1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,960 Speaker 1: Welcome to hollywood Land, the Rap Party. Welcome everybody to 6 00:00:30,040 --> 00:00:33,080 Speaker 1: another bonus episode of hollywood Land. You know what time 7 00:00:33,120 --> 00:00:35,720 Speaker 1: it is, It's time for the Rap Party. This is 8 00:00:35,760 --> 00:00:37,839 Speaker 1: the show that gets you from one full episode of 9 00:00:37,880 --> 00:00:40,120 Speaker 1: hollywood Land to the next, the place where we don't 10 00:00:40,120 --> 00:00:42,840 Speaker 1: believe that history has to be boring, not one bit man, 11 00:00:43,159 --> 00:00:45,839 Speaker 1: especially when the stories we're interested in, the stories from 12 00:00:45,840 --> 00:00:49,280 Speaker 1: movie history, intersect so dramatically and so shockingly with the 13 00:00:49,280 --> 00:00:51,440 Speaker 1: world of true crime. So get in here with me 14 00:00:51,479 --> 00:00:54,200 Speaker 1: as we sift through all these spliced up pieces of 15 00:00:54,200 --> 00:00:57,160 Speaker 1: truth and myth left on the cunning room floor. My 16 00:00:57,280 --> 00:01:00,560 Speaker 1: name is Zeth Lundy, writer at Double Elvis, runner for 17 00:01:00,600 --> 00:01:03,280 Speaker 1: Hollywood Land, And on this bonus episode we were talking 18 00:01:03,280 --> 00:01:06,720 Speaker 1: about this week's full episode subject, Johnny Depp. We are 19 00:01:06,760 --> 00:01:09,680 Speaker 1: previewing next week's episode on Paul Newman, and of course 20 00:01:09,720 --> 00:01:12,160 Speaker 1: we're going to check out your voicemails, your text your DMS, 21 00:01:12,200 --> 00:01:16,839 Speaker 1: and your emails. So come on on, everybody, let's party. 22 00:01:28,280 --> 00:01:30,920 Speaker 1: I am just getting worried this morning as I'm recording this. 23 00:01:31,040 --> 00:01:34,959 Speaker 1: I'm recording this on Tuesday morning, that Robert Redford has 24 00:01:35,040 --> 00:01:37,959 Speaker 1: died at the age of eighty nine, I believe at 25 00:01:37,959 --> 00:01:42,679 Speaker 1: his house outside Provo, Utah at this time. The word 26 00:01:42,840 --> 00:01:44,840 Speaker 1: is that he died in his sleep. No cause of 27 00:01:44,880 --> 00:01:49,400 Speaker 1: death yet, man, Robert Redford. You know it's funny. I 28 00:01:49,600 --> 00:01:52,280 Speaker 1: just watched, or I should say rewatched All the President's 29 00:01:52,400 --> 00:01:56,240 Speaker 1: Men just a few weeks ago, nineteen seventy six, movie 30 00:01:56,280 --> 00:02:00,520 Speaker 1: with Dustin Hoffman, of course, about Woodward and burn at 31 00:02:00,520 --> 00:02:03,440 Speaker 1: the Washington Post and breaking the Watergate scandal. Watching it 32 00:02:03,560 --> 00:02:06,280 Speaker 1: this time, I was struck by two things. Number One, 33 00:02:07,040 --> 00:02:09,880 Speaker 1: it feels like this time capsule of an era when 34 00:02:10,440 --> 00:02:13,800 Speaker 1: newspapers were not only this huge, multi tiered machine, but 35 00:02:14,280 --> 00:02:17,000 Speaker 1: also had this impact on the culture at large, which 36 00:02:17,520 --> 00:02:20,280 Speaker 1: has been lost for a variety of reasons, mostly the Internet. 37 00:02:21,200 --> 00:02:24,080 Speaker 1: But it was a time when newspapers could change the 38 00:02:24,120 --> 00:02:27,640 Speaker 1: course of human history with a couple of articles in 39 00:02:27,639 --> 00:02:30,760 Speaker 1: a way that's just not possible these days. And you know, 40 00:02:30,880 --> 00:02:32,960 Speaker 1: in some ways that the scandal of it all, the 41 00:02:33,000 --> 00:02:36,280 Speaker 1: scandal that's at the core of all the President's men. 42 00:02:36,800 --> 00:02:39,520 Speaker 1: It feels a little tepid given the last fifty years 43 00:02:39,600 --> 00:02:42,560 Speaker 1: of history and how scandalous a scandal has to be 44 00:02:42,720 --> 00:02:45,280 Speaker 1: in order to feel scandalous, you know what I'm trying 45 00:02:45,280 --> 00:02:48,040 Speaker 1: to say. And it's also just one of the greatest 46 00:02:48,080 --> 00:02:53,280 Speaker 1: movies with that symphony of newsroom sound, the typewriter's clocking, 47 00:02:53,360 --> 00:02:56,320 Speaker 1: the messages coming over the wire, all these people talking 48 00:02:56,360 --> 00:02:58,800 Speaker 1: in the newsroom, cigarette smoke everywhere. It might be the 49 00:02:58,840 --> 00:03:01,840 Speaker 1: definitive example of that kind of movie vibe. Okay, that's 50 00:03:01,919 --> 00:03:03,640 Speaker 1: number one. Number two. The other thing I was thinking 51 00:03:03,680 --> 00:03:06,200 Speaker 1: of that was struck by, Actually, I guess there's three 52 00:03:06,200 --> 00:03:08,320 Speaker 1: things because I was struck by. Listen, you've got to 53 00:03:08,360 --> 00:03:13,200 Speaker 1: mention Robert Redford's hair. I don't think there is better 54 00:03:13,240 --> 00:03:18,000 Speaker 1: hair in the history of cinema. His hair gives just 55 00:03:18,080 --> 00:03:20,200 Speaker 1: as riveting a performance as he does. And I'm not 56 00:03:20,240 --> 00:03:22,760 Speaker 1: just saying that as someone who is follically challenged. Here. 57 00:03:23,600 --> 00:03:26,200 Speaker 1: This is god level hair that we're talking about, like 58 00:03:26,240 --> 00:03:29,360 Speaker 1: it should have been listed in the credits as one 59 00:03:29,400 --> 00:03:31,560 Speaker 1: of the stars of this movie for Christ's sake. So 60 00:03:31,680 --> 00:03:35,800 Speaker 1: good great hair. Okay, So number three is Redford himself. 61 00:03:35,840 --> 00:03:38,400 Speaker 1: I was just watching it again. I was just struck 62 00:03:39,160 --> 00:03:41,240 Speaker 1: less from a performance point of view, and more from 63 00:03:41,400 --> 00:03:45,520 Speaker 1: just his presence. You know, Robert Redford was a movie 64 00:03:45,560 --> 00:03:48,200 Speaker 1: star capital M capital s. And I'm not the first 65 00:03:48,200 --> 00:03:50,040 Speaker 1: person to point this out. This is probably one of 66 00:03:50,080 --> 00:03:53,200 Speaker 1: the most obvious statements you could make talking about him. 67 00:03:53,200 --> 00:03:57,160 Speaker 1: But you rewatch these movies, especially the ones from the seventies, 68 00:03:57,200 --> 00:04:00,760 Speaker 1: All the President's Men, Three Days at the Corn Butch 69 00:04:00,800 --> 00:04:03,400 Speaker 1: Cassidy and A Sun Dance Kid. Okay, yes that's from 70 00:04:03,480 --> 00:04:06,360 Speaker 1: nineteen sixty nine, but it feels like a nineteen seventies movie. 71 00:04:07,040 --> 00:04:10,840 Speaker 1: It's just pretty arresting how much his presence, in his 72 00:04:10,960 --> 00:04:14,640 Speaker 1: charisma is still there all these years later. And of 73 00:04:14,640 --> 00:04:20,200 Speaker 1: course that tremendous air his presence, his charisma got him 74 00:04:20,240 --> 00:04:24,240 Speaker 1: burned by critics more than once. I know. His performance 75 00:04:24,279 --> 00:04:28,200 Speaker 1: in The Great Gatsby, in particular, was savaged by some critics. 76 00:04:28,200 --> 00:04:31,039 Speaker 1: The great Pauline Cale wrote in her review of the 77 00:04:31,080 --> 00:04:38,000 Speaker 1: time that he couldn't quote transcend his immaculate self absorption unquote, 78 00:04:38,520 --> 00:04:42,320 Speaker 1: which is an incredible line. It's such a sophisticated way 79 00:04:43,000 --> 00:04:47,479 Speaker 1: in which to deliver that observation. And speaking of sophistication. 80 00:04:48,240 --> 00:04:51,719 Speaker 1: My personal history with Robert Edford in his movies is 81 00:04:51,720 --> 00:04:56,560 Speaker 1: that they represented for me an introduction to more sophisticated cinema, 82 00:04:56,680 --> 00:05:00,520 Speaker 1: that big step from the kinds of things I watched 83 00:05:00,560 --> 00:05:03,880 Speaker 1: as a kid, which primarily was like The Muppet Show NonStop, 84 00:05:04,560 --> 00:05:08,640 Speaker 1: into a more adult world. And in particular The Sting, 85 00:05:08,839 --> 00:05:12,240 Speaker 1: the George roy Hill movie from nineteen seventy three co 86 00:05:12,360 --> 00:05:15,640 Speaker 1: starring Paul Newman, that played a huge role in my 87 00:05:15,720 --> 00:05:17,560 Speaker 1: life when it came to that sort of leveling up 88 00:05:17,600 --> 00:05:19,640 Speaker 1: as to the sorts of thing as I was watching. 89 00:05:19,839 --> 00:05:22,120 Speaker 1: This was another one of my grandmother's favorite movies. I've 90 00:05:22,160 --> 00:05:24,720 Speaker 1: talked about this before, and you know, I don't think 91 00:05:24,760 --> 00:05:27,560 Speaker 1: I give her enough credit when it comes to cementing 92 00:05:27,560 --> 00:05:29,880 Speaker 1: my love of cinema from a really early age. I'm 93 00:05:29,920 --> 00:05:33,040 Speaker 1: realizing through recording these rep party episodes that a lot 94 00:05:33,120 --> 00:05:36,680 Speaker 1: of these major milestones in my personal movie viewing history 95 00:05:37,440 --> 00:05:40,239 Speaker 1: were nights when I watched movies with my grandmother. But anyways, 96 00:05:40,760 --> 00:05:43,640 Speaker 1: that's a whole other thing I need to explore. Suffice 97 00:05:43,680 --> 00:05:45,520 Speaker 1: to say, you know, she had the soundtracks of this 98 00:05:45,560 --> 00:05:50,039 Speaker 1: movie on record on vinyl, the Ragtime music. You know, 99 00:05:50,080 --> 00:05:53,240 Speaker 1: Scott Joplin's the Entertainer and this was the kind of 100 00:05:53,279 --> 00:05:56,040 Speaker 1: music that was playing. It was either that or it 101 00:05:56,080 --> 00:06:00,680 Speaker 1: was Robert j. Lerksima. Was that his name? The classical 102 00:06:00,720 --> 00:06:04,960 Speaker 1: DJ on MPR as remember Sunday mornings him there would 103 00:06:04,960 --> 00:06:07,919 Speaker 1: be classical music on, or there'd be the soundtrack to 104 00:06:07,920 --> 00:06:10,839 Speaker 1: the Sting in her house. And I remember watching this 105 00:06:10,880 --> 00:06:13,159 Speaker 1: for the first time with her and not completely understanding it. 106 00:06:13,200 --> 00:06:15,120 Speaker 1: And even now as an adult, I feel like I 107 00:06:15,160 --> 00:06:19,840 Speaker 1: don't always completely understand the very serpentine structure of the 108 00:06:20,200 --> 00:06:22,479 Speaker 1: big con the long colm that's in this film. But 109 00:06:23,000 --> 00:06:26,920 Speaker 1: I instantly loved it, and I think it subconsciously installed 110 00:06:27,480 --> 00:06:29,840 Speaker 1: Robert Redford and Paul Newman as sort of the archetypes 111 00:06:29,920 --> 00:06:32,919 Speaker 1: or the avatars of the movie star capital m capital 112 00:06:33,080 --> 00:06:36,520 Speaker 1: s that remained planted in my brain for the rest 113 00:06:36,520 --> 00:06:38,960 Speaker 1: of my life. And you know, say what you want 114 00:06:39,000 --> 00:06:41,320 Speaker 1: about Robert Redford as an actor that you know, he 115 00:06:41,400 --> 00:06:43,080 Speaker 1: was just a pretty face and all that, But not 116 00:06:43,120 --> 00:06:46,400 Speaker 1: only was he an incredible screen presence, one of the 117 00:06:46,440 --> 00:06:48,960 Speaker 1: greatest of all time, but he was an accomplished director 118 00:06:49,000 --> 00:06:52,640 Speaker 1: as well. I think ordinary people destroyed me the first 119 00:06:52,640 --> 00:06:55,280 Speaker 1: time I ever saw it, and then he was also 120 00:06:55,320 --> 00:06:59,839 Speaker 1: a tireless advocate for and financial backer of independent cinema, 121 00:07:00,080 --> 00:07:03,479 Speaker 1: founded the Sundance Institute in nineteen eighty one, which eventually 122 00:07:03,480 --> 00:07:06,040 Speaker 1: turned into the Sundance Film Festival, which of course helped 123 00:07:06,120 --> 00:07:10,360 Speaker 1: launch the careers of everyone from Steven Soderberg to Quentin Tarantino, 124 00:07:11,040 --> 00:07:14,040 Speaker 1: and as recently as twenty twelve, he still had this 125 00:07:14,200 --> 00:07:18,200 Speaker 1: major outsider energy. Robert Redford did, which is weird to 126 00:07:18,240 --> 00:07:21,440 Speaker 1: say because he was such an insider from the public's perspective. 127 00:07:21,480 --> 00:07:24,280 Speaker 1: You know this Matinee Idol, but the dude was punk 128 00:07:24,400 --> 00:07:27,120 Speaker 1: as fuck and he said this to a reporter at 129 00:07:27,160 --> 00:07:30,320 Speaker 1: the twenty twelve Sundance Film Festival, and I quote, I 130 00:07:30,400 --> 00:07:33,800 Speaker 1: want the ambush marketers, the vodka brands, and the gift 131 00:07:33,800 --> 00:07:36,880 Speaker 1: bag people and the Paris Hiltons to go away forever. 132 00:07:37,160 --> 00:07:40,720 Speaker 1: They have nothing to do. What's going on here, man, 133 00:07:40,880 --> 00:07:43,960 Speaker 1: Robert Reverord punk as fuck, and real quick, before I 134 00:07:44,000 --> 00:07:48,120 Speaker 1: move on, I want to recommend three somewhat under the 135 00:07:48,160 --> 00:07:50,440 Speaker 1: radar Robert ever movies if you're looking to dive into 136 00:07:50,440 --> 00:07:52,800 Speaker 1: some of his filmography here in the wake of his death. Okay, 137 00:07:53,120 --> 00:07:55,960 Speaker 1: I'll try to do these quick. Number one, the candidate 138 00:07:56,160 --> 00:07:59,680 Speaker 1: from nineteen seventy two, directed by Michael Ritchie co starring 139 00:07:59,680 --> 00:08:04,840 Speaker 1: Peter Boyle. This is terrific political satire. It's been lost 140 00:08:05,120 --> 00:08:09,320 Speaker 1: to history, somewhat overshadowed by some of Redford's more iconic roles, 141 00:08:09,360 --> 00:08:12,240 Speaker 1: but in it, Robert Redford plays this guy, Bill McKay, 142 00:08:12,240 --> 00:08:14,760 Speaker 1: who's a lawyer. He's the son of a former governor 143 00:08:14,840 --> 00:08:18,320 Speaker 1: of California, and he's tapped by Peter Boyle's character who 144 00:08:18,400 --> 00:08:21,800 Speaker 1: needs someone to run as the Democratic opponent to this 145 00:08:22,040 --> 00:08:24,880 Speaker 1: popular Republican senator who's running for like a third term 146 00:08:24,960 --> 00:08:28,080 Speaker 1: or whatever. And the race is basically already decided because 147 00:08:28,080 --> 00:08:31,280 Speaker 1: this guy is so popular. This Republican incumbent is so popular, 148 00:08:31,400 --> 00:08:34,080 Speaker 1: there's no way a challenger can beat him. So by 149 00:08:34,120 --> 00:08:37,400 Speaker 1: bringing Redford's character, Bill McKay in to the race, it's 150 00:08:37,400 --> 00:08:39,079 Speaker 1: basically like you can say whatever the fuck you want 151 00:08:39,080 --> 00:08:41,480 Speaker 1: because it's not gonna matter. So go out in the 152 00:08:41,520 --> 00:08:43,920 Speaker 1: campaign trail, say whatever you want, do whatever you want, 153 00:08:44,120 --> 00:08:46,040 Speaker 1: and you can guess where this is going. But it's 154 00:08:46,480 --> 00:08:48,880 Speaker 1: really fun to watch and see it unfold for yourself. 155 00:08:49,240 --> 00:08:51,800 Speaker 1: It's shot like a documentary, so it kind of feels 156 00:08:51,840 --> 00:08:55,000 Speaker 1: like you're actually on a campaign trail with a candidate, 157 00:08:55,200 --> 00:08:57,000 Speaker 1: and it's very much in step with the vibe of 158 00:08:57,520 --> 00:09:00,199 Speaker 1: nineteen seventy cinema and it's just one of my favsavorite 159 00:09:00,280 --> 00:09:03,960 Speaker 1: Robert Ridford performances. It has one of my favorite movie 160 00:09:04,040 --> 00:09:07,600 Speaker 1: posters as well, with Redford there in the suit and 161 00:09:07,640 --> 00:09:11,000 Speaker 1: he's blowing this huge bubblegum bubble in front of his face. 162 00:09:11,040 --> 00:09:13,640 Speaker 1: It's just a tremendous image, all right. Number two is 163 00:09:13,640 --> 00:09:16,000 Speaker 1: this movie called Sneakers from nineteen ninety two. It's a 164 00:09:16,000 --> 00:09:19,960 Speaker 1: Phil Alden Robinson movie that also co stars River Phoenix, 165 00:09:20,040 --> 00:09:24,480 Speaker 1: Dan Ackroyd, Mary McDonald, Ben Kingsley's, Sidney Poitier, David straight Hand. 166 00:09:25,120 --> 00:09:28,240 Speaker 1: This is an adventure comedy thriller I Guess about this 167 00:09:28,320 --> 00:09:32,240 Speaker 1: group of hackers led by Robert Ridfords's character Martin Brice, 168 00:09:32,320 --> 00:09:35,560 Speaker 1: who are hired by these huge companies to basically try 169 00:09:35,559 --> 00:09:37,840 Speaker 1: to hack into their computer systems and see how vulnerable 170 00:09:37,840 --> 00:09:40,679 Speaker 1: they are. Now. Martin this is the character. He's been 171 00:09:40,679 --> 00:09:43,080 Speaker 1: in hiding for decades after he pulled this stunt off 172 00:09:43,120 --> 00:09:45,800 Speaker 1: back in the sixties. He's been living and working under 173 00:09:45,800 --> 00:09:48,200 Speaker 1: an alias, and all of a sudden, the NSA shows 174 00:09:48,280 --> 00:09:50,840 Speaker 1: up to hire him and his team to steal this 175 00:09:50,920 --> 00:09:54,080 Speaker 1: black box device, and in addition to the compensation which 176 00:09:54,080 --> 00:09:57,040 Speaker 1: they'll pay them, they're going to wipe Robert Redford's criminal 177 00:09:57,120 --> 00:10:00,559 Speaker 1: slate clean. That's the premise to this movie. Don't believe 178 00:10:00,559 --> 00:10:02,080 Speaker 1: any of the haters who tell you this is just 179 00:10:02,120 --> 00:10:04,520 Speaker 1: some corny film from the nineteen nineties, or don't look 180 00:10:04,520 --> 00:10:06,160 Speaker 1: at the poster of the cover and be like, this 181 00:10:06,160 --> 00:10:10,800 Speaker 1: looks corny. It's so much fun, such a fun movie. 182 00:10:10,880 --> 00:10:13,200 Speaker 1: It actually has more in common with The Sting than 183 00:10:13,240 --> 00:10:16,440 Speaker 1: you'd think. With this it has its own serpentine plot 184 00:10:16,720 --> 00:10:18,800 Speaker 1: and this concept of a long con or a big 185 00:10:18,840 --> 00:10:22,720 Speaker 1: con that's embedded into the movie. But it's a great 186 00:10:22,880 --> 00:10:25,959 Speaker 1: ensemble film. Everyone in it is having a blast, and 187 00:10:26,200 --> 00:10:28,160 Speaker 1: you can't help but have a blast watching this movie. 188 00:10:28,200 --> 00:10:30,760 Speaker 1: I dare you a double dog, dareia check it out? 189 00:10:30,960 --> 00:10:33,800 Speaker 1: And then number three, The Old Man and the Gun. 190 00:10:33,920 --> 00:10:36,800 Speaker 1: This is a movie from twenty eighteen directed by David Lowry. 191 00:10:37,120 --> 00:10:39,680 Speaker 1: It's based loosely on a New Yorker article by David 192 00:10:39,720 --> 00:10:41,760 Speaker 1: gran who's the same guy who wrote Killers of the 193 00:10:41,760 --> 00:10:45,120 Speaker 1: Flower Moon. In the Lost City of z Robert Redford 194 00:10:45,120 --> 00:10:50,720 Speaker 1: plays Forrest Tucker, a bank robber who's in his seventies. Actually, 195 00:10:51,200 --> 00:10:53,640 Speaker 1: I think Redford was in his early eighties when he 196 00:10:53,679 --> 00:10:56,120 Speaker 1: shot this, but the characters in his seventies. He's trying 197 00:10:56,120 --> 00:10:57,599 Speaker 1: to stay one step ahead of the law. It's a 198 00:10:57,679 --> 00:11:01,600 Speaker 1: very playful take on a heist movie. Feels very nineteen 199 00:11:01,679 --> 00:11:04,680 Speaker 1: seventies esque in the way it's shot deliberately, I'm sure. 200 00:11:05,440 --> 00:11:09,240 Speaker 1: And listen, come for the Robert Redford you still delivering 201 00:11:09,240 --> 00:11:12,560 Speaker 1: that movie star Capitol M capital s energy at the 202 00:11:12,600 --> 00:11:15,160 Speaker 1: age of eighty one or eighty two, I think, Come 203 00:11:15,200 --> 00:11:18,080 Speaker 1: for that, but stay for the great supporting performances by 204 00:11:18,080 --> 00:11:21,160 Speaker 1: Sassy Spacek by Casey Affleck and my guy Tom Waits, 205 00:11:21,720 --> 00:11:24,600 Speaker 1: who incidentally is in the upcoming Jim Jarmish movie, which 206 00:11:24,600 --> 00:11:27,839 Speaker 1: I'm pumped for. This was Robert Redford's final role before 207 00:11:27,880 --> 00:11:30,160 Speaker 1: he retired a couple of years ago. And yes, his 208 00:11:30,360 --> 00:11:33,840 Speaker 1: cameo in Avengers Endgame came out the following year, but 209 00:11:34,040 --> 00:11:36,240 Speaker 1: it was shot before this movie was shot. It's kind 210 00:11:36,280 --> 00:11:39,000 Speaker 1: of like an abbey Road let it be situation. Listen. 211 00:11:39,080 --> 00:11:41,000 Speaker 1: Not all actors get to go out the way they 212 00:11:41,000 --> 00:11:42,760 Speaker 1: want to go out on such a high note like this, 213 00:11:43,200 --> 00:11:47,600 Speaker 1: so it's really a special choice. I think for something 214 00:11:47,640 --> 00:11:52,200 Speaker 1: to watch in Robert Redford's filmography. So rest in peace 215 00:11:52,720 --> 00:11:54,800 Speaker 1: to the great Robert Redford. Thank you for being my 216 00:11:54,920 --> 00:11:59,680 Speaker 1: gateway into cinematic sophistication and for your devotion to the 217 00:11:59,679 --> 00:12:03,480 Speaker 1: craft of cinema, and damn man for all that hair. 218 00:12:04,480 --> 00:12:07,160 Speaker 1: All right, we don't have an episode on Robert Redford yet, 219 00:12:07,280 --> 00:12:09,680 Speaker 1: though I do have an idea for one that involves 220 00:12:09,679 --> 00:12:12,559 Speaker 1: a murderer who did time at Alcatraz and also at kidnapping. 221 00:12:12,840 --> 00:12:14,880 Speaker 1: You're gonna have to wait for that. But we do 222 00:12:15,640 --> 00:12:19,600 Speaker 1: have an episode on Robert Redford's greatest on screen acting partner, 223 00:12:19,679 --> 00:12:22,440 Speaker 1: Paul Newman, and in fact, that is coming at you 224 00:12:22,480 --> 00:12:26,240 Speaker 1: next week on Monday. But I'm getting ahead of myself here, 225 00:12:26,240 --> 00:12:29,680 Speaker 1: because right now in your feed is our episode on 226 00:12:29,920 --> 00:12:34,280 Speaker 1: another actor with incredible presence and charisma, Johnny Depp. If 227 00:12:34,280 --> 00:12:36,400 Speaker 1: you haven't heard this yet, lots of wild stuff in 228 00:12:36,440 --> 00:12:39,959 Speaker 1: here with Hunter s Thompson and with Evan Dando from 229 00:12:40,000 --> 00:12:43,559 Speaker 1: the Lemonheads, though not altogether. Shit man, that would be fun. 230 00:12:44,120 --> 00:12:46,560 Speaker 1: You imagine Johnny Depp, Hunter S Thompson and Evan Dando. 231 00:12:46,640 --> 00:12:49,880 Speaker 1: That would be a fucking story. I still remember how 232 00:12:49,960 --> 00:12:53,000 Speaker 1: crazy it was that Johnny Depp was hired to play 233 00:12:53,280 --> 00:12:56,440 Speaker 1: Captain Jack Sparrow Empirates with the Caribbean. I'm sure for 234 00:12:56,480 --> 00:12:58,920 Speaker 1: people of a certain age, he's always been that character, 235 00:12:59,320 --> 00:13:01,960 Speaker 1: always been an act of a certain caliber. But at 236 00:13:02,000 --> 00:13:05,880 Speaker 1: the time this was like your favorite indie band. Finally 237 00:13:05,880 --> 00:13:08,240 Speaker 1: they got signed to like a major label after years 238 00:13:08,240 --> 00:13:12,680 Speaker 1: of doing their thing their way, not compromising, right. Johnny 239 00:13:12,679 --> 00:13:16,360 Speaker 1: Depp was very intentionally not an anti movie star, but 240 00:13:16,440 --> 00:13:19,160 Speaker 1: he was a champion of the oddball character, the outcast, 241 00:13:19,160 --> 00:13:21,679 Speaker 1: you know, cry baby, What's eaton? Gilbert Grape? And for 242 00:13:21,720 --> 00:13:23,599 Speaker 1: a hot minute there he was, of course the de 243 00:13:23,720 --> 00:13:28,440 Speaker 1: Niro to Tim Burton Scorsese everybody scissorhands ed Wood incredible stuff. 244 00:13:28,720 --> 00:13:33,239 Speaker 1: But my favorite from his run of oddballs and outsiders 245 00:13:33,280 --> 00:13:36,920 Speaker 1: in the nineteen nineties is this movie dead Man, written 246 00:13:36,920 --> 00:13:39,439 Speaker 1: and directed by the great Jim Jarmish, who I mentioned earlier. 247 00:13:39,760 --> 00:13:42,280 Speaker 1: I think this might be Jim Jarmish's masterpiece. I know, 248 00:13:42,640 --> 00:13:46,120 Speaker 1: I love a Strangers in Paradise and I love my God, 249 00:13:46,120 --> 00:13:50,120 Speaker 1: I'm blanking down by Law. I love Down by Law. 250 00:13:50,200 --> 00:13:53,160 Speaker 1: I had the poster on my wall behind me, But 251 00:13:53,480 --> 00:13:57,400 Speaker 1: dead Man might be his masterpiece. My favorite Jarmish film 252 00:13:57,400 --> 00:14:02,480 Speaker 1: It's got an amazing improvised score by Young, great cameo 253 00:14:02,559 --> 00:14:06,960 Speaker 1: by Iggy Pop, the last screen performance from Robert Mitcham, 254 00:14:07,000 --> 00:14:11,280 Speaker 1: striking black and white cinematography from Robbie Mueller, and Jarmish 255 00:14:11,360 --> 00:14:14,280 Speaker 1: himself described it best when you called it a psychedelic Western, 256 00:14:14,840 --> 00:14:18,040 Speaker 1: which I think is just perfect. It's it's poetic and 257 00:14:18,080 --> 00:14:19,880 Speaker 1: the best sense of the word. There's also a lot 258 00:14:19,880 --> 00:14:23,440 Speaker 1: of literal poetic stuff with William Blake in here, but overall, 259 00:14:23,440 --> 00:14:25,440 Speaker 1: it's just this film is a like a fever green 260 00:14:25,520 --> 00:14:27,320 Speaker 1: meditation that if you're a fan of any of the 261 00:14:27,360 --> 00:14:29,800 Speaker 1: people or the things I just mentioned, you got to 262 00:14:29,880 --> 00:14:31,960 Speaker 1: check this out. Okay, We've got a lot of stuff 263 00:14:31,960 --> 00:14:34,200 Speaker 1: to get into, including all kinds of messages from all 264 00:14:34,200 --> 00:14:36,880 Speaker 1: of you, which you're going to do right after this break. 265 00:14:51,120 --> 00:14:54,560 Speaker 1: Oh right, all right, all right, Welcome back to the 266 00:14:54,640 --> 00:14:58,600 Speaker 1: Rap Party, your weekly bonus episode of the Hollywood Lamb Podcast. 267 00:14:58,680 --> 00:15:02,240 Speaker 1: And last week we took a little diversion into talking 268 00:15:02,240 --> 00:15:07,880 Speaker 1: about great car chase movies, great car chase scenes, and 269 00:15:08,280 --> 00:15:12,720 Speaker 1: to that point, we got this phone call from the 270 00:15:12,760 --> 00:15:15,240 Speaker 1: three to one four weighing in on it all. Matt 271 00:15:15,280 --> 00:15:17,960 Speaker 1: play this three one four voicemail Hey, if. 272 00:15:17,840 --> 00:15:20,840 Speaker 2: You're talking about great car chase movies, I'm gonna mention 273 00:15:20,960 --> 00:15:23,480 Speaker 2: mine it's not just my favorite car chase movie, but 274 00:15:23,560 --> 00:15:26,800 Speaker 2: my favorite movie period, and that's the nineteen sixty three 275 00:15:26,880 --> 00:15:30,560 Speaker 2: comedy epic. It's a mad, mad, mad mad world, funny 276 00:15:30,560 --> 00:15:33,880 Speaker 2: of hell movie, tons of great car chases. It's just 277 00:15:34,240 --> 00:15:37,560 Speaker 2: a fantastic film. You haven't seen it, you totally should. 278 00:15:38,120 --> 00:15:41,080 Speaker 1: Yeah, man, thanks for the call, and for sure I've seen. 279 00:15:41,320 --> 00:15:45,480 Speaker 1: It's a mad, mad, mad mad world. That's formads. This 280 00:15:45,560 --> 00:15:48,960 Speaker 1: came out during a time nineteen sixty three. I believe 281 00:15:49,000 --> 00:15:54,440 Speaker 1: you've got technicolor. You've got this ultra panavision seventy millimeter 282 00:15:54,960 --> 00:16:00,480 Speaker 1: film format, which was briefly and typically reserved for epics 283 00:16:00,560 --> 00:16:04,400 Speaker 1: like Ben hur and The Greatest Story Ever Told, But 284 00:16:04,480 --> 00:16:07,280 Speaker 1: it's used here for this comedy chase movie, which is 285 00:16:07,280 --> 00:16:09,480 Speaker 1: an epic in its own right, and it just looks 286 00:16:09,640 --> 00:16:14,640 Speaker 1: fucking incredible. The colors, it's it's almost hyper real. It's 287 00:16:14,680 --> 00:16:17,920 Speaker 1: been resurrected a bit, this ultra panavision seventy millimeters thing. 288 00:16:18,400 --> 00:16:21,280 Speaker 1: Ryan Coogler used it for some of the stuff in 289 00:16:21,640 --> 00:16:25,320 Speaker 1: Centers from this year, which looks awesome. But there's something 290 00:16:25,360 --> 00:16:30,920 Speaker 1: about this format from the sixties that gives you, especially 291 00:16:31,000 --> 00:16:34,360 Speaker 1: in this movie, it's just this hyper realism that's really funky. 292 00:16:34,880 --> 00:16:37,720 Speaker 1: And this is Is this the greatest ensemble movie of 293 00:16:37,760 --> 00:16:42,240 Speaker 1: all time? I just mentioned ensemble movies earlier, but this 294 00:16:42,320 --> 00:16:46,120 Speaker 1: might be the greatest. Spencer Tracy, Milton, Burrell, Sid Caesar, 295 00:16:46,520 --> 00:16:50,640 Speaker 1: Buddy Hackett, ethel Merman, Mickey Rooney, Jonathan Winters, Edie Adams, 296 00:16:50,720 --> 00:16:53,640 Speaker 1: Jimmy Durante. Let me know you got a better, better 297 00:16:53,720 --> 00:16:56,360 Speaker 1: ensemble movie than this. Let me know, call me or 298 00:16:56,400 --> 00:16:59,800 Speaker 1: text me at six one seven nine six six six 299 00:17:00,200 --> 00:17:04,920 Speaker 1: three eight. Just like our guy Matt from the three 300 00:17:04,880 --> 00:17:08,439 Speaker 1: to one seven, who also wanted to talk about car 301 00:17:08,560 --> 00:17:12,159 Speaker 1: chases and talk about script doctors, which is what we 302 00:17:12,160 --> 00:17:13,960 Speaker 1: were talking about when we were talking about Kerry Fisher 303 00:17:14,080 --> 00:17:16,440 Speaker 1: last week. So Matt from the three to one seven 304 00:17:16,960 --> 00:17:22,000 Speaker 1: sent me this text. Great script doctor, John Sales, Yes, 305 00:17:22,160 --> 00:17:25,199 Speaker 1: seek out two Lane Blacktop also add to car chases 306 00:17:25,200 --> 00:17:29,320 Speaker 1: in film To Live and Die in La and Ronan Matt, 307 00:17:29,480 --> 00:17:33,840 Speaker 1: great call on this, uh. John Sales, the director of 308 00:17:34,240 --> 00:17:36,960 Speaker 1: If you guys have not seen Eight Men Out, one 309 00:17:36,960 --> 00:17:39,280 Speaker 1: of the greatest sports movies ever. Eight Men Out lone 310 00:17:39,280 --> 00:17:42,000 Speaker 1: star brother from another Planet. I did not know this, 311 00:17:42,080 --> 00:17:44,120 Speaker 1: but looking it up, yeah, he was an uncredited script 312 00:17:44,160 --> 00:17:48,320 Speaker 1: doctor on, among others, Apollo thirteen, not to be confused 313 00:17:48,320 --> 00:17:51,080 Speaker 1: with the great album Apollo eighteen by They may be Giants, 314 00:17:51,119 --> 00:17:54,320 Speaker 1: But I digress. Great car chase editions Here to Matt. 315 00:17:54,400 --> 00:17:58,160 Speaker 1: I haven't seen Ronan in a long time, probably when 316 00:17:58,160 --> 00:17:59,560 Speaker 1: it came out was the last time I saw it. 317 00:17:59,560 --> 00:18:02,399 Speaker 1: But I remember when that came out and everyone was 318 00:18:02,400 --> 00:18:05,359 Speaker 1: talking about how realistic the car chase scene was. I 319 00:18:05,359 --> 00:18:08,480 Speaker 1: think it got some comparisons to the French Connection even 320 00:18:08,880 --> 00:18:12,280 Speaker 1: and speaking of which, your other choice here to live 321 00:18:12,320 --> 00:18:14,199 Speaker 1: in dine La was of course directed by a guy 322 00:18:14,240 --> 00:18:16,679 Speaker 1: who knows a thing or true about car chases, William Freakin, 323 00:18:16,920 --> 00:18:19,440 Speaker 1: who directed the French Connection as well. Man that guy 324 00:18:19,480 --> 00:18:24,440 Speaker 1: could shoot a car chase in Patreon. In the Disgraceland 325 00:18:24,520 --> 00:18:28,800 Speaker 1: all access feed, we get interactions happening every day over there, 326 00:18:29,480 --> 00:18:32,600 Speaker 1: and typically that stuff stays over there. But I wanted 327 00:18:32,600 --> 00:18:34,840 Speaker 1: to share this one with you for a couple of reasons, 328 00:18:35,119 --> 00:18:38,120 Speaker 1: one of which is just to remind you or let 329 00:18:38,119 --> 00:18:40,600 Speaker 1: you know if you didn't know about the growing community 330 00:18:40,640 --> 00:18:43,600 Speaker 1: of discos we've got over there, and that you should 331 00:18:43,600 --> 00:18:46,800 Speaker 1: totally come join us. If you haven't, you don't have 332 00:18:46,840 --> 00:18:48,520 Speaker 1: to do it on Patreon. You can do it via 333 00:18:48,680 --> 00:18:52,200 Speaker 1: Apple Podcasts as well. Just go over to disgracelampod dot 334 00:18:52,240 --> 00:18:54,879 Speaker 1: com slash membership. Check it out. It's like five bucks 335 00:18:54,880 --> 00:18:57,200 Speaker 1: a month, super cheap. You get all kinds of great stuff, 336 00:18:57,240 --> 00:19:03,000 Speaker 1: including interactions daily with the community, me, Jake, everybody. So anyways, 337 00:19:03,040 --> 00:19:07,440 Speaker 1: our guy Chris over there recently wrote this in response 338 00:19:07,560 --> 00:19:09,879 Speaker 1: to what we were talking about the last week or 339 00:19:09,880 --> 00:19:12,560 Speaker 1: two that I'm sure you already know this, but the 340 00:19:12,600 --> 00:19:16,240 Speaker 1: original Mad Max held the record for the highest ratio 341 00:19:16,359 --> 00:19:20,240 Speaker 1: of production budget to theatrical gross up until Blair Witch. 342 00:19:20,840 --> 00:19:25,359 Speaker 1: They invented choreography and cinematography that it effectively redefined the 343 00:19:25,400 --> 00:19:28,120 Speaker 1: way that car chases have been filmed for the intervening 344 00:19:28,160 --> 00:19:31,120 Speaker 1: thirty six years on a shoe string budget. And to think, 345 00:19:31,240 --> 00:19:33,840 Speaker 1: George Miller went on to make Happy Feet lol, and 346 00:19:33,880 --> 00:19:36,000 Speaker 1: also do yourself a favor and track down the dock. 347 00:19:36,160 --> 00:19:39,800 Speaker 1: Not quite Hollywood, Chris. I already thanked you over in 348 00:19:40,280 --> 00:19:42,639 Speaker 1: Patreon and kept the conversation going over there, but just 349 00:19:42,680 --> 00:19:45,239 Speaker 1: want to thank you again here. I did not know 350 00:19:45,280 --> 00:19:47,080 Speaker 1: that about matd Max. I did not know that it 351 00:19:47,119 --> 00:19:49,439 Speaker 1: held the record for the highest ratio of production budget 352 00:19:49,440 --> 00:19:52,840 Speaker 1: to theatrical gross, which makes sense. And yeah, I don't 353 00:19:52,840 --> 00:19:55,960 Speaker 1: think there's another filmmaker doing what George Miller does, even 354 00:19:56,000 --> 00:19:58,640 Speaker 1: with Fury Road Mad Max Fury Road, which was made 355 00:19:58,640 --> 00:20:02,440 Speaker 1: ten years ago. He made the recent furios Of movie 356 00:20:02,480 --> 00:20:06,800 Speaker 1: as well, which I think seem to have more CGI 357 00:20:06,880 --> 00:20:09,600 Speaker 1: stuff in it than Furi Ro did, but fury Row 358 00:20:09,760 --> 00:20:13,240 Speaker 1: was still involved all these practical stunts and effects that 359 00:20:13,960 --> 00:20:16,359 Speaker 1: most other directors are studios would just do with computers. 360 00:20:16,400 --> 00:20:20,159 Speaker 1: But not him. He's He's crazy man. And speaking of crazy, 361 00:20:20,160 --> 00:20:23,280 Speaker 1: does any director have a crazier rhythm? Even George Miller. 362 00:20:23,760 --> 00:20:26,040 Speaker 1: He's out here doing Mad Max movies and then he's 363 00:20:26,040 --> 00:20:29,200 Speaker 1: pivoting and doing Happy Feet and Babe Pig in the City. 364 00:20:29,320 --> 00:20:31,880 Speaker 1: I mean, holy shit, man, let me know if you've 365 00:20:31,880 --> 00:20:35,800 Speaker 1: got a director with a crazier resume than that. Mostly here, Chris, 366 00:20:35,840 --> 00:20:38,080 Speaker 1: I wanted to thank you for the recommendation of Not 367 00:20:38,200 --> 00:20:43,560 Speaker 1: Quite Hollywood, The Wild Untold Story of oz Ploitation, which 368 00:20:43,760 --> 00:20:45,879 Speaker 1: I did not know about, and I am one thousand 369 00:20:45,880 --> 00:20:47,840 Speaker 1: percent going to check out that sounds right at my ally. 370 00:20:47,880 --> 00:20:50,399 Speaker 1: Thanks so much. Everyone else, if you've got something I 371 00:20:50,400 --> 00:20:52,720 Speaker 1: should check out. If you've got a director with a 372 00:20:52,800 --> 00:20:56,000 Speaker 1: crazier CV, if you've got a better ensemble movie than 373 00:20:56,240 --> 00:20:59,600 Speaker 1: Mad Mad, Mad Mad World, let me know six one 374 00:20:59,680 --> 00:21:02,639 Speaker 1: seven six six six three eight. You can get me 375 00:21:02,880 --> 00:21:06,720 Speaker 1: at Disgrace lambpod at gmail dot com, or hey, come 376 00:21:06,800 --> 00:21:08,800 Speaker 1: join us in the all access feed and patreon him. 377 00:21:08,800 --> 00:21:11,520 Speaker 1: We'll talk there right. Speaking of talking, I still got 378 00:21:11,520 --> 00:21:15,359 Speaker 1: lots more to do in that regard, but I gotta 379 00:21:15,400 --> 00:21:17,560 Speaker 1: take a quick break and stretch. So hang in there, 380 00:21:17,560 --> 00:21:32,880 Speaker 1: brothers and sisters. I'll be right back. Oh ready, everybody, 381 00:21:32,960 --> 00:21:35,720 Speaker 1: Welcome back to the wrap party. Zeth Lundy here once 382 00:21:35,760 --> 00:21:39,760 Speaker 1: again talking about what I've been watching listening to reading. 383 00:21:40,760 --> 00:21:44,080 Speaker 1: First of all, here I gotta mention this. I went 384 00:21:44,280 --> 00:21:47,840 Speaker 1: last week to see Willie Nelson's Outlaw Tour when it 385 00:21:47,960 --> 00:21:50,840 Speaker 1: stopped here in my town. Let's see on this bill. 386 00:21:50,880 --> 00:21:55,639 Speaker 1: In addition to Willie Nelson was Bob Dylan. Cheryl Crow 387 00:21:55,960 --> 00:21:58,680 Speaker 1: Waxahatchie was there as well, but I didn't see her. 388 00:21:58,920 --> 00:22:00,320 Speaker 1: There were so many people in the bill. There was 389 00:22:00,320 --> 00:22:03,040 Speaker 1: a couple of other performers as well, whose names escape me. 390 00:22:03,560 --> 00:22:06,280 Speaker 1: The show had so many acts that it started at 391 00:22:06,280 --> 00:22:09,560 Speaker 1: like four thirty or something like that, so we didn't 392 00:22:09,600 --> 00:22:12,960 Speaker 1: see a couple of the first acts. We got there 393 00:22:13,400 --> 00:22:15,840 Speaker 1: rate when Cheryl Crow was about to start her set, 394 00:22:16,320 --> 00:22:20,200 Speaker 1: Cheryl Crow was. She was incredible, man, she was great. 395 00:22:20,440 --> 00:22:23,879 Speaker 1: She'd had these two guitar players flanking her on either 396 00:22:23,920 --> 00:22:27,840 Speaker 1: side who were like trading leads on a series of 397 00:22:27,840 --> 00:22:30,679 Speaker 1: incredible guitars, just killing it. I mean, she came out 398 00:22:30,760 --> 00:22:34,040 Speaker 1: and opened with Steve McQueen. She opened with Steve McQueen. 399 00:22:34,080 --> 00:22:36,440 Speaker 1: I was like, oh shit, I fucking loved this song. 400 00:22:36,880 --> 00:22:39,479 Speaker 1: And then to open with that, and then to realize 401 00:22:39,520 --> 00:22:42,560 Speaker 1: as she kept on playing how many hits she has 402 00:22:42,600 --> 00:22:44,560 Speaker 1: and how many solid songs she has. It was just 403 00:22:44,880 --> 00:22:47,200 Speaker 1: really deep set list. I really enjoyed it. I really 404 00:22:47,240 --> 00:22:50,240 Speaker 1: wish she had played one of my favorite Cheryl Crow 405 00:22:50,320 --> 00:22:53,040 Speaker 1: songs of all time, there Goes the Neighborhood. She did not, 406 00:22:53,720 --> 00:22:56,240 Speaker 1: but that's okay. I can listen to it off the record. 407 00:22:56,520 --> 00:22:58,480 Speaker 1: Check that song out if you don't know it. So anyway, 408 00:22:58,560 --> 00:23:01,840 Speaker 1: Cheryl Crow was great. Now Bob Dylan comes out, so 409 00:23:02,320 --> 00:23:05,000 Speaker 1: they clear the stage after SHERYF Crow plays, and at 410 00:23:05,000 --> 00:23:07,600 Speaker 1: this point she played, it was still light outside, and 411 00:23:07,600 --> 00:23:10,000 Speaker 1: by the time she's done This is an outdoor venue, 412 00:23:10,040 --> 00:23:12,959 Speaker 1: by the way, so by the time she's done, it's 413 00:23:13,000 --> 00:23:15,480 Speaker 1: getting dark, right, And so they're setting up the stage 414 00:23:15,520 --> 00:23:17,720 Speaker 1: for Dylan, but you can't really see what's going on, 415 00:23:18,480 --> 00:23:21,080 Speaker 1: and unlike you know, a typical thing is they set 416 00:23:21,119 --> 00:23:23,199 Speaker 1: up the stage, you can see what's happening, and then 417 00:23:23,240 --> 00:23:26,240 Speaker 1: the lights, the stage lights go down, and everyone goes 418 00:23:26,280 --> 00:23:28,840 Speaker 1: crazy and cheers, and the performer walks out with the 419 00:23:28,840 --> 00:23:31,600 Speaker 1: band and waves and they start playing. But this is 420 00:23:31,600 --> 00:23:33,920 Speaker 1: what Dylan did. The stage is being set up sort 421 00:23:33,920 --> 00:23:36,600 Speaker 1: of in darkness you can't really see, and then all 422 00:23:36,600 --> 00:23:41,440 Speaker 1: of a sudden, the stage becomes slowly illuminated, right, and 423 00:23:41,560 --> 00:23:45,399 Speaker 1: you realize that there is this like this like fort 424 00:23:45,720 --> 00:23:49,520 Speaker 1: of keyboards and some other furniture that's been set up 425 00:23:49,760 --> 00:23:52,679 Speaker 1: in like this circle. And Dylan is in this like 426 00:23:52,920 --> 00:23:57,680 Speaker 1: keyboard fort and it was kind of it wasn't pouring rain, 427 00:23:57,760 --> 00:24:00,399 Speaker 1: but it was lightly missing. So he had on a 428 00:24:00,440 --> 00:24:02,760 Speaker 1: parka like a raincoat with a hood, and he had 429 00:24:02,760 --> 00:24:05,760 Speaker 1: the hood pulled over. All these lights slowly illuminate is 430 00:24:05,840 --> 00:24:07,879 Speaker 1: all these like Christmas lights are strung up around this 431 00:24:07,960 --> 00:24:11,320 Speaker 1: little fort. So you can't really see Bob at all 432 00:24:11,400 --> 00:24:14,240 Speaker 1: because he's got this the rain slicker with the hood on. 433 00:24:14,760 --> 00:24:18,800 Speaker 1: He's surrounded by equipment and furniture. He's illuminated just by 434 00:24:18,840 --> 00:24:21,280 Speaker 1: these Christmas lights basically, and then the rest of his 435 00:24:21,400 --> 00:24:23,760 Speaker 1: band are sort of around him in a circle or 436 00:24:23,800 --> 00:24:25,960 Speaker 1: a half circle sort of, they're not spread out on 437 00:24:26,000 --> 00:24:30,320 Speaker 1: the stage. And he starts to play. And it took 438 00:24:30,400 --> 00:24:32,840 Speaker 1: me about two and a half minutes to realize that 439 00:24:32,840 --> 00:24:36,119 Speaker 1: he was playing Masters of War, because in typical Bob fashion, 440 00:24:36,200 --> 00:24:38,560 Speaker 1: he's doing it in a completely different style than he's 441 00:24:38,560 --> 00:24:41,200 Speaker 1: ever done it in before. So it was fun to realize, 442 00:24:41,240 --> 00:24:44,000 Speaker 1: Oh cool, he's playing Masters of War. But I couldn't 443 00:24:44,040 --> 00:24:46,880 Speaker 1: see him at all. And there are these two giant 444 00:24:47,000 --> 00:24:50,240 Speaker 1: screens on either side of the stage during which, you know, 445 00:24:50,400 --> 00:24:53,040 Speaker 1: Cheryl Crow set you got all these great up close 446 00:24:53,080 --> 00:24:55,639 Speaker 1: shots of Cheryl Crow, of her guitar players or bassis 447 00:24:55,800 --> 00:24:59,600 Speaker 1: or drummer. You know, so if you're standing far aways away, 448 00:24:59,600 --> 00:25:01,359 Speaker 1: which I will as you know, you'd be able to 449 00:25:01,359 --> 00:25:04,119 Speaker 1: see it all. No, But for Dylan's performance, it was 450 00:25:04,200 --> 00:25:09,600 Speaker 1: one static shot both sides of the stage, one static 451 00:25:09,680 --> 00:25:13,159 Speaker 1: shot from far away, and the view was just as 452 00:25:13,160 --> 00:25:16,560 Speaker 1: shitty as the view he had in the audience, and 453 00:25:16,600 --> 00:25:18,919 Speaker 1: apparently I talked to some people that I know that 454 00:25:19,680 --> 00:25:21,760 Speaker 1: are in the know there, and basically he said that 455 00:25:21,800 --> 00:25:24,520 Speaker 1: they were not allowed to do close up shots at 456 00:25:24,520 --> 00:25:26,960 Speaker 1: the band ad all on these video screens they were at. 457 00:25:26,960 --> 00:25:28,639 Speaker 1: The venue was not allowed to take pictures of them. 458 00:25:28,720 --> 00:25:31,480 Speaker 1: So when the venue posted pictures after the show, what 459 00:25:31,520 --> 00:25:33,520 Speaker 1: a great show was, there's no pictures of Dylan there. 460 00:25:34,000 --> 00:25:36,440 Speaker 1: And the whole time during Dylan's performance, I'm getting text 461 00:25:36,440 --> 00:25:39,359 Speaker 1: messages from my friends who were there who were like, 462 00:25:39,400 --> 00:25:43,480 Speaker 1: what's going on? This sucks. I can't see Dylan. What's 463 00:25:43,520 --> 00:25:46,159 Speaker 1: his problem? He's such an asshole. Da da da da 464 00:25:46,200 --> 00:25:48,879 Speaker 1: da da da. And then the best one was my 465 00:25:49,200 --> 00:25:52,320 Speaker 1: fourteen year old son was there as well, and he 466 00:25:52,400 --> 00:25:54,879 Speaker 1: was he actually didn't have tickets with me. It's a 467 00:25:54,880 --> 00:25:57,479 Speaker 1: long story. He was there with his mom, but we 468 00:25:57,480 --> 00:25:59,840 Speaker 1: were texting back and forth the whole time. Right, So, 469 00:26:00,200 --> 00:26:02,520 Speaker 1: during Dylan set, there's all these text messages that are 470 00:26:02,520 --> 00:26:04,719 Speaker 1: going on in the audience, people being like, this actually 471 00:26:04,720 --> 00:26:07,320 Speaker 1: isn't Dylan, This is an impersonator. You know, all the 472 00:26:07,320 --> 00:26:08,919 Speaker 1: same kind of rumors that you've hear about. You know, 473 00:26:08,960 --> 00:26:12,000 Speaker 1: Paul McCartney is dead and Dylan. The motorcycle accident all 474 00:26:12,040 --> 00:26:14,760 Speaker 1: that stuff. So in the middle of his set, my 475 00:26:14,760 --> 00:26:18,080 Speaker 1: son sends me this text. Hear me out og. Bob 476 00:26:18,160 --> 00:26:20,760 Speaker 1: Dylan died in a motorcycle accident years ago, and last night, 477 00:26:20,800 --> 00:26:23,040 Speaker 1: while the fake Bob Dylan was riding his motorcycle, he 478 00:26:23,119 --> 00:26:26,520 Speaker 1: crashed his band and producers in a rush. Pay a 479 00:26:26,560 --> 00:26:28,920 Speaker 1: fake Bob Dylan, who doesn't know how to play guitar 480 00:26:29,000 --> 00:26:31,240 Speaker 1: and only looks semi like him to play the show, 481 00:26:31,440 --> 00:26:34,240 Speaker 1: which was pre recorded from a past live performance, and 482 00:26:34,240 --> 00:26:36,679 Speaker 1: then cover his face with lights, intentionally to ensure that 483 00:26:36,720 --> 00:26:39,159 Speaker 1: no matter where the image is taken from, he is hidden. 484 00:26:39,480 --> 00:26:45,800 Speaker 1: This kid's this kid's going place. It's fucking incredible. And 485 00:26:45,800 --> 00:26:49,040 Speaker 1: then Willie Nelson was You know Willie Nelson is, he's 486 00:26:49,160 --> 00:26:51,200 Speaker 1: very old, and so he came out and he sat 487 00:26:51,200 --> 00:26:54,000 Speaker 1: on a stool or a chair. He believe. He opened 488 00:26:54,000 --> 00:26:58,040 Speaker 1: with Whiskey River, and occasionally other people took over playing 489 00:26:58,040 --> 00:27:01,160 Speaker 1: and singing for him because he's just he's getting up there. 490 00:27:01,200 --> 00:27:04,399 Speaker 1: But it was nice to see Willie in the flesh. 491 00:27:04,400 --> 00:27:06,560 Speaker 1: It was nice to sort of squid my eyes and 492 00:27:06,680 --> 00:27:09,120 Speaker 1: think that I maybe I saw Bob Dylan. Of course, 493 00:27:09,160 --> 00:27:11,879 Speaker 1: after that the next day I think I watched a 494 00:27:11,880 --> 00:27:14,159 Speaker 1: complete unknown with my son. He had not seen that 495 00:27:14,240 --> 00:27:17,199 Speaker 1: yet and he loved it, which was really cool, and 496 00:27:17,280 --> 00:27:19,439 Speaker 1: so sort of getting a more of the mythology at 497 00:27:19,440 --> 00:27:22,560 Speaker 1: Bob And you know, am I listening to Dylan after 498 00:27:22,600 --> 00:27:24,359 Speaker 1: the show? I mean, I'm always listening to Dylan. It 499 00:27:24,400 --> 00:27:28,080 Speaker 1: seems like that's a constant in my house here. But 500 00:27:28,240 --> 00:27:32,119 Speaker 1: these days it's all about records like Infidels and Street 501 00:27:32,200 --> 00:27:36,119 Speaker 1: Legal and Oh Mercy. I love the bootleg series, the 502 00:27:36,160 --> 00:27:38,720 Speaker 1: one called Springtime in New York, which covers the album's 503 00:27:38,720 --> 00:27:42,080 Speaker 1: shot of love Infidels in Empire Burlesque. I was brainwashed 504 00:27:42,119 --> 00:27:45,159 Speaker 1: early on. I think I think we all were to 505 00:27:45,240 --> 00:27:49,560 Speaker 1: be told that artists like Bob Dylan had these, you know, 506 00:27:49,680 --> 00:27:53,800 Speaker 1: so called golden periods that were these unimpeachable periods. So 507 00:27:53,840 --> 00:27:56,560 Speaker 1: for Dylan, you know, it's the Freewheel, and Bob Dylan, 508 00:27:56,920 --> 00:28:01,679 Speaker 1: through I don't know, through John Wesley Harding, it's Highway 509 00:28:01,720 --> 00:28:04,000 Speaker 1: sixty one, it's Blonde on Blonde, it's bringing it all 510 00:28:04,040 --> 00:28:07,040 Speaker 1: back home. And of course that music is incredible, But 511 00:28:07,080 --> 00:28:10,320 Speaker 1: I think that sort of thing was recommended and sort 512 00:28:10,320 --> 00:28:15,480 Speaker 1: of canonized in a way that vilified other eras of Dylan, 513 00:28:15,560 --> 00:28:18,280 Speaker 1: whether it's his Christian era or his eighties era. I 514 00:28:18,320 --> 00:28:20,359 Speaker 1: fell into this trap a little bit back when I 515 00:28:20,840 --> 00:28:23,880 Speaker 1: wrote a book on Stevie Wonder years ago in the 516 00:28:23,920 --> 00:28:26,040 Speaker 1: thirty three and a third series. If you know that series, 517 00:28:26,280 --> 00:28:29,280 Speaker 1: there's these little pocket sized books on albums. I wrote 518 00:28:29,280 --> 00:28:30,920 Speaker 1: one on Stevie Wonder's songs in the Key of Life, 519 00:28:30,960 --> 00:28:32,600 Speaker 1: and I sort of fell into that trap because a 520 00:28:32,600 --> 00:28:34,560 Speaker 1: big part of the conceit of that book, originally when 521 00:28:34,560 --> 00:28:37,680 Speaker 1: I was conceiving of it, was sort of to interrogate 522 00:28:38,280 --> 00:28:43,040 Speaker 1: why an artist has a period of incredible creativity and 523 00:28:43,080 --> 00:28:44,719 Speaker 1: it's limited to a certain amount of time, and then 524 00:28:44,760 --> 00:28:47,640 Speaker 1: they never really get back into that again. But see, 525 00:28:47,680 --> 00:28:49,960 Speaker 1: I think that's a trap though, because when you open 526 00:28:50,000 --> 00:28:52,560 Speaker 1: your mind to it and you don't listen to this 527 00:28:52,800 --> 00:28:56,800 Speaker 1: party line on the so called golden periods, not only 528 00:28:56,840 --> 00:29:00,440 Speaker 1: do you realize you've been had, you know, by this 529 00:29:00,480 --> 00:29:04,840 Speaker 1: sort of thinking, but it's so freeing to discover this 530 00:29:05,040 --> 00:29:07,600 Speaker 1: other great music. I want to listen to Infidels more 531 00:29:07,600 --> 00:29:09,440 Speaker 1: than I want to listen to bringing it all back 532 00:29:09,440 --> 00:29:11,840 Speaker 1: Home these days. Maybe that's also because of my age. 533 00:29:11,840 --> 00:29:14,640 Speaker 1: I also used to think that knocking on Heaven's door 534 00:29:14,680 --> 00:29:18,120 Speaker 1: was the fucking corniest thing ever, three chords and boring 535 00:29:18,160 --> 00:29:21,040 Speaker 1: as shit. Now that song comes on and I'm like 536 00:29:21,160 --> 00:29:24,720 Speaker 1: a mess. After three minutes, that song wrecks me in 537 00:29:24,760 --> 00:29:27,480 Speaker 1: a way that no other Dylan song can. I'm sure 538 00:29:27,560 --> 00:29:29,560 Speaker 1: part of that is age, but dude, have you heard 539 00:29:29,640 --> 00:29:32,880 Speaker 1: Wildlife by Wings? No one talks about that, but it's 540 00:29:32,920 --> 00:29:36,320 Speaker 1: a low key Paul McCartney masterpiece and it's perfect to 541 00:29:36,360 --> 00:29:38,560 Speaker 1: put on it at any time. So listen, don't fall 542 00:29:38,640 --> 00:29:42,520 Speaker 1: into the trap of only this period of output from 543 00:29:42,560 --> 00:29:44,680 Speaker 1: this artist is what you should be behaying attention to. 544 00:29:44,760 --> 00:29:46,520 Speaker 1: You got to use your own mind, use your own years, 545 00:29:46,600 --> 00:29:48,800 Speaker 1: and do it for yourself. Right. Of course, you all 546 00:29:48,840 --> 00:29:51,720 Speaker 1: know this, that's why you're here. You're cool. But I 547 00:29:51,840 --> 00:29:53,520 Speaker 1: just want to tell you how I sort of arrived 548 00:29:53,560 --> 00:29:56,520 Speaker 1: at this point. Watching what am I watching right now? Okay, 549 00:29:56,560 --> 00:29:58,720 Speaker 1: here's the deal. What I want to be doing is 550 00:29:58,760 --> 00:30:01,360 Speaker 1: I want to be watching Robert Altman movies NonStop on 551 00:30:01,400 --> 00:30:05,520 Speaker 1: the Criterion Channel. But this is my problem, okay, is 552 00:30:05,560 --> 00:30:09,360 Speaker 1: that I live in a household with other people, and 553 00:30:09,440 --> 00:30:12,560 Speaker 1: nobody else in this household wants to watch Robert movies 554 00:30:12,560 --> 00:30:15,440 Speaker 1: with me. So in order to do this, I either 555 00:30:15,480 --> 00:30:17,960 Speaker 1: have to stay up really late, or I need to 556 00:30:17,960 --> 00:30:21,560 Speaker 1: get up like really early on the weekends and watch 557 00:30:21,640 --> 00:30:23,840 Speaker 1: these movies, which I have been known to do the 558 00:30:24,160 --> 00:30:27,440 Speaker 1: early morning watches solo, which is great. It's fine. I 559 00:30:27,520 --> 00:30:30,560 Speaker 1: just haven't had it in me recently. So I'm just 560 00:30:30,640 --> 00:30:33,440 Speaker 1: letting you know that there's this desire inside me to 561 00:30:33,720 --> 00:30:38,680 Speaker 1: really chug Robert Altman movies all month, and I need 562 00:30:38,720 --> 00:30:40,760 Speaker 1: to make that more of a priority. But it's been difficult, 563 00:30:40,800 --> 00:30:43,440 Speaker 1: you know what I'm saying, Right, So what have I watched? 564 00:30:43,440 --> 00:30:45,240 Speaker 1: I've watched a bunch of stuff. This last week, I 565 00:30:45,240 --> 00:30:48,480 Speaker 1: watched The Bike Riders, which is a Jeff Nichols latest movie, 566 00:30:48,720 --> 00:30:52,960 Speaker 1: starring Austin Butler, Tom Hardy, and Jody Comer. They're all incredible. 567 00:30:53,040 --> 00:30:56,320 Speaker 1: Jody Comer, though, is doing this wild Chicago accent that 568 00:30:56,720 --> 00:30:59,600 Speaker 1: at first you're like whoa, but then it just fucking works. 569 00:31:00,080 --> 00:31:03,320 Speaker 1: And it works because the whole thing has this ton 570 00:31:03,360 --> 00:31:06,320 Speaker 1: of cheek feel to it. But it's also hard as 571 00:31:06,320 --> 00:31:08,640 Speaker 1: a motherfucker when it needs to be. And you're just 572 00:31:08,760 --> 00:31:11,360 Speaker 1: riding around with this motorcycle crew in the nineteen sixties 573 00:31:11,360 --> 00:31:14,160 Speaker 1: and seventies and it was a great time. It's a 574 00:31:14,160 --> 00:31:16,280 Speaker 1: great hang it's a great hang of a movie. I 575 00:31:16,320 --> 00:31:19,320 Speaker 1: was led to believe it's based a It's based on 576 00:31:19,320 --> 00:31:20,840 Speaker 1: a book, but not like a written book. It's based 577 00:31:20,840 --> 00:31:23,440 Speaker 1: on a book of photographs of a motorcycle gang, a 578 00:31:23,480 --> 00:31:27,080 Speaker 1: real gang, and Jeff Nichols like wrote a movie around 579 00:31:27,360 --> 00:31:30,080 Speaker 1: the images in this book. I was led to believe, 580 00:31:30,200 --> 00:31:31,600 Speaker 1: just by what I had heard about it that it 581 00:31:31,640 --> 00:31:35,040 Speaker 1: was more formless than it really is. There really is 582 00:31:35,120 --> 00:31:38,520 Speaker 1: formed to it, but it is like a great hang 583 00:31:38,640 --> 00:31:40,360 Speaker 1: of a movie, if you know what I'm saying. That's 584 00:31:40,560 --> 00:31:44,160 Speaker 1: definitely recommended. I also watched two A twenty four movies 585 00:31:44,680 --> 00:31:47,800 Speaker 1: on completely opposite ends of the A twenty four spectrum. 586 00:31:48,240 --> 00:31:51,760 Speaker 1: Both hit HBO recently. One's Warfare and the other one 587 00:31:51,840 --> 00:31:56,000 Speaker 1: is The Legend of Och. Warfare is Alex Garland's new movie. 588 00:31:56,040 --> 00:31:59,040 Speaker 1: Alex Garland his last film was Civil War. He's also 589 00:31:59,080 --> 00:32:00,959 Speaker 1: the guy you know he wrote the new twenty eight 590 00:32:01,000 --> 00:32:03,080 Speaker 1: years later. He wrote the original twenty eight days later. 591 00:32:03,200 --> 00:32:05,400 Speaker 1: But he's been directing his own stuff for a while 592 00:32:05,520 --> 00:32:08,720 Speaker 1: now too. This movie is based on a true story. 593 00:32:08,800 --> 00:32:11,880 Speaker 1: The co director Ray Mendoza. This is based on his 594 00:32:12,000 --> 00:32:16,120 Speaker 1: time in the Iraq War, and it's like a pixie song, 595 00:32:16,200 --> 00:32:20,600 Speaker 1: the loud, quiet, loud thing. It starts so quiet, and 596 00:32:21,080 --> 00:32:25,520 Speaker 1: it maintains that quiet for a certain amount of time, 597 00:32:26,000 --> 00:32:28,280 Speaker 1: and the whole time you know that something is going 598 00:32:28,320 --> 00:32:30,920 Speaker 1: to happen, something awful is going to happen, and you 599 00:32:31,000 --> 00:32:33,720 Speaker 1: just don't know when, and it of course takes you 600 00:32:33,720 --> 00:32:36,400 Speaker 1: by surprise. And then once it does, it's like it's 601 00:32:36,400 --> 00:32:38,840 Speaker 1: like the Pixies have hit the chorus and the thing 602 00:32:38,920 --> 00:32:41,320 Speaker 1: is just all gas pedal to the metal of the 603 00:32:41,360 --> 00:32:45,160 Speaker 1: rest of the things. It's a harrowing movie. It reminds 604 00:32:45,200 --> 00:32:48,240 Speaker 1: me of the recent All Quiet on the Western Front. 605 00:32:48,560 --> 00:32:51,040 Speaker 1: And Jake and I talked about this one point recently 606 00:32:51,040 --> 00:32:53,040 Speaker 1: in an after party or rap party. I forget where, 607 00:32:53,120 --> 00:32:55,560 Speaker 1: But this is sort of like this higher gear of 608 00:32:56,400 --> 00:32:59,640 Speaker 1: war films, you know. And I'm just thinking about Ray Mendoza, 609 00:32:59,680 --> 00:33:02,760 Speaker 1: the Code director. You know, this is based on his experience, 610 00:33:02,840 --> 00:33:06,160 Speaker 1: just thinking about revisiting that trauma by making this movie 611 00:33:07,320 --> 00:33:10,840 Speaker 1: just super intense anyways, super intense experience. Go into it 612 00:33:10,960 --> 00:33:15,960 Speaker 1: knowing that it is fucking intense. Okay. Also less intense 613 00:33:16,200 --> 00:33:20,280 Speaker 1: was Legend of Ochi, which is a debut film by 614 00:33:20,320 --> 00:33:24,680 Speaker 1: Isaiah Saxon. So it's kind of like this fantasy sci 615 00:33:24,680 --> 00:33:29,960 Speaker 1: fi kind of thing about this small island village town 616 00:33:30,560 --> 00:33:33,960 Speaker 1: where people are have been raised to believe that these 617 00:33:34,000 --> 00:33:37,320 Speaker 1: creatures the Ochi, are these evil you know, vicious man 618 00:33:37,360 --> 00:33:39,440 Speaker 1: eaters or whatever, and they go out on hunting parties 619 00:33:39,480 --> 00:33:44,440 Speaker 1: to hunt them. And this teenage girl finds a wounded 620 00:33:44,560 --> 00:33:47,800 Speaker 1: baby Ochi and realizes that it's not this evil thing 621 00:33:47,840 --> 00:33:50,960 Speaker 1: and decides to take it back home back to its family. 622 00:33:51,040 --> 00:33:54,760 Speaker 1: Right as she's gone on this adventure, her her father 623 00:33:54,840 --> 00:33:57,320 Speaker 1: played by Willem Dafoe, and a bunch of the kids 624 00:33:57,320 --> 00:34:00,600 Speaker 1: from the town are hunting for her because they believe 625 00:34:00,640 --> 00:34:03,320 Speaker 1: that they need to kill this thing or whatever. It 626 00:34:03,320 --> 00:34:06,200 Speaker 1: feels very much like an eighties movie. You know, it's fantasy, 627 00:34:06,200 --> 00:34:09,280 Speaker 1: it's sci fi, but it's also adventure, so it's wrapped 628 00:34:09,360 --> 00:34:12,000 Speaker 1: up in all that some nostalgia for that sort of thing. 629 00:34:12,160 --> 00:34:15,120 Speaker 1: Even like the creature itself, the Ochi, which is this 630 00:34:15,239 --> 00:34:21,160 Speaker 1: adorable creature, is a practical puppet, not CGI, so for 631 00:34:21,239 --> 00:34:23,640 Speaker 1: that they don't make them like this anymore vibe and 632 00:34:23,680 --> 00:34:27,040 Speaker 1: also for an incredible unhinged Willem de Faue performance. As 633 00:34:27,040 --> 00:34:30,560 Speaker 1: always I can recommend this one. You know it's not perfect, 634 00:34:30,920 --> 00:34:35,080 Speaker 1: but I certainly applaud sort of the way it was 635 00:34:35,120 --> 00:34:37,680 Speaker 1: made and the vibe. So check that out if you're 636 00:34:37,719 --> 00:34:39,440 Speaker 1: looking for something a little bit different, little thing off 637 00:34:39,440 --> 00:34:42,680 Speaker 1: the beaten path. And then I'm also I'm still watching 638 00:34:42,719 --> 00:34:45,360 Speaker 1: that show Task on HBO. Just watched the second episode 639 00:34:45,480 --> 00:34:47,920 Speaker 1: last night. This really feels like the first show in 640 00:34:47,960 --> 00:34:50,440 Speaker 1: a while that feels like can't miss TV to me. 641 00:34:50,800 --> 00:34:54,280 Speaker 1: Jake and I were talking recently offline about how movies 642 00:34:54,320 --> 00:34:57,000 Speaker 1: have been great again and TV shows are suffering, which 643 00:34:57,400 --> 00:34:59,799 Speaker 1: was the other way around for a while, but this 644 00:35:00,120 --> 00:35:03,000 Speaker 1: it feels like a return to that brand of HBO show, 645 00:35:03,080 --> 00:35:07,080 Speaker 1: you know, Sopranos or Game of Thrones, the Wire. I mean, 646 00:35:07,080 --> 00:35:11,040 Speaker 1: maybe not exactly on that scale, but it's so well 647 00:35:11,200 --> 00:35:14,719 Speaker 1: written and so well acted, and you know, every episode 648 00:35:14,840 --> 00:35:17,680 Speaker 1: ends and I'm just annoyed there's not another episode for 649 00:35:17,760 --> 00:35:21,200 Speaker 1: me to watch. So maybe wait until this has been 650 00:35:21,239 --> 00:35:22,560 Speaker 1: out for a while so you can kind of binge 651 00:35:22,560 --> 00:35:25,680 Speaker 1: it all. But really incredible stuff. I've been watching so 652 00:35:25,760 --> 00:35:28,040 Speaker 1: much this week that my reading is just suffering. You know, 653 00:35:28,080 --> 00:35:30,960 Speaker 1: I'm still making my way through that book Dino, slowly 654 00:35:31,000 --> 00:35:35,280 Speaker 1: but surely. I've been rereading portions of Merle Haggard's autobiography 655 00:35:35,360 --> 00:35:38,400 Speaker 1: sing Me Back Home for something I'm working on, which listen, 656 00:35:38,840 --> 00:35:42,520 Speaker 1: this book would not be published today. Talk about a 657 00:35:42,560 --> 00:35:45,600 Speaker 1: PC allergic book. I mean, this book is so on PC. 658 00:35:46,040 --> 00:35:48,680 Speaker 1: It's hilarious. There's like a poll quote, not a poll quote, 659 00:35:48,680 --> 00:35:51,440 Speaker 1: but the little tagline on the front of this paperback. 660 00:35:51,520 --> 00:35:55,160 Speaker 1: It's like a little you know, like seventies early eighties 661 00:35:55,239 --> 00:35:59,800 Speaker 1: era paperback. It says the rough and raucous autobiography featured 662 00:35:59,840 --> 00:36:05,759 Speaker 1: in People and Penthouse Magazine, which is like totally in 663 00:36:05,760 --> 00:36:08,400 Speaker 1: line with this. This this book, man, what a book. 664 00:36:09,120 --> 00:36:10,880 Speaker 1: Let me know, what are you listening to? What are 665 00:36:10,920 --> 00:36:14,000 Speaker 1: you watching? What are you reading? Give me some recommendations 666 00:36:14,400 --> 00:36:18,479 Speaker 1: six one seven, nine oh six six, six three eight, 667 00:36:18,920 --> 00:36:20,960 Speaker 1: and keep hanging with me. Here. I gotta pause one 668 00:36:21,000 --> 00:36:37,120 Speaker 1: final time, but I'll be right back with some final thoughts. Heyo, 669 00:36:37,480 --> 00:36:39,880 Speaker 1: what's up y'all here? We are just about the end 670 00:36:39,920 --> 00:36:42,840 Speaker 1: of yet another wrap party. And yeah, still thinking a 671 00:36:42,880 --> 00:36:45,120 Speaker 1: little bit on or a lot of bit here on 672 00:36:45,200 --> 00:36:48,919 Speaker 1: Robert Redford. And I'm curious if any of you are 673 00:36:49,120 --> 00:36:50,960 Speaker 1: watching any of his films this week or if you 674 00:36:51,040 --> 00:36:53,560 Speaker 1: plan to, and if so, what are you gonna check out? 675 00:36:53,600 --> 00:36:55,640 Speaker 1: Is it something you're familiar with and you want to rewatch. 676 00:36:55,680 --> 00:36:58,040 Speaker 1: Is it something you're seeing for the first time? Let 677 00:36:58,080 --> 00:37:00,000 Speaker 1: me know. And then, also, as we get ready for 678 00:37:00,120 --> 00:37:03,759 Speaker 1: next week's episode on Paul Newman, I'm thinking, was there 679 00:37:03,760 --> 00:37:07,000 Speaker 1: a better on screen duo than these guys? Are these 680 00:37:07,040 --> 00:37:10,040 Speaker 1: guys the tops? They only did those two movies together, 681 00:37:10,440 --> 00:37:13,960 Speaker 1: Pusch Cassidy and The Sting, which is wild. It seems 682 00:37:14,040 --> 00:37:16,920 Speaker 1: like doesn't it seem like they did like ten movies together. 683 00:37:17,280 --> 00:37:20,200 Speaker 1: That's so wild. But anyways, even though they only did 684 00:37:20,200 --> 00:37:22,600 Speaker 1: two movies together, it seems like they've got to be 685 00:37:22,640 --> 00:37:24,520 Speaker 1: the definitive on screen duo. Let me know if you 686 00:37:24,560 --> 00:37:26,799 Speaker 1: got a better one six one seven, nine oh six 687 00:37:27,000 --> 00:37:29,959 Speaker 1: six six three eight. Okay, And as we part once 688 00:37:30,080 --> 00:37:32,080 Speaker 1: more and listen, it doesn't have to be such sweet 689 00:37:32,120 --> 00:37:34,680 Speaker 1: sorrow because I'll talk to you next week. But before 690 00:37:34,719 --> 00:37:38,440 Speaker 1: we peace out, remember these four things. Number one available 691 00:37:38,480 --> 00:37:41,040 Speaker 1: right now in your Hollywood land feed Our episode on 692 00:37:41,120 --> 00:37:44,680 Speaker 1: Johnny Depp number two coming next week on Monday, Our 693 00:37:44,719 --> 00:37:48,520 Speaker 1: episode on Paul Newman, number three. Are you a member 694 00:37:48,560 --> 00:37:51,359 Speaker 1: of Disgraceland All Access yet for just five bucks a month, 695 00:37:51,640 --> 00:37:54,120 Speaker 1: you can get ad free listening for all Disgraceland and 696 00:37:54,160 --> 00:37:58,960 Speaker 1: Hollywood Land episodes, plus bonus Disgraceland episodes, exclusive bonus material 697 00:37:58,960 --> 00:38:01,920 Speaker 1: in the after Party and if you sign up via Patreon. 698 00:38:02,320 --> 00:38:04,880 Speaker 1: That Robust twenty four to seven, chat I was telling 699 00:38:04,880 --> 00:38:09,279 Speaker 1: you about number four now in honor of this week's episode, 700 00:38:09,360 --> 00:38:12,240 Speaker 1: me reading you. The list of the top grossing films 701 00:38:12,280 --> 00:38:16,280 Speaker 1: from August twenty eighteen, the month that Robert Redford's final 702 00:38:16,320 --> 00:38:18,840 Speaker 1: appearance and The Old Man and the Gun was released. 703 00:38:24,360 --> 00:38:30,800 Speaker 1: Number one Mission Impossible Folloout directed by Christopher McCrory. Number 704 00:38:30,800 --> 00:38:36,960 Speaker 1: two The Meg directed by John Turtle Toobs. Number three 705 00:38:37,320 --> 00:38:42,000 Speaker 1: Crazy Rich Asians Jendy directed by just and Chu follow Black. 706 00:38:42,320 --> 00:38:45,919 Speaker 1: Number four director Christopher robbins By directed by Number Mark 707 00:38:45,960 --> 00:38:50,040 Speaker 1: forsters By who dubbed directed by Number five Mama Mia, 708 00:38:50,080 --> 00:38:53,120 Speaker 1: Here we Go Again. Number three directed by rich By Parker, 709 00:38:53,200 --> 00:38:58,080 Speaker 1: directed by director Town. Number six holteg Transamania. Three associates 710 00:39:00,239 --> 00:39:02,760 Speaker 1: quit talking and start mixing.