this with my dad. Actually, I every

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Speaker 1: Friday as a kid, I used to go to the

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Speaker 1: video store and get three movies for three days. For

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Speaker 1: three dollars, and as part of my ongoing campaign to

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Speaker 1: live life like it was the mid sixties, I would

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Speaker 1: always rent these old classic movies that were way too

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Speaker 1: mature for me, and I would watch them, usually by myself.

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Speaker 1: On this one, my dad's somehow intimated that Cool Hand

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Speaker 1: Luke was a truly good movie, like you know, one

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Speaker 1: that meant a lot to him, which was rare coming

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Speaker 1: from him, So that marked it a special to me

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Speaker 1: before I had ever seen it. And then when I

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Speaker 1: watched it, of course, that's just sealed it. I just

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Speaker 1: think it was, you know, as you said, a truly

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Speaker 1: great movie. Um. I think I watched it the same

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Speaker 1: weekend that I first saw Midnight Cowboy. I think I

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Speaker 1: watched them back to back and I just remember being

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Speaker 1: bummed out that whole weekend. I actually haven't seen this

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Speaker 1: movie in a very long time, but you you were

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Speaker 1: saying you saw it recently. Oh yeah, I watched on

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Speaker 1: my birthday. Um, because it is one of my favorite films.

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Speaker 1: Is like a top five for me for sure, probably

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Speaker 1: the only film with any dignity that's actually on my

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Speaker 1: top five. The other ones who are like John Carpenter

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Speaker 1: movies and again Jackie Chan, As I mentioned, um, you know,

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Speaker 1: I draw a lot of parallels between Jackie Chan and Luke.

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Speaker 1: They are both men who have to triumph against insurmountable

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Speaker 1: odds with a high degree of physical comedy. Kidding of

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Speaker 1: trying to make that work as the words came out

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Speaker 1: of my mouth and my brain was going stop. Yeah.

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Speaker 1: So I watched this with my wife, and we'd watched

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Speaker 1: it before at some point during the pandemic, but she

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Speaker 1: watched it this time, and when with the credits role

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Speaker 1: that ended that famous shot, she just bursts into tears

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Speaker 1: and then she goes, they killed him for being different.

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Speaker 1: And it's so I'm getting like choked up thinking about

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Speaker 1: it now, because that seems like an oversimplification of this

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Speaker 1: movie's themes, of which it is not subtle about. But

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Speaker 1: it is still a movie that hits you every time

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Speaker 1: the same way, and you can be a child or

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Speaker 1: a grown adult and you can still see it and

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Speaker 1: be affected by the same way, and it still hits

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Speaker 1: the same every time. And we don't get very many

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Speaker 1: works of art like that. You know, you can see

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Speaker 1: this movie as a kid and as an adult and

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Speaker 1: you still get every element of it, just you know,

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Speaker 1: people are like, oh it, HiT's different. Nope, it hits

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Speaker 1: the same. It's a hundred percent it's a home run.

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Speaker 1: No notes. So from the heart boiled X sailor turned

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Speaker 1: safecracker who wrote the source material to the woman being

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Speaker 1: hard Boiled eggs, hard boiled eggs, how did you miss that?

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Speaker 1: Damn it? Here's everything you didn't know about cool Hand Luke.

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Speaker 1: Cool hand Donald the man doesn't have quite the same

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Speaker 1: ring to it. The man who wrote the novel cool

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Speaker 1: Hand Luke was a guy named Don Pierce, Pennsylvania boy

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Speaker 1: Keystone State. Uh. He was born in ninety in the

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Speaker 1: Philadelphia suburb of Croydon, just on the other side of

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Speaker 1: the New Jersey border. His parents split when he was eleven,

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Speaker 1: but he was a sharp kid, valedictorian of his grammar

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Speaker 1: school in New York. He attended the elite Brooklyn Technical

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Speaker 1: School for two years, one ten dollars in a writing

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Speaker 1: contest in high school. Dropped out of school at fifteen, though,

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Speaker 1: and proceeded to have one of those truly bananas mid

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Speaker 1: century American man lives that uh well, stuff of novels

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Speaker 1: are made of. He attempted to join the Merchant Marine,

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Speaker 1: was turned away for being too young, and was accepted

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Speaker 1: into the army instead. You can't make money, but you

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Speaker 1: can die for us. That's fine. Yeah, I mean this

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Speaker 1: Jordan listen during night was a little thing called w

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Speaker 1: W two. They needed the big one that they needed. Uh,

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Speaker 1: they needed anybody, and they got a fifteen year old

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Speaker 1: Donald Pierce, who subsequently went a wall. Not so much

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Speaker 1: because he was scared, he said, but because he didn't

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Speaker 1: like all the rules, and he was sentenced to thirty

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Speaker 1: days in the stockase. He sent him to the box well,

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Speaker 1: but then they immediately lent him out. They were like, like,

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Speaker 1: we're shipping you off because again w W two. And

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Speaker 1: then he wrote his mom and she subsequently he sently

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Speaker 1: essentially snitched on himself. He wrote his mom, who wrote

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Speaker 1: the army and was like, my kids, you know, fifteen

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Speaker 1: and you can't send him to the Battle of the Bulge.

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Speaker 1: He was charged with false enlistment, but he was released.

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Speaker 1: He said. He did later regret it. He regretted feeling

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Speaker 1: like a coward over it. Um which I don't know, dude. Uh.

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Speaker 1: Now of age, he joined the Merchant Marine. Uh. Timeline

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Speaker 1: is a little fuzzy here. There's some of the better

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Speaker 1: interviews with him go to like dead regional Florida newspaper links,

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Speaker 1: but from what I was able to clean. At some

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Speaker 1: point in Venice, he fell in love with a pregnant

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Speaker 1: Italian newspaper reporter, but was not allowed to marry her

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Speaker 1: because he wasn't eighteen. And then in France he got

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Speaker 1: involved with the thriving post World War two black market

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Speaker 1: there and was jailed for selling counterfeit currency to an

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Speaker 1: undercover cop. Supposedly, he escaped, made his way to Italy,

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Speaker 1: forged his papers to get back across the Atlantic, and

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Speaker 1: got back into the US via Canada, at which point

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Speaker 1: he joins up with a safecracker named Donald Graham Garrison

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Speaker 1: and attempted to make a go of things as a burglar,

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Speaker 1: a thief, a brigand no brigands. Robbed people face to face,

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Speaker 1: but by his own account, he was not very good

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Speaker 1: at it. Um he appeared there's a really funny episode

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Speaker 1: of the nineteen six game show to Tell the Truth.

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Speaker 1: Are you familiar with your whole? Yeah? I thought so, Jordan.

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Speaker 1: What's to tell the truth? Uh? Show that they zero

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Speaker 1: dollars today they have somebody with insanely specific life story

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Speaker 1: like this guy and they bring on the real guy,

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Speaker 1: and then two people pretending to be that guy, and

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Speaker 1: then a panel of guests just ask them questions and

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Speaker 1: try to judge which one of them is telling the truth,

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Speaker 1: and at the end of the episode they vote on

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Speaker 1: which one is the real You know that the the

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Speaker 1: the minem line we were the real so and so

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Speaker 1: please stand up is from that show Holy and I

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Speaker 1: never put that together. Yeah, uh well, he said during

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Speaker 1: his part of his panel appearance, and that he said,

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Speaker 1: I always seemed to pick the wrong safes and most

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Speaker 1: often I found nothing but love letters and old sandwiches.

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Speaker 1: Incredible image that's up there with the fisherman pulling up

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Speaker 1: an old tire out of the water. That's great. Yeah.

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Speaker 1: So Pierce went to prison for attempting to rob a

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Speaker 1: movie theater in Florida. I have heard two different versions

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Speaker 1: of this. One is that he was either dating this

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Speaker 1: woman and told her that he was going to do

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Speaker 1: it and she was in the process of getting divorced

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Speaker 1: from her husband, who was a cop, and she told

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Speaker 1: her soon to be ex husband and that set him up,

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Speaker 1: or he was just hitting on her. Essentially, he was like, yeah,

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Speaker 1: I'm gonna knock over this movie theater and she told

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Speaker 1: her Picks husband who was a cop, and result was

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Speaker 1: still the same. Yes. Pierce was sentenced to five years

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Speaker 1: in nine and spent the first year working in the

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Speaker 1: print shop at the Florida State Penitentiary at Rayford, and

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Speaker 1: then he was sent to Road Camp number forty eight

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Speaker 1: in Tav's Lake County. That's how you say that, right,

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Speaker 1: I think so to varias, Yeah, uh, an experience he

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Speaker 1: described as quote a chamber of horrors and yeah, that

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Speaker 1: sounds about right. Many of the details from Cool Hand Luke,

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Speaker 1: like the box, the leg shackles, and the dog man

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Speaker 1: were drawn from his experience there, as was the climax

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Speaker 1: to the movie. Unfortunately uh. In the Florida paper The

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Speaker 1: Daily Commercial, unearthed through court records in August ninety nine,

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Speaker 1: Corners jury in quest into the shooting death of an

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Speaker 1: escaped convict, twenty two year old Luther Catured. Captured had

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Speaker 1: been sentenced to three years for unarmed robbery, but he

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Speaker 1: bolted from a brush cutting roadside work detail on you

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Speaker 1: Interstate four four one between Silver Lake Forks and Leesburg

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Speaker 1: Airport at eleven am one day with another convict all

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Speaker 1: of bureaucracy that they just drilled down into all these details,

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Speaker 1: and now fifty five years later we can be like,

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Speaker 1: we know where the actual cool hand Luke was fleeing

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Speaker 1: from and subsequently shot to death. Yes, hunt by guards

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Speaker 1: and the Camps dog boys immediately started up, and prison

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Speaker 1: Captain W. P. Allison testified, we ran him until six

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Speaker 1: thirty and lost the trail it rained on us. But

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Speaker 1: by about ten pm guards and their dogs had tracked

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Speaker 1: the men to an African American church near Lisbon, and

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Speaker 1: a guard named A. R. Hampton testified that they found

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Speaker 1: one man laying on the floor and the other got

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Speaker 1: up with an organ stool or piano stool or some

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Speaker 1: kind of a stool in his hand and was standing

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Speaker 1: up with it and said some curse word about getting

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Speaker 1: the light out of his eyes. And he flinched with

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Speaker 1: the stool like he was going to throw it at somebody,

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Speaker 1: throw it through the window at us. And that was

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Speaker 1: when I shot him. He shot a man arms with

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Speaker 1: a church oregan stool. That is Gothic Florida. Baby. Yeah,

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Speaker 1: it's basically the last seed of the film, except instead

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Speaker 1: of taunting, the man just stood up and held a stool.

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Speaker 1: Don Pierce told the Son Sentinel in that I never

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Speaker 1: knew Luke. He was a legendary con famous for escaping.

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Speaker 1: I did know the walking boss who shot him. I

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Speaker 1: put all these stories together. I mixed legends and used

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Speaker 1: myself as a model. The real Luke never bet the

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Speaker 1: guards he could eat fifty hard bowed eggs. That was me.

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Speaker 1: They called off the bed after they saw how much

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Speaker 1: I could eat. Pierce did allow that the real Luke

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Speaker 1: was quite a banjo player and got his nickname from

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Speaker 1: his poker playing abilities. Uh. It has frequently been repeated.

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Speaker 1: You can still find it out there that that guy

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Speaker 1: Don Graham Garrison, who is Pierce's safe cracking buddy, was

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Speaker 1: the inspiration for the character. That is incorrect, as we

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Speaker 1: have just proved with official Florida State court records. But

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Speaker 1: that actually might come from Garrison simply saying that it

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Speaker 1: was which gotta respect the hustle there. Um. Don Pierce

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Speaker 1: was sufficiently annoyed by the fact that Garrison did this

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Speaker 1: to debunk the claim in an article in the Fort

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Speaker 1: laud Of News that I turned up. Um. He basically

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Speaker 1: just claimed that he visited Garrison in jail after the

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Speaker 1: film came out told him about the movie, and when

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Speaker 1: Garrison got out, he started being like, oh yeah, that Luke,

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Speaker 1: It's based on me again. Respect the hustle. So once

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Speaker 1: Pierce got out of prison, he zeroed on his ambition

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Speaker 1: to write. Owned he said by a proost reading Stanford

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Speaker 1: Grad he met at to Veres, and when he got

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Speaker 1: out of the prison camp after two years, he made

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Speaker 1: another go with the Merchant Marines and started writing while

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Speaker 1: on these voyages, saving all his money from that work

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Speaker 1: and moving eventually to New York City. After living there

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Speaker 1: for a few years, he got into a motorcycle accident

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Speaker 1: which took him two years to recover from, and in

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Speaker 1: nine he was on his way to the movie theater

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Speaker 1: on crutches when a girl walked towards him carrying a

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Speaker 1: radio which was playing Johnny Horton's Battle of New Orleans

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Speaker 1: with its chorus about the British on the run from

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Speaker 1: Andrew Jackson's Frontier Soldiers, and Pierce later said, when you

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Speaker 1: get ideas, they generally come in little flakes, like the

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Speaker 1: grains of sand and an oyster. That's good, cool head, Luke,

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Speaker 1: though came so hard and fast. I had a stop

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Speaker 1: at my crutches and leaned against the fence. I was

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Speaker 1: laughing so hard. That was Luke, like the British and

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Speaker 1: the song. He kept on a running and no one

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Speaker 1: could catch him. He was a superhero. Over the next

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Speaker 1: few days, the rest came to be in great, big chunks.

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Speaker 1: I always liked it to make him scrambled eggs. You

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Speaker 1: get different spots that that hard and first my analogy

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Speaker 1: is better. Uh, this is something like his. I've heard fifth,

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Speaker 1: I've heard seventh, finished novel rejected sixteen times before Scribner

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Speaker 1: picked it up, apparently only because an editor had taken

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Speaker 1: the manuscript home and his wife read it and liked it.

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Speaker 1: That was a listical, right there. Famous stuff that got

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Speaker 1: made because the producer's spouse liked it. I feel like

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Speaker 1: I've had a bunch of examples of that on here

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Speaker 1: wasn't Will Smith cast and then in Black because the

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Speaker 1: producer's wife liked him. Yeah yeah, yeah, yeah she was.

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Speaker 1: I think she was because she was a fresh Prince fan.

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Speaker 1: Yeah yeah yeah. The novels published in nine sold uh

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Speaker 1: dred copies. I have never read it, have you. I've

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Speaker 1: never even heard of it until this episode. Yeah, I

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Speaker 1: had no idea that was a novel until this, Uh.

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Speaker 1: Pierce struggled as a writer. After the book was adapted.

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Speaker 1: He published some articles and Playboy and Esquire. He has

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Speaker 1: other novels. He has an expose about the nursing home

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Speaker 1: industry in Florida called Dying in the Sun, which I

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Speaker 1: feel like I have to read. After that came out

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Speaker 1: in seventy three, he pivoted to his latter day career

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Speaker 1: as a bounty hunter, an investigator, bondsman, although he disliked

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Speaker 1: using that term. He preferred the term skip man, skip man,

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Speaker 1: what's the derivation of that? As? Yeah, I like that, Okay. Yeah.

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Speaker 1: He died in the age of twelve years after furnishing

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Speaker 1: this incredible quote to the Florida Sun Sentinel. The world

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Speaker 1: really isn't evil, It's just dumb. There's no cure for dumb. Dumb.

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Speaker 1: Will outsmart you. I sent that to a few people

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Speaker 1: after reading that. In the line, I was gonna say, Man,

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Speaker 1: that's a hell of a quote to go out on.

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Speaker 1: Don Pierce. We hardly knew ye. Uh. Director Stuart Rosenberg,

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Speaker 1: who had been kicking around television for the previous decade,

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Speaker 1: discovered Pierce's novel brought it to Jack Lemon's Jalom Productions.

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Speaker 1: Rosenberg would later tell The New York Times of the novel,

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Speaker 1: it was the first time I had come across an

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Speaker 1: existentialist hero, not an anti hero, in American literature. Here

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Speaker 1: was a man not so much a rebel as a nonconformist,

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Speaker 1: a man who didn't belong, committed to no external idea

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Speaker 1: but to himself, and desperately concerned to express that commitment. Uh.

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Speaker 1: To their credit Productions credit. They hired Piers for the screenplay,

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Speaker 1: although he had zero experience writing screenplays, and so it

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Speaker 1: was quite understandable when they saw his draft and brought

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Speaker 1: it another guy named Frank R. Pearson to rewrite it.

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Speaker 1: And yeah, as we'll talk about. Don Pierce was not

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Speaker 1: exactly complimentary about the film adaptation of his book, No Sir,

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Speaker 1: from Soup to Nuts. He hated it. Uh where does

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Speaker 1: that phrase come from? Yeah, it just the way that

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00:20:00,600 --> 00:20:02,840
Speaker 1: meals used to be parsed out. First course would be

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Speaker 1: soup and then they'd bringing nuts course. Yeah. Huh uh.

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Speaker 1: Pearson was a Harvard grad who's been a reporter for

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Speaker 1: Time magazine and a story editor for TV. His most

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Speaker 1: famous screenplay prior to this was Western parody Cat Blue

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Speaker 1: had by the Beatles. I think it's Cat Belue. Yeah.

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Speaker 1: Pierson would go want to pick up an oscar for

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Speaker 1: Dog Day Afternoon and a movie I cannot preference without

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Speaker 1: It's Always Sunny episode where Charlie is running around in

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Speaker 1: the street. He trying to reference the Attica scene if

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Speaker 1: instead is yelling Gattica, It's never not gonna be a

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Speaker 1: Gatica gatricka um. He would also direct the nine version

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Speaker 1: of A Star Is Born. Pearson's contributions were ramping up

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Speaker 1: the religious themes president in the story, perhaps to a

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00:21:00,440 --> 00:21:04,399
Speaker 1: an unsubtled degree, if we were being charitable and contributing

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Speaker 1: Strother Martin's iconic failure to communicate line as the camp captain,

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Speaker 1: which Pierce famously derided is stupid, saying that the overseers

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00:21:13,080 --> 00:21:16,800
Speaker 1: at his camp were not that eloquent. It's probably fair. AXL.

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00:21:16,920 --> 00:21:19,520
Speaker 1: Rose disagreed and has used a sample of that in

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Speaker 1: not one but two separate Guns and Roses songs, A

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00:21:23,760 --> 00:21:28,399
Speaker 1: Decade and Change apart, one on Civil War from the

381
00:21:28,560 --> 00:21:34,840
Speaker 1: not Appetite for Destruction Guns and Roses record and Democracy.

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00:21:35,160 --> 00:21:37,840
Speaker 1: It's either lies er spaghetti incident or something. It's a

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Speaker 1: civil war. We all need no civil war. Can't do

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Speaker 1: the break. We all need no civil war. It's certainly

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Speaker 1: the only good part of my anxious screechy does Pierson

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Speaker 1: said in a Writer's Killed of America interview, the phrase

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00:21:57,720 --> 00:21:59,720
Speaker 1: just sort of appeared on the page. I looked at

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00:21:59,800 --> 00:22:02,680
Speaker 1: it in in thought, now, that's interesting. Then I thought, these

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00:22:02,680 --> 00:22:05,080
Speaker 1: words are going to be spoken by an actor who

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Speaker 1: is playing a real redneck character who probably never went

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00:22:07,840 --> 00:22:10,800
Speaker 1: beyond high school, and it has a faintly academic feel

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Speaker 1: to it. That line, I thought people are going to

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Speaker 1: question it. So to that end, he wrote an entire

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00:22:16,080 --> 00:22:19,800
Speaker 1: biography for the Captain was played by Strother Martin, as

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00:22:19,800 --> 00:22:22,680
Speaker 1: we mentioned, a man George Kennedy described as both an

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00:22:22,720 --> 00:22:26,560
Speaker 1: actor's actor and a bit cuckoo for real. He was

397
00:22:26,600 --> 00:22:29,360
Speaker 1: also in Bush and Sundance with Paul Newman, and he

398
00:22:29,440 --> 00:22:34,160
Speaker 1: sings a song that sounds a lot like plastic Jesus

399
00:22:34,280 --> 00:22:37,520
Speaker 1: right before his character gets shot. In Pearson's bio, the

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00:22:37,640 --> 00:22:40,760
Speaker 1: Captain started out as an ordinary guard in the prison system,

401
00:22:40,960 --> 00:22:43,359
Speaker 1: but in order to advance to a higher grade, he

402
00:22:43,400 --> 00:22:45,639
Speaker 1: was required to do a certain amount of study and

403
00:22:45,680 --> 00:22:48,720
Speaker 1: take courses in criminology, so he was actually exposed to

404
00:22:48,720 --> 00:22:52,320
Speaker 1: an academic atmosphere, which would justify him using that language

405
00:22:52,680 --> 00:22:55,720
Speaker 1: after all that, though nobody questioned the line and those

406
00:22:55,760 --> 00:22:59,399
Speaker 1: details were never used the Production Code Authority, which is

407
00:22:59,520 --> 00:23:03,280
Speaker 1: established nine and thirty four to enforce quote unquote decency

408
00:23:03,320 --> 00:23:05,840
Speaker 1: in films. If you've heard of the Haze Code as

409
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Speaker 1: the production code authority. Uh. They were sent the script

410
00:23:08,800 --> 00:23:11,640
Speaker 1: and they were not thrilled. They wrote in a memo

411
00:23:11,760 --> 00:23:14,879
Speaker 1: to the production that there's entirely too much profanity for

412
00:23:14,960 --> 00:23:18,320
Speaker 1: us to begin to consider approving the script, including by

413
00:23:18,359 --> 00:23:21,600
Speaker 1: actual count, four instances of son of a Bitch, six

414
00:23:21,640 --> 00:23:26,159
Speaker 1: instances of damn, eight instances of bastard, thirty two incidentss

415
00:23:26,200 --> 00:23:30,520
Speaker 1: of damn, thirty nine incidences of hell, and other assorted

416
00:23:30,560 --> 00:23:35,560
Speaker 1: expressions such as grab bass, wise ass, smart ass, raggedy ass,

417
00:23:35,840 --> 00:23:39,840
Speaker 1: shove it, and bitched up that one one. I don't

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00:23:39,880 --> 00:23:42,600
Speaker 1: think that even appears in the film though. Uh. There

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00:23:42,600 --> 00:23:46,160
Speaker 1: were several sequences which, as presently described, appeared to us

420
00:23:46,200 --> 00:23:50,359
Speaker 1: to be unacceptably brutal, savage, and sadistic. But the Haze

421
00:23:50,400 --> 00:23:53,600
Speaker 1: Code was on its way out by all, the teeth

422
00:23:53,600 --> 00:23:58,320
Speaker 1: had gone out of it. Standards were changing, so sorry, guys, tough,

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Speaker 1: Yeah suck. At Nerds, Conrad Hall, who would go on

424
00:24:03,080 --> 00:24:06,439
Speaker 1: to scoop up three Oscars and three BAFTAs for a

425
00:24:06,520 --> 00:24:10,639
Speaker 1: career included in Cold Blood, Butch Cassidy, American Beauty and

426
00:24:10,720 --> 00:24:13,919
Speaker 1: Road to Perdition, was hired as the film's cinematographer. He

427
00:24:13,920 --> 00:24:16,080
Speaker 1: would later recall that he had to shoot one scene

428
00:24:16,160 --> 00:24:19,960
Speaker 1: five times because executives at Warner Brothers, who were distributing

429
00:24:19,960 --> 00:24:23,280
Speaker 1: the film, complained that Newman's famous blue eyes were not

430
00:24:23,440 --> 00:24:26,840
Speaker 1: coming through prominently enough in the dailies. You gotta do

431
00:24:26,880 --> 00:24:31,119
Speaker 1: the cigar chopping. Executive. I want to see those baby

432
00:24:31,160 --> 00:24:34,640
Speaker 1: blue six ft tall on a big screen as you're

433
00:24:34,760 --> 00:24:39,000
Speaker 1: blue like a summer day on the sea. Sererulean even

434
00:24:40,920 --> 00:24:46,880
Speaker 1: making unnecessary impression here Boss in certain of recurring bit here,

435
00:24:46,920 --> 00:24:51,439
Speaker 1: Boss inserted recording bit there. Luke note on Newman's famous

436
00:24:51,440 --> 00:24:55,320
Speaker 1: baby blues in the book Paul Newman The Extraordinary Life

437
00:24:55,359 --> 00:24:58,920
Speaker 1: of an Ordinary Man, which is I believe culled from

438
00:24:58,960 --> 00:25:01,320
Speaker 1: like an oral history, interviewed that he did. It's all

439
00:25:01,359 --> 00:25:06,800
Speaker 1: like transcripts of him talking yeah recently, yeah. Uh. He

440
00:25:07,200 --> 00:25:10,240
Speaker 1: said that, um, he was conflicted about getting noticed for them.

441
00:25:10,280 --> 00:25:12,679
Speaker 1: He said you work what you consider pretty hard at

442
00:25:12,680 --> 00:25:15,080
Speaker 1: your craft, and you're getting to the point where you're

443
00:25:15,119 --> 00:25:17,080
Speaker 1: just starting to feel kind of good about yourself. And

444
00:25:17,119 --> 00:25:20,119
Speaker 1: then somebody says, oh, God, take off your sunglasses so

445
00:25:20,160 --> 00:25:23,359
Speaker 1: I can see your baby blue eyes. Yeah, you have

446
00:25:23,480 --> 00:25:27,159
Speaker 1: that famous line. I picture my epitaph. Here lies Paul Newman,

447
00:25:27,240 --> 00:25:31,600
Speaker 1: who died of failure because his eyes turned brown. Well,

448
00:25:31,640 --> 00:25:34,080
Speaker 1: the sunglasses came about because he said, I really have

449
00:25:34,160 --> 00:25:38,240
Speaker 1: no tolerance for light. Uh, there's an accumulation of Budweiser

450
00:25:38,840 --> 00:25:41,840
Speaker 1: as well as damage from my early days making movies

451
00:25:42,119 --> 00:25:44,879
Speaker 1: when the slower film exposure is often required an actor

452
00:25:44,920 --> 00:25:47,400
Speaker 1: to keep looking straight into an arc light, and in fact,

453
00:25:47,400 --> 00:25:49,800
Speaker 1: Conrad Hall, in an interview, talks about that's how they

454
00:25:49,840 --> 00:25:53,720
Speaker 1: got this shot of the baby blues that the cigar

455
00:25:53,760 --> 00:25:56,560
Speaker 1: shopping executive mandated. He was like, I just put an

456
00:25:56,640 --> 00:25:59,760
Speaker 1: arc light in front of him and blasted him with it.

457
00:26:00,080 --> 00:26:03,679
Speaker 1: So good job, Warner Brothers. You gave Paul Newman lasting

458
00:26:03,720 --> 00:26:08,720
Speaker 1: I damage. Is that new documentary that Ethan Hawk did

459
00:26:08,720 --> 00:26:11,680
Speaker 1: on him? Any good? Last movie Star? Is it good?

460
00:26:11,880 --> 00:26:14,160
Speaker 1: I've heard it's good. I'd bear no quarrel at Ethan

461
00:26:14,200 --> 00:26:20,600
Speaker 1: Hawk starring in the aforementioned gatica UH. Paul Newman's brother Arthur,

462
00:26:20,640 --> 00:26:23,480
Speaker 1: was hired as the unit production manager, and despite maybe

463
00:26:23,480 --> 00:26:26,359
Speaker 1: being a bit of a nepotism higher, he actually admirably

464
00:26:26,400 --> 00:26:29,360
Speaker 1: really busted his ass making this. They visited the Tavares

465
00:26:29,440 --> 00:26:32,480
Speaker 1: Camp in Florida, shot a bunch of pictures as references,

466
00:26:32,600 --> 00:26:36,240
Speaker 1: and then subsequently constructed a dozen buildings for the set

467
00:26:36,240 --> 00:26:39,720
Speaker 1: of this movie, which was filmed in Stockton, California, including

468
00:26:39,720 --> 00:26:43,720
Speaker 1: a barracks, mess, hall, warden's quarters, guard shack dog kennels,

469
00:26:44,000 --> 00:26:47,920
Speaker 1: and then they brought in Spanish moss from Louisiana to

470
00:26:48,240 --> 00:26:50,399
Speaker 1: UH to dress all of this stuff in, and the

471
00:26:50,400 --> 00:26:53,960
Speaker 1: effect was so convincing that a San Joaquin County building

472
00:26:53,960 --> 00:26:58,119
Speaker 1: inspector drove past the set thought it was a migrant

473
00:26:58,119 --> 00:27:01,879
Speaker 1: workers complex and subs squently posted a bunch of condemned

474
00:27:01,960 --> 00:27:04,800
Speaker 1: notices all over it for not being up to code.

475
00:27:06,119 --> 00:27:08,040
Speaker 1: The opening scene of Luke cutting the tops off the

476
00:27:08,040 --> 00:27:12,280
Speaker 1: parking meters was filmed in Lodi, California. Or load lowde

477
00:27:12,640 --> 00:27:14,760
Speaker 1: I have no idea. I assume it's loady, but in

478
00:27:15,000 --> 00:27:18,520
Speaker 1: um the credence clear Water rival song of the same name,

479
00:27:18,600 --> 00:27:21,560
Speaker 1: he says doesn't he say, stuck in lowd eye again,

480
00:27:23,320 --> 00:27:29,800
Speaker 1: stuck in lorda again. I'm keeping all this just because

481
00:27:29,840 --> 00:27:34,120
Speaker 1: I want to hear you do your poet impression. Well,

482
00:27:37,320 --> 00:27:41,320
Speaker 1: it's just a bunch of dudes going, is that out

483
00:27:41,320 --> 00:27:43,840
Speaker 1: of their nose? For forty forty minutes at the clip

484
00:27:44,080 --> 00:27:47,040
Speaker 1: I had, I actually had worked on them, the drag

485
00:27:47,119 --> 00:27:50,960
Speaker 1: line where you goes, Oh Lord, whatever I done, don't

486
00:27:50,480 --> 00:27:55,439
Speaker 1: distract for another couple a few minutes. Oh man, I

487
00:27:55,520 --> 00:27:57,399
Speaker 1: love George Kennedy. I love that. We'll get it to

488
00:27:57,520 --> 00:28:00,800
Speaker 1: him in a second. Um the city to get sweet time,

489
00:28:00,840 --> 00:28:03,480
Speaker 1: replacing those meters. Apparently, for a few years after the

490
00:28:03,480 --> 00:28:05,560
Speaker 1: filming was wrapped, you could go there and just see

491
00:28:05,600 --> 00:28:10,040
Speaker 1: this block long row of headless parking meters. I hope

492
00:28:10,080 --> 00:28:13,280
Speaker 1: they put a plaque in. It was like like the

493
00:28:13,400 --> 00:28:19,320
Speaker 1: Rocky Steps in Philly. Um that has changed from the novel.

494
00:28:19,760 --> 00:28:22,399
Speaker 1: In the novel, Luke purposely crashed his car into a

495
00:28:22,440 --> 00:28:25,600
Speaker 1: diner to steal money, which might have been Donald Pierce's

496
00:28:25,600 --> 00:28:30,880
Speaker 1: second choice of his real life caper. I mean, Rosenberg said,

497
00:28:30,880 --> 00:28:33,359
Speaker 1: I thought an awful lot of businessmen wouldn't find that

498
00:28:33,560 --> 00:28:36,960
Speaker 1: very heroic, and so he changed it for the film. Yeah,

499
00:28:37,040 --> 00:28:38,640
Speaker 1: Luke says in the movie that they cut the heads

500
00:28:38,680 --> 00:28:41,440
Speaker 1: off parking meters because he was settling an old score,

501
00:28:42,000 --> 00:28:44,520
Speaker 1: and the idea was that this crime would endear him

502
00:28:44,520 --> 00:28:47,920
Speaker 1: to the audience because nobody likes parking meters and probably

503
00:28:47,960 --> 00:28:49,760
Speaker 1: wish they had the guts that do the same thing.

504
00:28:50,240 --> 00:28:52,320
Speaker 1: And it also endeared him to the gang in the

505
00:28:52,360 --> 00:28:56,680
Speaker 1: prison camp, who were weirdly impressed by the randomness and

506
00:28:56,720 --> 00:29:00,280
Speaker 1: even pointlessness of this crime, which I like, I mean,

507
00:29:00,280 --> 00:29:02,560
Speaker 1: there's just so much This movie is also a really

508
00:29:02,640 --> 00:29:06,200
Speaker 1: great example of like the Iceberg rule. You know, there's

509
00:29:06,280 --> 00:29:09,920
Speaker 1: so much of it that's just hinted at, and like

510
00:29:10,040 --> 00:29:11,960
Speaker 1: the iceberg being like you only see ten percent of

511
00:29:11,960 --> 00:29:14,880
Speaker 1: the iceberg, and so you know, if you're in writing,

512
00:29:14,920 --> 00:29:16,920
Speaker 1: it's the idea of, like you just kind of hinted

513
00:29:16,960 --> 00:29:18,400
Speaker 1: stuff and you can leave a lot on set and

514
00:29:18,440 --> 00:29:21,240
Speaker 1: open to interpretation. I mean, it's just it's mentioned that

515
00:29:21,240 --> 00:29:23,040
Speaker 1: he's a war hero and he has all of these

516
00:29:23,080 --> 00:29:25,840
Speaker 1: medals and stuff. But what is settling an old score

517
00:29:25,880 --> 00:29:29,360
Speaker 1: against parking meters mean? Is that you know, he got

518
00:29:29,360 --> 00:29:31,680
Speaker 1: a lot of tickets once or you just mean generally

519
00:29:31,720 --> 00:29:36,240
Speaker 1: against like the machinery of bureaucracy. And city hall and stuff.

520
00:29:36,280 --> 00:29:39,560
Speaker 1: It's also you know this movie opens, it doesn't even

521
00:29:39,560 --> 00:29:42,160
Speaker 1: open with Paul Newman. It opens with the giant word

522
00:29:42,360 --> 00:29:47,200
Speaker 1: violation on the parking meter, which is just again on

523
00:29:47,240 --> 00:29:50,080
Speaker 1: the nose but very efficient. Well, then the end of

524
00:29:50,080 --> 00:29:52,520
Speaker 1: the movie, when he's dead in the back of the car,

525
00:29:52,880 --> 00:29:55,720
Speaker 1: you can see the red light from the stop light

526
00:29:55,880 --> 00:29:58,400
Speaker 1: up ahead, and then it turns the grain and the

527
00:29:58,440 --> 00:30:01,840
Speaker 1: movie opens with the red mean agreen to read, I

528
00:30:01,840 --> 00:30:06,560
Speaker 1: should say, yeah, picked up on that. That's so good.

529
00:30:06,720 --> 00:30:08,960
Speaker 1: Supposed to be just like symbolic of like, you know,

530
00:30:09,200 --> 00:30:15,640
Speaker 1: being told what to do, essentially great filmmaking. We're going

531
00:30:15,680 --> 00:30:17,840
Speaker 1: to take a quick break, but we'll be right back

532
00:30:17,880 --> 00:30:31,600
Speaker 1: with more too much information in just a moment. George Kennedy,

533
00:30:31,600 --> 00:30:33,800
Speaker 1: who as I mentioned earlier, won an Oscar for his

534
00:30:33,920 --> 00:30:38,040
Speaker 1: role as Dragline, lauded the productions worth in this memoir.

535
00:30:38,240 --> 00:30:41,400
Speaker 1: Trust Me. The original in Florida, he said, was old,

536
00:30:41,520 --> 00:30:45,320
Speaker 1: the sideboards warped, the beams aged, it was all duplicated,

537
00:30:45,440 --> 00:30:49,400
Speaker 1: exactly started to the prison camp. Yes, he was talking

538
00:30:49,440 --> 00:30:55,160
Speaker 1: about Dennis Hopper. If you didn't know otherwise, you would

539
00:30:55,160 --> 00:30:57,440
Speaker 1: have bet hard cash it had been there fifty years

540
00:30:57,520 --> 00:31:00,360
Speaker 1: or more. All that said, though some of the movie

541
00:31:00,360 --> 00:31:02,440
Speaker 1: was shot in Florida. The scene in which Luke is

542
00:31:02,520 --> 00:31:04,760
Speaker 1: chased by bloodhounds and some of the other exteriors were

543
00:31:04,800 --> 00:31:08,400
Speaker 1: shot at Callahan Road Prison near Jacksonville, according to the

544
00:31:08,440 --> 00:31:12,240
Speaker 1: Florida Department of Corrections website. Um, it was a stunt

545
00:31:12,280 --> 00:31:15,240
Speaker 1: man playing Luke, but those were real Department of Corrections

546
00:31:15,320 --> 00:31:21,280
Speaker 1: dogs chasing after him. Can I can imagine getting that call? God,

547
00:31:21,320 --> 00:31:23,440
Speaker 1: what's it? Was it? Call? She'd say, Oh, I'm being

548
00:31:23,520 --> 00:31:27,480
Speaker 1: chased by Florida d O C. Dogs. The film is

549
00:31:27,520 --> 00:31:30,800
Speaker 1: famous for its ensemble casts, which includes Dennis Hopper, Harry

550
00:31:30,800 --> 00:31:34,240
Speaker 1: Dean Stanton, and as you mentioned, Trapper John Oh yeah, Whyene,

551
00:31:34,400 --> 00:31:38,240
Speaker 1: Wayne Roberts. Their camaraderie really comes across and it was

552
00:31:38,480 --> 00:31:41,560
Speaker 1: hard one and real. Uh. They all stayed in the

553
00:31:41,600 --> 00:31:44,360
Speaker 1: local holiday in together. They rode to the set each

554
00:31:44,440 --> 00:31:46,560
Speaker 1: day in the backs of the trucks that were used

555
00:31:46,600 --> 00:31:49,280
Speaker 1: on the film. I rather, they would play poker games

556
00:31:49,280 --> 00:31:52,280
Speaker 1: on the set and screw around, and this would occasionally

557
00:31:52,320 --> 00:31:55,280
Speaker 1: disrupt filming, but the director let it go because he

558
00:31:55,360 --> 00:31:58,640
Speaker 1: wanted that sense of camaraderie and rebellion to come through

559
00:31:58,640 --> 00:32:00,840
Speaker 1: in the movie. I put us later on, but now's

560
00:32:00,840 --> 00:32:03,040
Speaker 1: a good time to mention it. They also banned wives

561
00:32:03,040 --> 00:32:05,360
Speaker 1: and girlfriends from the set because they wanted them to

562
00:32:05,400 --> 00:32:12,320
Speaker 1: all be convincingly man musk drenched, sexually frustrated maladroids. At

563
00:32:12,400 --> 00:32:14,280
Speaker 1: least one store I was not able to verify this,

564
00:32:14,320 --> 00:32:16,960
Speaker 1: but at least one source claims that they actually tarred

565
00:32:17,040 --> 00:32:20,000
Speaker 1: a stretch of highway in Stockton for it. Can we

566
00:32:20,040 --> 00:32:22,680
Speaker 1: get I heard to adopt that section of the highway

567
00:32:22,920 --> 00:32:27,120
Speaker 1: George Kennedy Memorial cool Hand Loop Driveway, all all hyphenated

568
00:32:27,520 --> 00:32:30,920
Speaker 1: like the side is like for long, the failure to

569
00:32:30,920 --> 00:32:38,560
Speaker 1: communicate Strother Martin Memorial Highway, Newman's own Blacktop. Ah, that's good.

570
00:32:39,120 --> 00:32:41,880
Speaker 1: That should be the next thing they experiment. They push

571
00:32:41,960 --> 00:32:47,600
Speaker 1: into Newman's own road. Tar Rosenberry actually had the ball

572
00:32:47,600 --> 00:32:50,520
Speaker 1: practice with machetes and shovels in the studio backyard for

573
00:32:50,520 --> 00:32:52,400
Speaker 1: the labor scenes because he thought some of them were

574
00:32:52,480 --> 00:32:58,880
Speaker 1: not convincingly convict like and their motions. Um Jack Lemon

575
00:32:58,920 --> 00:33:01,160
Speaker 1: was initially considered for the role of Luke because it

576
00:33:01,200 --> 00:33:04,840
Speaker 1: was his production company. That would have been terrible. Uh yeah,

577
00:33:05,040 --> 00:33:08,000
Speaker 1: took himself out of consideration. Good move, Jack. They also

578
00:33:08,080 --> 00:33:12,480
Speaker 1: considered Telly Savalis ko Jack. Telly was in the UK

579
00:33:12,640 --> 00:33:15,480
Speaker 1: filming The Dirty Dozen with George Kennedy, but apparently Telly

580
00:33:15,480 --> 00:33:18,720
Speaker 1: Savalis was afraid to fly and they did not want

581
00:33:18,720 --> 00:33:21,040
Speaker 1: to delay production enough for him to get back into

582
00:33:21,080 --> 00:33:23,800
Speaker 1: the States by boat. George Kennedy got his ass on

583
00:33:23,840 --> 00:33:30,520
Speaker 1: a plane and that's why he won the Oscar. Did

584
00:33:30,560 --> 00:33:32,920
Speaker 1: you ever hear that that Skinnered song of this the

585
00:33:32,960 --> 00:33:35,400
Speaker 1: bit about there's a drive by trucker and song called

586
00:33:35,440 --> 00:33:39,400
Speaker 1: get your ass on the plane? It is supposedly, I

587
00:33:39,440 --> 00:33:42,920
Speaker 1: think what the Leonard Skinner Road manager says said to them,

588
00:33:43,360 --> 00:33:45,160
Speaker 1: said to one of them, who I haven't heard this,

589
00:33:45,600 --> 00:33:48,920
Speaker 1: I did a whole thing on the Leonard Skinner plane crash.

590
00:33:49,960 --> 00:33:52,440
Speaker 1: I guess it would have been the fortie anniversary. I

591
00:33:52,520 --> 00:33:54,640
Speaker 1: forget who it was, but one of the survivors of

592
00:33:54,640 --> 00:33:58,640
Speaker 1: the wreck, Artemis Kyle, like, oh yeah right, dragged himself

593
00:33:58,680 --> 00:34:03,280
Speaker 1: through the evert Clay shot shot at because he I

594
00:34:03,280 --> 00:34:05,080
Speaker 1: mean to be fair, that must have looked like something

595
00:34:05,120 --> 00:34:07,680
Speaker 1: I have Texas chainsaw massacre. This dude in like long

596
00:34:07,760 --> 00:34:11,840
Speaker 1: stringy hair, covered in blood, like emerging from the swamp.

597
00:34:13,200 --> 00:34:15,399
Speaker 1: How what is this? Is this from? Maybe I'm making

598
00:34:15,440 --> 00:34:18,920
Speaker 1: this up. That sounds familiar, though someone was like they

599
00:34:18,920 --> 00:34:20,759
Speaker 1: were like I got a bad feeling about this, and

600
00:34:20,960 --> 00:34:23,080
Speaker 1: the tour manager or something was like, get your ass

601
00:34:23,080 --> 00:34:25,600
Speaker 1: on the plane. Okay. Finally got that thing moving on.

602
00:34:25,880 --> 00:34:28,000
Speaker 1: Paul Newman read the book and committed himself to the

603
00:34:28,000 --> 00:34:30,680
Speaker 1: project before there was even a script finalized, saying it

604
00:34:30,719 --> 00:34:33,239
Speaker 1: would have worked no matter how many mistakes were made.

605
00:34:33,840 --> 00:34:37,759
Speaker 1: Great Line Luke was from West Virginia, so Newman contacted

606
00:34:37,880 --> 00:34:42,719
Speaker 1: Peace Corps founder Sergeant Shriver, who he knew through his

607
00:34:42,760 --> 00:34:46,200
Speaker 1: activism with the Democratic Party, to find him a guide

608
00:34:46,200 --> 00:34:49,120
Speaker 1: through West Virginia to pick up on the accent and mannerisms.

609
00:34:49,440 --> 00:34:52,040
Speaker 1: Shriver got Newman in touch with the businessman in Huntington,

610
00:34:52,120 --> 00:34:55,920
Speaker 1: West Virginia named Andy Kuvorus. But guide or no guide,

611
00:34:55,920 --> 00:35:00,480
Speaker 1: Paul Newman was recognized basically everywhere he went, obviously, except

612
00:35:00,560 --> 00:35:04,080
Speaker 1: at a Catholic school, where Anne shook his hand and said,

613
00:35:04,560 --> 00:35:06,600
Speaker 1: nice to meet you, Mr Newman. What do you do

614
00:35:06,680 --> 00:35:11,280
Speaker 1: for a living? That is that is a charming story,

615
00:35:11,360 --> 00:35:14,560
Speaker 1: But I don't actually really remember being especially blown away

616
00:35:14,560 --> 00:35:17,719
Speaker 1: by his accent and this. No, it's not like method level,

617
00:35:17,760 --> 00:35:19,759
Speaker 1: it's just kind of general. Do you we see that

618
00:35:19,840 --> 00:35:22,360
Speaker 1: David Cross bit where he's like, uh, talks about the

619
00:35:22,360 --> 00:35:26,120
Speaker 1: redneck accent that's common everywhere in the world or everywhere

620
00:35:26,160 --> 00:35:28,920
Speaker 1: in the States. No man, I'm from Butte, Montana. No man,

621
00:35:28,960 --> 00:35:32,359
Speaker 1: I'm from Corpus Christy, Texas. No man, I'm from hunting

622
00:35:32,400 --> 00:35:36,680
Speaker 1: West Virginia. It's just like just a common accent. Any Anyway.

623
00:35:36,960 --> 00:35:39,239
Speaker 1: One cast member who didn't have a good time on

624
00:35:39,280 --> 00:35:42,520
Speaker 1: the set of this or agree with Newman's casting was

625
00:35:42,600 --> 00:35:46,120
Speaker 1: Don Pierce, who is credited as the film's technical advisor.

626
00:35:46,200 --> 00:35:47,839
Speaker 1: Hasn't a bit part in it, is one of the

627
00:35:48,120 --> 00:35:50,799
Speaker 1: one of the men he at least worked in like

628
00:35:50,840 --> 00:35:55,040
Speaker 1: the author of the book to try and yeah, yeah,

629
00:35:55,280 --> 00:35:59,279
Speaker 1: he's sort of bit. Yeah he really did. Uh. He

630
00:35:59,320 --> 00:36:01,200
Speaker 1: said he felt of place in Hollywood. Is an ex

631
00:36:01,239 --> 00:36:04,399
Speaker 1: conn he said, felt kind of condescended to and felt

632
00:36:04,400 --> 00:36:06,560
Speaker 1: like an old man out. And he got in a

633
00:36:06,640 --> 00:36:09,960
Speaker 1: fight on the on his last day on set and

634
00:36:10,120 --> 00:36:12,759
Speaker 1: punched someone else who I was not able to find

635
00:36:12,760 --> 00:36:16,759
Speaker 1: out who, but he was Subsequently Newman thought that it

636
00:36:16,800 --> 00:36:21,879
Speaker 1: was so hush hush, like maybe they He was subsequently

637
00:36:21,920 --> 00:36:25,359
Speaker 1: disinvited from the film's supremiere. Perhaps yeah, you wouldn't get

638
00:36:25,400 --> 00:36:27,920
Speaker 1: disinvited if you just like, if you hit like Trapper,

639
00:36:28,040 --> 00:36:32,480
Speaker 1: John was Hell, you'd be encouraged if you knocked out Hopper.

640
00:36:34,520 --> 00:36:38,840
Speaker 1: Take a swing on him. Everyone does. Man, I forgot

641
00:36:38,840 --> 00:36:43,200
Speaker 1: about that dude in there with like the horrific scar. Yeah,

642
00:36:43,239 --> 00:36:45,640
Speaker 1: And then there's a great throwaway relying He's like, how

643
00:36:45,640 --> 00:36:51,080
Speaker 1: did you get that scar? And he's like, what scar? Yeah? Uh.

644
00:36:51,320 --> 00:36:55,880
Speaker 1: Pierce consistently derided both the finished film and Newman, saying

645
00:36:56,000 --> 00:36:59,080
Speaker 1: variously that he was too cute and too scrawny to

646
00:36:59,080 --> 00:37:01,920
Speaker 1: play a convincing as in Camp Inmate. He would never

647
00:37:01,960 --> 00:37:04,600
Speaker 1: have lasted in the role, he said, or in the camp.

648
00:37:05,360 --> 00:37:06,840
Speaker 1: I seem to be the only guy in the United

649
00:37:06,880 --> 00:37:10,040
Speaker 1: States who doesn't like the movie. Said they screwed it

650
00:37:10,120 --> 00:37:13,920
Speaker 1: up different ways. And we talked about this doing the

651
00:37:14,000 --> 00:37:16,400
Speaker 1: Never Ending Story episode where we did a sidebar on

652
00:37:16,480 --> 00:37:19,640
Speaker 1: authors who hate the film adaptation of their movie. He's

653
00:37:19,680 --> 00:37:22,160
Speaker 1: quoted as saying, they did a lousy job, and I

654
00:37:22,239 --> 00:37:25,560
Speaker 1: just liked it intensely. Talking to the Telegraph Newman, he

655
00:37:25,560 --> 00:37:29,080
Speaker 1: would have lasted five minutes on the road. We mentioned earlier.

656
00:37:29,120 --> 00:37:32,759
Speaker 1: Pierce got a small part in the movie The Convict sailor. Uh,

657
00:37:32,800 --> 00:37:35,520
Speaker 1: and I guess he tried to like have a conversation

658
00:37:35,560 --> 00:37:37,320
Speaker 1: with Paul Newman on the side, get some kind of

659
00:37:37,400 --> 00:37:40,959
Speaker 1: relationship going. Don Pierce claims that Paul Newman even asked

660
00:37:41,040 --> 00:37:44,560
Speaker 1: him to dinner, but then canceled. This is Pierce talking

661
00:37:44,760 --> 00:37:47,279
Speaker 1: when his pr people realized that he didn't need to

662
00:37:47,320 --> 00:37:49,960
Speaker 1: be seen eating with an x con. I didn't like

663
00:37:50,040 --> 00:37:52,839
Speaker 1: the guy. I didn't like the whole Hollywood crowd. I

664
00:37:52,880 --> 00:37:58,000
Speaker 1: was never made welcome, and so he punched someone. Um

665
00:37:58,160 --> 00:38:01,960
Speaker 1: going off on unnecessary tangent here, boss going often necessary

666
00:38:02,040 --> 00:38:05,799
Speaker 1: tangent there, Joan. Speaking of background parts, did you know

667
00:38:05,840 --> 00:38:09,200
Speaker 1: that Ron Howard's dad, Rance Howard appeared as an an

668
00:38:09,280 --> 00:38:13,040
Speaker 1: uncredited role in this movie as the sheriff. I did not. Yeah,

669
00:38:13,239 --> 00:38:16,840
Speaker 1: he's in there too. Yeah, so we've got us. Actually,

670
00:38:16,840 --> 00:38:20,320
Speaker 1: so I have to say about that. Dennis Hopper invited

671
00:38:20,320 --> 00:38:23,480
Speaker 1: a buddy, this San Francisco avant garde filmmaker Bruce Conner

672
00:38:23,520 --> 00:38:25,960
Speaker 1: to the set one day, who shot footage of the

673
00:38:25,960 --> 00:38:28,680
Speaker 1: actors clearing brush on the roadside and turned it into

674
00:38:28,719 --> 00:38:33,840
Speaker 1: a slow motion, seventeen minute short film called Luke. Because

675
00:38:33,880 --> 00:38:35,160
Speaker 1: this was back in the day when you could be

676
00:38:35,200 --> 00:38:37,839
Speaker 1: an experimental filmmaker, just coasting on that kind of half

677
00:38:37,840 --> 00:38:42,160
Speaker 1: past garbage because everyone was super stoned and on lst. Yeah,

678
00:38:42,239 --> 00:38:44,799
Speaker 1: this is the arrow in any whirlhol made Empire, which

679
00:38:44,840 --> 00:38:47,160
Speaker 1: was just he turned the camera on and pointed it

680
00:38:47,200 --> 00:38:50,120
Speaker 1: at the Empire State Building for eight hours and five minutes.

681
00:38:50,760 --> 00:38:54,319
Speaker 1: Wasn't Hopper involved in the Monkeys the Monkeys thing? Was

682
00:38:54,360 --> 00:38:59,200
Speaker 1: he in head? I know that Nicholson was? What did

683
00:38:59,200 --> 00:39:02,000
Speaker 1: Hopper do? And for the Monkeys movie he's in a

684
00:39:02,080 --> 00:39:06,560
Speaker 1: non speaking part? WHOA I forgot about that? Wow? Yeah,

685
00:39:06,560 --> 00:39:09,080
Speaker 1: because I know Nicholson, I think didn't he co write it?

686
00:39:09,400 --> 00:39:11,520
Speaker 1: Jack Nicholson did, And then he went on to be

687
00:39:11,560 --> 00:39:14,239
Speaker 1: an easy rider because he was involved with Hopper and

688
00:39:14,680 --> 00:39:19,000
Speaker 1: that whole crowd. Yeah, they they just all the monkeys

689
00:39:19,040 --> 00:39:23,399
Speaker 1: and Jack Nicholson brainstormed into a tape recorder to hear

690
00:39:23,480 --> 00:39:26,719
Speaker 1: that tape. God, things were just so much easier back then.

691
00:39:28,480 --> 00:39:30,440
Speaker 1: Betty Davis turned down the roll of Luke's mom, which

692
00:39:30,480 --> 00:39:33,279
Speaker 1: went to Joe van Fleet. It's only ten or eleven

693
00:39:33,360 --> 00:39:35,680
Speaker 1: years older than Newman when this was filmed. Uh, they

694
00:39:35,680 --> 00:39:38,160
Speaker 1: only had a day to shoot that scene together, which

695
00:39:38,200 --> 00:39:43,759
Speaker 1: was eight pages long in the script, which, uh, that's ambitious. Supposedly,

696
00:39:43,880 --> 00:39:47,040
Speaker 1: I think this is in George Kennedy's autobiography. Van Fleet

697
00:39:47,120 --> 00:39:50,960
Speaker 1: arrived and she sat on a tree stump two yards

698
00:39:51,000 --> 00:39:53,799
Speaker 1: from everyone else, pouring over the script and going up

699
00:39:53,840 --> 00:39:56,040
Speaker 1: for her lines. And then she asked Harry Dean Stanton

700
00:39:56,120 --> 00:39:58,920
Speaker 1: to sing to her before her take, which moved her

701
00:39:58,960 --> 00:40:02,239
Speaker 1: to tears. Harry Dean stand does his own playing and

702
00:40:02,280 --> 00:40:04,400
Speaker 1: singing in that movie, and he got to keep the

703
00:40:04,440 --> 00:40:06,919
Speaker 1: guitar that he played in the film, which I love.

704
00:40:08,239 --> 00:40:11,280
Speaker 1: On set, legend has it that Morgan Woodward, the Western

705
00:40:11,360 --> 00:40:13,440
Speaker 1: star who plays the man with no eyes, the guy

706
00:40:13,480 --> 00:40:17,400
Speaker 1: in the aviator shades, kept the sunglasses on whenever he

707
00:40:17,480 --> 00:40:20,560
Speaker 1: was on set and didn't speak to anyone. Just I've

708
00:40:20,560 --> 00:40:23,000
Speaker 1: always wondered, is the in um oh, brother ro Art

709
00:40:23,040 --> 00:40:26,279
Speaker 1: thou the guy that Daniel von Vargin plays the guy

710
00:40:26,320 --> 00:40:28,000
Speaker 1: in the sunglasses? He supposed to be a man with

711
00:40:28,000 --> 00:40:35,640
Speaker 1: no eyes. Okay, now we must arrive at the car

712
00:40:35,960 --> 00:40:38,800
Speaker 1: the class. Let's call it a classic, the car washing scene,

713
00:40:39,280 --> 00:40:46,160
Speaker 1: in which a statuesque woman played by Joy Harmon uh

714
00:40:46,640 --> 00:40:52,560
Speaker 1: suggestively washes a Soto within view of the inmates. Harmony

715
00:40:52,600 --> 00:40:54,720
Speaker 1: was twenty seven when her manager got her an audition

716
00:40:54,760 --> 00:40:57,680
Speaker 1: with Rosenberg and Newman, for which she didn't speak a

717
00:40:57,719 --> 00:41:01,440
Speaker 1: line and just stood in front of them in a bikini. Uh.

718
00:41:01,440 --> 00:41:04,399
Speaker 1: Supposedly during this audition, Newman marveled at how blue her

719
00:41:04,440 --> 00:41:07,279
Speaker 1: eyes were, to which I say, smooth of you, Paul.

720
00:41:07,520 --> 00:41:12,439
Speaker 1: What a charmer. She later ran a bakery called aunt

721
00:41:12,520 --> 00:41:16,440
Speaker 1: Joy's Cakes in Burbank, California, which I think is adorable.

722
00:41:16,520 --> 00:41:18,239
Speaker 1: There's a documentary on her life because she had been

723
00:41:18,239 --> 00:41:20,879
Speaker 1: in like these other exploitation films. There's a movie about

724
00:41:20,880 --> 00:41:23,120
Speaker 1: her life called or a short about her life called

725
00:41:23,160 --> 00:41:27,680
Speaker 1: From Cheesecake to Cheesecakes. That's so good. I guess. In

726
00:41:27,719 --> 00:41:29,719
Speaker 1: the early sixties, she was on a show with grouchaw

727
00:41:29,760 --> 00:41:32,719
Speaker 1: Marks and she got into this habit of baking things

728
00:41:32,800 --> 00:41:34,960
Speaker 1: the night before and bringing it onto the set and

729
00:41:34,960 --> 00:41:37,880
Speaker 1: Groucha loved it. She just make these desserts for the

730
00:41:37,920 --> 00:41:41,319
Speaker 1: cast and crew, and that's how she developed her her

731
00:41:41,360 --> 00:41:43,719
Speaker 1: baking abilities. I love that. It's like it's like the

732
00:41:43,760 --> 00:41:46,200
Speaker 1: porn star read the bit part in Cruel Intentions. She

733
00:41:46,280 --> 00:41:48,839
Speaker 1: came in with copies of her DVDs to give out

734
00:41:48,840 --> 00:41:51,759
Speaker 1: to the grips and stuff. I just think that's great. Yeah.

735
00:41:51,800 --> 00:41:55,839
Speaker 1: She told Entertainment Weekly that she uh didn't get it.

736
00:41:56,960 --> 00:41:59,520
Speaker 1: She said, I was just washing a car to my

737
00:41:59,560 --> 00:42:02,680
Speaker 1: best ability and having fun with it with the sponge

738
00:42:02,680 --> 00:42:05,160
Speaker 1: in everything. I was not aware that there were two

739
00:42:05,200 --> 00:42:08,320
Speaker 1: meanings to things that I was doing, and I'm still

740
00:42:08,400 --> 00:42:10,799
Speaker 1: not really that much aware of what they all were,

741
00:42:11,320 --> 00:42:17,759
Speaker 1: to which I say, boffo, I guess, I guess I

742
00:42:17,800 --> 00:42:21,439
Speaker 1: don't even know how to use that word. No, that's

743
00:42:21,440 --> 00:42:25,200
Speaker 1: not true. I mean Rosenberg, like he actually choreographed. She

744
00:42:25,280 --> 00:42:28,160
Speaker 1: might not been aware, but but Rosenberg choreographed that scene.

745
00:42:28,200 --> 00:42:31,360
Speaker 1: He's talked about being like okay, like drink from the hose,

746
00:42:31,480 --> 00:42:33,239
Speaker 1: and now we're gonna do this. Now we're gonna do that.

747
00:42:33,400 --> 00:42:36,000
Speaker 1: So I mean God lover her. She was nervous when

748
00:42:36,000 --> 00:42:38,040
Speaker 1: she arrived in Stockton to shoot the scene, and, as

749
00:42:38,160 --> 00:42:40,719
Speaker 1: was the fashion at the time, producers suggested that she

750
00:42:40,800 --> 00:42:43,719
Speaker 1: smoked some pot to calm down. She said, as to

751
00:42:43,800 --> 00:42:45,960
Speaker 1: Entertainment Weekly, I was so upset. I called my dad

752
00:42:46,000 --> 00:42:47,920
Speaker 1: and he said, you just come on home, don't do

753
00:42:47,960 --> 00:42:50,600
Speaker 1: the movie. I told Mr Rosenberg I was going home,

754
00:42:50,680 --> 00:42:52,600
Speaker 1: and then they came to the room and he brought

755
00:42:52,600 --> 00:42:55,200
Speaker 1: me flowers and chocolate. He said, don't worry about it.

756
00:42:55,280 --> 00:42:57,759
Speaker 1: We're not doing marijuana. You don't need it. And it

757
00:42:57,880 --> 00:43:03,360
Speaker 1: worked out fine. We're not doing marijuana. There's another co

758
00:43:03,560 --> 00:43:05,560
Speaker 1: from her that makes me a little sad, though. She says,

759
00:43:05,719 --> 00:43:08,400
Speaker 1: I just figured I was washing the car. I've always

760
00:43:08,400 --> 00:43:11,200
Speaker 1: been naive and innocent. I was acting and not trying

761
00:43:11,239 --> 00:43:14,480
Speaker 1: to be sexy. Maybe that's why the scene played so well.

762
00:43:14,719 --> 00:43:17,680
Speaker 1: After seeing it at the premiere, I was a bit embarrassed.

763
00:43:17,800 --> 00:43:21,880
Speaker 1: Oh I like that. Um. I'd also very much like

764
00:43:21,960 --> 00:43:24,240
Speaker 1: to add, speaking of The Monkeys, that she was also

765
00:43:24,280 --> 00:43:26,520
Speaker 1: in two episodes of The Monkeys that same year. She

766
00:43:26,560 --> 00:43:30,400
Speaker 1: made Cool Hand Luke in nine seven. Oh h. We

767
00:43:30,480 --> 00:43:32,759
Speaker 1: mentioned earlier the Rosenberry could barred the cast wives and

768
00:43:32,800 --> 00:43:35,120
Speaker 1: girlfriends from the set to get them in the proper mindset,

769
00:43:35,480 --> 00:43:37,799
Speaker 1: and Harmon was actually staying in a different hotel and

770
00:43:37,840 --> 00:43:39,719
Speaker 1: her name was even kept off the call sheet for

771
00:43:39,719 --> 00:43:42,359
Speaker 1: the day, so they were really like appropriately bowled over

772
00:43:42,440 --> 00:43:46,880
Speaker 1: by her presence. Um. There is a really funny interview

773
00:43:46,880 --> 00:43:52,319
Speaker 1: with George Kennedy where he describes her as round the

774
00:43:52,440 --> 00:43:55,239
Speaker 1: roundest girl. I think I've goil. I can't do his

775
00:43:55,360 --> 00:43:58,239
Speaker 1: full day. Round the Roundest girl I think I've ever

776
00:43:58,280 --> 00:44:02,160
Speaker 1: seen in my life. He says, somewhere in Warner Brothers

777
00:44:02,239 --> 00:44:04,520
Speaker 1: is about forty million feet of film of a girl

778
00:44:04,560 --> 00:44:08,759
Speaker 1: washing a car that never appeared anywhere. But despite them

779
00:44:08,800 --> 00:44:11,480
Speaker 1: being bowled over by her, they are not actually reacting

780
00:44:11,520 --> 00:44:13,440
Speaker 1: those shots, and the films are not actually reacting to

781
00:44:13,520 --> 00:44:16,239
Speaker 1: that happen in real time. They filmed her part not

782
00:44:16,280 --> 00:44:19,239
Speaker 1: on a closed set, but apart from them, and then

783
00:44:19,280 --> 00:44:25,640
Speaker 1: for the reverse shots, Um, they were tasked with reacting to. Uh.

784
00:44:25,760 --> 00:44:29,080
Speaker 1: I guess Rosenberg brought on like a teenage cheerleader. But

785
00:44:29,120 --> 00:44:31,399
Speaker 1: it was freezing the day that they shot all those

786
00:44:31,440 --> 00:44:34,120
Speaker 1: reverse shots, so she was in a full length overcoat.

787
00:44:35,320 --> 00:44:38,480
Speaker 1: So all the guys who are like falling over themselves

788
00:44:38,520 --> 00:44:41,120
Speaker 1: with lust reacting to that scene are looking at a

789
00:44:41,160 --> 00:44:47,479
Speaker 1: teenager in a full overcoat off in the distance. Um. Yeah,

790
00:44:47,560 --> 00:44:51,239
Speaker 1: George Kennedy said, it took a lot of imagination. I

791
00:44:51,320 --> 00:44:53,680
Speaker 1: love him so much. I love Naked Gun. He's great

792
00:44:53,760 --> 00:44:56,440
Speaker 1: Naked Gun. I also love His last film role is

793
00:44:56,440 --> 00:44:59,360
Speaker 1: in the um for Completest Horror Dorks among You. I

794
00:44:59,360 --> 00:45:03,200
Speaker 1: believe he's in Creep Show too. Uh. In his autobiography,

795
00:45:03,239 --> 00:45:05,440
Speaker 1: he reveals that the actor Aldo Ray was also up

796
00:45:05,440 --> 00:45:07,239
Speaker 1: for the role of drag Line. No idea who that is.

797
00:45:09,120 --> 00:45:12,400
Speaker 1: After Kennedy audition with Rosenberg, he muttered something about wishing

798
00:45:12,400 --> 00:45:15,479
Speaker 1: that he had more time to prepare, uh, to which

799
00:45:15,480 --> 00:45:17,480
Speaker 1: the director said, You're gonna have all the time you

800
00:45:17,560 --> 00:45:22,440
Speaker 1: need because he got the role. Adorable. Yeah, And the director,

801
00:45:22,480 --> 00:45:24,759
Speaker 1: Stuart Rosenberg said, but I was looking for was a

802
00:45:24,800 --> 00:45:27,480
Speaker 1: big lovable bear because he had to be big enough

803
00:45:27,520 --> 00:45:30,520
Speaker 1: to boss the likes of Newman. Well, no one seems

804
00:45:30,520 --> 00:45:32,640
Speaker 1: like kind of a small guy though he's built like

805
00:45:32,680 --> 00:45:36,520
Speaker 1: a pretty much. How did that dude drink a case

806
00:45:36,560 --> 00:45:39,279
Speaker 1: of beard dinner and to have those abs? Uh. They

807
00:45:39,320 --> 00:45:41,879
Speaker 1: took three days to film that fight scene, partially because

808
00:45:41,920 --> 00:45:44,719
Speaker 1: it was filmed in the blinding, scorching sun and I

809
00:45:44,719 --> 00:45:46,479
Speaker 1: don't think they could really tell what they were doing,

810
00:45:46,840 --> 00:45:49,440
Speaker 1: and partially because Newman needed that much time to recover

811
00:45:49,600 --> 00:45:53,839
Speaker 1: from constantly flinging himself onto the ground. This Chevy Chase

812
00:45:53,880 --> 00:45:56,000
Speaker 1: would learn doing all those praft falls on SNL, he

813
00:45:56,080 --> 00:45:59,640
Speaker 1: screwed up his back. That's something cool about the cinematography

814
00:45:59,640 --> 00:46:03,920
Speaker 1: of this moment, especially about the boxing scene. Specifically, A cinematographer,

815
00:46:03,920 --> 00:46:08,080
Speaker 1: Conrad Hall would frequently shoot straight into the sun in

816
00:46:08,200 --> 00:46:10,719
Speaker 1: order to show the heat taking its toll on the

817
00:46:10,719 --> 00:46:14,680
Speaker 1: sand gang by getting the sun flares that pan of vision. Baby.

818
00:46:14,800 --> 00:46:16,919
Speaker 1: I love the look of all of this stuff, man,

819
00:46:17,120 --> 00:46:19,640
Speaker 1: I mean just that it's like my favorite I love

820
00:46:19,680 --> 00:46:22,200
Speaker 1: this and like the spaghetti western stuff, but just those

821
00:46:22,320 --> 00:46:26,719
Speaker 1: big wide shot things. Man. Uh, let me get your

822
00:46:26,719 --> 00:46:28,880
Speaker 1: read on the famous climax the film What do you

823
00:46:29,239 --> 00:46:31,080
Speaker 1: what do you? What do you well? No, let me

824
00:46:31,160 --> 00:46:33,200
Speaker 1: let me alright, shut the cup for a second, Jordan,

825
00:46:33,239 --> 00:46:36,600
Speaker 1: you've been talking to you that much. There's a famous

826
00:46:36,600 --> 00:46:39,440
Speaker 1: scene in the Church, the film's climax in which spoilers

827
00:46:39,800 --> 00:46:42,520
Speaker 1: drag Line comes to an escaped Luke in the church,

828
00:46:43,040 --> 00:46:45,560
Speaker 1: which I've never really understood the timeline of that, because

829
00:46:45,560 --> 00:46:48,399
Speaker 1: he's like, okay, Luke, let's split up, and then five

830
00:46:48,480 --> 00:46:51,239
Speaker 1: minutes later he runs into the church, but I guess

831
00:46:51,239 --> 00:46:55,000
Speaker 1: he was caught. Immediately afterwards, he tries to convince Luke

832
00:46:55,080 --> 00:46:57,640
Speaker 1: to give himself up back to the prison guards, saying

833
00:46:57,680 --> 00:46:59,880
Speaker 1: that you know they'll take it easy on us, and

834
00:47:00,040 --> 00:47:05,560
Speaker 1: considering this film is remarkably unsubtle about the Luke being Jesus.

835
00:47:05,800 --> 00:47:09,719
Speaker 1: Thing that would make drag Line in this moment Judas,

836
00:47:10,320 --> 00:47:14,560
Speaker 1: although Kennedy and Newman apparently disagreed about that. Talking to

837
00:47:14,719 --> 00:47:18,160
Speaker 1: Roger Ebert nine, George Kennedy said, on one hand, you

838
00:47:18,160 --> 00:47:21,160
Speaker 1: get the Judas theory, which is Paul Newman's theory. On

839
00:47:21,200 --> 00:47:23,959
Speaker 1: the other hand, you get the stupid idiot theory, which

840
00:47:24,080 --> 00:47:28,520
Speaker 1: is mine. God love him. According to Paul, drag Line

841
00:47:28,520 --> 00:47:30,560
Speaker 1: figured the end was in sight and maybe it would

842
00:47:30,560 --> 00:47:33,080
Speaker 1: help if he betrayed Luke. I don't agree with that.

843
00:47:33,360 --> 00:47:36,480
Speaker 1: I think drag Line was sincere but stupid. He thought

844
00:47:36,520 --> 00:47:39,080
Speaker 1: he was helping Luke. He was an unwitting Judas. I

845
00:47:39,120 --> 00:47:41,960
Speaker 1: guess anyway, Luke really had no place to escape too.

846
00:47:42,120 --> 00:47:45,840
Speaker 1: It was all over anyway. I go with George Kennedy's

847
00:47:45,840 --> 00:47:47,680
Speaker 1: explanation that he really thought that they were going to

848
00:47:47,760 --> 00:47:51,520
Speaker 1: go easy on him. Yeah, just a big so God's

849
00:47:51,560 --> 00:47:57,120
Speaker 1: perfect idiot. Should we to sum up for the folks

850
00:47:57,120 --> 00:47:58,840
Speaker 1: that maybe even seen this movie in a while? Like

851
00:47:58,880 --> 00:48:01,200
Speaker 1: how we got to this point? Luke makes a break

852
00:48:01,200 --> 00:48:05,120
Speaker 1: for it with drag Line. Basically, this is what I

853
00:48:05,200 --> 00:48:09,160
Speaker 1: love about this performance. Man. It's like the second time

854
00:48:09,160 --> 00:48:12,200
Speaker 1: he's escaped. The last time Luke escapes, he does so

855
00:48:12,320 --> 00:48:15,120
Speaker 1: by commentary a truck. He just hops in the He's

856
00:48:15,280 --> 00:48:17,200
Speaker 1: he plays this whole thing where he's been extremely like

857
00:48:17,280 --> 00:48:19,480
Speaker 1: beaten down and his spirit has been broken. And then

858
00:48:19,520 --> 00:48:21,919
Speaker 1: he drives off one of the trucks and drag line

859
00:48:22,000 --> 00:48:25,040
Speaker 1: jumps in the passenger seat, and he later says like

860
00:48:25,800 --> 00:48:28,200
Speaker 1: I just got so carried away seeing you escaped, Like

861
00:48:28,239 --> 00:48:29,880
Speaker 1: I only had a couple of years left on my

862
00:48:29,960 --> 00:48:33,880
Speaker 1: sentence and now I'm going to be, you know, boned, basically,

863
00:48:33,920 --> 00:48:36,759
Speaker 1: And he plays that regret so well that it's like

864
00:48:36,920 --> 00:48:40,719
Speaker 1: dawning on him, like I really shouldn't have I've made

865
00:48:40,719 --> 00:48:45,959
Speaker 1: a huge mistake, you know. Yeah, great performance, Like I said,

866
00:48:45,960 --> 00:48:48,239
Speaker 1: he one best supporting actor for it. He was so

867
00:48:48,320 --> 00:48:51,000
Speaker 1: worried about the stiff competition he was facing that year

868
00:48:51,040 --> 00:48:54,319
Speaker 1: from John Cassavetti's and Dirty Dozen, Gene Hackman in Body

869
00:48:54,360 --> 00:48:57,919
Speaker 1: and Clyde someone named Cecil Kellaway for guests Who's coming

870
00:48:57,920 --> 00:49:01,680
Speaker 1: to Dinner and Michael J. Paul Aard also And so

871
00:49:01,719 --> 00:49:05,040
Speaker 1: George Kennedy spent five grand on ads in the trades

872
00:49:05,440 --> 00:49:09,040
Speaker 1: to tout his performance, and he won and it worked.

873
00:49:09,440 --> 00:49:11,480
Speaker 1: Bet on yourself, he said. His salary. He said it

874
00:49:11,480 --> 00:49:14,040
Speaker 1: was worth it because his salary multiplied by a factor

875
00:49:14,080 --> 00:49:16,920
Speaker 1: of ten after he won the ads Great. It's a

876
00:49:16,960 --> 00:49:20,080
Speaker 1: still from the movie with drag Line carrying Luke over

877
00:49:20,160 --> 00:49:22,840
Speaker 1: his shoulder. I think after the boxing scene and just

878
00:49:22,880 --> 00:49:29,239
Speaker 1: the copy on it was George Kennedy supporting that right. Man,

879
00:49:30,080 --> 00:49:32,640
Speaker 1: he was the oldest living winner of the Best Supporting

880
00:49:32,640 --> 00:49:36,640
Speaker 1: Actor OSCAR at the time a hundred and sixty four.

881
00:49:37,600 --> 00:49:39,600
Speaker 1: Now he's one of those dudes who just like he

882
00:49:39,680 --> 00:49:45,400
Speaker 1: was six and then he was forty. He looks like

883
00:49:45,440 --> 00:49:50,640
Speaker 1: fifty three, I'd say, And but he's he's weathered, you know. Yeah, Man,

884
00:49:50,680 --> 00:49:52,719
Speaker 1: I just love him so much. He's he's he's if

885
00:49:52,760 --> 00:49:55,160
Speaker 1: you just look at those interviews, he's he's all like,

886
00:49:55,360 --> 00:49:57,960
Speaker 1: he's just yeah, he's so sweet, he said. He they

887
00:49:58,000 --> 00:50:02,040
Speaker 1: talked about an interview that he talks about that night,

888
00:50:02,080 --> 00:50:04,200
Speaker 1: and he says, uh, he said it felt like he

889
00:50:04,280 --> 00:50:06,799
Speaker 1: was punched in the stomach because he arrived at the

890
00:50:06,840 --> 00:50:11,160
Speaker 1: Oscars just prepared to applaud somebody else or just exist

891
00:50:11,480 --> 00:50:16,880
Speaker 1: through the evening. Yeah, he apparently didn't even prepare a speech,

892
00:50:17,200 --> 00:50:19,520
Speaker 1: which you know, they all say that. I believe it

893
00:50:19,560 --> 00:50:23,439
Speaker 1: with him. Yeah, when he w tracked George Kennedy down

894
00:50:23,440 --> 00:50:25,800
Speaker 1: for an interview after Paul Newman died in two thousand

895
00:50:25,840 --> 00:50:29,719
Speaker 1: and eight. They found him quote living a quieter existence

896
00:50:29,760 --> 00:50:33,320
Speaker 1: with no reps and no listed phone number, apparently in

897
00:50:33,360 --> 00:50:39,680
Speaker 1: the outskirts of Boise, Idaho. I love that as you

898
00:50:39,719 --> 00:50:42,200
Speaker 1: meditate on that, we'll be right back with more too

899
00:50:42,280 --> 00:50:55,040
Speaker 1: much information. After these messages, we have arrived at the

900
00:50:55,040 --> 00:50:58,839
Speaker 1: Paul Newman Rules portion of the program. George Kennedy has

901
00:50:58,840 --> 00:51:01,360
Speaker 1: nothing but good things to say about him. In his autobiography,

902
00:51:01,400 --> 00:51:05,160
Speaker 1: he wrote that Newman pulled no star power strings, calling

903
00:51:05,239 --> 00:51:08,440
Speaker 1: him a worker b You can't even imagine him being unprepared.

904
00:51:08,800 --> 00:51:11,760
Speaker 1: He said, Newman was no sissy, explaining that the only

905
00:51:11,800 --> 00:51:14,640
Speaker 1: complaint he ever heard him utter while shooting this was

906
00:51:14,680 --> 00:51:17,160
Speaker 1: after a long day of shooting in the box, after

907
00:51:17,160 --> 00:51:19,520
Speaker 1: which he said, I don't know how a man could

908
00:51:19,520 --> 00:51:23,600
Speaker 1: live a whole day in that thing. Understandable torture. It

909
00:51:23,840 --> 00:51:26,440
Speaker 1: was torture. Uh. He would fly back to Hollywood on

910
00:51:26,480 --> 00:51:29,200
Speaker 1: weekends occasionally, but he enjoyed shooting in Stockton and would

911
00:51:29,200 --> 00:51:32,360
Speaker 1: tool around in his car or his motorcycle. Uh. And

912
00:51:32,400 --> 00:51:35,319
Speaker 1: despite being a big star, a huge star at the time.

913
00:51:35,520 --> 00:51:38,160
Speaker 1: Actor Ralph Waite, who played Alibi, said in the two

914
00:51:38,160 --> 00:51:41,280
Speaker 1: thousand eight interview that uh Newman keptler with cold beers

915
00:51:41,280 --> 00:51:43,640
Speaker 1: in the trunk of his car would just pop it

916
00:51:43,680 --> 00:51:47,040
Speaker 1: open and hand out beers to all the crews. Um

917
00:51:47,200 --> 00:51:49,759
Speaker 1: I was not able to find this initial interview. I

918
00:51:49,800 --> 00:51:52,440
Speaker 1: would have to buy it on eBay. I am so upset.

919
00:51:52,800 --> 00:51:57,480
Speaker 1: But apparently in Night he gave an interview to Playboy

920
00:51:57,560 --> 00:52:01,040
Speaker 1: in which he said he perfected his salad on set,

921
00:52:01,480 --> 00:52:04,279
Speaker 1: chopped up hearts of celery, a little olive oil, a

922
00:52:04,280 --> 00:52:07,160
Speaker 1: little cold water, some wine, vinegar, and a lot of

923
00:52:07,200 --> 00:52:13,240
Speaker 1: salt and pepper. It's justifiably famous. Speaking of justifiably famous

924
00:52:13,239 --> 00:52:17,279
Speaker 1: food things, the film's arguably most famous scene is the

925
00:52:17,280 --> 00:52:19,840
Speaker 1: one in which Luke triumphs in a wager as to

926
00:52:19,840 --> 00:52:22,040
Speaker 1: whether or not he can eat fifty eggs in an

927
00:52:22,080 --> 00:52:26,560
Speaker 1: hour without puking. Consequently, Kennedy and Newman were constantly asked

928
00:52:26,600 --> 00:52:29,400
Speaker 1: about it. At one point, Paul Newman told an interviewer,

929
00:52:29,480 --> 00:52:32,239
Speaker 1: I never swallowed an egg, and when the interviewer responded,

930
00:52:32,440 --> 00:52:35,280
Speaker 1: isn't method acting about doing the real thing? He equipped

931
00:52:35,440 --> 00:52:38,400
Speaker 1: not if you have to swallow eggs. Asked about this

932
00:52:38,400 --> 00:52:42,400
Speaker 1: scene in another interview, Newman, unprompted, brought up Henry Fonda

933
00:52:42,880 --> 00:52:45,760
Speaker 1: he said, Now, Henry Fonda, he was the best film

934
00:52:45,800 --> 00:52:48,319
Speaker 1: eater of all time. He would have a garbage can

935
00:52:48,400 --> 00:52:50,759
Speaker 1: next to the table during an eating scene. Then he'd

936
00:52:50,760 --> 00:52:54,040
Speaker 1: pack his cheeks just like a squirrel, never swallowing a bite,

937
00:52:54,120 --> 00:52:57,719
Speaker 1: and used the same food for eight, ten, twenty shots.

938
00:52:57,760 --> 00:52:59,799
Speaker 1: So there you have it, folks. Yeah, it was any

939
00:52:59,760 --> 00:53:02,200
Speaker 1: of the rapes of wrath and a depression era, just

940
00:53:02,239 --> 00:53:06,200
Speaker 1: to say, to waste a mouthful of food, spit it out,

941
00:53:06,000 --> 00:53:09,200
Speaker 1: in it again and again. Take you take that, you

942
00:53:09,280 --> 00:53:19,400
Speaker 1: take that bone home. Yes. George Kennedy has repeatedly provided

943
00:53:19,440 --> 00:53:22,120
Speaker 1: the most detailed summary of the fifty eggs scene. He

944
00:53:22,160 --> 00:53:25,160
Speaker 1: said there were garbage cans just out of camera range.

945
00:53:25,200 --> 00:53:27,960
Speaker 1: He wrote in his autobiography Trust Me, My guess is

946
00:53:27,960 --> 00:53:30,840
Speaker 1: that Paul Newman consumed no more than eight or so eggs,

947
00:53:30,880 --> 00:53:33,279
Speaker 1: because as soon as the director yelled cut, he would

948
00:53:33,320 --> 00:53:37,239
Speaker 1: relieve his mouth and throat of everything he could. And

949
00:53:37,360 --> 00:53:41,200
Speaker 1: Kennedy added that Newman quote had the mustle control to

950
00:53:41,280 --> 00:53:44,480
Speaker 1: pop up his belly on command, depending on what stage

951
00:53:44,480 --> 00:53:46,320
Speaker 1: of the egg count he was at. He blow it

952
00:53:46,440 --> 00:53:49,680
Speaker 1: up accordingly. Near the end of the fifty eggs you'd

953
00:53:49,719 --> 00:53:52,399
Speaker 1: have sworn that he had a musk melon in there.

954
00:53:52,480 --> 00:53:56,200
Speaker 1: That's a great, great sort of phrase. You'd have sworn

955
00:53:56,280 --> 00:53:59,360
Speaker 1: he had a musk melon in there. Nope, but still

956
00:53:59,520 --> 00:54:01,719
Speaker 1: you didn't want to be near him when he belched.

957
00:54:02,920 --> 00:54:09,640
Speaker 1: George Kennedy muskmelon, Yeah, I gotta Jordan pull out Jamielon.

958
00:54:11,719 --> 00:54:17,839
Speaker 1: Oh all right, that's fine. Moving on. That scene took

959
00:54:17,920 --> 00:54:20,960
Speaker 1: three days to shoot. Can you imagine how disgusting that

960
00:54:21,040 --> 00:54:24,840
Speaker 1: must have been, a bunch of greasy, sweaty men stuffed

961
00:54:24,880 --> 00:54:31,760
Speaker 1: full of eggs. On the first day, George Kennedy wrote,

962
00:54:32,040 --> 00:54:33,919
Speaker 1: we ate as many of the eggs as we could

963
00:54:33,920 --> 00:54:36,759
Speaker 1: get our hands on. The property department had to hard

964
00:54:36,760 --> 00:54:39,239
Speaker 1: boil two hundred or so more that night. On the

965
00:54:39,320 --> 00:54:42,520
Speaker 1: sound stage on day two, the smell of day old

966
00:54:42,600 --> 00:54:46,719
Speaker 1: hard boiled eggs permeated everything. Between shots, we all ran

967
00:54:46,840 --> 00:54:49,600
Speaker 1: for the exits and didn't come back inside until we'd

968
00:54:49,640 --> 00:54:53,839
Speaker 1: stuffed tissues up our nostrils. This is hilarious because New

969
00:54:53,880 --> 00:54:56,640
Speaker 1: One once told a guest on the set one day

970
00:54:56,680 --> 00:54:59,400
Speaker 1: early in the production that was a good smell about this.

971
00:54:59,520 --> 00:55:03,680
Speaker 1: We're gonna have a good picture. Oh God, The words

972
00:55:03,680 --> 00:55:07,040
Speaker 1: would come back to haunt him. Uh. Incidentally, our boys

973
00:55:07,040 --> 00:55:09,319
Speaker 1: and Jackass attempted to do their own version of this

974
00:55:09,400 --> 00:55:13,840
Speaker 1: and their inaugural season. The contestants were Preston Lacy, Chris Narratko,

975
00:55:14,000 --> 00:55:17,920
Speaker 1: and Stephanie Hodge. Stephanie tapped out of it after nine eggs,

976
00:55:18,040 --> 00:55:21,400
Speaker 1: having thrown up after eating just three, just three. She

977
00:55:21,440 --> 00:55:27,000
Speaker 1: hates eggs. I guess, uh, spoilers, I did not watch this,

978
00:55:27,040 --> 00:55:29,799
Speaker 1: but they all throw up a lot. Chris throws up

979
00:55:29,840 --> 00:55:32,920
Speaker 1: after eating eight eggs just ten minutes into the contest.

980
00:55:32,960 --> 00:55:35,680
Speaker 1: Preston makes it to sixteen eggs, but he eventually throws

981
00:55:35,719 --> 00:55:39,280
Speaker 1: up after one. Uh. He taps out at thirty eggs,

982
00:55:39,719 --> 00:55:43,480
Speaker 1: which is really impressive. Johnny Knoxville, who is the referee

983
00:55:43,480 --> 00:55:47,880
Speaker 1: at this point, force feeds Chris up to thirty nine

984
00:55:47,960 --> 00:55:51,560
Speaker 1: eggs and making him win. Supposedly, after the popularity of

985
00:55:51,600 --> 00:55:54,719
Speaker 1: cool Hand Luke, similar egg eating contests popped up on

986
00:55:54,760 --> 00:55:59,000
Speaker 1: college campuses and among troops stationed in Vietnam, where people

987
00:55:59,040 --> 00:56:00,480
Speaker 1: trying to get out of the draft have to eat

988
00:56:00,520 --> 00:56:07,520
Speaker 1: fifty eggs before their physical That's so many damn eggs. Well,

989
00:56:07,600 --> 00:56:11,719
Speaker 1: why it seems like a nice round number. I mean,

990
00:56:11,719 --> 00:56:13,680
Speaker 1: I don't know. I guess I never really thought about it.

991
00:56:13,760 --> 00:56:17,799
Speaker 1: But I just don't think about eggs as being that

992
00:56:18,040 --> 00:56:20,719
Speaker 1: tough on a person to consume. I mean, I'm thinking

993
00:56:20,719 --> 00:56:24,520
Speaker 1: of Joey chest Not eating sixty three hot dogs buns

994
00:56:25,040 --> 00:56:28,560
Speaker 1: in ten minutes for the Nathan's Hot Dog Eating Contest.

995
00:56:28,600 --> 00:56:30,560
Speaker 1: I think that's the record. So I don't know, eggs

996
00:56:31,320 --> 00:56:34,640
Speaker 1: don't seem like that big a deal. But it's because

997
00:56:34,680 --> 00:56:37,160
Speaker 1: the yolk is all dry and powdery. Maybe it makes it.

998
00:56:37,960 --> 00:56:40,200
Speaker 1: They're dance and they're dance and if you're not like

999
00:56:40,239 --> 00:56:42,319
Speaker 1: salting it or anything, that's just like a lot of

1000
00:56:42,560 --> 00:56:47,040
Speaker 1: protein to choke down. Can you imagine the dump Paul

1001
00:56:47,120 --> 00:56:55,400
Speaker 1: Human took. Just moving on, Another tremendous scene in the

1002
00:56:55,400 --> 00:56:59,280
Speaker 1: film is after the death of his mother. The whole

1003
00:56:59,320 --> 00:57:04,239
Speaker 1: spectrum of human emotion in this film, from the triumph

1004
00:57:04,920 --> 00:57:08,279
Speaker 1: to the agony, the agony in the ecstasy of boy

1005
00:57:08,480 --> 00:57:12,640
Speaker 1: Luke oh Man. Yeah, he sits on the bunk and

1006
00:57:12,719 --> 00:57:16,480
Speaker 1: plays the banjo that she gave him and sings Plastic Jesus.

1007
00:57:17,120 --> 00:57:19,040
Speaker 1: The shooting script we'll getting this music from this a

1008
00:57:19,040 --> 00:57:21,400
Speaker 1: little bit later on. This shooting script didn't specify that

1009
00:57:21,440 --> 00:57:24,080
Speaker 1: this was the song. Um, they only there's and there's

1010
00:57:24,080 --> 00:57:26,880
Speaker 1: a long band apparently a very long description of Luke

1011
00:57:27,000 --> 00:57:30,800
Speaker 1: playing and singing banjo in the book, but it doesn't

1012
00:57:30,800 --> 00:57:34,240
Speaker 1: say that it's like a mournful song or anything. Um.

1013
00:57:34,280 --> 00:57:36,240
Speaker 1: In the shooting script, it says that he would sing

1014
00:57:36,280 --> 00:57:40,680
Speaker 1: an unspecified slow him. Rosenberg heard somebody on the set

1015
00:57:40,760 --> 00:57:43,000
Speaker 1: singing Plastic Jesus, and he's like, I like that song,

1016
00:57:43,040 --> 00:57:44,960
Speaker 1: and it gave Warner brow was a huge headache. Talk

1017
00:57:45,000 --> 00:57:47,720
Speaker 1: about that in a second. Unlike Harry Dean Stanton, who

1018
00:57:47,760 --> 00:57:50,960
Speaker 1: has a delightful singing voice, Uh, you should really google

1019
00:57:51,120 --> 00:57:53,640
Speaker 1: his performance of some of these Mexican border ballads that

1020
00:57:53,680 --> 00:57:56,280
Speaker 1: he can sing. They're really amazing, just like Harry Dean

1021
00:57:56,360 --> 00:58:00,520
Speaker 1: Stands singing in Spanish about being a own and far

1022
00:58:00,560 --> 00:58:04,680
Speaker 1: from home made me cry once. Um. George Kennedy told

1023
00:58:04,760 --> 00:58:07,000
Speaker 1: Entertainment Weekly that Paul knew as much about playing a

1024
00:58:07,000 --> 00:58:09,880
Speaker 1: banjo as I know about making cakes, which means very

1025
00:58:10,000 --> 00:58:13,600
Speaker 1: very little, but he still insisted on playing it himself

1026
00:58:13,880 --> 00:58:16,120
Speaker 1: in the scene, and he took lessons from a guy

1027
00:58:16,200 --> 00:58:19,240
Speaker 1: named Dave Sear, who was a regular at Washington Square

1028
00:58:19,280 --> 00:58:21,440
Speaker 1: Park hooting Nanny's in New York at the time, But

1029
00:58:21,640 --> 00:58:24,520
Speaker 1: that pushed the shooting of the scene back for weeks

1030
00:58:24,560 --> 00:58:27,800
Speaker 1: while Newman practiced in the scene that you see in

1031
00:58:27,840 --> 00:58:29,640
Speaker 1: the film, and then this in the film finals cut,

1032
00:58:29,680 --> 00:58:33,400
Speaker 1: Paul makes an air. George Kennedy told Entertainment Weekly he

1033
00:58:33,440 --> 00:58:35,320
Speaker 1: wasn't doing it the way he wanted. He became madder

1034
00:58:35,320 --> 00:58:37,920
Speaker 1: and madder, although you can only tell by the increase

1035
00:58:37,960 --> 00:58:40,600
Speaker 1: of the pace and his picking the banjo. When it

1036
00:58:40,640 --> 00:58:45,480
Speaker 1: was over, it was magnificent, Rosenberg said print Paul said

1037
00:58:45,600 --> 00:58:48,920
Speaker 1: I could do it better, and Rosenberg said, nobody can

1038
00:58:48,960 --> 00:58:52,200
Speaker 1: do it better. Yeah. I always thought that he was

1039
00:58:52,240 --> 00:58:54,720
Speaker 1: speeding it up because his emotion was rising and he

1040
00:58:54,800 --> 00:58:57,800
Speaker 1: was just trying to stuff it down by playing the song.

1041
00:58:57,960 --> 00:59:01,600
Speaker 1: I thought it was a great way the forms came off. God,

1042
00:59:01,640 --> 00:59:04,120
Speaker 1: I love that scene. I mean, it's it's so and

1043
00:59:04,160 --> 00:59:06,320
Speaker 1: they just again they made the right choice. Man. I like,

1044
00:59:06,480 --> 00:59:08,160
Speaker 1: if they've been playing some him, it would have been

1045
00:59:08,160 --> 00:59:10,240
Speaker 1: so on the nose. And just in fact, he's playing

1046
00:59:10,240 --> 00:59:14,040
Speaker 1: this little irreverend song and yeah, so perfect. I mean

1047
00:59:14,080 --> 00:59:17,120
Speaker 1: it's like it's either right before or right after I

1048
00:59:17,120 --> 00:59:19,280
Speaker 1: forget which I think it's right before. He does the

1049
00:59:19,280 --> 00:59:21,040
Speaker 1: whole scene where he goes out in the rain and

1050
00:59:21,160 --> 00:59:24,400
Speaker 1: kind of taunts God to strike him. Down if he's

1051
00:59:24,440 --> 00:59:27,240
Speaker 1: really up there, you know, love me, hate me, kill me,

1052
00:59:27,840 --> 00:59:31,120
Speaker 1: just give me some stem answer, so it keeps with

1053
00:59:31,160 --> 00:59:35,520
Speaker 1: his whole irreverent personality. Yeah. Um, they had tried to

1054
00:59:35,560 --> 00:59:39,320
Speaker 1: shoot this twice before, took hours, and this was ultimately

1055
00:59:39,320 --> 00:59:41,760
Speaker 1: shot on the second to last day of shooting at

1056
00:59:41,760 --> 00:59:44,920
Speaker 1: Warner Brothers. The banjo scene, Yeah, the banjo scene, and

1057
00:59:44,960 --> 00:59:48,080
Speaker 1: George Kennedy said that Newman and Rosenberry had gotten into

1058
00:59:48,120 --> 00:59:51,840
Speaker 1: a shouting match on set over this whole Paul wanting

1059
00:59:51,880 --> 00:59:54,320
Speaker 1: to play the banjo for real in the scene. That

1060
00:59:54,440 --> 00:59:57,760
Speaker 1: was just just before they filmed that take, So they

1061
00:59:57,800 --> 01:00:00,280
Speaker 1: were literally screaming at each other before they got the

1062
01:00:00,280 --> 01:00:02,160
Speaker 1: final take for that. But there were no hard feelings

1063
01:00:02,200 --> 01:00:07,320
Speaker 1: because Newman starting four more of Rosenberg's movies nineteen seventies Wusa, Nino,

1064
01:00:07,440 --> 01:00:11,120
Speaker 1: Pocket Money, and The Drowning Pool in a movie I

1065
01:00:11,160 --> 01:00:13,600
Speaker 1: know nothing about. As I mentioned earlier, the film is

1066
01:00:13,600 --> 01:00:17,040
Speaker 1: emphatically not subtle about its religious themes. Luke collapses in

1067
01:00:17,080 --> 01:00:20,560
Speaker 1: the exact posture of the crucifixion down to the crossed

1068
01:00:20,560 --> 01:00:24,400
Speaker 1: feet after he wins the egg contests. The film ends

1069
01:00:24,440 --> 01:00:28,080
Speaker 1: with the crossroads shape of the cross superimposed over the photo,

1070
01:00:28,280 --> 01:00:32,160
Speaker 1: which has itself been torn in the shape of a cross. Um.

1071
01:00:32,200 --> 01:00:34,240
Speaker 1: But this is a little more subtle, little not here.

1072
01:00:34,320 --> 01:00:36,959
Speaker 1: Luke's prison number is thirty seven. And if you happen

1073
01:00:37,000 --> 01:00:39,800
Speaker 1: to look up the Gospel of Luke in the Bible,

1074
01:00:40,000 --> 01:00:43,600
Speaker 1: chapter one, verse thirty seven says for with God nothing

1075
01:00:43,640 --> 01:00:48,960
Speaker 1: shall be impossible. So that's cute, ironically, given that Pearson

1076
01:00:49,080 --> 01:00:52,160
Speaker 1: did all this hard on the nose religious stuff in

1077
01:00:52,200 --> 01:00:55,160
Speaker 1: the screenplay. In the book, Luke's father is mentioned to

1078
01:00:55,200 --> 01:01:00,200
Speaker 1: be a crooked evangelical preacher. Uh. The music in a

1079
01:01:00,240 --> 01:01:03,919
Speaker 1: header I like to call shiffering into high gear kind

1080
01:01:03,960 --> 01:01:06,200
Speaker 1: of Composer Lelo Schiffren turned in the score to cool

1081
01:01:06,240 --> 01:01:08,040
Speaker 1: Hand Luke, and one of the most famous bits about

1082
01:01:08,040 --> 01:01:09,760
Speaker 1: it is that the musical cue from when They're Tring

1083
01:01:09,800 --> 01:01:15,320
Speaker 1: the Road was used for news cueues like intro to

1084
01:01:15,640 --> 01:01:21,600
Speaker 1: news programs for years afterwards. It's in six four for

1085
01:01:21,640 --> 01:01:26,160
Speaker 1: all of you dorks out there, Uh, most notably on

1086
01:01:26,280 --> 01:01:28,480
Speaker 1: a B c S owned and operated stations because it

1087
01:01:28,520 --> 01:01:31,520
Speaker 1: sounded like a telegraph essentially. I'm getting much of this

1088
01:01:31,600 --> 01:01:34,480
Speaker 1: from a tremendous piece by guy named James m. During

1089
01:01:34,880 --> 01:01:38,840
Speaker 1: from the August issue of the Journal of the Society

1090
01:01:38,880 --> 01:01:41,320
Speaker 1: of American Music. Cool Hand Luke was in production at

1091
01:01:41,360 --> 01:01:44,360
Speaker 1: the same time as the Graduate. Right and Productions initial

1092
01:01:44,400 --> 01:01:47,040
Speaker 1: plan was to do what the Graduate had done with

1093
01:01:47,080 --> 01:01:50,320
Speaker 1: Simon and garf Uncle and enlist a contemporary folk artist

1094
01:01:50,400 --> 01:01:53,120
Speaker 1: who record an original song for Cool Hand Luke that

1095
01:01:53,160 --> 01:01:56,880
Speaker 1: they hope would sweep the nation. They arrived at Gordon Lightfoot.

1096
01:02:02,400 --> 01:02:05,640
Speaker 1: Gordon Lightfoot, Ladies and gentlemen. Um, did you have any

1097
01:02:05,680 --> 01:02:08,280
Speaker 1: big songs in that era? I know, I don't know.

1098
01:02:10,280 --> 01:02:13,880
Speaker 1: Seven I guess he apparently had something of a live

1099
01:02:14,320 --> 01:02:16,920
Speaker 1: His biggest hit was just his cover of Dylan in

1100
01:02:17,000 --> 01:02:19,680
Speaker 1: sixty five, just like Tom thomas Blues biggest hits to

1101
01:02:19,760 --> 01:02:23,200
Speaker 1: date or biggest hit period. When this was made. There's

1102
01:02:23,200 --> 01:02:28,600
Speaker 1: a fun another fun Jesus unnecessary tangent about Golden Lightfold

1103
01:02:28,640 --> 01:02:33,760
Speaker 1: here Boss. To kick off Canada's centennial year, the CBC

1104
01:02:33,920 --> 01:02:39,120
Speaker 1: commissioned Gordon Lightfoot to write the Canadian Railroad Trilogy for

1105
01:02:39,160 --> 01:02:45,680
Speaker 1: a broadcast in sixties seven. Sure whatever anyway, so did

1106
01:02:45,680 --> 01:02:48,920
Speaker 1: Warner Brothers. They got Gordon Lightfoot, who delivered this song

1107
01:02:48,960 --> 01:02:51,760
Speaker 1: called too Much to Lose in fall of sixty six.

1108
01:02:51,960 --> 01:02:54,080
Speaker 1: You can hear this out there. It's not people not

1109
01:02:54,160 --> 01:02:56,680
Speaker 1: a lot of people know this, uh that he wrote

1110
01:02:56,720 --> 01:02:59,360
Speaker 1: this song, because it's not really mentioned that much, but

1111
01:02:59,440 --> 01:03:01,720
Speaker 1: his demo for it is out here on YouTube, not

1112
01:03:01,920 --> 01:03:05,520
Speaker 1: very good. And uh, Warner Brothers agreed because soon after

1113
01:03:05,520 --> 01:03:08,240
Speaker 1: shooting began in the nineteen sixty six they decided they

1114
01:03:08,280 --> 01:03:11,920
Speaker 1: weren't going to use that anymore. And then always the bridesmaid,

1115
01:03:11,960 --> 01:03:14,840
Speaker 1: never a bride, Poor Gordon. The same thing happened again

1116
01:03:14,840 --> 01:03:17,080
Speaker 1: with a song called don Quixote he wrote for a

1117
01:03:17,120 --> 01:03:20,560
Speaker 1: Michael Douglas movie called Hale Hero. Also wrote a spec

1118
01:03:20,600 --> 01:03:23,560
Speaker 1: song for that also did not get picked up. So

1119
01:03:23,960 --> 01:03:26,800
Speaker 1: Lelo Schiffrin talks to Stuart Rosenberg. He says, you have

1120
01:03:26,840 --> 01:03:29,240
Speaker 1: three choices with the movie here. One as you hire

1121
01:03:29,240 --> 01:03:32,040
Speaker 1: a folk musician or somebody who can play bluegrass. Two

1122
01:03:32,080 --> 01:03:35,400
Speaker 1: as you can go to this big Americana Aaron Copeland,

1123
01:03:35,880 --> 01:03:40,640
Speaker 1: Appalachian Fanfare, common Man, etcetera. But I propose a third possibility,

1124
01:03:40,840 --> 01:03:43,840
Speaker 1: which is a combination of both. And so what Rosenberg

1125
01:03:43,840 --> 01:03:45,520
Speaker 1: did is he picked out a bunch of these traditional

1126
01:03:45,560 --> 01:03:47,520
Speaker 1: songs that he wanted, and they do use some of them.

1127
01:03:47,520 --> 01:03:50,080
Speaker 1: They use just a closer walk with the There's another

1128
01:03:50,080 --> 01:03:52,160
Speaker 1: one that Harry Dean Stanton sings that I can't remember,

1129
01:03:52,840 --> 01:03:56,600
Speaker 1: but um basically, Warner Brothers went to start clearing these

1130
01:03:56,640 --> 01:03:58,800
Speaker 1: songs and they told him that it was going to

1131
01:03:58,920 --> 01:04:01,920
Speaker 1: be almost impossible because this is at the height of

1132
01:04:01,920 --> 01:04:05,000
Speaker 1: the folk boom. So there's just dozens of versions of

1133
01:04:05,040 --> 01:04:09,160
Speaker 1: these songs circulating and unless you found the first version

1134
01:04:09,200 --> 01:04:11,680
Speaker 1: that was in the public domain, if you license somebody's

1135
01:04:11,760 --> 01:04:14,360
Speaker 1: version that had their lyrics in it, that counted as

1136
01:04:14,360 --> 01:04:16,320
Speaker 1: an original arrangement, you had to pay the more money.

1137
01:04:16,480 --> 01:04:19,760
Speaker 1: So Rosenberg settled on Plastic Jesus. As I mentioned again,

1138
01:04:20,040 --> 01:04:22,400
Speaker 1: it took months for Warner Brothers to find this who

1139
01:04:22,440 --> 01:04:24,959
Speaker 1: actually did that song, because there were three different versions

1140
01:04:25,000 --> 01:04:27,560
Speaker 1: of it out there and Jordan's do you know this man?

1141
01:04:27,640 --> 01:04:30,480
Speaker 1: Do you know the Gold Coast Singers? You know, I don't.

1142
01:04:30,760 --> 01:04:34,880
Speaker 1: Plastic Jesus originally appeared on the nine two comedy album

1143
01:04:35,000 --> 01:04:37,960
Speaker 1: Here They Are by the Gold Coast Singers, where it

1144
01:04:37,960 --> 01:04:39,720
Speaker 1: appeared as part of a skit that they had about

1145
01:04:39,720 --> 01:04:43,720
Speaker 1: a radio evangelist. Laylo Shift was from Argentina and he

1146
01:04:43,720 --> 01:04:46,800
Speaker 1: had worked extensively in jazz. He worked with Dizzy Gillespie.

1147
01:04:47,080 --> 01:04:50,040
Speaker 1: He studied with a gamed composer, Oliver Messillon at the

1148
01:04:50,080 --> 01:04:54,440
Speaker 1: Paris Conservatory, but this pedigree did not make him particularly

1149
01:04:54,480 --> 01:04:58,200
Speaker 1: well suited to incorporating American folk and blues idioms into

1150
01:04:58,240 --> 01:05:00,800
Speaker 1: the film. But he did visit this the set and

1151
01:05:00,840 --> 01:05:03,800
Speaker 1: he put in some research to try and find suitable

1152
01:05:03,840 --> 01:05:07,320
Speaker 1: banjoists for the soundtrack, and he wanted Earl Scruggs for

1153
01:05:07,320 --> 01:05:10,200
Speaker 1: the job, which is kind of like being I want

1154
01:05:10,280 --> 01:05:13,480
Speaker 1: somebody to play basketball in my movie? Is Michael Jordan's

1155
01:05:13,480 --> 01:05:18,720
Speaker 1: busy Uh. Scruggs invented a style of banjo picking that

1156
01:05:18,880 --> 01:05:21,840
Speaker 1: is one of the two that people play. You either

1157
01:05:21,840 --> 01:05:24,760
Speaker 1: play claw hammer or you play scrugs style. Probably the

1158
01:05:24,800 --> 01:05:26,560
Speaker 1: most famous banjo player in the world at the time,

1159
01:05:26,800 --> 01:05:29,520
Speaker 1: so did not do the film, needless to say so,

1160
01:05:29,560 --> 01:05:33,160
Speaker 1: they went with another Washington Square part folky guy named

1161
01:05:33,240 --> 01:05:36,560
Speaker 1: Art Rosenbaum, who would not meet Layla Shiffern until a

1162
01:05:36,600 --> 01:05:38,920
Speaker 1: week before they were supposed to record all this in

1163
01:05:39,040 --> 01:05:43,360
Speaker 1: six But funnily enough, there's an instrumental version of Plastic

1164
01:05:43,440 --> 01:05:46,440
Speaker 1: Jesus that plays during Luke the first time he's in

1165
01:05:46,440 --> 01:05:49,480
Speaker 1: the box, and that's not played by Rosenbaum. That's played

1166
01:05:49,480 --> 01:05:52,040
Speaker 1: by a wrecking crew guy, and they don't know who

1167
01:05:52,040 --> 01:05:55,160
Speaker 1: it is. It's either Tommy Tedesco or Howard Roberts. Um.

1168
01:05:55,200 --> 01:05:57,440
Speaker 1: Who are these, you know, members of the l A

1169
01:05:57,520 --> 01:06:00,240
Speaker 1: session crew, the wrecking crew um. And that was because

1170
01:06:00,320 --> 01:06:03,800
Speaker 1: Rosenbaum couldn't read sheet music, which might have been a

1171
01:06:03,840 --> 01:06:07,240
Speaker 1: bit of a stumbling block to be on the soundtrack

1172
01:06:07,320 --> 01:06:09,960
Speaker 1: of a major motion picture. But when they got to

1173
01:06:09,960 --> 01:06:12,920
Speaker 1: the actual sessions, Schiffrin just said, don't worry. When I

1174
01:06:12,960 --> 01:06:15,600
Speaker 1: tell you to start playing, you start playing. And when

1175
01:06:15,600 --> 01:06:18,240
Speaker 1: I tell you to stop, you stop. Because this guy

1176
01:06:18,320 --> 01:06:20,200
Speaker 1: was a self taught banjo player. He learned off like

1177
01:06:20,320 --> 01:06:22,400
Speaker 1: recordings and stuff, so they just kind of had him,

1178
01:06:22,440 --> 01:06:27,640
Speaker 1: you know, free banjo. Um. And this is uh. Rosenberg

1179
01:06:27,680 --> 01:06:30,200
Speaker 1: and Schiffren would continue to work together, including on that

1180
01:06:30,440 --> 01:06:33,480
Speaker 1: w USA film that I Know Nothing About, Voyage of

1181
01:06:33,480 --> 01:06:35,920
Speaker 1: the Damn and seventy six, the Amityville Horror and Sin

1182
01:06:36,080 --> 01:06:41,880
Speaker 1: and another prison film brew Baker, all right, let's take

1183
01:06:41,960 --> 01:06:45,360
Speaker 1: this home. It's kind of where did the road go?

1184
01:06:45,520 --> 01:06:47,760
Speaker 1: We got one more mile, a tarred road to get

1185
01:06:47,760 --> 01:06:51,040
Speaker 1: to Cool and Luke open on Halloween nineteen sixty seven

1186
01:06:51,080 --> 01:06:55,160
Speaker 1: at low State Theater, a premier whose proceeds went to charities.

1187
01:06:55,440 --> 01:06:58,440
Speaker 1: I love that he was an immediate commercial and critical success.

1188
01:06:58,520 --> 01:07:02,040
Speaker 1: As I mentioned earlier, it still has a rating at

1189
01:07:02,080 --> 01:07:06,160
Speaker 1: Rotten Tomatoes, which is bananas perfect film no notes. Oddly enough,

1190
01:07:06,520 --> 01:07:11,200
Speaker 1: dissenting voices on the film include Newman's biographer, Lawrence J. Quirk,

1191
01:07:12,000 --> 01:07:16,560
Speaker 1: stupid name, bad, cool Hand Luke taste thank you? Lawrence J.

1192
01:07:16,720 --> 01:07:22,040
Speaker 1: Quirk writes. For once, even Newman's famed charisma fails him

1193
01:07:22,320 --> 01:07:25,160
Speaker 1: for in Cool Hand Luke, he completely lacks the charm

1194
01:07:25,280 --> 01:07:30,120
Speaker 1: that say al Pacino in Scarecrow effortlessly exhibits. I put

1195
01:07:30,120 --> 01:07:33,760
Speaker 1: the question mark in there because nobody remembers that film

1196
01:07:33,840 --> 01:07:37,240
Speaker 1: al Pacino and Gene Hackman. Nobody. I gave. Find me

1197
01:07:37,280 --> 01:07:43,480
Speaker 1: one person who remember Scarecrow. Lawrence J. Quirk, idiot, dullard fool.

1198
01:07:44,280 --> 01:07:47,480
Speaker 1: There was contemporary there. This is a funny, though. There

1199
01:07:47,520 --> 01:07:49,640
Speaker 1: was a contemporary review of the film and Life magazine

1200
01:07:49,640 --> 01:07:54,720
Speaker 1: that criticized it for its beautiful photography and suggested they

1201
01:07:54,760 --> 01:07:57,680
Speaker 1: turned the prison camp into a rest camp in which

1202
01:07:57,720 --> 01:08:00,680
Speaker 1: the men are getting plenty of sleep, food, and healthy

1203
01:08:00,720 --> 01:08:04,400
Speaker 1: outdoor exercise, which they claim showed that there were worse

1204
01:08:04,480 --> 01:08:10,000
Speaker 1: ways to pay one's debt to society, which sure k

1205
01:08:10,360 --> 01:08:13,520
Speaker 1: Luke was nominated for Best Actor, Best Supporting Actor, Best

1206
01:08:13,520 --> 01:08:16,919
Speaker 1: a Depted Screenplay, and Best Original Score at the Academy Awards,

1207
01:08:17,000 --> 01:08:20,599
Speaker 1: but as we mentioned, only George Kennedy one, a ten

1208
01:08:20,840 --> 01:08:24,720
Speaker 1: time nominee. Good Lord Paul Newman would finally win a

1209
01:08:24,760 --> 01:08:27,439
Speaker 1: statue in nineteen eight six for the Collar of Money.

1210
01:08:28,120 --> 01:08:31,920
Speaker 1: The American Film Institute like everyone loves Cool Hand Luke.

1211
01:08:32,040 --> 01:08:35,160
Speaker 1: They rated Luke the thirtieth greatest hero in American cinema,

1212
01:08:35,560 --> 01:08:37,840
Speaker 1: rated the failure to Communicate line as one of the

1213
01:08:37,880 --> 01:08:40,880
Speaker 1: eleventh best lines in the history of movies, and put

1214
01:08:40,880 --> 01:08:45,280
Speaker 1: the movie at number seventy one on their most Inspiring list.

1215
01:08:46,000 --> 01:08:50,719
Speaker 1: It's gotta be there on Oh, It's a wonderful life,

1216
01:08:51,960 --> 01:08:54,200
Speaker 1: and I will tell us what happened. In two thousand five,

1217
01:08:54,800 --> 01:08:57,720
Speaker 1: it was added to the National Film Registry at the

1218
01:08:57,760 --> 01:09:01,519
Speaker 1: Library of Congress. Yes, get a National Film Registry at

1219
01:09:01,520 --> 01:09:06,120
Speaker 1: the Library of Conference Reference here Boss. Outside of awards,

1220
01:09:06,160 --> 01:09:08,920
Speaker 1: the film cast an incredibly long shadow on the list

1221
01:09:08,960 --> 01:09:12,040
Speaker 1: of TV shows and movies that reference or parody cool

1222
01:09:12,080 --> 01:09:15,920
Speaker 1: Hand Luke has a run on Sorry, Oh wait a minute,

1223
01:09:17,439 --> 01:09:26,320
Speaker 1: that's the run on Police. I heart sending a comptroller

1224
01:09:26,600 --> 01:09:31,839
Speaker 1: like You've always got to tighten the show up. Outside

1225
01:09:31,840 --> 01:09:34,840
Speaker 1: of Awards. The film cast an incredibly long shadow. The

1226
01:09:34,960 --> 01:09:37,559
Speaker 1: list of TV shows and movies that reference are parody

1227
01:09:37,560 --> 01:09:42,320
Speaker 1: cool Hand Luke on IMDb numbers nearly three hundred and

1228
01:09:42,479 --> 01:09:46,840
Speaker 1: just as one example, as early one, sportswriters adopted the

1229
01:09:46,880 --> 01:09:51,040
Speaker 1: phrase cool hand Luke to describe a particularly gutsy performance

1230
01:09:51,040 --> 01:09:53,599
Speaker 1: by an underdog athlete. I did not know that, Yeah,

1231
01:09:53,640 --> 01:09:57,320
Speaker 1: I didn't you. Yeah, all right, wrapping this up. It's

1232
01:09:57,360 --> 01:10:00,599
Speaker 1: eleven thirty at night, Jordan's time. We just did twenty

1233
01:10:00,680 --> 01:10:04,200
Speaker 1: three pages on freaks and geeks. In an interview shortly

1234
01:10:04,240 --> 01:10:06,800
Speaker 1: before Cool Hand Luke went into production, Paul Newman told

1235
01:10:06,800 --> 01:10:09,240
Speaker 1: The New York Times that he was about to play quote,

1236
01:10:09,560 --> 01:10:13,320
Speaker 1: the ultimate nonconformist and rebel. He's the guy who beats

1237
01:10:13,320 --> 01:10:16,559
Speaker 1: the system. And while the ending of cool Hand Luke

1238
01:10:16,640 --> 01:10:20,680
Speaker 1: might possibly undercut the latter half of that statement, I

1239
01:10:20,720 --> 01:10:23,479
Speaker 1: don't think he was wrong, or at the very least,

1240
01:10:23,520 --> 01:10:26,880
Speaker 1: I think he was offering a different interpretation of beating

1241
01:10:26,880 --> 01:10:31,639
Speaker 1: the system, and maybe a more realistic and pragmatic one,

1242
01:10:32,479 --> 01:10:34,360
Speaker 1: And that is to live your life in such a

1243
01:10:34,360 --> 01:10:38,240
Speaker 1: way as to outlast and outlive every garbage thing that

1244
01:10:38,280 --> 01:10:40,880
Speaker 1: the world throws at you, even if it's just in

1245
01:10:40,920 --> 01:10:43,400
Speaker 1: the hearts and minds of the people slogging through that

1246
01:10:43,479 --> 01:10:46,559
Speaker 1: mud with you. We might not all be natural born

1247
01:10:46,640 --> 01:10:50,280
Speaker 1: world shakers, but we can at the very least occasionally

1248
01:10:50,280 --> 01:10:54,000
Speaker 1: play a real cool hand. Thank you for listening, folks,

1249
01:10:54,280 --> 01:10:57,160
Speaker 1: This has been too much information. I'm Alex Hegel and

1250
01:10:57,200 --> 01:10:59,679
Speaker 1: I have Jordan run to We'll catch you next time.

1251
01:11:04,880 --> 01:11:07,400
Speaker 1: Too Much Information was a production of I Heart Radio.

1252
01:11:07,600 --> 01:11:10,839
Speaker 1: The show's executive producers are Noel Brown and Jordan Runtalk.

1253
01:11:11,000 --> 01:11:14,200
Speaker 1: The supervising producer is Mike John's. The show was researched,

1254
01:11:14,320 --> 01:11:17,040
Speaker 1: written and hosted by Jordan runt Talk and Alex Hegel,

1255
01:11:17,360 --> 01:11:20,479
Speaker 1: with original music by Seth Applebaum and the Ghost Funk Orchestra.

1256
01:11:20,960 --> 01:11:23,000
Speaker 1: If you like what you heard, please subscribe and leave

1257
01:11:23,040 --> 01:11:25,599
Speaker 1: us a review. For more podcasts and I heart Radio,

1258
01:11:25,760 --> 01:11:28,759
Speaker 1: visit the I Heart Radio app, Apple podcast, or wherever

1259
01:11:28,800 --> 01:11:30,080
Speaker 1: you listen to your favorite shows.