1 00:00:00,080 --> 00:00:02,560 Speaker 1: Hi, This is newt Twenty twenty is going to be 2 00:00:02,600 --> 00:00:05,080 Speaker 1: one of the most extraordinary election years of our lifetime. 3 00:00:05,720 --> 00:00:08,080 Speaker 1: I want to invite you to join my Inner Circle 4 00:00:08,520 --> 00:00:11,520 Speaker 1: as we discuss each twist and turn in the presidential race. 5 00:00:11,880 --> 00:00:16,120 Speaker 1: In my members only Inner Circle Club, you'll receive special 6 00:00:16,160 --> 00:00:21,040 Speaker 1: flash briefings, online events, and members only audio reports from 7 00:00:21,079 --> 00:00:23,680 Speaker 1: me and my team. Here is a special offer for 8 00:00:23,760 --> 00:00:28,080 Speaker 1: my podcast listeners. 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I've been a huge 17 00:01:08,120 --> 00:01:10,400 Speaker 1: fan of the movies since I was a very young kid. 18 00:01:10,920 --> 00:01:13,240 Speaker 1: I used to go to the dark, air conditioned theater 19 00:01:13,319 --> 00:01:16,319 Speaker 1: on a heart summer afternoon and watch two films at 20 00:01:16,319 --> 00:01:18,720 Speaker 1: a time, double features. From the time I was about 21 00:01:18,800 --> 00:01:21,880 Speaker 1: nine years old, when I was a child, going to 22 00:01:21,920 --> 00:01:24,959 Speaker 1: the movies was a special treat, and every movie I 23 00:01:25,000 --> 00:01:28,800 Speaker 1: saw left a great impression on me. I think movies 24 00:01:28,840 --> 00:01:32,600 Speaker 1: are a defining part of our American culture. Movies allow 25 00:01:32,720 --> 00:01:36,440 Speaker 1: us to travel the world, experience tragedy, love, and nearly 26 00:01:36,480 --> 00:01:39,679 Speaker 1: every other emotion. They help us understand a world of 27 00:01:39,720 --> 00:01:43,880 Speaker 1: good versus evil, as in the permanent classic Casablanca, and 28 00:01:44,000 --> 00:01:48,200 Speaker 1: they reflective moment in time. On this episode, I'm sharing 29 00:01:48,360 --> 00:01:51,120 Speaker 1: some of my favorite movies of all time and recommending 30 00:01:51,160 --> 00:01:53,840 Speaker 1: some of the classics I encouraged you to check out. 31 00:02:03,640 --> 00:02:05,960 Speaker 1: The truth is, I love movies. I've loved movies my 32 00:02:06,000 --> 00:02:09,840 Speaker 1: whole life. I think they're one of the great contributions 33 00:02:10,320 --> 00:02:13,960 Speaker 1: to modern artistic achievement. I find myself when I fly 34 00:02:14,120 --> 00:02:17,880 Speaker 1: back and forth between Rome and Washington on a nine 35 00:02:17,880 --> 00:02:21,720 Speaker 1: hour flight, I'll often watch two or three movies and 36 00:02:21,840 --> 00:02:24,960 Speaker 1: I'm enthralled, and I thought it would be fun just 37 00:02:25,080 --> 00:02:28,560 Speaker 1: to talk about the movies why I like them so much. 38 00:02:29,520 --> 00:02:32,399 Speaker 1: I got fascinated with movies and I was very very young, 39 00:02:32,919 --> 00:02:35,639 Speaker 1: and in fact, by the fourth grade, I was reading 40 00:02:35,680 --> 00:02:38,320 Speaker 1: a book on how to be a movie director, and 41 00:02:38,520 --> 00:02:41,240 Speaker 1: it was a fascinating book because your little kid. My 42 00:02:41,320 --> 00:02:43,760 Speaker 1: dad was stationed at Fort Riley, Kansas at the time 43 00:02:43,760 --> 00:02:45,959 Speaker 1: in the US Army, and I was at the Junction 44 00:02:46,000 --> 00:02:48,520 Speaker 1: City Elementary School and I found this book in the 45 00:02:48,560 --> 00:02:53,120 Speaker 1: library and it was magic, and it talked about how 46 00:02:53,160 --> 00:02:55,160 Speaker 1: do you write a scene, and how do you set 47 00:02:55,240 --> 00:02:58,120 Speaker 1: up the stage, and how do you edit the movie, 48 00:02:58,480 --> 00:03:00,960 Speaker 1: and how do you get the music to work, all 49 00:03:01,040 --> 00:03:04,800 Speaker 1: these different components that we sort of take for granted 50 00:03:04,840 --> 00:03:08,320 Speaker 1: because we go and we sit and we are surrounded 51 00:03:08,320 --> 00:03:13,079 Speaker 1: by this remarkable achievement that takes hundreds of people. If 52 00:03:13,120 --> 00:03:16,480 Speaker 1: you watch most major movies at the very end, when 53 00:03:16,520 --> 00:03:20,200 Speaker 1: they start going through the credits, it's astonishing how many 54 00:03:20,240 --> 00:03:23,080 Speaker 1: people it takes to make a movie. And so even 55 00:03:23,160 --> 00:03:26,440 Speaker 1: from a very early age, I was just utterly fascinated. 56 00:03:26,440 --> 00:03:29,120 Speaker 1: And then we had a period where we went back 57 00:03:29,160 --> 00:03:33,520 Speaker 1: from Fort Riley to Humblestown, Pennsylvania, where I had originally 58 00:03:33,520 --> 00:03:36,320 Speaker 1: grown up. It turned out that the movie theater owner 59 00:03:36,720 --> 00:03:39,720 Speaker 1: really liked me, and so I could go watch all 60 00:03:39,720 --> 00:03:42,440 Speaker 1: the movies I wanted to. Well, you can imagine how 61 00:03:42,480 --> 00:03:46,080 Speaker 1: that affected me. So from a very early age, I 62 00:03:46,200 --> 00:03:50,040 Speaker 1: became enthralled by movies. I like action films particularly, I 63 00:03:50,120 --> 00:03:53,720 Speaker 1: like dramas like an awful lot of sentimental, romantic people. 64 00:03:54,120 --> 00:03:57,440 Speaker 1: I love Casablanca. I can watch it three or four 65 00:03:57,440 --> 00:04:01,680 Speaker 1: times a year and just marvel at how this movie 66 00:04:01,720 --> 00:04:04,720 Speaker 1: came together. I mean, nobody who made it thought it 67 00:04:04,760 --> 00:04:07,280 Speaker 1: was going to become a great classic, and yet it did. 68 00:04:07,800 --> 00:04:11,680 Speaker 1: And there's wonderful stories just around that one movie. So 69 00:04:11,800 --> 00:04:15,000 Speaker 1: all of these different pieces intrigued me. Some of them 70 00:04:15,160 --> 00:04:18,160 Speaker 1: were based on the fact that for me, and this 71 00:04:18,200 --> 00:04:20,520 Speaker 1: has changed, of course, because now we watch movies on 72 00:04:20,560 --> 00:04:23,600 Speaker 1: our tablet or our telephone. We watched movies on an 73 00:04:23,600 --> 00:04:26,640 Speaker 1: airplane on a small screen. We watched movies at home 74 00:04:26,680 --> 00:04:29,600 Speaker 1: on our TV set. But I'm old enough that I 75 00:04:29,640 --> 00:04:32,520 Speaker 1: grew up when you actually went and you sat in 76 00:04:32,560 --> 00:04:35,960 Speaker 1: a dark room and you looked up and you were surrounded. 77 00:04:36,040 --> 00:04:38,640 Speaker 1: You were surrounded by a huge screen. This is why 78 00:04:38,680 --> 00:04:41,479 Speaker 1: people like John Wayne seemed so big. When you have 79 00:04:41,520 --> 00:04:43,960 Speaker 1: a giant screen and you throw somebody on that giant screen, 80 00:04:44,120 --> 00:04:46,839 Speaker 1: they are really big when you then put them on 81 00:04:47,120 --> 00:04:49,800 Speaker 1: what John Ford the director, always thought was the most 82 00:04:50,080 --> 00:04:53,440 Speaker 1: powerful figure in the movies, which was a moving horse. 83 00:04:53,960 --> 00:04:57,480 Speaker 1: He always believed that horses just really brought to life 84 00:04:57,880 --> 00:05:00,240 Speaker 1: the sense of power and movement, and then I had 85 00:05:00,320 --> 00:05:03,560 Speaker 1: that really good music, and suddenly you have quite an 86 00:05:03,600 --> 00:05:06,599 Speaker 1: adventure going on. So I grew up when most people 87 00:05:06,720 --> 00:05:10,400 Speaker 1: saw most movies in movie theaters, and in fact, i'm 88 00:05:10,400 --> 00:05:14,000 Speaker 1: old enough that I remember in the fifties in Harrisburg, 89 00:05:14,200 --> 00:05:16,760 Speaker 1: people went to the movies in the summer because they 90 00:05:16,760 --> 00:05:19,760 Speaker 1: were air conditioned, and air conditioning was still pretty rare, 91 00:05:20,040 --> 00:05:22,560 Speaker 1: so either went to the bar or the movie in 92 00:05:22,640 --> 00:05:25,520 Speaker 1: order to sit in air conditioning during the hottest days 93 00:05:25,520 --> 00:05:28,680 Speaker 1: of the year. Part of my life was shaped as 94 00:05:28,720 --> 00:05:31,360 Speaker 1: a very young person, about ten or eleven years of age. 95 00:05:31,440 --> 00:05:34,200 Speaker 1: This was back when life was simpler and safe, and 96 00:05:34,320 --> 00:05:37,159 Speaker 1: so my mother sent me on the trolley car, which 97 00:05:37,200 --> 00:05:42,080 Speaker 1: still existed back then, from Humblestown to downtown Harrisburg, and 98 00:05:42,200 --> 00:05:45,840 Speaker 1: I went to a double feature on an afternoon. One 99 00:05:45,839 --> 00:05:48,839 Speaker 1: of the two movies was Traderhorn. They were both African films, 100 00:05:49,360 --> 00:05:53,000 Speaker 1: and I came out of the movie just totally excited, 101 00:05:53,080 --> 00:05:58,280 Speaker 1: and I'd seen lions and giraffes and snakes and monkeys 102 00:05:58,320 --> 00:06:01,920 Speaker 1: and all sorts of things. I walked out, I saw 103 00:06:01,960 --> 00:06:05,440 Speaker 1: a sign pointing through the alley that said City Hall, 104 00:06:05,960 --> 00:06:08,800 Speaker 1: and so I decided my grandmother always told me to 105 00:06:08,800 --> 00:06:11,760 Speaker 1: do your duty. I thought taskbook needed a zoo. So 106 00:06:11,839 --> 00:06:16,040 Speaker 1: I walked through that alleyway and ended up seeing the 107 00:06:16,040 --> 00:06:18,839 Speaker 1: head of the parks department and ultimately going back and 108 00:06:19,040 --> 00:06:23,039 Speaker 1: talking to the city council. All that happened because I 109 00:06:23,200 --> 00:06:28,599 Speaker 1: was so excited sitting in that room, being transported to 110 00:06:28,680 --> 00:06:31,880 Speaker 1: a world totally different. So I'm one of those people 111 00:06:32,400 --> 00:06:35,800 Speaker 1: who gets totally lost in movies. I don't think of 112 00:06:35,920 --> 00:06:39,920 Speaker 1: movies as some distant thing or some artificial thing. I'm 113 00:06:39,920 --> 00:06:42,160 Speaker 1: in the middle of my live them and I love them, 114 00:06:42,400 --> 00:06:45,120 Speaker 1: and I think that they're remarkable. I also think that 115 00:06:45,200 --> 00:06:49,680 Speaker 1: they're so extraordinarily complicated, and you have people who come 116 00:06:49,760 --> 00:06:53,520 Speaker 1: from so many different backgrounds. One of my favorite examples 117 00:06:53,520 --> 00:06:58,960 Speaker 1: of that is the remarkable English director who came over 118 00:06:59,000 --> 00:07:01,560 Speaker 1: in the late thirties having already made a great career 119 00:07:01,600 --> 00:07:05,520 Speaker 1: in Britain, Alfred Hitchcock, and one of my favorite stories, 120 00:07:05,520 --> 00:07:08,440 Speaker 1: which taught me a lot as a manager, because again, 121 00:07:08,720 --> 00:07:10,080 Speaker 1: I go to these things and I try to learn 122 00:07:10,120 --> 00:07:15,000 Speaker 1: about everything. So I read very interesting book called Memo 123 00:07:15,120 --> 00:07:17,960 Speaker 1: from Salznick. David O. Selznick was one of the great 124 00:07:18,000 --> 00:07:21,160 Speaker 1: producers of the late nineteen thirties, he had produced Gone 125 00:07:21,160 --> 00:07:23,280 Speaker 1: with the Wind, which was far and away the biggest 126 00:07:23,320 --> 00:07:26,840 Speaker 1: movie of that era. And Salznick's technique was to look 127 00:07:26,880 --> 00:07:29,720 Speaker 1: at that day's rushes, which were literally they would rush 128 00:07:29,840 --> 00:07:32,440 Speaker 1: the film. This was still back when you had real film. 129 00:07:32,760 --> 00:07:34,720 Speaker 1: They would rush it over and you could look at 130 00:07:34,720 --> 00:07:36,960 Speaker 1: it late in the evening. So Salznick would look at 131 00:07:36,960 --> 00:07:39,480 Speaker 1: that day's shooting and he would then dictate until two 132 00:07:39,560 --> 00:07:43,080 Speaker 1: or three in the morning, specific thoughts for the director. 133 00:07:43,080 --> 00:07:46,239 Speaker 1: Maybe you should rethink this, maybe you should cast address 134 00:07:46,280 --> 00:07:48,960 Speaker 1: a little differently, Maybe we need a different kind of music. 135 00:07:49,360 --> 00:07:51,880 Speaker 1: And so if you read Memo from Salznick was a 136 00:07:51,960 --> 00:07:55,320 Speaker 1: great book. It has a whole section on the memos 137 00:07:55,360 --> 00:07:57,520 Speaker 1: he wrote Alfred Hitchcock, who he had brought into the 138 00:07:57,640 --> 00:08:01,080 Speaker 1: US to film a movie. Well years later, after I'd 139 00:08:01,120 --> 00:08:04,800 Speaker 1: read that, I saw an interview with Hitchcock who said 140 00:08:05,560 --> 00:08:08,200 Speaker 1: he was asked by this reporter. He said, You've been 141 00:08:08,640 --> 00:08:12,480 Speaker 1: a very famous movie director in Great Britain, and now 142 00:08:12,520 --> 00:08:15,040 Speaker 1: you come to the US and all of a sudden, 143 00:08:15,040 --> 00:08:18,560 Speaker 1: you go from being totally independent to having Salznick, who's 144 00:08:18,560 --> 00:08:21,400 Speaker 1: one of the most hands on producers in Hollywood, sending 145 00:08:21,440 --> 00:08:23,640 Speaker 1: you all these memos. I mean, how did you react 146 00:08:23,640 --> 00:08:26,880 Speaker 1: to that? And Hitchcock looked at him for a second 147 00:08:26,880 --> 00:08:28,480 Speaker 1: and got a funny smile, and he said, you know, 148 00:08:29,680 --> 00:08:35,079 Speaker 1: I have always wondered what was in those memos, because 149 00:08:35,120 --> 00:08:38,079 Speaker 1: it never occurred to me as a director to care 150 00:08:38,640 --> 00:08:41,280 Speaker 1: what the producer sent me. And so I had the 151 00:08:41,360 --> 00:08:46,080 Speaker 1: sudden insight here's a guy who was working all night dictating, 152 00:08:46,320 --> 00:08:49,400 Speaker 1: thinking that Hitchcock's going to read it. Hitchcock thinks it's 153 00:08:49,400 --> 00:08:52,240 Speaker 1: weird and reads none of it, and yet Salznick thought 154 00:08:52,240 --> 00:08:54,000 Speaker 1: he was having a huge impact. And in my own 155 00:08:54,120 --> 00:08:58,400 Speaker 1: leadership style, I really got to be very careful about 156 00:08:58,440 --> 00:09:02,040 Speaker 1: assuming that anybody was eating anything that I sent them, 157 00:09:02,080 --> 00:09:05,800 Speaker 1: because I learned from Hitchcock and from Salznick to be 158 00:09:06,000 --> 00:09:09,720 Speaker 1: very very careful and not to assume that the other 159 00:09:09,720 --> 00:09:11,400 Speaker 1: guy was going to do what you wanted them to. 160 00:09:11,920 --> 00:09:15,120 Speaker 1: So that was an example where I wasn't just involved 161 00:09:15,160 --> 00:09:18,319 Speaker 1: in the movies as an art experience or the movies 162 00:09:18,360 --> 00:09:22,320 Speaker 1: and entertaining experience. I was also fascinated with the mechanics, 163 00:09:22,360 --> 00:09:25,280 Speaker 1: with the business, with the financing, with all of the 164 00:09:25,320 --> 00:09:29,000 Speaker 1: different pieces of it. Now, one of my favorite small 165 00:09:29,040 --> 00:09:32,640 Speaker 1: films is a movie called The stunt Man with Peter O'Toole, 166 00:09:32,960 --> 00:09:35,679 Speaker 1: and it's a movie about a guy who's trying to 167 00:09:35,760 --> 00:09:38,839 Speaker 1: hide from the police and he ends up hiding on 168 00:09:38,880 --> 00:09:43,160 Speaker 1: this movie set and O'Toole figures out that he is 169 00:09:43,240 --> 00:09:46,240 Speaker 1: vulnerable and can be exploited. In the great tradition of Hollywood. 170 00:09:46,520 --> 00:09:49,640 Speaker 1: O'tool is the kind of director who'd exploit anybody, and 171 00:09:49,720 --> 00:09:52,840 Speaker 1: so he says, I'll hide you and pay you and 172 00:09:52,920 --> 00:09:55,439 Speaker 1: you can be my stunt man. And so this young 173 00:09:55,480 --> 00:09:57,720 Speaker 1: guy goes walking around with o'tool and one of the 174 00:09:57,760 --> 00:10:02,079 Speaker 1: great moments of the movie, O'Toole said, remember King Kong 175 00:10:02,679 --> 00:10:04,960 Speaker 1: is three foot eight, and the guy looks and says 176 00:10:05,000 --> 00:10:09,400 Speaker 1: what he said, This is the movies. It's not what 177 00:10:09,480 --> 00:10:12,640 Speaker 1: you see on the screen the way you think you 178 00:10:12,760 --> 00:10:15,960 Speaker 1: see it. It's what we put on the screen. The 179 00:10:16,040 --> 00:10:19,400 Speaker 1: stunt Man is a marvelous small film that really opens 180 00:10:19,480 --> 00:10:23,720 Speaker 1: up aspects of moviemaking that I think are just absolutely 181 00:10:23,840 --> 00:10:27,920 Speaker 1: terrific and give you a slightly better feeling for how 182 00:10:27,960 --> 00:10:31,200 Speaker 1: the movies worked. Now. I'm also fascinating because I'm a 183 00:10:31,240 --> 00:10:34,439 Speaker 1: historian by training, so all the way back to Thomas Edison, 184 00:10:34,480 --> 00:10:37,559 Speaker 1: the invention of the modern motion picture, the early years 185 00:10:37,600 --> 00:10:40,640 Speaker 1: when they're silent films, then they're talkies, but they're still 186 00:10:40,640 --> 00:10:43,840 Speaker 1: black and white, and then only they have technicolor. Into 187 00:10:43,880 --> 00:10:47,559 Speaker 1: the modern era, and you watch this evolution of capabilities, 188 00:10:48,000 --> 00:10:50,800 Speaker 1: and you watch the different kind of people learn how 189 00:10:50,840 --> 00:10:53,440 Speaker 1: to do different kinds of shots, different kinds of editing, 190 00:10:53,800 --> 00:10:56,000 Speaker 1: and then you begin to get into the period where 191 00:10:56,440 --> 00:11:01,320 Speaker 1: you have remarkable composers. It strikes when we think about 192 00:11:01,559 --> 00:11:06,640 Speaker 1: great composers, and we often think about historically great composers. Well, 193 00:11:06,679 --> 00:11:09,480 Speaker 1: I would argue that John Williams certainly fits in the 194 00:11:09,559 --> 00:11:13,760 Speaker 1: league of great composers, that his music is astonishingly powerful. 195 00:11:13,840 --> 00:11:16,600 Speaker 1: As somebody who loves Westerns, I can tell you that 196 00:11:16,720 --> 00:11:20,200 Speaker 1: Elmer Bernstein to me, whether it's in The Magnificent Seven 197 00:11:20,800 --> 00:11:23,560 Speaker 1: or it is in any one of twenty five films 198 00:11:23,600 --> 00:11:26,480 Speaker 1: that he scored, how do these guys who are writing 199 00:11:26,480 --> 00:11:30,400 Speaker 1: the music figure out, just as the scene shifts, how 200 00:11:30,440 --> 00:11:32,600 Speaker 1: they're going to make it look different, and how they're 201 00:11:32,600 --> 00:11:35,880 Speaker 1: going to make it somehow make the music fit exactly 202 00:11:35,920 --> 00:11:38,959 Speaker 1: what's happening. I was very struck years ago reading that 203 00:11:39,360 --> 00:11:41,840 Speaker 1: in making Hi Noon, one of the things they did 204 00:11:42,320 --> 00:11:45,520 Speaker 1: is they put four beats before they would cut the 205 00:11:45,520 --> 00:11:47,800 Speaker 1: scene so you began in the back of your head 206 00:11:47,840 --> 00:11:50,440 Speaker 1: when you heard the beats, you knew something was going 207 00:11:50,480 --> 00:11:54,160 Speaker 1: to happen, and they were conditioning you with audio to 208 00:11:54,320 --> 00:11:57,360 Speaker 1: anticipate what was going to happen. In the movie itself, 209 00:11:57,559 --> 00:12:00,160 Speaker 1: Hi Noon, which was certain in its time one of 210 00:12:00,200 --> 00:12:04,280 Speaker 1: the great films of that generation, built this suspense and 211 00:12:04,440 --> 00:12:07,880 Speaker 1: built this kind of haunting feeling. That was Gary Cooper 212 00:12:07,920 --> 00:12:10,000 Speaker 1: at his very best, and it was really quite a 213 00:12:10,040 --> 00:12:13,520 Speaker 1: remarkable film. And of course you go from very small 214 00:12:13,559 --> 00:12:16,360 Speaker 1: movies which could be made for almost nothing, with a 215 00:12:16,480 --> 00:12:20,360 Speaker 1: very tiny cast, shot in a very specific location, sometimes 216 00:12:20,559 --> 00:12:24,560 Speaker 1: shot in one or two rooms, two giant films Ben Her, 217 00:12:24,600 --> 00:12:28,160 Speaker 1: for example, and it's fascinating. I actually saw the nineteen 218 00:12:28,280 --> 00:12:31,679 Speaker 1: fifties version of Ben Her at the Theater in Washington, 219 00:12:32,000 --> 00:12:35,679 Speaker 1: which was a huge screen with a huge sound projection, 220 00:12:35,920 --> 00:12:39,679 Speaker 1: and it was a remarkable experience to see the totality 221 00:12:40,080 --> 00:12:44,080 Speaker 1: first of Nicholas Rosa's remarkable music, but then the way 222 00:12:44,080 --> 00:12:47,400 Speaker 1: in which Charlotte Haston played the lead role, the totality 223 00:12:47,440 --> 00:12:50,000 Speaker 1: of the script. Ben Her itself, of course, had been 224 00:12:50,280 --> 00:12:53,840 Speaker 1: an extraordinarily successful book in the late nineteenth century and 225 00:12:54,040 --> 00:12:58,000 Speaker 1: had a huge impact. There's a huge underlying emotional and 226 00:12:58,120 --> 00:13:01,839 Speaker 1: religious component to ben Her that made it one of 227 00:13:01,880 --> 00:13:06,480 Speaker 1: the most remarkable films of the nineteen fifties. When I 228 00:13:06,520 --> 00:13:09,120 Speaker 1: go into a movie theater, or nowadays, when I'm on 229 00:13:09,160 --> 00:13:11,680 Speaker 1: an airplane and I turn on a movie, I start 230 00:13:11,720 --> 00:13:13,559 Speaker 1: with the idea that I don't know what's going to happen, 231 00:13:13,800 --> 00:13:17,000 Speaker 1: and I'm leaning forward and I'm curious, and I let 232 00:13:17,040 --> 00:13:21,560 Speaker 1: the movie teach me. So I never have expectations. I 233 00:13:21,679 --> 00:13:24,280 Speaker 1: never measure the movie against something, but I want to 234 00:13:24,280 --> 00:13:28,720 Speaker 1: know where's the movie going. I've just recently watched Tarantino's 235 00:13:28,760 --> 00:13:31,360 Speaker 1: film Once Upon a Time in Hollywood, which is a 236 00:13:31,440 --> 00:13:35,839 Speaker 1: remarkable film and frankly carried me to space as I 237 00:13:35,840 --> 00:13:40,760 Speaker 1: would never have imagined, and both captured the Hollywood of 238 00:13:40,760 --> 00:13:45,120 Speaker 1: that era. And I thought with DiCaprio did just an 239 00:13:45,120 --> 00:13:49,520 Speaker 1: amazing job of really acting a unique role and not 240 00:13:49,600 --> 00:13:52,680 Speaker 1: a particularly positive role for him, and I admired the 241 00:13:52,679 --> 00:13:55,200 Speaker 1: way in which he did that because I thought that 242 00:13:55,280 --> 00:14:00,000 Speaker 1: it was very compelling and very powerful. Brad Pitt occupied 243 00:14:00,320 --> 00:14:04,400 Speaker 1: a space as a charismatic figure. I mean, DiCaprio is 244 00:14:04,440 --> 00:14:07,920 Speaker 1: a great actor, and I enormously admire his work, but 245 00:14:08,400 --> 00:14:11,400 Speaker 1: Pitt has the kind of charisma that a Sean Connery has, 246 00:14:11,559 --> 00:14:13,680 Speaker 1: the kind of charisma that a Clark Gable would have 247 00:14:13,679 --> 00:14:16,880 Speaker 1: had two generations ago. When you watch the movie, it's 248 00:14:16,920 --> 00:14:20,960 Speaker 1: fascinating to watch just how the inner play and how 249 00:14:21,000 --> 00:14:24,040 Speaker 1: they occupy the space. Tarantana is one of the great 250 00:14:24,160 --> 00:14:27,640 Speaker 1: modern directors, always slightly whacked, always doing things that are 251 00:14:27,640 --> 00:14:30,680 Speaker 1: slightly different, but worth watching just because you don't quite 252 00:14:30,720 --> 00:14:34,200 Speaker 1: know where he's going to take you. Coming up, i'll 253 00:14:34,200 --> 00:14:45,840 Speaker 1: discuss my five top movies of all time. This is 254 00:14:45,840 --> 00:14:48,920 Speaker 1: week four of my Profile Planned Journey, and Debbie and 255 00:14:48,920 --> 00:14:52,920 Speaker 1: I are discussing food variety and recipes with our profile 256 00:14:53,000 --> 00:14:56,480 Speaker 1: coach Abbey. We're really grateful for your counseling. I can 257 00:14:56,480 --> 00:14:59,560 Speaker 1: tell you that you've already made a difference in getting 258 00:14:59,560 --> 00:15:03,640 Speaker 1: me folks and getting me thinking, and now carry my 259 00:15:03,800 --> 00:15:06,480 Speaker 1: profile bars so that I can have a snack at 260 00:15:06,520 --> 00:15:08,800 Speaker 1: ten and a snack at three or four. And that 261 00:15:08,880 --> 00:15:11,400 Speaker 1: actually today helped me because I was in a room 262 00:15:11,720 --> 00:15:15,120 Speaker 1: that was filled with brownies. That's great. Having that bar 263 00:15:15,200 --> 00:15:19,760 Speaker 1: and planning ahead can really help deter those challenging moments. 264 00:15:20,160 --> 00:15:24,120 Speaker 1: I've been having great success, but I am getting kind 265 00:15:24,160 --> 00:15:26,520 Speaker 1: of bored of the same vegetables over and over again, 266 00:15:26,640 --> 00:15:29,680 Speaker 1: so any tips. So one of the big things that 267 00:15:29,720 --> 00:15:33,280 Speaker 1: we advocate for with Profile is veggies. Like you said, 268 00:15:33,360 --> 00:15:36,800 Speaker 1: so we really have to continue to have variety. We 269 00:15:36,960 --> 00:15:41,160 Speaker 1: have tons of recipes on our website profile plan dot com. 270 00:15:41,280 --> 00:15:43,880 Speaker 1: We have a whole list of vegetables listed on your 271 00:15:43,880 --> 00:15:46,920 Speaker 1: grocery list, and pick something on there that you've never 272 00:15:46,960 --> 00:15:49,280 Speaker 1: had before and you can simply search for it on 273 00:15:49,280 --> 00:15:53,520 Speaker 1: our website. It's great suggestion. And when we're finding recipes, 274 00:15:53,920 --> 00:15:56,720 Speaker 1: we have them sorted according to plan on our website, 275 00:15:56,760 --> 00:15:59,440 Speaker 1: so it's very easy for you to know which recipe 276 00:15:59,840 --> 00:16:03,320 Speaker 1: you can use and work those into your plans, so 277 00:16:03,400 --> 00:16:04,960 Speaker 1: then you know what to get at the grocery store. 278 00:16:05,200 --> 00:16:08,880 Speaker 1: If you go to the profileplan dot com, you really 279 00:16:08,880 --> 00:16:11,560 Speaker 1: do have a whole series of entrees or give you 280 00:16:11,600 --> 00:16:14,720 Speaker 1: a pretty wide range. That's the nice thing about Profile 281 00:16:15,040 --> 00:16:17,480 Speaker 1: is there is a variety of food. This time of 282 00:16:17,480 --> 00:16:20,000 Speaker 1: the year, it's football season, and so we have tons 283 00:16:20,000 --> 00:16:22,520 Speaker 1: of different recipes that you can have so that you 284 00:16:22,520 --> 00:16:25,240 Speaker 1: can still have a healthy choice even when you're entertaining. 285 00:16:25,440 --> 00:16:28,480 Speaker 1: That's really guaranteeing the we're going to avoid boredom. Thank 286 00:16:28,480 --> 00:16:30,440 Speaker 1: you so much for your time to day Newton, Debbie, 287 00:16:30,480 --> 00:16:33,000 Speaker 1: you're both doing a great job by taking control of 288 00:16:33,000 --> 00:16:36,080 Speaker 1: your health, and next week we're going to talk about 289 00:16:36,080 --> 00:16:39,520 Speaker 1: activity and goal setting. Sign up now to start losing 290 00:16:39,560 --> 00:16:41,760 Speaker 1: weight today. You can do it with a profile coach 291 00:16:41,840 --> 00:16:44,480 Speaker 1: like Abby guiding you through the process every step of 292 00:16:44,480 --> 00:16:47,240 Speaker 1: the way. Go to profile plan dot com slash newt 293 00:16:47,840 --> 00:16:50,960 Speaker 1: Right now, News World listeners get an exclusive offer one 294 00:16:51,000 --> 00:16:54,000 Speaker 1: hundred dollars off a one year profile membership by visiting 295 00:16:54,000 --> 00:16:57,520 Speaker 1: profileplan dot com slash newt. Get your health journey started 296 00:16:57,560 --> 00:17:01,120 Speaker 1: today with a free profile coach consultation at your nearest 297 00:17:01,160 --> 00:17:04,760 Speaker 1: profile location or by visiting profile plan dot com slash 298 00:17:04,840 --> 00:17:17,199 Speaker 1: an ewt. One of the films which was absolutely vital 299 00:17:17,440 --> 00:17:22,040 Speaker 1: to my growing up in my childhood was A Magnificent Seven, 300 00:17:22,240 --> 00:17:27,040 Speaker 1: which was a film based on the great Japanese film 301 00:17:27,080 --> 00:17:30,720 Speaker 1: The Seven Samurai by a Kira Cortaswa and The Seven 302 00:17:30,800 --> 00:17:33,840 Speaker 1: Samurai is based on a Japanese legend and is then 303 00:17:33,920 --> 00:17:39,480 Speaker 1: translated into the modern American West. It's a morality tale. 304 00:17:39,480 --> 00:17:42,320 Speaker 1: It's a tale about a little village which is being 305 00:17:42,320 --> 00:17:45,240 Speaker 1: preyed upon by bad guys, and these guys who are 306 00:17:45,240 --> 00:17:47,000 Speaker 1: sort of a moral and don't. They don't think of 307 00:17:47,040 --> 00:17:50,680 Speaker 1: themselves as out there on a moral crusade, but they 308 00:17:50,720 --> 00:17:53,000 Speaker 1: do what they do because it's who they are. And 309 00:17:53,080 --> 00:17:56,600 Speaker 1: watching the way that film comes together, it is truly 310 00:17:56,640 --> 00:18:00,159 Speaker 1: a remarkable film, and I think that it showed when 311 00:18:00,200 --> 00:18:01,879 Speaker 1: you have a great director and you have a great 312 00:18:01,920 --> 00:18:05,040 Speaker 1: cast like a Yo Runner or Steve McQueen, then you 313 00:18:05,080 --> 00:18:08,840 Speaker 1: have Elmer Bernstein's remarkable score, and you had a remarkably 314 00:18:08,880 --> 00:18:11,879 Speaker 1: good script. The first scene is the bad guys in 315 00:18:11,920 --> 00:18:14,720 Speaker 1: the Mexican village, proving how really bad they are in 316 00:18:14,760 --> 00:18:18,280 Speaker 1: the Mexican villagers, deciding they have to go and buy 317 00:18:18,320 --> 00:18:22,280 Speaker 1: guns and try to defend themselves. Then the second scene 318 00:18:22,640 --> 00:18:26,240 Speaker 1: is in this border town and the course of salesman 319 00:18:26,240 --> 00:18:28,280 Speaker 1: who's traveling through is offered to put up some money 320 00:18:28,480 --> 00:18:31,240 Speaker 1: to bury a guy who was laying on the sidewalk, 321 00:18:31,880 --> 00:18:35,520 Speaker 1: and the opening part of that is the undertaker explaining 322 00:18:35,560 --> 00:18:38,400 Speaker 1: you can't bury him because there's an element in town 323 00:18:38,480 --> 00:18:41,240 Speaker 1: that doesn't believe that you should have an Indian up 324 00:18:41,240 --> 00:18:44,960 Speaker 1: in boothill. And that whole conversation, which first of all, 325 00:18:45,200 --> 00:18:47,960 Speaker 1: at the time that The Magnificent Seven came out, was 326 00:18:48,000 --> 00:18:53,919 Speaker 1: a very interesting step towards breaking down are assumptions about 327 00:18:53,960 --> 00:18:56,720 Speaker 1: being prejudiced. If you watch it and think of in 328 00:18:56,760 --> 00:18:59,920 Speaker 1: the context of that era, it's really making an interesting statement. 329 00:19:00,520 --> 00:19:03,280 Speaker 1: The guy says, look, I want to help because there's 330 00:19:03,280 --> 00:19:05,520 Speaker 1: a great line which I've never forgotten where he says, 331 00:19:05,520 --> 00:19:07,959 Speaker 1: you know he's not turning into any nosegay, I mean 332 00:19:08,000 --> 00:19:10,520 Speaker 1: the guy's laying there dead. And the guy says, well, 333 00:19:11,080 --> 00:19:13,200 Speaker 1: I can't want my choice that my driver is left, 334 00:19:13,800 --> 00:19:16,560 Speaker 1: at which point you're Brenner. One of the best single 335 00:19:16,640 --> 00:19:19,920 Speaker 1: scenes he ever shot just says, oh, hell if that's 336 00:19:19,920 --> 00:19:24,000 Speaker 1: all you need. And the scene of Brenner with the 337 00:19:24,080 --> 00:19:28,560 Speaker 1: music in the background, walking across this dirt street to 338 00:19:28,880 --> 00:19:32,439 Speaker 1: get up in the hearse. Steve McQueen turns to the 339 00:19:32,640 --> 00:19:36,240 Speaker 1: stagecoach guy and says, can I borrow your shotgun? And 340 00:19:36,240 --> 00:19:39,399 Speaker 1: he says, yes, I want to see this. So McQueen 341 00:19:39,440 --> 00:19:41,600 Speaker 1: goes over and at first you're not quite sure, and 342 00:19:42,280 --> 00:19:44,000 Speaker 1: you can tell the Brenner's not quite sure. Is he 343 00:19:44,080 --> 00:19:46,320 Speaker 1: coming over to stop him or help him? And he 344 00:19:46,359 --> 00:19:48,920 Speaker 1: gets up there. Brenner turns and says, you have a 345 00:19:49,040 --> 00:19:52,960 Speaker 1: road shotgun and a hearse before and he said no, 346 00:19:53,440 --> 00:19:56,040 Speaker 1: he said, you know, I don't mind going up, I 347 00:19:56,160 --> 00:19:58,560 Speaker 1: just want to make sure I come back down. And 348 00:19:58,640 --> 00:20:01,800 Speaker 1: the whole rest of that scene marvelous, four or five 349 00:20:01,880 --> 00:20:08,399 Speaker 1: minutes of capturing a whole range of attitudes, ideas, stories, language, 350 00:20:08,960 --> 00:20:11,760 Speaker 1: all in this one little segment is the sort of 351 00:20:11,760 --> 00:20:14,000 Speaker 1: thing that just makes me love movies and make me 352 00:20:14,560 --> 00:20:17,720 Speaker 1: want to be able to see them, to think about them, 353 00:20:18,160 --> 00:20:22,040 Speaker 1: to encourage my friends to watch them. And sometimes the 354 00:20:22,160 --> 00:20:26,000 Speaker 1: movie works even when you know it doesn't work. I mean, 355 00:20:26,040 --> 00:20:29,960 Speaker 1: if you watch one of the most famous and revered 356 00:20:30,000 --> 00:20:34,680 Speaker 1: movies of all time, Casablanca, the fact is Casablanca shouldn't work. 357 00:20:35,560 --> 00:20:38,400 Speaker 1: There are scenes in there that are so hokey. I'm 358 00:20:38,440 --> 00:20:40,000 Speaker 1: sure at the time they were shooting it they were 359 00:20:40,000 --> 00:20:42,679 Speaker 1: thinking of themselves. This is really I mean, are we 360 00:20:42,720 --> 00:20:45,159 Speaker 1: really going to get away with this? But what you 361 00:20:45,240 --> 00:20:48,040 Speaker 1: had was early in World War Two a movie set. 362 00:20:48,080 --> 00:20:50,879 Speaker 1: And by the way, a substantial number of the people 363 00:20:50,960 --> 00:20:56,639 Speaker 1: in Casablanca are themselves refugees from Nazi Germany. So the 364 00:20:56,800 --> 00:21:00,800 Speaker 1: roles they're playing of refugees in Casa Blanca trying to 365 00:21:00,840 --> 00:21:04,920 Speaker 1: get to America, they are playing with an intensity and 366 00:21:05,040 --> 00:21:11,239 Speaker 1: a sense of reality which is astonishing, totally believable. But 367 00:21:11,280 --> 00:21:15,359 Speaker 1: the script on some occasions is a little beyond goofy, 368 00:21:15,400 --> 00:21:19,119 Speaker 1: including at the very end when Humphrey Bogart announces that 369 00:21:19,160 --> 00:21:22,359 Speaker 1: they're going to walk across the desert from Casablanca to 370 00:21:22,440 --> 00:21:25,520 Speaker 1: d Car, which would be crossing the entire Sahara. He 371 00:21:25,600 --> 00:21:28,080 Speaker 1: turns in, he says, Louis, this is the beginning of 372 00:21:28,080 --> 00:21:30,800 Speaker 1: a great friendship. Well, it's a hokey line. It's a 373 00:21:30,800 --> 00:21:34,080 Speaker 1: line that shouldn't work, but in the context of the 374 00:21:34,119 --> 00:21:38,679 Speaker 1: total impact of that movie, it works amazingly well. And 375 00:21:38,800 --> 00:21:42,000 Speaker 1: that's why Casablanca I Suspect is one of the five 376 00:21:42,119 --> 00:21:45,440 Speaker 1: or six most frequently revived movies in terms of people 377 00:21:45,520 --> 00:21:48,719 Speaker 1: just randomly watching it. And I noticed that, for example, 378 00:21:48,720 --> 00:21:51,520 Speaker 1: in Airplanes, when you have a section called classics, it 379 00:21:51,680 --> 00:21:55,280 Speaker 1: almost always is in that section. Now, from a totally 380 00:21:55,280 --> 00:21:58,280 Speaker 1: different standpoint, you almost always have in the same section 381 00:21:58,640 --> 00:22:01,280 Speaker 1: Breakfast to Tiffany's which is one of my favorite movies, 382 00:22:01,600 --> 00:22:05,080 Speaker 1: partly because Andrey Hepburn is just so astonishing. I mean, 383 00:22:05,160 --> 00:22:09,080 Speaker 1: she's beautiful as you hate actress Clifton. I recently we 384 00:22:09,080 --> 00:22:11,800 Speaker 1: were flying home together and we decided that we would 385 00:22:11,800 --> 00:22:15,320 Speaker 1: watch Roman Holiday, which I had seen many years ago, 386 00:22:15,320 --> 00:22:17,280 Speaker 1: but I basically, I really had forgotten much of it. 387 00:22:17,800 --> 00:22:21,840 Speaker 1: I recommended very highly. It's the movie which introduces and 388 00:22:22,000 --> 00:22:25,199 Speaker 1: really makes her a star. And you're looking at this 389 00:22:25,440 --> 00:22:30,520 Speaker 1: very young, very new actress with Gregory Packing. Interestingly, she 390 00:22:30,520 --> 00:22:34,159 Speaker 1: gets equal billing with Peck, and the reason is he 391 00:22:34,600 --> 00:22:37,280 Speaker 1: turned a Wiiam Wiler, who was the producer director, and 392 00:22:37,280 --> 00:22:39,480 Speaker 1: he said, look, she's going to be such a big 393 00:22:39,520 --> 00:22:43,760 Speaker 1: star that I will look stupid if I take top 394 00:22:43,800 --> 00:22:47,200 Speaker 1: billing and we don't have equal billing, which is both 395 00:22:47,240 --> 00:22:51,960 Speaker 1: generous on Peck's side and also accurate because she won 396 00:22:52,080 --> 00:22:54,680 Speaker 1: on our very first big movie. She won an Academy 397 00:22:54,720 --> 00:22:57,160 Speaker 1: Award for Best Actress. See what I like in part 398 00:22:57,160 --> 00:23:00,119 Speaker 1: of our movies is the director has the option of 399 00:23:00,240 --> 00:23:04,840 Speaker 1: telling you the director's story. And when you watch Roman Holiday, 400 00:23:05,200 --> 00:23:10,000 Speaker 1: it's an unfolding of an interesting story that ultimately is 401 00:23:10,040 --> 00:23:13,200 Speaker 1: about two human beings and the concept coming out of 402 00:23:13,240 --> 00:23:15,119 Speaker 1: World War Two, which was very big in that period, 403 00:23:15,359 --> 00:23:18,119 Speaker 1: and that is the concept of duty. And Andrey Hepburn 404 00:23:18,240 --> 00:23:20,919 Speaker 1: is a princess. She's tired of being a princess. She 405 00:23:21,040 --> 00:23:23,760 Speaker 1: has one day where she hides and she's in Rome 406 00:23:23,960 --> 00:23:26,720 Speaker 1: and she is wandering around with Peck Peck is actually 407 00:23:26,720 --> 00:23:29,200 Speaker 1: a little bit of a scoundrel. He is a reporter 408 00:23:29,600 --> 00:23:31,600 Speaker 1: and he is kind of courting her because he wants 409 00:23:31,640 --> 00:23:33,920 Speaker 1: the big story about the princess, and then of course 410 00:23:33,960 --> 00:23:35,800 Speaker 1: he falls in love with her, so he can't do 411 00:23:35,880 --> 00:23:38,919 Speaker 1: the story. So it's a little bit of hockey stick, 412 00:23:39,000 --> 00:23:41,679 Speaker 1: if you will, but it works. And you watch this, 413 00:23:41,760 --> 00:23:43,760 Speaker 1: and you watch the two of them play off each other, 414 00:23:44,160 --> 00:23:46,880 Speaker 1: and you're watching two of the great actors of their generation, 415 00:23:47,320 --> 00:23:49,440 Speaker 1: and with William Weiler, you're watching one of the great 416 00:23:49,480 --> 00:23:53,680 Speaker 1: directors and producers of that generation. There's a certain travelogue 417 00:23:53,720 --> 00:23:58,040 Speaker 1: quality to it, as they wander around on a vespa 418 00:23:58,200 --> 00:24:01,520 Speaker 1: and ride around the city together. And so I just 419 00:24:01,560 --> 00:24:04,600 Speaker 1: recommend it to you both because it's a great introduction 420 00:24:04,920 --> 00:24:08,600 Speaker 1: to Audrey Hepburn, it's a great introduction to Rome in 421 00:24:08,600 --> 00:24:11,439 Speaker 1: one of its more interesting ways. And it's a significant 422 00:24:11,480 --> 00:24:14,720 Speaker 1: part of movie history. And I think movie history really matters. 423 00:24:15,680 --> 00:24:18,520 Speaker 1: When we come back, I'll discuss what the movies teach 424 00:24:18,600 --> 00:24:40,000 Speaker 1: us about good and evil. There are also moments when 425 00:24:41,080 --> 00:24:45,800 Speaker 1: movies reflect a moment in time. I remember we were 426 00:24:45,840 --> 00:24:48,280 Speaker 1: in trouble as a country. We had come out of 427 00:24:48,320 --> 00:24:51,199 Speaker 1: Vietnam War badly. We were being torn apart by our 428 00:24:51,200 --> 00:24:54,080 Speaker 1: own internal political descent. There was a great sense on 429 00:24:54,119 --> 00:24:58,119 Speaker 1: the left that you didn't have to have a strong military, 430 00:24:58,200 --> 00:25:01,720 Speaker 1: you didn't have to defend yourself. And along came this 431 00:25:01,800 --> 00:25:06,560 Speaker 1: movie called Star Wars, and I'll never forget sitting in 432 00:25:06,640 --> 00:25:10,760 Speaker 1: the theater watching it and realizing that what Star Wars 433 00:25:11,480 --> 00:25:17,560 Speaker 1: was doing, it was re establishing the mythology of good 434 00:25:17,600 --> 00:25:23,199 Speaker 1: and evil, re establishing the mythology that some people have 435 00:25:23,400 --> 00:25:27,080 Speaker 1: to be prepared to fight in order for freedom to survive. 436 00:25:27,960 --> 00:25:30,439 Speaker 1: And it was establishing the mythology that some people are 437 00:25:30,480 --> 00:25:33,879 Speaker 1: so bad you have to defeat them. And Star Wars, 438 00:25:33,880 --> 00:25:37,720 Speaker 1: in that sense, was actually reflecting a moment of change. 439 00:25:37,720 --> 00:25:40,320 Speaker 1: I mean, part of the reason it was so enormously powerful. 440 00:25:40,359 --> 00:25:44,480 Speaker 1: In addition to being just a great film. Nowadays we 441 00:25:44,560 --> 00:25:48,080 Speaker 1: have so many computer generated capabilities, we have so many 442 00:25:48,080 --> 00:25:51,399 Speaker 1: movies that are extraordinarily expensive, that it doesn't quite have 443 00:25:51,520 --> 00:25:54,359 Speaker 1: the punch that it had back then. When it first 444 00:25:54,440 --> 00:25:59,480 Speaker 1: came out, it had a kind of miraculous feel to it, 445 00:26:00,400 --> 00:26:02,800 Speaker 1: and you were both totally sucked in. If the force 446 00:26:02,880 --> 00:26:05,920 Speaker 1: will be with you. The effect of it at that 447 00:26:06,040 --> 00:26:09,840 Speaker 1: moment in the American psyche was to remind us that 448 00:26:10,680 --> 00:26:13,240 Speaker 1: the good guys are supposed to win, that the good 449 00:26:13,280 --> 00:26:15,919 Speaker 1: guys are supposed to go out and beat the bad guys, 450 00:26:16,480 --> 00:26:19,960 Speaker 1: and that you can really clearly tell the difference. And 451 00:26:20,080 --> 00:26:22,840 Speaker 1: it was just fascinating to me in that period looking 452 00:26:22,840 --> 00:26:24,480 Speaker 1: at this, And there were a series of films that 453 00:26:24,520 --> 00:26:27,760 Speaker 1: came along and approximately at that same time, each of 454 00:26:27,800 --> 00:26:32,040 Speaker 1: which made in its own unique way. There's this continuous 455 00:26:32,040 --> 00:26:36,040 Speaker 1: focus on the notion that there was good and evil, 456 00:26:36,440 --> 00:26:38,520 Speaker 1: that some people had to stand up for the good, 457 00:26:38,600 --> 00:26:41,159 Speaker 1: even at great risk, and that you had to be 458 00:26:41,200 --> 00:26:43,840 Speaker 1: prepared to do it. One of my favorites is The 459 00:26:43,880 --> 00:26:46,920 Speaker 1: Wind in the Lion, directed by John Millius with Sean 460 00:26:47,000 --> 00:26:50,200 Speaker 1: Connery Candice Bergen. If you've never seen it, I cannot 461 00:26:50,200 --> 00:26:52,600 Speaker 1: too strongly recommend that you see it for a lot 462 00:26:52,680 --> 00:26:56,080 Speaker 1: of different reasons. I think it is so astonishingly well done. 463 00:26:56,480 --> 00:27:00,639 Speaker 1: Another one, though, was Death, which was really about the 464 00:27:00,720 --> 00:27:03,840 Speaker 1: bad guys and the need for some vigilante to be 465 00:27:03,880 --> 00:27:07,480 Speaker 1: in cleaning the place up. Another one in that same 466 00:27:07,560 --> 00:27:11,400 Speaker 1: period was a film like The Deer Hunter, which were 467 00:27:11,440 --> 00:27:14,280 Speaker 1: designed to prove that the war was terrible, that it 468 00:27:14,400 --> 00:27:17,400 Speaker 1: did terrible damage. But at the same time we were 469 00:27:17,400 --> 00:27:22,000 Speaker 1: getting films which kept revalidating the idea that you have 470 00:27:22,200 --> 00:27:25,200 Speaker 1: to be prepared to do what it takes in order 471 00:27:25,240 --> 00:27:28,000 Speaker 1: for freedom, in order for your family, an order for 472 00:27:28,040 --> 00:27:30,560 Speaker 1: the bad guys to be defeated and the good guys 473 00:27:30,600 --> 00:27:33,280 Speaker 1: to win. And of course, coming through that whole period, 474 00:27:33,760 --> 00:27:36,760 Speaker 1: you had the rise of Cliniastwick, who went from being 475 00:27:36,760 --> 00:27:41,080 Speaker 1: a pretty junior player on Rawhide to gradually emerging as 476 00:27:41,119 --> 00:27:44,560 Speaker 1: Dirty Harry. And again it was this notion of here's 477 00:27:44,560 --> 00:27:47,320 Speaker 1: the guy who stands between us an evil. This is 478 00:27:47,320 --> 00:27:49,600 Speaker 1: the guy who's going too would it takes, even if 479 00:27:49,600 --> 00:27:52,600 Speaker 1: it means breaking the rules, and those kind of films, 480 00:27:52,720 --> 00:27:55,680 Speaker 1: the directors always made sure that the bad guys were 481 00:27:55,680 --> 00:27:58,520 Speaker 1: sufficiently bad that you felt that it was appropriate for 482 00:27:58,520 --> 00:28:02,119 Speaker 1: them to be blown away. He's pretty consistently protecting the 483 00:28:02,160 --> 00:28:04,879 Speaker 1: innocent and protecting the helpless, and you do have this 484 00:28:05,000 --> 00:28:09,000 Speaker 1: sense of justice being done when you watch on the Waterfront. 485 00:28:09,280 --> 00:28:12,399 Speaker 1: It's the story of a guy who is forced basically 486 00:28:12,560 --> 00:28:16,040 Speaker 1: to stand up to the mob. And the mob controls 487 00:28:16,200 --> 00:28:19,240 Speaker 1: the union, and so if you want a job, you 488 00:28:19,359 --> 00:28:22,679 Speaker 1: have to somehow give into the union, pay money to 489 00:28:22,720 --> 00:28:26,879 Speaker 1: the union, accept the domination of the union. Marlon Brando, 490 00:28:27,200 --> 00:28:30,160 Speaker 1: in one of his greatest roles, plays this guy who 491 00:28:30,440 --> 00:28:32,760 Speaker 1: is unwilling in the end to give in, and the 492 00:28:32,840 --> 00:28:35,440 Speaker 1: scene where he has been beaten up towards end of 493 00:28:35,440 --> 00:28:40,080 Speaker 1: the movie and if he can physically walk the length 494 00:28:40,120 --> 00:28:44,200 Speaker 1: of the pier and get to the place where you 495 00:28:44,200 --> 00:28:47,920 Speaker 1: get hired, it will have begun to break the power 496 00:28:48,000 --> 00:28:51,520 Speaker 1: of the union and the power of the mob. That 497 00:28:51,880 --> 00:28:56,160 Speaker 1: sequence is among the most powerful ever shot. So I 498 00:28:56,200 --> 00:28:58,520 Speaker 1: hope this gives you a little flavor of how I 499 00:28:58,720 --> 00:29:03,400 Speaker 1: see movies both helped shape the culture and movies respond 500 00:29:03,480 --> 00:29:05,720 Speaker 1: to the culture. I hope it might lead you to 501 00:29:06,360 --> 00:29:08,160 Speaker 1: look at a few more movies on your own and 502 00:29:08,240 --> 00:29:11,280 Speaker 1: to realize that there's an extraordinary world out there which 503 00:29:11,280 --> 00:29:15,520 Speaker 1: has been growing now for about one hundred and twenty years, 504 00:29:15,560 --> 00:29:18,120 Speaker 1: starting with early silent film and coming up through to 505 00:29:18,160 --> 00:29:20,600 Speaker 1: where we are today, and it's going to continue to 506 00:29:20,640 --> 00:29:24,280 Speaker 1: evolve into a virtual reality. It's going to continue to 507 00:29:24,360 --> 00:29:27,520 Speaker 1: evolve into enhanced reality. It is one of the great 508 00:29:27,640 --> 00:29:32,720 Speaker 1: American contributions to the artistic achievements and something that we 509 00:29:32,720 --> 00:29:42,200 Speaker 1: should be very, very proud of. You can learn more 510 00:29:42,200 --> 00:29:46,120 Speaker 1: about my favorite movies, along with links to watch them 511 00:29:46,160 --> 00:29:50,120 Speaker 1: at our show page at Newtsworld dot com. Newtsworld is 512 00:29:50,160 --> 00:29:54,640 Speaker 1: produced by Westwood One. Our executive producers Debbie Myers, and 513 00:29:54,760 --> 00:29:58,880 Speaker 1: our producer is Garnsey slam. Our editor is Robert Borowski 514 00:29:59,640 --> 00:30:04,640 Speaker 1: and researcher is Rachel Peterson. Our guest booker is Grace Davis. 515 00:30:05,320 --> 00:30:08,080 Speaker 1: The artwork for the show was created by Steve Penley. 516 00:30:08,520 --> 00:30:12,480 Speaker 1: The music was composed by Joey Salvio. Special thanks to 517 00:30:12,480 --> 00:30:15,680 Speaker 1: the team at Ginghi Street sixty and Westwood Ones, John 518 00:30:15,760 --> 00:30:20,000 Speaker 1: Wurdock and Robert Mothers. Please email me with your comments 519 00:30:20,280 --> 00:30:24,520 Speaker 1: at new at newtsworld dot com. If you've been enjoining Newtsworld, 520 00:30:24,840 --> 00:30:27,840 Speaker 1: I hope you'll go to a podcast and both rate 521 00:30:27,920 --> 00:30:31,000 Speaker 1: us with five stars and give us a review so 522 00:30:31,120 --> 00:30:43,280 Speaker 1: others can learn what it's all about. On the next 523 00:30:43,320 --> 00:30:46,880 Speaker 1: episode of Newtsworld. I bought into this idea that open 524 00:30:47,000 --> 00:30:50,480 Speaker 1: global markets and information sharing would bring China out of 525 00:30:50,520 --> 00:30:54,080 Speaker 1: its communist to tolitary and past. I don't think I 526 00:30:54,080 --> 00:30:57,200 Speaker 1: could have gotten it more wrong. These companies are listed 527 00:30:57,240 --> 00:30:59,840 Speaker 1: on the US Stock Exchange. Yes, they're based in China, 528 00:31:00,080 --> 00:31:02,520 Speaker 1: but if they're listed on the US Exchange, they have 529 00:31:02,600 --> 00:31:05,640 Speaker 1: to be valid because they're audited. They're holding to the 530 00:31:05,800 --> 00:31:08,800 Speaker 1: SEC and our rules and our listening standards on the 531 00:31:09,000 --> 00:31:11,360 Speaker 1: NASDAC or New York Dock Exchange, so they have to 532 00:31:11,400 --> 00:31:14,080 Speaker 1: be wrong. Every one of these companies were Frands. I'm 533 00:31:14,160 --> 00:31:26,480 Speaker 1: New Gangwich. This is News World, the Westwood One podcast network,