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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: percent off.

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Speaker 2: You know, Josh, I remember one of the first bonding

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Speaker 2: experiences that producer Sam and I had was we were

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Speaker 2: at a get together for a wedding. We were groomsmen,

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Speaker 2: maybe I don't know, or we were just hanging out

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Speaker 2: with friends. A friend of ours was getting married and

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Speaker 2: we were hanging out with other people involved in the wedding,

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Speaker 2: and we were like in the same canoe. And that

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Speaker 2: meant we got to talk movies the whole time we

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Speaker 2: were young film spotting. Film spotting had just begun maybe

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Speaker 2: or I don't know, film spotting had even begun at

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Speaker 2: this point, and yeah.

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Speaker 3: It had.

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Speaker 2: And we started talking about our favorite movies. And Sam

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Speaker 2: informed me that not only was he not a fan

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Speaker 2: of Fay Done Away, he didn't really like the movie

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Speaker 2: Network and you didn't. And yet now I came out

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Speaker 2: of the canoe. I wanted to, and and yet I

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Speaker 2: continued doing the show with him, and our our friendship

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Speaker 2: has somehow stayed, It survived all of these years, and

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Speaker 2: I was a little bit worried. I didn't know when

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Speaker 2: we got together. Later in twenty twenty one, did this

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Speaker 2: seven from seventy six series looked at seven films from

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Speaker 2: that great movie year. We were going to talk about network.

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Speaker 2: I wondered, could history repeat itself? Could I sit down

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Speaker 2: for a conversation with you, Josh, and you might tell

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Speaker 2: me that you don't appreciate this movie one of my

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Speaker 2: all time favorites, and was I was? I just gonna

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Speaker 2: have to be crushed all over again.

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Speaker 3: Well, I don't want to spoil anything because listeners are

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Speaker 3: about to hear it. But I think in this conversation,

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Speaker 3: Faye Donaway gets her due.

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Speaker 2: I think that's fair. She got her due. Then I'm

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Speaker 2: pretty sure a Best Actress nomine. The film was nominated

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Speaker 2: for Best Picture. And we're playing this from the archive

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Speaker 2: as we continue our Oscars theme leading up to the

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Speaker 2: Academy Awards here in March. But we also want to

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Speaker 2: acknowledge the passing last week of Robert Duvall who is

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Speaker 2: part of this great ensemble? Featured in Sydney Lamette's Network.

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Speaker 2: So here it is. It came to theaters fifty years

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Speaker 2: ago this November. Our review of Network.

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Speaker 4: Last night, Howard Beale went on the air and yelled

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Speaker 4: bullshit for two minutes, And I can tell you right

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Speaker 4: now that Tonight's show will get a thirty share at least.

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Speaker 4: I think we've lucked into something.

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Speaker 2: Oh, for God's sakes, Diane, you suggest we've put that lunatic.

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Speaker 5: Back on the air yelling bullshit.

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Speaker 4: Yes, I think we should put Bill back on the

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Speaker 4: air tonight and keep him on. Did you see the

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Speaker 4: news this morning? Did you see the times We've got

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Speaker 4: PRISCE coverage on this You couldn't buy for a million dollars, Frank,

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Speaker 4: that dumb show jumped five rating points in one night.

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Speaker 4: Tonight's Show has got.

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Speaker 2: To be at least fifteen was released in the fall

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Speaker 2: of seventy six. It went on to be nominated for

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Speaker 2: ten Oscars, tied with Rocky for the most nominations. It

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Speaker 2: included Best Picture and Director, winning four Beatrice Straight for

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Speaker 2: Best Supporting Actress, Fae Dunaway for Best Actress, Patty Chaievsky

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Speaker 2: for Best Original Screenplay, and Peter Finch won Best Actor posthumously.

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Speaker 2: He died in January seventy seven, not long after the

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Speaker 2: movie was released. It received a total of five acting nominations,

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Speaker 2: which actually hasn't happened since William Holden and Ned Batty

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Speaker 2: also were nominated, and we'll probably talk about it at

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Speaker 2: least a little bit. I'm gonna say Robert Duvall deserved

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Speaker 2: a nomination as well, really really yeah, oh love him

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Speaker 2: in this movie. Okay, how best to describe Network to

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Speaker 2: the uninitiated.

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Speaker 5: There's the plot.

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Speaker 2: Finch's veteran news anchorman, Howard Beal, is forced to retire

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Speaker 2: because his ratings have gone soft. He announces his firing

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Speaker 2: on TV and then states that he's going to kill

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Speaker 2: himself live on television and then in the world created

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Speaker 2: by Chaievsky, Beal go on to become a rating sensation

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Speaker 2: as the mad profit of the airwaves, thanks to his

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Speaker 2: famous on air declaration that he's mad as hell and

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Speaker 2: I'm not going to take this anymore.

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Speaker 5: The characters.

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Speaker 2: There's the ambitious young network executive Diana Christensen played by Dunaway,

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Speaker 2: Holden's old school Newsigzec, who tries in vain to retain

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Speaker 2: his own personal integrity and the integrity of the news division,

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Speaker 2: Duval's money obsessed corporate hatchetman, and Baby's sinister board chair.

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Speaker 2: And then there's a band of terrorists called the Ecumenical

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Speaker 2: Liberation Army, who are given a series called The Mause

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Speaker 2: Tungue Hour. The movie was critically acclaimed at the time,

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Speaker 2: though there were dissenters. Roger Ebert loved it, writing, so

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Speaker 2: the movie's flawed, so it leaves us with loose ends

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Speaker 2: and questions that finally doesn't bother me because what it

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Speaker 2: does accomplish is done so well, is seen so sharply,

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Speaker 2: is presented so unforgivingly, that Network will outlive a lot

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Speaker 2: of tidier movies. Pauline Kale did not love it. The

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Speaker 2: entire picture is Chaievsky sticking his head out the window

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Speaker 2: and yelling. She wrote, here's my thought. They solely on

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Speaker 2: those conclusions. Anyway, they're both right now. Josh, you somehow

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Speaker 2: weren't sure if you'd seen Network before. Let's answer that first,

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Speaker 2: had you? I?

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Speaker 3: Yes, I had. It wasn't just the compilation of famous

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Speaker 3: clips that had piled up in my mind that often

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Speaker 3: show up during Oscar ceremonies. I think it was like

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Speaker 3: a go to over the years, some of these scenes. No,

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Speaker 3: I did indeed see this whole movie before, glad to

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Speaker 3: see it again.

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Speaker 2: Then, what of Ebert's point that Network will outlive a

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Speaker 2: lot of tidier movies. Neither of us can speak to

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Speaker 2: what it was like to watch it in the seventies

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Speaker 2: or the eighties, but I can tell you that it

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Speaker 2: resonated differently watching it in twenty twenty one versus when

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Speaker 2: I saw it originally, which would have been around nineteen

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Speaker 2: ninety three or ninety four. A listener voicemail will provide

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Speaker 2: some further provocation on that front.

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Speaker 6: Hey, Adam and Josh. It's Josh Weinhold from South Bend

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Speaker 6: sharing some thoughts on Network, which has been one of

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Speaker 6: my all time favorites since I first saw it late

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Speaker 6: one night in the college newspaper office more than fifteen

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Speaker 6: years ago. At the time, I was transfixed by the

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Speaker 6: pression depiction of the entertainmentification of news and of corporate

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Speaker 6: interest putting the almighty dollar ahead of the public good.

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Speaker 6: Returning to it this week, though, I was left wondering

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Speaker 6: whether we've now gone far beyond anything Patty Shayefsky could

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Speaker 6: have predicted. I was struck by how unifying Howard Beale's

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Speaker 6: rage is. His ratings only grow larger as he embodies

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Speaker 6: the public's collective anger and frustration, but his only agenda

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Speaker 6: is to punch up. He never seeks to turn his

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Speaker 6: audience against one another. Our cultural landscape now is littered

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Speaker 6: with figures who are mad as hell and not going

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Speaker 6: to take it anymore, but they rile up their audiences

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Speaker 6: in an effort to divide. When the primal forces of

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Speaker 6: nature begin reshaping Beale's message, his audience falls away. But

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Speaker 6: in the twenty first century, those primal forces have mastered

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Speaker 6: tactics that drive their audiences to channel their rage at

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Speaker 6: each other. So, guys, I'm wondering whether you find Network's

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Speaker 6: social satire as sharp as ever, or if, like me,

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Speaker 6: you worry that society has collectively jumped the shark, which,

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Speaker 6: come to think of it, sounds like a show Diana

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Speaker 6: Christiansen might pitch for next year's Fall lineup.

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Speaker 2: As long as that show culminated with losers getting fed

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Speaker 2: to sharks, Diana christian Sid would undoubtedly green light it.

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Speaker 2: Josh Chicago, how do you respond to Ebert and to

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Speaker 2: Josh from South Bend.

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Speaker 3: Well, I do think Network captured what we're a wash

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Speaker 3: in today as well. I don't think what we see

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Speaker 3: in the movie we're pretty much living in. I think

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Speaker 3: the movie captures that. Essentially, we add reality television, right,

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Speaker 3: it was just kind of on the forefront. Now we

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Speaker 3: have reality television, which is the major development i'd say

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Speaker 3: since Network came out. So I don't know. I think

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Speaker 3: it was ahead of its time and still, you know,

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Speaker 3: very much of its own time. I guess my quibble

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Speaker 3: maybe with Josh is that I don't see Howard Beale

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Speaker 3: as this champion of the everyman who's always punching up.

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Speaker 3: I think there are moments when he's a true prophet

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Speaker 3: in that sense, right, that would be a true prophet,

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Speaker 3: But there's also moments where he's a false prophet. There's

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Speaker 3: moments where he's he's a lot like our current Fox

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Speaker 3: News hosts, and ultimately, to me rewatching this, he's more

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Speaker 3: of a convenient prophet, which I think is a little

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Speaker 3: different than maybe how Josh sees him. But I'll get

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Speaker 3: to that maybe those distinctions a little bit later. To

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Speaker 3: his point about Network as a satire and This speaks

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Speaker 3: to the longevity that Ebert predicted as well. Undeniably, that's

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Speaker 3: the strength of this film. That is where it's clicking,

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Speaker 3: where its points are most effectively made and taken, where

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Speaker 3: we can see the wisdom of this movie. Dunaway probably

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Speaker 3: the other strength of the film. I would say, I'm

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Speaker 3: sure we'll get to her. Partly this is because the

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Speaker 3: satire is still dead on still applies. Also because think

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Speaker 3: of all the really good films Network has inspired, these

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Speaker 3: movies that diagnose the great American illness. Now, they all

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Speaker 3: do it in different ways. I'm thinking of something like Idiocracy,

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Speaker 3: I'm thinking of Bamboozled, I'm thinking of Sorry to Bother You.

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Speaker 3: In recent years, these are all movies that tweak our

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Speaker 3: enslavement to screens and the way that allows us to

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Speaker 3: be manipulated, mostly as consumers. You know, Network wrote that

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Speaker 3: script first, and I think that's why it's great now

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Speaker 3: about that script though, about Chefski's script this time, I

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Speaker 3: gotta say it's maybe where Oscar winning. I know I

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Speaker 3: had a few issues just in terms of basic structure,

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Speaker 3: but also when it comes to that profit element. But

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Speaker 3: back to you first, Adam and what you kind of

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Speaker 3: make of Josh's question.

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Speaker 5: Well, there's so much to get to. First.

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Speaker 2: I do think we see a difference to Josh's point

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Speaker 2: in the pre Arthur Jensen sermon Howard Beale and the

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Speaker 2: post Arthur Jensen sermon Howard Beale, and it largely lies

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Speaker 2: in that populist ethos. He's talking first about rising up

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Speaker 2: against oppressors, corporate oppressors. He's talking about individualism, and then

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Speaker 2: after Arthur Jensen, he's saying, you know what, corporations, they

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Speaker 2: really do run everything. There's no hope. The individual is dead.

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Speaker 2: He's saying, everything we've ever come to believe, whether it's

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Speaker 2: t who are not about America is dead and you

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Speaker 2: should forget it. So I think I do understand where

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Speaker 2: Josh is coming from.

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Speaker 3: There.

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Speaker 2: Another thing I'll say that just occurred to me is

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Speaker 2: we've been watching these seventy six movies out of order,

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Speaker 2: pretty random. We started with all the President's Men, then

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Speaker 2: we went to Taxi Driver, and now to this. And

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Speaker 2: it's an interesting progression, isn't it. Because in Network they're

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Speaker 2: talking about this malaise. Certainly Howard Beale is tapping into

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Speaker 2: how disillusioned everyone in the country seems to feel. He

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Speaker 2: even references watergates. So when all the president's men, we

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Speaker 2: see the making of this, the making of the country's undoing.

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Speaker 2: And then in Taxi Driver you see someone like Travis Bickel,

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Speaker 2: and you wonder, how would he react to Howard Beale

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Speaker 2: if he wasn't just watching Soul Train or whatever is on,

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Speaker 2: including like an old detective show or a soap opera

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Speaker 2: or something. Maybe he'd be watching the news and he'd

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Speaker 2: be the guy who would go to the window and yell.

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Speaker 2: And some of these revolutionaries that we see. We talked

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Speaker 2: about this with Bickel being this man of isolation, God's

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Speaker 2: lonely man, and what we see just a few years

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Speaker 2: later here in Network is a group of people coming

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Speaker 2: together to rise up, maybe with a little bit more

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Speaker 2: political purpose than Travis Bickel actually has. But anyway, I

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Speaker 2: thought that I thought that progression was at least notable.

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Speaker 2: I don't know if you were thinking about it too well.

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Speaker 3: Bickel is absolutely in the audience for Beelle's false prophet phase,

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Speaker 3: you know, where he is just telling folks to get angry.

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Speaker 3: And I think it's very telling, and I love that

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Speaker 3: you brought it around to Bickle because what does he do.

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Speaker 3: Even in one scene where he tells them to express

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Speaker 3: their rage, he even says something I can't remember the

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Speaker 3: line exactly, but something like I don't know what you

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Speaker 3: should do. After that, he gives them no direction. There's

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Speaker 3: no like target, even good target. So if you think

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Speaker 3: about you know, it's a limited truth that Beale is

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Speaker 3: preaching when he's that false prophet and just telling people

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Speaker 3: to express their rage. I think even that late night

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Speaker 3: scene where he has this visitation, he hears this voice.

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Speaker 3: The voice even says, we're not talking about eternal truth

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Speaker 3: or absolute truth or ultimate truth. We're talking about impermanent, transient,

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Speaker 3: human truth. So that's a limited truth. That is just

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Speaker 3: the rage. He doesn't give them any direction, he doesn't

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Speaker 3: give them any hope. It's unchanneled, unfocused rage. And what

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Speaker 3: does that result in? It results in Travis Bickel, It's

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Speaker 3: exploited by people like Diana, by other media outlets, It's

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Speaker 3: exploited by corporations, as we'll see. You know, that last

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Speaker 3: phase of Beal is tricky because he is being manipulated

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Speaker 3: by ned Bades corporate over lord, even as he's sort

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Speaker 3: of speaking his own truth at the same time, right,

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Speaker 3: So he's this false prophet who's being manipulated. And then

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Speaker 3: you know, we've lived through politicians recently doing this, garnering

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Speaker 3: populist rage, not directing it anywhere truthful, just telling it

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Speaker 3: to be vented. And that's where that's where the profit

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Speaker 3: thing is tricky, because he doesn't really become a true

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Speaker 3: prophet to me until those sequences you were talking about

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Speaker 3: Adam where he he starts to bite the hand that

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Speaker 3: has created him.

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Speaker 5: Well, that's how you really see it.

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Speaker 2: Yes, absolutely, And I guess I will just say this,

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Speaker 2: and I don't know if we're really splitting hairs or not.

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Speaker 2: I think that sense of truth not being transient and

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Speaker 2: being limited and just at least trying to get people

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Speaker 2: to not be apathetic but to actually be angry, that's enough.

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Speaker 2: Isn't that actually more honest than suggesting that he does

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Speaker 2: know what should take right now? And so that's my

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Speaker 2: thing with Beale is that I do at least think

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Speaker 2: that he is never really a false prophet, or at

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Speaker 2: least this is what I'm kicking around, Josh, the idea

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Speaker 2: that he's not false, because even if what he is

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Speaker 2: saying or the underlying message, we could quibble with or

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Speaker 2: say isn't clear sighted enough or actually productive in any way.

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Speaker 2: He believes it, unlike a prophet who knowingly is spreading falsity.

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Speaker 2: I believe what he's tapping into. I believe that he

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Speaker 2: believes it. And even this is where the contradiction comes in.

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Speaker 2: And I think the complexity of the script and what

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Speaker 2: I love about it so much is that even when

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Speaker 2: he's then completely contradicting himself a few nights later, after

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Speaker 2: meeting with Ned Badies Arthur Jensen, he's still saying the truth.

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Speaker 2: In fact, he might actually be saying what's more of

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Speaker 2: an actual truth. It's just not what the people want

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Speaker 2: to hear. It's not what any of us would want

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Speaker 2: to hear.

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Speaker 7: The time has come to say, is the humanization is

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Speaker 7: such a bad word.

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Speaker 4: Look it's good or bad, that's what is.

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Speaker 2: So the whole world is becoming humanoid creatures that look human,

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Speaker 2: but art the whole world, not just us.

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Speaker 7: We're just the most advanced country, so we're getting there first.

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Speaker 2: The whole worlds.

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Speaker 7: People are becoming mass produced, program numbered in sense things.

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Speaker 3: Yeah. I think that's the tricky thing with Feel as

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Speaker 3: a character is he was he was more of a

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Speaker 3: tool for me. This time around, I didn't ever really

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Speaker 3: get a sense of, you know fully, what he did believe,

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Speaker 3: where he was losing control of his senses legitimately becoming

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Speaker 3: mentally ill, and where it was this existential force actually

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Speaker 3: speaking to him. Those things got mixed because I felt

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Speaker 3: like he kept being used depending on how the screenplay

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Speaker 3: wanted him to be used. And I guess, you know, yes,

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Speaker 3: he's not a false prophet in the sense of like

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Speaker 3: you know, Robert Mitcham in The Night of the Hunter,

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Speaker 3: where he's you know, he's preaching this false gospel, but

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Speaker 3: he's not a true prophet, because true prophets speak truth

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Speaker 3: to power, and and he becomes one, as I was saying,

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Speaker 3: when he does start telling the audience that you are slaves,

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Speaker 3: and he starts hinting about the corporate machinations going on

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Speaker 3: in the background that get him into trouble. That's the

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Speaker 3: power he's he's rousing at that point, and that's why

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Speaker 3: ned Batty brings him into the into the boardroom for

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Speaker 3: that amazing scene and you know, gives him that booming speech.

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Speaker 3: So it's but he starts talking truth to power, he

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Speaker 3: does become a true prophet. But I still think at

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Speaker 3: the end of the day, he registered mostly for me

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Speaker 3: this time around, as this convenient prophet because he's a

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Speaker 3: tool of Chaievsky's screenplay, which is, you know, this is

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Speaker 3: didactic cinema, and I'm trying to come around on that.

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Speaker 3: You know, I've always been a little bit hesitant to it,

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Speaker 3: even though one of my favorite struggle even though one

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Speaker 3: of my favorite filmmakers, Spike Lee, is you know, maybe

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Speaker 3: the king of didactic cinema. Okay, and so like the

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Speaker 3: message here, I totally as we've talked about, is pressient

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Speaker 3: on point needed necessary. But in watching Beale this time around,

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Speaker 3: I did feel like this was just this figure. We

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Speaker 3: didn't get to really know him as a character or what,

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Speaker 3: especially how the movie begins with just these two guys

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Speaker 3: going out for a drink and really rooted in their

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Speaker 3: shared past together. Eventually we no longer really the movie

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Speaker 3: doesn't seem that interested in Beale as a person. He

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Speaker 3: becomes this this figure that can be used depending on

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Speaker 3: what points the screenplay wants to make. They're great points,

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Speaker 3: they're fascinating points. This Finch is amazing and delivering them.

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Speaker 3: I love the transition he makes from this morose older

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Speaker 3: guy to the televangelist to the guy who's really likely

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Speaker 3: lost his mind. I mean the performance is good, yes,

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Speaker 3: but it's a convenient figure for the screenplay. Is how

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Speaker 3: it struck me.

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Speaker 5: I don't see it that way.

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Speaker 2: I definitely see it as more ambiguous by design. And

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Speaker 2: actually one of the strengths, as I was mentioning earlier,

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Speaker 2: in that there's a moment. For example, it's when he's

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Speaker 2: giving the I'm attis Hell's speech and we cut to

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Speaker 2: Diana fade unaway reacting like this over zealous, proud mother

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Speaker 2: who knows that she can milk this for whatever she wants,

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Speaker 2: and we as viewers, I think most of us look

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Speaker 2: at that character and say, Okay, she's on the wrong

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Speaker 2: side of this. So if she's reacting positively, well that's

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Speaker 2: not necessarily a good thing. Well then you've got on

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Speaker 2: the other side William Holden's character, who's scoffing at it

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Speaker 2: and who thinks it's an embarrassment and can't believe anyone

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Speaker 2: would be weighed by it. And the reality is is

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Speaker 2: that as a viewer, I'm right in the middle where

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Speaker 2: I'm going, Well, he's kind of making a lot of sense.

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Speaker 2: But he also is off his rocker and probably should

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Speaker 2: be in a home or at least getting some kind

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Speaker 2: of treatment, and he definitely shouldn't be getting more airtime.

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Speaker 2: And yet I like what he has to say. I

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Speaker 2: find myself reacting viscerally to what he's saying. So I

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Speaker 2: think that that is complexity that really draws me into Network.

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Speaker 2: And in terms of the didacticism, definitely this time first

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Speaker 2: time I'd seen it. As I mentioned, since probably ninety

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Speaker 2: three or ninety four. There are definitely parts that seem overwritten.

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Speaker 2: There are moments that seem overacted. There are parts where

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Speaker 2: Chaiefski through Beal is perhaps not just attacking corporatism and

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Speaker 2: capitalism runnam Uk, but relying on a little xenophobia to.

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Speaker 5: Unify his American audience.

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Speaker 2: There are problematic aspects of Network I see it, and

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Speaker 2: none of it overrides I'll use that word again. It's prescience,

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Speaker 2: its perceptiveness, its sense of humor, and the entire brilliant

365
00:19:28,485 --> 00:19:33,565
Speaker 2: satirical DNA that is its foundation. And satire is a

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Speaker 2: word that I think often gets used or misused to

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Speaker 2: describe a lot of different types of art or content,

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Speaker 2: if you will. But with Network, I'm talking about the

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Speaker 2: pure stuff, the acute but outrageous, swiftly in let's solve

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Speaker 2: poverty by selling poor kids to the rich for food stuff. There,

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Speaker 2: simply for me, isn't a better piece of cinematic satire

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Speaker 2: that ending. I'm going to give people listening radio or

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Speaker 2: podcast a chance here in a sackle, give you the

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Speaker 2: cue to turn the radio off for fifteen seconds, or

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Speaker 2: hit the jump ahead button on your phone if you

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Speaker 2: haven't seen it, but here it is.

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Speaker 3: So what do we do about this beel son of

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Speaker 3: a bitch?

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Speaker 2: I suppose we'll have to kill him.

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Speaker 3: I don't suppose you have any ideas on the Diana.

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Speaker 4: Well, what would your fellows say to an assassination? I

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Speaker 4: think I can get the Mauzi tuned people to kill

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Speaker 4: be for us.

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Speaker 7: It's one of the shows.

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Speaker 4: In fact, it'll make a hell of a kickoff show

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Speaker 4: for the season. We're facing heavy opposition on the other network.

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Speaker 2: That ending is so incredible and chilling watching a group

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Speaker 2: of TV execs deciding to murder one of their personalities

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Speaker 2: live on TV with the same gravity and solemnity they'd

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Speaker 2: give to ordering takeout. Is it realistic? Of course not.

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Speaker 2: It's absurd, But is that Yes, I get it, that

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Speaker 2: is the line it's walking, but it's also not something

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Speaker 2: we actually believe is probably taking place. But that's the

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Speaker 2: entire point, is Diana Christensen being so consumed with her

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Speaker 2: work and her ambition that she literally talks only about

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Speaker 2: TV deals and ratings while on a Romean weekend get

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Speaker 2: away with her lover, including during sex Realistic. No, it's absurd,

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Speaker 2: but I do think that absurdity and that irony is

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Speaker 2: why Network's message is so lucid and so potent. And

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Speaker 2: I mentioned that it resonated differently this time. When I

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Speaker 2: saw it originally in the nineties, it felt sort of

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Speaker 2: groundbreaking and clairvoyant enough in what it foretold about journalism

403
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Speaker 2: and the media and infotainment about the unchecked power of corporations.

404
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Speaker 2: But it's not like those things were new in the

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Speaker 2: nineteen seventies. Chaievsky just envisioned the inevitable sad trajectory. What

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Speaker 2: was amazing at that time was to see him predict

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Speaker 2: the rise of reality TV, as you mentioned, which was

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Speaker 2: then flourishing in the nineties. Diana's obsession with taking real footage,

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Speaker 2: real events and turning them into programming creating stars out

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Speaker 2: of quote unquote real people. I do know that An

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Speaker 2: American Family aired in nineteen seventy three on PBS, but

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Speaker 2: I couldn't believe how right Chaievski was when I saw

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Speaker 2: it back in the nineties. And now you watch it

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Speaker 2: in twenty twenty one and you recognize that it's not

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Speaker 2: just reality TV, it's user generated content. It's reality as

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Speaker 2: captured by the people experiencing the events in nineteen seventy six.

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Speaker 2: In this movie, it's a terrorist group with one person

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Speaker 2: shooting a bank robbery with a movie camera. Now right,

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Speaker 2: we see insurrectionists storming the Capitol. Every single one of

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Speaker 2: them has the phone in their hand and they're shooting video.

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Speaker 2: They're streaming to Facebook or Twitch or whatever platform they choose.

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Speaker 2: And that is what really struck me this time. When

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Speaker 2: you hear Howard Beale talking about the madness of it

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Speaker 2: all and talking about the illusion of television and trying

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Speaker 2: to tell people to turn their TV sets off and

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Speaker 2: saying this tube is the gospel. It can make or

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Speaker 2: break presidents. And he has that great line where he

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00:23:15,685 --> 00:23:19,005
Speaker 2: says the tube is the most awesome, goddamn propaganda force

429
00:23:19,005 --> 00:23:21,285
Speaker 2: in the whole godless world, and woe is us if

430
00:23:21,285 --> 00:23:24,925
Speaker 2: it ever falls into the hands of the wrong people. Well, today,

431
00:23:25,525 --> 00:23:28,325
Speaker 2: Howard Beale wouldn't get anybody to go to the window

432
00:23:28,565 --> 00:23:30,965
Speaker 2: because if they had the TV on at all to

433
00:23:31,045 --> 00:23:33,605
Speaker 2: the news, it would just be background noise as they

434
00:23:33,645 --> 00:23:36,405
Speaker 2: stared at their phones. You know, replaced turn off your

435
00:23:36,405 --> 00:23:39,485
Speaker 2: television sets with turn off your phones. It's really no

436
00:23:39,605 --> 00:23:45,205
Speaker 2: different except it's actually it's more ubiquitous, more dangerous, more desensitizing,

437
00:23:45,365 --> 00:23:47,405
Speaker 2: and even more disconnected from reality.

438
00:23:47,685 --> 00:23:49,965
Speaker 3: Yeah, and that's why I said the American sickness is,

439
00:23:50,045 --> 00:23:53,205
Speaker 3: you know, more screens than actually specifically television. And you

440
00:23:53,245 --> 00:23:55,405
Speaker 3: bring up the insurrectionists, you know, that's an example of

441
00:23:55,445 --> 00:23:58,244
Speaker 3: the unchanneled rage. How much of that footage that we

442
00:23:58,405 --> 00:24:03,085
Speaker 3: saw was of these morons just like wandering around once

443
00:24:03,125 --> 00:24:06,445
Speaker 3: they got in because they some of them had principal

444
00:24:07,165 --> 00:24:09,805
Speaker 3: not principle, that's the wrong word, but specific reasons for

445
00:24:09,885 --> 00:24:12,405
Speaker 3: being there. But how many others of them got in

446
00:24:12,445 --> 00:24:15,285
Speaker 3: there once their rage was vented. They didn't know what

447
00:24:15,325 --> 00:24:17,805
Speaker 3: they were supposed to do. And I guess that's like

448
00:24:17,885 --> 00:24:20,605
Speaker 3: those sequences of the people yelling out the windows, that's

449
00:24:20,645 --> 00:24:23,205
Speaker 3: the kind that's the exact same kind of rage we're

450
00:24:23,245 --> 00:24:24,885
Speaker 3: hearing there. I want to go back to that scene

451
00:24:24,885 --> 00:24:29,845
Speaker 3: where they're talking about having beel murdered, the corporate execs,

452
00:24:29,885 --> 00:24:32,285
Speaker 3: the TV execs. The reason I said it's believable is

453
00:24:32,285 --> 00:24:34,885
Speaker 3: and here we should probably give Lolumet some credit is

454
00:24:35,205 --> 00:24:38,005
Speaker 3: just how that I can't remember exactly how many edits

455
00:24:38,045 --> 00:24:42,605
Speaker 3: there are, but it's a very casually blocked scene where

456
00:24:42,605 --> 00:24:48,005
Speaker 3: they transition so seamlessly from these boring corporate discussions of

457
00:24:48,165 --> 00:24:51,165
Speaker 3: ratings points and so forth, into well, how are we

458
00:24:51,245 --> 00:24:54,285
Speaker 3: going to kill him? And like, their tones don't shift

459
00:24:54,565 --> 00:24:57,965
Speaker 3: that nothing dramatic happens with the camera, it doesn't no

460
00:24:58,445 --> 00:25:01,765
Speaker 3: music like it's now it's just evil is And that's

461
00:25:01,845 --> 00:25:05,365
Speaker 3: the satire. And the other satire that was so perfect

462
00:25:05,405 --> 00:25:07,645
Speaker 3: that I had really forgot about was how much of

463
00:25:07,685 --> 00:25:12,245
Speaker 3: the subplot involved this communist activist played by Marlene Warfield,

464
00:25:12,605 --> 00:25:16,325
Speaker 3: who Diana recruits to find this footage you're talking about

465
00:25:16,325 --> 00:25:19,725
Speaker 3: from other from extremist groups that she has connections with,

466
00:25:19,965 --> 00:25:24,605
Speaker 3: and we get that great scene where Warfield is negotiating

467
00:25:24,725 --> 00:25:27,445
Speaker 3: with the leader of this extremist group and some TV

468
00:25:27,565 --> 00:25:30,285
Speaker 3: execs over I forget, I forget what the term is,

469
00:25:30,325 --> 00:25:32,525
Speaker 3: but it's something I don't even know what it means.

470
00:25:32,565 --> 00:25:36,005
Speaker 3: I think it was something like a distribution charges or rights.

471
00:25:36,605 --> 00:25:39,765
Speaker 3: And she's delivering this warfield as Laurene Hobbs is the

472
00:25:39,845 --> 00:25:42,765
Speaker 3: character's name. She's delivering this like it's a fiery speech,

473
00:25:43,205 --> 00:25:46,405
Speaker 3: a revolutionary speech. But they're talking about distribution charges.

474
00:25:46,765 --> 00:25:49,765
Speaker 6: I'm not giving this pseudo insurrectionary sectary and a piece

475
00:25:49,805 --> 00:25:50,285
Speaker 6: of my show.

476
00:25:50,485 --> 00:25:52,725
Speaker 7: I'm not giving him script appooval and I'm sure actually

477
00:25:52,765 --> 00:25:56,085
Speaker 7: ain't cutting him into my distribution charges and fascist.

478
00:25:56,725 --> 00:25:59,165
Speaker 4: Can you see the filling in the sand renal jail

479
00:25:59,205 --> 00:26:01,845
Speaker 4: wake out demonstrating a rising up of the seminal prisoner

480
00:26:01,885 --> 00:26:05,005
Speaker 4: class infrastructure. You can blow the seminole prison of class

481
00:26:05,005 --> 00:26:08,085
Speaker 4: infrastructure out your ass. I'm not knocking down my goddamn

482
00:26:08,125 --> 00:26:14,245
Speaker 4: distribution charges. Man, give her the fucking overhead clause.

483
00:26:15,445 --> 00:26:18,244
Speaker 3: That is the sort of like sorry to bother you,

484
00:26:18,325 --> 00:26:22,925
Speaker 3: bamboozled idiocracy level satire that is so rich in network

485
00:26:22,965 --> 00:26:25,725
Speaker 3: that I think is just great. Now, I do wanna.

486
00:26:26,285 --> 00:26:29,925
Speaker 3: We mentioned Dunaway a couple of times, and I just

487
00:26:30,085 --> 00:26:31,645
Speaker 3: love how she devours this movie.

488
00:26:31,765 --> 00:26:32,085
Speaker 5: Me too.

489
00:26:32,325 --> 00:26:35,085
Speaker 3: You know what I think she's doing here. We've characterized her.

490
00:26:36,325 --> 00:26:38,045
Speaker 3: You know a couple of ways we could. You could

491
00:26:38,045 --> 00:26:41,845
Speaker 3: call her driven, brazen, unscrupulous. She really made me wonder

492
00:26:41,845 --> 00:26:46,045
Speaker 3: if she was a model for those sleazy business types

493
00:26:46,085 --> 00:26:49,525
Speaker 3: that Michael Douglass would specialize in during the nineteen eighties,

494
00:26:49,565 --> 00:26:53,045
Speaker 3: because I got such vibes from her like that. And

495
00:26:53,285 --> 00:26:56,565
Speaker 3: then there's great little moments she gives when her boss

496
00:26:56,645 --> 00:27:00,765
Speaker 3: Duval is talking about his hesitancy about putting Bille this

497
00:27:00,805 --> 00:27:03,445
Speaker 3: is early on on the air, and says something about

498
00:27:03,445 --> 00:27:06,365
Speaker 3: how we're talking about putting a manifestly irresponsible man on television.

499
00:27:06,445 --> 00:27:09,565
Speaker 3: As he's saying that, Lumette cuts to Dunaway and her eyebrows,

500
00:27:09,565 --> 00:27:13,245
Speaker 3: her iconic eyebrows just go like higher and higher, like

501
00:27:13,445 --> 00:27:17,245
Speaker 3: every word, yes, every word he uses to to argue

502
00:27:17,245 --> 00:27:20,285
Speaker 3: against this gets her more excited. That's about the possibility.

503
00:27:20,445 --> 00:27:23,205
Speaker 3: So yeah, just the fact you mentioned the scene on

504
00:27:23,245 --> 00:27:26,205
Speaker 3: the Romantic Getaway with Holden where she's just talking business.

505
00:27:26,245 --> 00:27:29,605
Speaker 3: She's like this dead eyed, great white shark, just zeroing

506
00:27:29,645 --> 00:27:33,645
Speaker 3: in on her career. It's the only thing she can

507
00:27:33,645 --> 00:27:36,885
Speaker 3: think about. And it's just an amazing performance.

508
00:27:36,525 --> 00:27:37,165
Speaker 5: It really is.

509
00:27:37,245 --> 00:27:41,645
Speaker 2: But as histrionic or as shrill as the performance sometimes is,

510
00:27:41,805 --> 00:27:45,285
Speaker 2: and no matter how much we I think probably most

511
00:27:45,365 --> 00:27:48,925
Speaker 2: viewers anyway loathe her as a character. There are these

512
00:27:49,045 --> 00:27:52,525
Speaker 2: quieter moments, in these subtler moments, where she's really remarkable.

513
00:27:52,565 --> 00:27:55,965
Speaker 2: I love the scene, for example, where she comes to

514
00:27:56,165 --> 00:28:00,045
Speaker 2: Max Schumacher William Holden's office late at night and it's

515
00:28:00,045 --> 00:28:03,285
Speaker 2: really their first encounter and she basically seduces him.

516
00:28:03,405 --> 00:28:04,965
Speaker 3: That's where I got the Douglas vibes.

517
00:28:05,125 --> 00:28:09,005
Speaker 2: There you go, right, it's all calculation, But at the

518
00:28:09,045 --> 00:28:12,325
Speaker 2: same time, there's nothing here's that word again, there's nothing

519
00:28:12,325 --> 00:28:16,365
Speaker 2: actually false about it. I believe every single word she's saying.

520
00:28:16,645 --> 00:28:18,925
Speaker 2: And there's a self awareness to it and a self

521
00:28:18,925 --> 00:28:22,205
Speaker 2: awareness to the performance that matches the overall self awareness

522
00:28:22,365 --> 00:28:27,005
Speaker 2: of the movie, obviously, including the relationship between her and

523
00:28:27,005 --> 00:28:29,285
Speaker 2: Schumacher and the way Chaievsky frames it in terms of

524
00:28:29,325 --> 00:28:32,845
Speaker 2: this conceit of a TV melodrama and the way that

525
00:28:32,845 --> 00:28:35,645
Speaker 2: that plays out. And that brings us to near the

526
00:28:35,725 --> 00:28:39,765
Speaker 2: end of the film, that last big scene, that last

527
00:28:39,765 --> 00:28:46,525
Speaker 2: big throwdown with done Away and Holden. She's getting monologued at,

528
00:28:46,925 --> 00:28:51,445
Speaker 2: she is getting destroyed. Chaievsky doesn't really give her anything

529
00:28:51,485 --> 00:28:55,085
Speaker 2: to do. This is Holden as his mouthpiece getting to

530
00:28:55,165 --> 00:28:59,845
Speaker 2: tell off the heartless cold television generation. And as you're

531
00:28:59,885 --> 00:29:03,045
Speaker 2: watching it, I'm thinking, how do you, as Faye done Away,

532
00:29:03,045 --> 00:29:06,405
Speaker 2: how do you play this scene without just being a

533
00:29:06,445 --> 00:29:12,245
Speaker 2: doormat or being a witch. And that delivery of her

534
00:29:12,325 --> 00:29:16,685
Speaker 2: line where she says, then don't leave me, it's actually bracing,

535
00:29:16,925 --> 00:29:20,925
Speaker 2: I think in that it's an expression of actual emotion,

536
00:29:21,565 --> 00:29:24,245
Speaker 2: but it's subtle. It is really subtle. It feels like

537
00:29:24,525 --> 00:29:27,005
Speaker 2: a real moment. And here again is the ambiguity. It's

538
00:29:27,045 --> 00:29:30,085
Speaker 2: so real because I don't know that I actually believe

539
00:29:30,165 --> 00:29:34,085
Speaker 2: that she means it. I don't think she knows means it.

540
00:29:34,325 --> 00:29:36,405
Speaker 2: Is that the line where there's a thing come through?

541
00:29:36,965 --> 00:29:38,805
Speaker 2: Does she have a little hiccup in that line where

542
00:29:38,845 --> 00:29:40,765
Speaker 2: there's a pause. If it's not that line, it's another

543
00:29:40,805 --> 00:29:44,085
Speaker 2: one in that scene where she lets us know exactly

544
00:29:44,125 --> 00:29:46,925
Speaker 2: what you're pointing at, Adam, is that she's either trying

545
00:29:46,925 --> 00:29:51,085
Speaker 2: to convince herself or you know, she's not there yet herself,

546
00:29:51,125 --> 00:29:54,245
Speaker 2: because one thing about Diana is she never lies right

547
00:29:54,325 --> 00:29:57,245
Speaker 2: even in that that's early See she is in his office,

548
00:29:57,325 --> 00:29:58,965
Speaker 2: she's telling him, this is what I want to have

549
00:29:59,005 --> 00:30:01,845
Speaker 2: happened tonight. If you're interested, great, if you're not great.

550
00:30:02,205 --> 00:30:04,045
Speaker 2: This is what I want to do in terms of

551
00:30:04,085 --> 00:30:07,645
Speaker 2: our business partnership, and throughout the movie she never lies

552
00:30:07,685 --> 00:30:11,005
Speaker 2: to anyone, So there's something admirable there. And I do

553
00:30:11,045 --> 00:30:14,085
Speaker 2: think she's great in that climactic scene between them, and

554
00:30:14,125 --> 00:30:15,045
Speaker 2: I was having the same.

555
00:30:14,885 --> 00:30:18,405
Speaker 3: Thoughts as you. I think the scene overall as written,

556
00:30:19,285 --> 00:30:21,205
Speaker 3: and you know, you can't hold it against Holden because

557
00:30:21,245 --> 00:30:23,445
Speaker 3: it's the material he's given. I just don't think it

558
00:30:23,485 --> 00:30:30,245
Speaker 3: works because I can forgive Beale becoming Shchewsky's mouthpiece because

559
00:30:30,325 --> 00:30:32,805
Speaker 3: it is this sort of prophetic figures we've been discussing,

560
00:30:33,045 --> 00:30:35,645
Speaker 3: but Holden is supposed to be more rooted down to earth,

561
00:30:36,445 --> 00:30:40,125
Speaker 3: a character we can relate to, and he gradually transitions.

562
00:30:40,125 --> 00:30:43,725
Speaker 3: Another scene is between he and his wife. We mentioned

563
00:30:44,125 --> 00:30:48,045
Speaker 3: Beatrice Strait, who won the Oscar. There's a scene between

564
00:30:48,085 --> 00:30:50,765
Speaker 3: them as well where they start talking about, you know,

565
00:30:50,805 --> 00:30:54,165
Speaker 3: how their life is resembling this melodrama script that Diana

566
00:30:54,245 --> 00:30:57,205
Speaker 3: is writing. And you can just see the screenplay so

567
00:30:57,365 --> 00:31:00,085
Speaker 3: much over those scenes. As good as the actors are,

568
00:31:00,765 --> 00:31:04,165
Speaker 3: and so that climactic one between Holden and Dunaway, as

569
00:31:04,165 --> 00:31:07,325
Speaker 3: good as she is in it, I don't think it.

570
00:31:07,365 --> 00:31:10,445
Speaker 3: I don't think their relationship overall works because it's kind

571
00:31:10,445 --> 00:31:14,085
Speaker 3: of caught in between trying to bring some character, some

572
00:31:14,165 --> 00:31:17,885
Speaker 3: real people into this story and still having it stand

573
00:31:18,005 --> 00:31:22,325
Speaker 3: metaphorically for the larger points Chewski wants to make. And

574
00:31:22,365 --> 00:31:25,445
Speaker 3: I think it can never quite manage those two things

575
00:31:25,445 --> 00:31:25,885
Speaker 3: at once.

576
00:31:26,685 --> 00:31:35,805
Speaker 7: Your television and Karna Diana indifferent, suffering and sensitive to joy.

577
00:31:36,885 --> 00:31:39,645
Speaker 7: All of life is reduced to the common rubble of

578
00:31:39,685 --> 00:31:46,205
Speaker 7: banality or murder, death. All the same to you is

579
00:31:46,565 --> 00:31:50,685
Speaker 7: bottles of beer, and the daily business of life is

580
00:31:51,485 --> 00:31:57,565
Speaker 7: a corrupt comedy. You even shatter the sensations of time

581
00:31:57,645 --> 00:32:02,485
Speaker 7: and space and two split seconds and instant replays.

582
00:32:02,965 --> 00:32:06,525
Speaker 2: Yeah, I definitely watching that scene this time. And this

583
00:32:06,565 --> 00:32:10,245
Speaker 2: is where I mentioned some scenes maybe being overwritten in

584
00:32:10,285 --> 00:32:15,525
Speaker 2: that last big showdown between them, when Holden says, after

585
00:32:15,605 --> 00:32:17,605
Speaker 2: living with you for the last six months, I'm turning

586
00:32:17,605 --> 00:32:20,485
Speaker 2: into one of your scripts. Well, this is not a script, Diana.

587
00:32:20,645 --> 00:32:24,125
Speaker 2: There's some real, actual life going on here. I said, Okay,

588
00:32:25,085 --> 00:32:28,805
Speaker 2: that's a mouthful for an actor to actually sell convincingly,

589
00:32:28,885 --> 00:32:31,125
Speaker 2: and I'm going to say that for the most part,

590
00:32:31,525 --> 00:32:34,005
Speaker 2: Bill Holden does it. It works well enough for me,

591
00:32:34,085 --> 00:32:36,045
Speaker 2: but it did stand out for me this time, Josh.

592
00:32:36,405 --> 00:32:38,125
Speaker 3: You know what is kind of the issue at the

593
00:32:38,165 --> 00:32:44,125
Speaker 3: very beginning about their relationship is that Holden doesn't discover

594
00:32:44,325 --> 00:32:48,485
Speaker 3: anything new about Diana that would lead him to either

595
00:32:48,565 --> 00:32:51,005
Speaker 3: get that involved with her or to leave her. Everything

596
00:32:51,525 --> 00:32:54,125
Speaker 3: he quote unquote comes to find out about her, he

597
00:32:54,205 --> 00:32:57,405
Speaker 3: knows the second she walks into that office. So I

598
00:32:57,405 --> 00:33:01,685
Speaker 3: don't think the whole like convention of having them give

599
00:33:01,725 --> 00:33:04,645
Speaker 3: this arc to their relationship doesn't work because there is

600
00:33:04,685 --> 00:33:07,405
Speaker 3: no ark to it. He knows anything about her already.

601
00:33:07,325 --> 00:33:12,085
Speaker 2: No, And I think that's completely accurate. And maybe because

602
00:33:12,085 --> 00:33:14,125
Speaker 2: of that, I was paying even more attention to it

603
00:33:14,165 --> 00:33:16,845
Speaker 2: this time and why I was invested in that relationship

604
00:33:16,845 --> 00:33:19,085
Speaker 2: at all, or why I believed it in terms of

605
00:33:19,085 --> 00:33:22,045
Speaker 2: the script, And I think this time I recognize that

606
00:33:22,725 --> 00:33:25,205
Speaker 2: it can work if you see it in the scope

607
00:33:25,205 --> 00:33:30,365
Speaker 2: of the whole script where Diana has no real genuine

608
00:33:30,405 --> 00:33:34,565
Speaker 2: affection for him or sees this relationship as anything profound,

609
00:33:34,805 --> 00:33:37,045
Speaker 2: but she does need to be tethered to reality in

610
00:33:37,085 --> 00:33:40,365
Speaker 2: some way. What he says as mousehole as it is,

611
00:33:40,045 --> 00:33:42,805
Speaker 2: it is, it is accurate. I believe that anyway about

612
00:33:42,805 --> 00:33:45,965
Speaker 2: her character, and I also believe exactly what he says

613
00:33:46,005 --> 00:33:50,045
Speaker 2: to his wife that this is the last chance for

614
00:33:50,125 --> 00:33:53,565
Speaker 2: him at something, some kind of feeling, maybe no different

615
00:33:53,565 --> 00:33:56,085
Speaker 2: than Peter Finch saying I still matter, and I'm going

616
00:33:56,125 --> 00:33:58,605
Speaker 2: to express myself, even if it's just a bunch of rage.

617
00:33:58,685 --> 00:34:00,165
Speaker 2: He's saying, you know what, You're not just going to

618
00:34:00,205 --> 00:34:01,845
Speaker 2: push me out the door. I'm not just going to

619
00:34:01,885 --> 00:34:05,365
Speaker 2: be this zion of TV news and I'm just going

620
00:34:05,405 --> 00:34:07,525
Speaker 2: to go out to pasture. This is sort of my

621
00:34:07,645 --> 00:34:11,924
Speaker 2: last chance to prove myself as the still kind of

622
00:34:12,045 --> 00:34:16,885
Speaker 2: virile man of action. And she is only a response

623
00:34:16,885 --> 00:34:19,484
Speaker 2: to that because she really can't be anything else. There

624
00:34:19,525 --> 00:34:21,485
Speaker 2: is no way in those scenes I mentioned earlier, the

625
00:34:21,605 --> 00:34:25,405
Speaker 2: romantic weekend getaway where he is actually having a good time,

626
00:34:25,805 --> 00:34:29,205
Speaker 2: but he is playing along. He is playing along because

627
00:34:29,285 --> 00:34:32,365
Speaker 2: I think he needs it and she needs it, just

628
00:34:32,405 --> 00:34:34,885
Speaker 2: as he does say to her late in the film.

629
00:34:34,965 --> 00:34:37,765
Speaker 2: So I guess that's how I convinced myself, Josh, of

630
00:34:37,765 --> 00:34:39,885
Speaker 2: what Chayevski was after with that couple.

631
00:34:40,365 --> 00:34:43,805
Speaker 3: All right, So convince me why Duval is so great

632
00:34:43,965 --> 00:34:46,404
Speaker 3: in this because I had some I'm glad you said

633
00:34:46,445 --> 00:34:47,885
Speaker 3: I struggled with his performance.

634
00:34:48,245 --> 00:34:52,765
Speaker 2: It's one of those performances that I just love every

635
00:34:52,885 --> 00:34:55,325
Speaker 2: moment of it. I don't know how to completely articulate it,

636
00:34:55,365 --> 00:34:57,605
Speaker 2: but there isn't a line reading or a set of

637
00:34:57,645 --> 00:35:04,285
Speaker 2: grimaces or expressions I didn't find surprising and just fun

638
00:35:04,365 --> 00:35:07,605
Speaker 2: as hell. When he says, for example, to the guy

639
00:35:07,645 --> 00:35:12,005
Speaker 2: playing Nelson Cheney, the president of the network, the ineffectual president,

640
00:35:12,285 --> 00:35:14,685
Speaker 2: he says, we're not a respectable network. And he says, well,

641
00:35:14,765 --> 00:35:16,525
Speaker 2: I don't want any part of it. I don't fancy

642
00:35:16,565 --> 00:35:19,805
Speaker 2: myself the president of a whorehouse. And Hackett says, that's

643
00:35:19,885 --> 00:35:22,485
Speaker 2: very commendable of you, Nelson. Now sit down, your indignation

644
00:35:22,605 --> 00:35:25,125
Speaker 2: is duly recorded. You can always resign tomorrow, and just

645
00:35:25,805 --> 00:35:29,805
Speaker 2: very calmly puts him completely in his place. That's one

646
00:35:29,845 --> 00:35:32,085
Speaker 2: of the scenes I love. But it's honestly, it's just

647
00:35:32,125 --> 00:35:37,005
Speaker 2: watching him in agony as he is hearing what Howard

648
00:35:37,045 --> 00:35:40,445
Speaker 2: Beale said on the airwaves, knowing that Arthur Jensen is

649
00:35:40,485 --> 00:35:42,725
Speaker 2: going to call him back to New York the next

650
00:35:42,805 --> 00:35:45,645
Speaker 2: day and he's gonna probably get fired, and you just

651
00:35:45,765 --> 00:35:50,365
Speaker 2: see how it's tearing him apart. It's all in the

652
00:35:50,405 --> 00:35:52,805
Speaker 2: way he kind of grits his teeth, the way he

653
00:35:53,085 --> 00:35:54,844
Speaker 2: smiles in a completely false way.

654
00:35:54,885 --> 00:35:57,085
Speaker 5: It's just Duval. It's just Dumal to me, it's a

655
00:35:57,125 --> 00:36:00,965
Speaker 5: pure Duval performance. I'm finished any second.

656
00:36:01,005 --> 00:36:03,845
Speaker 3: That phone's gonna ring and Clarence Mcalane's gonna tell me

657
00:36:03,885 --> 00:36:07,245
Speaker 3: mister Jensen wants me in his office tomorrow morning so.

658
00:36:07,205 --> 00:36:09,165
Speaker 5: It can personally chop.

659
00:36:08,965 --> 00:36:09,525
Speaker 3: My head off.

660
00:36:11,205 --> 00:36:13,445
Speaker 2: Four hours ago, I was a sun gun at Cca,

661
00:36:13,605 --> 00:36:16,645
Speaker 2: mister Jenson's hand picked golden boy, the air Apparent.

662
00:36:18,005 --> 00:36:21,485
Speaker 3: Now I'm a man operation.

663
00:36:23,405 --> 00:36:24,725
Speaker 4: Let's get that to Howard feel.

664
00:36:25,885 --> 00:36:29,005
Speaker 3: I like how Dunaway snaps him out of it because

665
00:36:29,045 --> 00:36:32,525
Speaker 3: I was thinking, like, please, please stop. We get the point.

666
00:36:32,565 --> 00:36:36,045
Speaker 3: He keeps struggling for more metaphors for how much trouble

667
00:36:36,045 --> 00:36:39,445
Speaker 3: he's in, how far he's fallen. It's so overwritten and overperformed.

668
00:36:39,885 --> 00:36:44,325
Speaker 3: I can't remember a guy with so little hair constantly

669
00:36:44,765 --> 00:36:48,805
Speaker 3: pushing back his hair in movie. It's like, there's nothing there, Bobby.

670
00:36:48,845 --> 00:36:50,885
Speaker 3: I mean, you can keep going for it. I don't know.

671
00:36:51,205 --> 00:36:54,365
Speaker 3: I think that he it's it's a movie of a

672
00:36:54,405 --> 00:36:57,165
Speaker 3: lot of performances that are didactic, but he's the only

673
00:36:57,165 --> 00:36:59,485
Speaker 3: one I found who was kind of overdoing the material,

674
00:36:59,845 --> 00:37:03,245
Speaker 3: which didn't which didn't need, you know, much doing at

675
00:37:03,245 --> 00:37:05,685
Speaker 3: all I did, like on his desk, I like the touch.

676
00:37:05,725 --> 00:37:07,125
Speaker 3: This is nothing to do with the performance. But what

677
00:37:07,125 --> 00:37:10,525
Speaker 3: does the sign say on his desk, I kindly refrain

678
00:37:10,605 --> 00:37:12,765
Speaker 3: from smoking in this room. And it was just a

679
00:37:12,885 --> 00:37:15,245
Speaker 3: nice visual, like joke. Here's this guy who's supposed to

680
00:37:15,285 --> 00:37:17,845
Speaker 3: be the hard ass in the movie, right right, and

681
00:37:17,885 --> 00:37:20,285
Speaker 3: then he has that in nineteen seventy six, he has

682
00:37:20,325 --> 00:37:23,685
Speaker 3: this on his desk, please referring from smoking here actually

683
00:37:23,765 --> 00:37:25,805
Speaker 3: the hardass in the movie. We got to talk about

684
00:37:25,805 --> 00:37:27,125
Speaker 3: ned Baty's scene.

685
00:37:27,765 --> 00:37:28,885
Speaker 5: Oh my good, incredible.

686
00:37:29,085 --> 00:37:31,445
Speaker 3: That is where Loumette pulls out the filmmaking stops. I

687
00:37:31,445 --> 00:37:34,845
Speaker 3: feel under percent know, the lights go down in this boardroom.

688
00:37:34,965 --> 00:37:37,605
Speaker 3: He sits beal down. He's going to ream him out

689
00:37:37,645 --> 00:37:40,285
Speaker 3: for for going on air and talking about the corporations

690
00:37:40,325 --> 00:37:43,165
Speaker 3: and so forth, and he gives this, what is that

691
00:37:43,285 --> 00:37:47,085
Speaker 3: a corporate cosmology? Is that the phrase he throws at him.

692
00:37:47,165 --> 00:37:50,205
Speaker 3: It's this, I mean, there's the profit of evil is

693
00:37:50,245 --> 00:37:54,085
Speaker 3: what That's what ned Baty is and and Loumette frames him.

694
00:37:54,285 --> 00:37:57,685
Speaker 3: There's all of these glowing green reading lamps on this

695
00:37:57,845 --> 00:38:01,965
Speaker 3: long conference table, and it's just like there's these oracles

696
00:38:02,005 --> 00:38:06,245
Speaker 3: of globalism chanting around ned Baty as he booms from

697
00:38:06,325 --> 00:38:07,445
Speaker 3: mount capitalism.

698
00:38:07,805 --> 00:38:11,885
Speaker 6: You have meddled with the primal forces of nature, mister

699
00:38:12,005 --> 00:38:15,565
Speaker 6: mel and I won't have it.

700
00:38:15,605 --> 00:38:16,125
Speaker 2: Is that clear.

701
00:38:17,485 --> 00:38:19,725
Speaker 3: You think you've merely stopped a business deal.

702
00:38:19,965 --> 00:38:21,325
Speaker 7: That is not the case.

703
00:38:21,885 --> 00:38:24,045
Speaker 6: The Arabs have taken billions of dollars out of this

704
00:38:24,085 --> 00:38:25,005
Speaker 6: country and now they.

705
00:38:25,005 --> 00:38:25,765
Speaker 5: Must put it back.

706
00:38:26,925 --> 00:38:33,844
Speaker 6: It is flow, title gravity, it is psychological balance. You

707
00:38:33,885 --> 00:38:35,165
Speaker 6: are an old man.

708
00:38:35,325 --> 00:38:38,205
Speaker 3: I totally forgot that scene as well, and it's astonishing.

709
00:38:37,805 --> 00:38:41,245
Speaker 2: It's incredible. And let's give credit here to the cinematographer,

710
00:38:41,365 --> 00:38:44,205
Speaker 2: the great cinematographer Owen Royceman who in the seventies just

711
00:38:44,245 --> 00:38:46,325
Speaker 2: gonna mention some of the titles in addition to Network,

712
00:38:46,485 --> 00:38:50,205
Speaker 2: the French Connection, The Heartbreak Kid, The Exorcist, Three Days

713
00:38:50,205 --> 00:38:53,565
Speaker 2: of the Condor. And I agree that's the standout scene

714
00:38:53,565 --> 00:38:55,525
Speaker 2: in the movie in so many ways. But in terms

715
00:38:55,565 --> 00:38:59,525
Speaker 2: of the filmmaking, utilizing the boardroom table and the space

716
00:38:59,925 --> 00:39:02,605
Speaker 2: with those lights you mentioned, I was watching it thinking,

717
00:39:03,165 --> 00:39:05,125
Speaker 2: like we discussed with all the President's men, are they

718
00:39:05,205 --> 00:39:07,165
Speaker 2: using a diopter here? And I don't think they are,

719
00:39:07,245 --> 00:39:09,805
Speaker 2: but it's almost a diopter effect where because of those

720
00:39:09,885 --> 00:39:13,085
Speaker 2: lights and where the camera is positioned almost underneath them,

721
00:39:13,125 --> 00:39:17,125
Speaker 2: shooting through them. It seems that ned Baby is very

722
00:39:17,165 --> 00:39:20,245
Speaker 2: distant while also right on top of you, right on

723
00:39:20,325 --> 00:39:24,725
Speaker 2: top of Beale, just overpowering him. And it really does

724
00:39:25,165 --> 00:39:28,205
Speaker 2: make you think of Jensen in that scene as a director.

725
00:39:28,405 --> 00:39:30,805
Speaker 2: You know, he brings him into that space for a reason.

726
00:39:31,005 --> 00:39:34,845
Speaker 2: He dims the lights, he positions himself just so and

727
00:39:34,965 --> 00:39:38,365
Speaker 2: starts his oration and then that line where he finally

728
00:39:38,365 --> 00:39:40,205
Speaker 2: then breaks and says, am I getting through to you

729
00:39:41,005 --> 00:39:41,925
Speaker 2: is hilarious.

730
00:39:41,965 --> 00:39:43,205
Speaker 5: That's the line of the movie.

731
00:39:43,245 --> 00:39:47,325
Speaker 2: And you know, I think it's easy without psychoanalyzing too

732
00:39:47,405 --> 00:39:50,765
Speaker 2: much here or reading too much into his personal biography.

733
00:39:50,965 --> 00:39:53,205
Speaker 2: I don't know a whole lot about Patty Chaiaevsky other

734
00:39:53,245 --> 00:39:55,725
Speaker 2: than I will say I read Davidskoff's book about the

735
00:39:55,725 --> 00:39:59,205
Speaker 2: making of Network, very good, very fun read. I also

736
00:39:59,645 --> 00:40:03,005
Speaker 2: read the biography of Bob Fosse, and he was really

737
00:40:03,365 --> 00:40:05,884
Speaker 2: intimate friends with Patti Chaiyevsky. So I have a little

738
00:40:05,885 --> 00:40:08,645
Speaker 2: bit of background, and it's easy to see the Howard

739
00:40:08,645 --> 00:40:12,205
Speaker 2: Beale in Patti Chaiyevsky. It's easy to see the William

740
00:40:12,245 --> 00:40:15,805
Speaker 2: Holden in this scene. I'm watching Arthur Jensen and thinking

741
00:40:15,845 --> 00:40:19,005
Speaker 2: not only of you know, Lamette and the symmetry to

742
00:40:19,085 --> 00:40:21,925
Speaker 2: a director, but I'm thinking about Chaievsky as a storyteller,

743
00:40:22,165 --> 00:40:24,725
Speaker 2: where you've got that kind of fire and Brimstone Preacher,

744
00:40:24,885 --> 00:40:28,484
Speaker 2: the didacticism of that I'm here to impart a very

745
00:40:28,525 --> 00:40:32,445
Speaker 2: important message that you better listen to. But he's also

746
00:40:33,205 --> 00:40:37,285
Speaker 2: trying to frame it as a storyteller. He's considering how

747
00:40:37,325 --> 00:40:40,045
Speaker 2: to best get through to his audience, and in this case,

748
00:40:40,045 --> 00:40:43,245
Speaker 2: that's how Jensen sets up the entire scene. So yeah,

749
00:40:43,285 --> 00:40:44,965
Speaker 2: I think that's one of the standouts, and I think

750
00:40:45,005 --> 00:40:46,285
Speaker 2: Baby is incredible in it.

751
00:40:46,565 --> 00:40:48,525
Speaker 3: All right, real quick, one last question I got for you.

752
00:40:48,725 --> 00:40:51,645
Speaker 3: The occasional narration. The whole the movie begins with this

753
00:40:51,725 --> 00:40:55,125
Speaker 3: voiceover narration, kind of a TV announcer setting things up,

754
00:40:55,165 --> 00:40:57,645
Speaker 3: and I think it comes back five or six times

755
00:40:57,685 --> 00:41:00,685
Speaker 3: more again than I remembered. Why do you think that's there?

756
00:41:00,725 --> 00:41:03,445
Speaker 3: Is it just another kind of metaplay on TV tropes

757
00:41:03,565 --> 00:41:06,125
Speaker 3: that they wanted to layer in because other than that,

758
00:41:06,205 --> 00:41:08,605
Speaker 3: I was kind of like, well, it's not really giving

759
00:41:08,685 --> 00:41:09,645
Speaker 3: us anything.

760
00:41:09,365 --> 00:41:12,885
Speaker 2: New, No, and it really probably isn't necessary. I'm not

761
00:41:12,925 --> 00:41:15,405
Speaker 2: sure that it really moves anything along, but there is

762
00:41:15,485 --> 00:41:19,725
Speaker 2: something about the framing of it, that device, that self awareness.

763
00:41:20,005 --> 00:41:22,565
Speaker 2: I think maybe if it was actually used just a

764
00:41:22,605 --> 00:41:25,285
Speaker 2: little bit more than it was, it probably would have

765
00:41:25,325 --> 00:41:28,565
Speaker 2: been very annoying. But as it is the beginning, the end,

766
00:41:28,845 --> 00:41:31,805
Speaker 2: a couple key moments in between his transitions, I didn't

767
00:41:31,805 --> 00:41:33,405
Speaker 2: have a problem with it watching it this time.

768
00:41:33,605 --> 00:41:35,965
Speaker 3: Yeah, Yeah, just stood out to me. And again I'm

769
00:41:35,965 --> 00:41:39,125
Speaker 3: thinking it's you know, they're referring to their lives as

770
00:41:39,165 --> 00:41:42,085
Speaker 3: a script of Diana's, and here the movie obviously has

771
00:41:42,085 --> 00:41:44,325
Speaker 3: a script. It's also being narrated as a script, so

772
00:41:44,405 --> 00:41:44,845
Speaker 3: it fits.

773
00:41:45,125 --> 00:41:49,285
Speaker 2: Yeah, going back to Lumett and Reusman for a second. Actually,

774
00:41:49,285 --> 00:41:51,925
Speaker 2: while I was thinking about this today, I put it

775
00:41:51,965 --> 00:41:54,085
Speaker 2: on in the background here at my desk, just so

776
00:41:54,085 --> 00:41:56,885
Speaker 2: I could kind of be watching Network and maybe, you know,

777
00:41:57,245 --> 00:42:00,205
Speaker 2: gathering something through us Moss, Josh and you what really

778
00:42:00,205 --> 00:42:02,805
Speaker 2: struck me When I think about Network, and I just

779
00:42:02,845 --> 00:42:07,404
Speaker 2: watched it two nights ago, I in my head think

780
00:42:07,445 --> 00:42:10,925
Speaker 2: about how dark it is. I think about the scenes

781
00:42:11,205 --> 00:42:13,365
Speaker 2: like with Jensen. I think about the scenes in the

782
00:42:13,405 --> 00:42:17,165
Speaker 2: boardroom at the end. I think about the scenes on

783
00:42:17,765 --> 00:42:21,165
Speaker 2: Howard Beale's set when he's the mad Profit and it's

784
00:42:21,205 --> 00:42:24,805
Speaker 2: all dark and so artificially lit, and I was kind

785
00:42:24,845 --> 00:42:27,005
Speaker 2: of shocked to go back and have it on, and

786
00:42:27,045 --> 00:42:29,205
Speaker 2: I'd keep looking up at the screen, and through the

787
00:42:29,205 --> 00:42:31,965
Speaker 2: first half or so of the movie, it is very

788
00:42:32,445 --> 00:42:37,125
Speaker 2: evenly and brightly lit, and Lumette is constantly and Reisman

789
00:42:37,165 --> 00:42:41,045
Speaker 2: are constantly relying on natural light to tell this story.

790
00:42:41,045 --> 00:42:42,605
Speaker 5: It really isn't that dark at all.

791
00:42:42,845 --> 00:42:47,645
Speaker 2: It's only as the movie itself gets darker and darker

792
00:42:47,725 --> 00:42:50,405
Speaker 2: and everybody gets it seems a little bit more corrupted.

793
00:42:50,685 --> 00:42:54,605
Speaker 2: That then it's like every moment is a TV set moment.

794
00:42:54,645 --> 00:42:57,205
Speaker 2: But earlier in the movie, if you go back and

795
00:42:57,205 --> 00:42:59,445
Speaker 2: look all of those scenes in offices or that take

796
00:42:59,485 --> 00:43:01,845
Speaker 2: place with that suy, Yes, there's a ton of natural

797
00:43:01,925 --> 00:43:03,444
Speaker 2: light always coming into the room.

798
00:43:03,685 --> 00:43:07,685
Speaker 3: Yeah, they're in this corporate high rise. These are day meetings,

799
00:43:07,885 --> 00:43:10,285
Speaker 3: and so that's kind of the setting. And then you're right,

800
00:43:10,325 --> 00:43:13,525
Speaker 3: we transition into the studio, more more things take place

801
00:43:13,565 --> 00:43:15,845
Speaker 3: at night, and the movie overall grows darker.

802
00:43:16,125 --> 00:43:19,085
Speaker 2: Yeah, and you mentioned the script, and I understand you're

803
00:43:19,125 --> 00:43:23,765
Speaker 2: wrestling with the didacticism little bit, but there is a

804
00:43:23,805 --> 00:43:26,005
Speaker 2: poetry to it. And I use that word because I

805
00:43:26,045 --> 00:43:30,085
Speaker 2: did catch part of an interview today where Chaievsky has

806
00:43:30,205 --> 00:43:33,005
Speaker 2: asked about the poetry of the script and whether or

807
00:43:33,045 --> 00:43:37,245
Speaker 2: not audiences will accept it, And I think what I'm

808
00:43:37,245 --> 00:43:38,845
Speaker 2: getting at, or I want to get at, is just

809
00:43:39,165 --> 00:43:43,285
Speaker 2: the language of the script, the word choices, the way

810
00:43:43,325 --> 00:43:45,925
Speaker 2: it doesn't feel natural all the time, and yet the

811
00:43:45,965 --> 00:43:50,125
Speaker 2: way the characters deliver it, it does feel like it

812
00:43:50,165 --> 00:43:52,685
Speaker 2: makes sense within this world. There's a line of Duballs

813
00:43:52,725 --> 00:43:57,245
Speaker 2: actually that I've quoted fairly often throughout my life, and

814
00:43:57,365 --> 00:43:59,965
Speaker 2: when you think about quotable lines from network, nobody would

815
00:44:00,005 --> 00:44:00,925
Speaker 2: ever point to this one.

816
00:44:00,965 --> 00:44:01,085
Speaker 7: Right.

817
00:44:01,125 --> 00:44:01,925
Speaker 5: There's all these lines.

818
00:44:01,965 --> 00:44:04,565
Speaker 2: I'm mad as Helle, and for me, there are times

819
00:44:04,565 --> 00:44:06,445
Speaker 2: where if someone says something to me where they're trying

820
00:44:06,525 --> 00:44:10,085
Speaker 2: to qualify how firmly I feel about something or how

821
00:44:10,165 --> 00:44:14,045
Speaker 2: firmly someone else feels about something. And there's that line

822
00:44:14,085 --> 00:44:17,484
Speaker 2: at the end where they ask him just one more time, well,

823
00:44:17,565 --> 00:44:20,125
Speaker 2: how did mister Jensen really feel about Howard Beale?

824
00:44:20,125 --> 00:44:20,165
Speaker 3: Like?

825
00:44:20,205 --> 00:44:20,885
Speaker 5: Can we fire him?

826
00:44:21,125 --> 00:44:25,005
Speaker 2: Says I would describe his feelings as intractable and at

827
00:44:25,045 --> 00:44:29,205
Speaker 2: a man time. Now, nobody uses that phrase in real life, right,

828
00:44:29,205 --> 00:44:31,965
Speaker 2: But in this movie it makes sense, and it makes

829
00:44:31,965 --> 00:44:34,685
Speaker 2: sense that it's pushing on the audience in that way,

830
00:44:34,725 --> 00:44:37,005
Speaker 2: it's the kind of film that makes you maybe actually

831
00:44:37,045 --> 00:44:38,925
Speaker 2: go home and get out the dictionary and try to

832
00:44:39,005 --> 00:44:41,805
Speaker 2: understand what some of the characters are saying. I'll also

833
00:44:41,885 --> 00:44:45,445
Speaker 2: mention a little moment. It's a complete throwaway moment, and

834
00:44:45,605 --> 00:44:48,404
Speaker 2: I don't even know if it's one Lumette was very

835
00:44:48,445 --> 00:44:51,845
Speaker 2: conscious about, but it I think gets at some of

836
00:44:51,845 --> 00:44:55,125
Speaker 2: the subtle choices that really make this movie what it is.

837
00:44:55,685 --> 00:44:58,965
Speaker 2: When they show I think his name's Edward Ruddy and

838
00:44:59,245 --> 00:45:03,325
Speaker 2: he's the head of the company and he's who everybody

839
00:45:03,365 --> 00:45:05,125
Speaker 2: reports to. At this point, he's in kind of a

840
00:45:05,125 --> 00:45:08,884
Speaker 2: power struggle with Frank Hackett, with Duval's character, and he

841
00:45:08,965 --> 00:45:12,805
Speaker 2: goes to meet with William Holden's character in his office.

842
00:45:12,845 --> 00:45:14,645
Speaker 2: I think he might even be going at this point

843
00:45:14,685 --> 00:45:18,085
Speaker 2: actually to ask him to come back after he's fired him.

844
00:45:18,125 --> 00:45:21,525
Speaker 2: He's about ready to leave and this is his last

845
00:45:21,565 --> 00:45:22,845
Speaker 2: day at ubs.

846
00:45:22,765 --> 00:45:23,525
Speaker 5: And he goes in.

847
00:45:23,645 --> 00:45:25,725
Speaker 2: But he doesn't just show him walk into the office.

848
00:45:26,045 --> 00:45:27,965
Speaker 2: He doesn't just show him sitting down or having a

849
00:45:28,005 --> 00:45:32,245
Speaker 2: conversation with William Holden. He shows him enter the floor

850
00:45:33,125 --> 00:45:36,805
Speaker 2: and walk up to the receptionist and walk past like

851
00:45:36,925 --> 00:45:40,325
Speaker 2: four people all just doing their jobs and in every case.

852
00:45:40,885 --> 00:45:43,485
Speaker 2: You see how all of those people react to him.

853
00:45:43,725 --> 00:45:46,805
Speaker 2: They are all deferential, they all show their respect to

854
00:45:46,885 --> 00:45:49,845
Speaker 2: him because he's the boss, the big boss, And in

855
00:45:49,885 --> 00:45:51,845
Speaker 2: a movie that really is in a lot of ways

856
00:45:51,885 --> 00:45:56,445
Speaker 2: about power, who has it, who's losing it, you do

857
00:45:56,525 --> 00:45:58,884
Speaker 2: need to see that nothing is even really said, it's

858
00:45:58,925 --> 00:46:02,365
Speaker 2: just all in the blocking of that and the movement

859
00:46:02,405 --> 00:46:05,005
Speaker 2: of those characters. You see how they defer to him

860
00:46:05,085 --> 00:46:07,005
Speaker 2: as the man in charge.

861
00:46:07,245 --> 00:46:10,125
Speaker 3: Well, and this goes back to Beatty too, right, because

862
00:46:10,445 --> 00:46:12,845
Speaker 3: we're constantly trying to track these layers of authority that

863
00:46:12,885 --> 00:46:16,405
Speaker 3: you're talking about. Who's over who, how are they related professionally?

864
00:46:16,445 --> 00:46:18,885
Speaker 3: Who's really holding the cards here? And it is communicated

865
00:46:18,925 --> 00:46:22,285
Speaker 3: in details like that we only see before that boardroom scene.

866
00:46:22,445 --> 00:46:27,125
Speaker 3: Batty's character once very briefly at another board meeting. He

867
00:46:27,165 --> 00:46:30,325
Speaker 3: gives a few words of approval, and then he disappears

868
00:46:30,365 --> 00:46:33,445
Speaker 3: and we hear him referred to. But then when we

869
00:46:33,485 --> 00:46:35,805
Speaker 3: get him, it's like we've left. This goes back to

870
00:46:35,845 --> 00:46:40,125
Speaker 3: the filmmaking too. We've left those daytime offices where there

871
00:46:40,165 --> 00:46:43,005
Speaker 3: are all these you know, these little ways of showing

872
00:46:43,045 --> 00:46:46,325
Speaker 3: deference and who's in charge, and now we are in

873
00:46:46,405 --> 00:46:49,125
Speaker 3: this I don't know. It's a totally different building. It's

874
00:46:49,125 --> 00:46:49,925
Speaker 3: almost gothic.

875
00:46:50,365 --> 00:46:51,844
Speaker 5: Yeah, a little light NDErs down.

876
00:46:51,965 --> 00:46:54,885
Speaker 3: It's like, okay, if there's a guy at the top

877
00:46:55,365 --> 00:46:57,884
Speaker 3: or the bottom. I think we finally found it when

878
00:46:57,885 --> 00:46:58,725
Speaker 3: Baty shows up.

879
00:46:58,965 --> 00:47:00,525
Speaker 2: Yeah, I don't know if it was by accident or

880
00:47:00,565 --> 00:47:02,325
Speaker 2: not either, but I even noticed today when it was

881
00:47:02,365 --> 00:47:05,405
Speaker 2: on in the background that the same type of green

882
00:47:05,485 --> 00:47:08,645
Speaker 2: lights that are in that Ned Baty scene with Peter Finch,

883
00:47:08,645 --> 00:47:10,605
Speaker 2: which I'm sure have an exact name that I'm not

884
00:47:10,645 --> 00:47:14,205
Speaker 2: aware of, where you pull the sting and reading lamps.

885
00:47:14,325 --> 00:47:17,325
Speaker 2: That's what they say library meeting lamps, like at a library.

886
00:47:17,525 --> 00:47:19,125
Speaker 2: They are the same kind of lights. That seemed to

887
00:47:19,125 --> 00:47:22,085
Speaker 2: me almost in the scene where you have Faye Dunaway

888
00:47:22,125 --> 00:47:26,485
Speaker 2: being feeded is like she's some politician who's just won

889
00:47:26,525 --> 00:47:29,485
Speaker 2: the presidency. There's all these red lights on the table,

890
00:47:29,645 --> 00:47:31,725
Speaker 2: just like those green ones. And that's where everything does

891
00:47:31,805 --> 00:47:34,965
Speaker 2: kind of get a little bit more sinister. As I said,

892
00:47:35,205 --> 00:47:39,404
Speaker 2: network is available to stream on most platforms. I wonder

893
00:47:39,405 --> 00:47:41,725
Speaker 2: if Patty Chayevski would be happy about that or not.

894
00:47:41,885 --> 00:47:45,565
Speaker 2: It also plays on a loop over at the UBS network.

895
00:47:45,605 --> 00:47:48,005
Speaker 2: You can look for that on your cable provider. For

896
00:47:48,125 --> 00:47:50,965
Speaker 2: more on our seven from seventy six Best Year ever series,

897
00:47:51,245 --> 00:47:54,805
Speaker 2: visit Film Spotting dot Net Slash seven from seventy six.

898
00:47:55,125 --> 00:47:57,885
Speaker 2: We do only have one more seventy six title to

899
00:47:57,925 --> 00:48:02,325
Speaker 2: get to before we complete our seventy seven Best Picture

900
00:48:02,405 --> 00:48:07,685
Speaker 2: nominee homework. We are going to talk about the eventual winner, Rocky,

901
00:48:08,045 --> 00:48:10,045
Speaker 2: that will come here in a couple.

902
00:48:09,765 --> 00:48:13,525
Speaker 3: Of weeks, and his name is Sylvestre Stallone, but you

903
00:48:13,725 --> 00:48:16,245
Speaker 3: will always remember him as Rocky.

904
00:48:17,685 --> 00:48:21,125
Speaker 2: I mean, Josh, it does seem from my glance at

905
00:48:21,285 --> 00:48:24,085
Speaker 2: Box that Sam had a change of heart back in

906
00:48:24,125 --> 00:48:25,165
Speaker 2: March twenty twenty one.

907
00:48:25,725 --> 00:48:26,765
Speaker 5: He gave Network four.

908
00:48:26,605 --> 00:48:29,925
Speaker 3: And a half stars, four and a half that. Yes,

909
00:48:30,045 --> 00:48:34,005
Speaker 3: that was a wild swing of heart for Sam. I

910
00:48:34,045 --> 00:48:34,364
Speaker 3: love it.

911
00:48:34,445 --> 00:48:37,445
Speaker 2: Yes, yes, now of course, maybe he's going to tell me, no,

912
00:48:38,485 --> 00:48:40,485
Speaker 2: I'm mixing up my memory and it was some other

913
00:48:40,685 --> 00:48:43,645
Speaker 2: film I adored, But I'm pretty sure it was Network

914
00:48:43,885 --> 00:48:46,965
Speaker 2: that he was not a big fan of. And it

915
00:48:47,685 --> 00:48:51,485
Speaker 2: hurt me. It really cut me deep. If you would

916
00:48:51,525 --> 00:48:54,765
Speaker 2: like to dig into the film Spotting archive and hear

917
00:48:55,205 --> 00:48:57,844
Speaker 2: other conversations like that one, well you can do that.

918
00:48:57,885 --> 00:49:00,125
Speaker 2: As a member of the Film Spotting family. You get

919
00:49:00,125 --> 00:49:03,125
Speaker 2: our monthly bonus shows. You get a weekly newsletter, you

920
00:49:03,205 --> 00:49:06,485
Speaker 2: get early ed free shows, and a lot more. To

921
00:49:06,565 --> 00:49:08,364
Speaker 2: join Josh, what do they have to do to join?

922
00:49:09,045 --> 00:49:13,485
Speaker 3: Very simple, Film spottingfamily dot com. All your options, the

923
00:49:13,565 --> 00:49:17,085
Speaker 3: various tears you can choose from, are right there. So

924
00:49:17,405 --> 00:49:19,405
Speaker 3: check it out and join the family.