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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho, I'm Danielle Henderson,

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Speaker 1: and we're here to talk about films with you today.

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Speaker 1: How are you doing.

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Speaker 2: I'm doing good. I'm doing good. I burst into tears

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Speaker 2: this week when I hugged a friend.

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Speaker 1: Oh wait, you hugged somebody.

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Speaker 2: This is the big news. I have been in hardcore lockdown.

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Speaker 2: I have been by myself since March. I am getting

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Speaker 2: my groceries delivered like I'm the only person in LA

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Speaker 2: who didn't have a summer. I'm not hopping on planes.

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Speaker 2: I am fully recognizing the pandemic in the air around us.

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Speaker 2: So it's been lonely. It's been really lonely, and I've

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Speaker 2: been thinking a lot about loneliness as a result. And

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Speaker 2: a friend of mine asked if I want to go

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Speaker 2: for a walk. And people when they try to get

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Speaker 2: me to do things, it's never like join my pod

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Speaker 2: and just come hang out. It's like, let's go for

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Speaker 2: a five mile hike, let's go to the beach. Let's

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Speaker 2: And I'm like, I'm still the same person, Like the

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Speaker 2: pandemic didn't turn me into an outdoor zea a health

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Speaker 2: now suddenly, yeah, like, recognize who you're talking who you're

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Speaker 2: speaking to, first of all, come correct. I've been trying

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Speaker 2: to take care of myself, but I don't want the

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Speaker 2: hike that I'm on to be where I discover that

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Speaker 2: I can't take a deep breath after two minutes, Like

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Speaker 2: I'd like to discover that in the comfort of my

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Speaker 2: own home. Let me wake up in bed and like

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Speaker 2: on the and turn over wrong and then all of

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Speaker 2: a sudden, I can't move because I'm paralyzed from the

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Speaker 2: waist down. Like that's how I want to find out,

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Speaker 2: not like hiking up her onion that like your muscles

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Speaker 2: of atrophy to the point where nothing works anymore, Like

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Speaker 2: you can find that out and where an ambulance is possible.

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Speaker 1: So I'm like, So this one.

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Speaker 2: Friend was like, look, let's go for a walk in

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Speaker 2: the city, Like we're not hiking up it, Like, let's

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Speaker 2: just go for a lap around like a park, like

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Speaker 2: just kind of a nice walk, a leisurely walk. So

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Speaker 2: that's that we did. And I masked up and I

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Speaker 2: had my filters in and I was, you know, listening

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Speaker 2: to Pulp on the way there, and I was like

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Speaker 2: getting jazzed. So we go for this walk and we

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Speaker 2: were in Culver City and it was terrifying because I

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Speaker 2: parked near the main drag and every restaurant had forty

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Speaker 2: five tables in front of it filled to the brim

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Speaker 2: with people who are not wearing masks.

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Speaker 1: Oh my gosh, yeah, and they're like, oh.

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Speaker 2: We're eating. Yeah, you're also sitting three feet away from

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Speaker 2: somebody who's also not wearing a mask. Like, it's not

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Speaker 2: a surprise to me that the numbers are rising all

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Speaker 2: over the place because everyone thinks that they're like in

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Speaker 2: some some boy in the bubble action going on, and

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Speaker 2: I'm like, it's not. It doesn't work that way. It

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Speaker 2: doesn't work that way. So we walked past and it

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Speaker 2: freaked me out. So we very quickly got to a

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Speaker 2: place where there was just no people, walked around this park,

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Speaker 2: had a really nice conversation, got back to our cars,

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Speaker 2: and since we were both masked, and this is a

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Speaker 2: friend who quarantines like exactly the same way I do, right,

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Speaker 2: So I was like, you know what, we're wearing masks,

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Speaker 2: and it just felt natural, like to give each other

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Speaker 2: a hug goodbye. And it was the first time I've

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Speaker 2: had human contact since February.

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Speaker 1: Yeah, so friend leaves.

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Speaker 2: Gets into their car and I get into my car

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Speaker 2: and the next pulp song that was playing is was Babies.

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Speaker 2: Oh god, that's like one of my favorites, such a

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Speaker 2: tender song anyway, but after that, I just I burst

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Speaker 2: into tears. I just started crying my eyes out because

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Speaker 2: and I was like, what's happening to me? And then

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Speaker 2: I'm like, oh, it's because I actually had like a

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Speaker 2: good day in human contact and I allowed myself to

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Speaker 2: kind of feel something for the first time in months,

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Speaker 2: and it was really freaky. Yeah.

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Speaker 1: I hate, I fucking hate. We're at this point, right

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Speaker 1: it is.

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Speaker 2: It's sad. It's sad to not yea to even when

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Speaker 2: you're in proximity to other people, to not be able

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Speaker 2: to like fully express yourself. It sucks. Yeah, So stop traveling,

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Speaker 2: stop going to brunch, stop going You're not going to

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Speaker 2: see your family for the holidays. The New Year's is canceled,

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Speaker 2: Christmas is everything is canceled. Please just stay at fucking home.

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Speaker 1: Well, And the problem is is that as much as

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Speaker 1: you feel like you can be okay, it's like you

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Speaker 1: just don't know what other people are doing. And it's

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Speaker 1: shocking the way that certain people just sort of forget

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Speaker 1: that they're not doing the right thing. Like people who

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Speaker 1: will like, just yeah, eat inside of a restaurant. Okay,

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Speaker 1: let me just tell you. Have not eaten inside of

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Speaker 1: a restaurant since, you know, late February. Maybe my party

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Speaker 1: line still is that I am not trying to be

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Speaker 1: around anybody that I don't know without a mask. You know,

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Speaker 1: like if I'm I'm with my family, obviously we're in

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Speaker 1: the same house, we're cool. But I don't want to

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Speaker 1: be in a situation where I have to remove my

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Speaker 1: mask around a stranger. So I'm like, definitely not go

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Speaker 1: and eat inside a restaurant. Don't we even really eat

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Speaker 1: outside of restaurants because of the idea that you have

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Speaker 1: to remove your mask at some point, you know, it's

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Speaker 1: go around something. It doesn't even matter if they're indoors

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Speaker 1: or outdoors. It's just sort of like there. It's like,

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Speaker 1: I don't know you, I don't know what your life

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Speaker 1: is like. You're maybe you're still going and doing shooters

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Speaker 1: at the bar every Friday night, who the fuck knows.

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Speaker 1: But it's like, yeah, it's hard because it's like nobody

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Speaker 1: wants this. Obviously, everybody wants to hug and be around

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Speaker 1: family and do the things that they want to do.

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Speaker 1: But it's like it will never end if this doesn't work,

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Speaker 1: Like it's just it's never gonna end.

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Speaker 2: It's never gonna end if everyone keeps doing this. Well,

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Speaker 2: just this one little thing, because it's never just that

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Speaker 2: one little thing. Every time you come into contact with people,

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Speaker 2: it's a super spreader event. So look, you can't just

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Speaker 2: have this one little thing right now. We're not there yet.

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Speaker 2: One of my friends posted, my friend Monica, she's a

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Speaker 2: writer who lives in England, and she posted on Instagram

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Speaker 2: something about how she misses like just making out with

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Speaker 2: people in bars, and I was like, fuck, I haven't

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Speaker 2: even thought of that. That's my only move. My only

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Speaker 2: move is like, let's kiss, we're drunk. I have no

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Speaker 2: other moves. That's like completely taking me out at the knees.

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Speaker 1: I wish that was my move in a bar. Mine

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Speaker 1: is like me carrying all my records in Hey, I'm

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Speaker 1: here to DJ the event, Like I don't even get

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Speaker 1: to be a participant. I'm just like working tonight.

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Speaker 2: I don't even want to go to bars anymore. And

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Speaker 2: I miss it. It's hard. It's hard, and it's like,

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Speaker 2: my moves are all and we'll talk about this more

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Speaker 2: as we get in to my film pick for this week,

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Speaker 2: but my moves are all old man moves. Like my

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Speaker 2: ex husband used to make fun of me when i'd

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Speaker 2: like try to come on to him and he's like,

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Speaker 2: you're like the old man in the club who's like hallahalahala, haalahala.

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Speaker 1: And I'm like, yeah, that's what I got. I'll tell you.

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Speaker 2: My first move is buy some rabbit testing kids.

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Speaker 1: Well yeah, so that's the thing too, is like yo,

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Speaker 1: is that like have we killed like hookups? Right? Like

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Speaker 1: are hookups still happening? I feel like I know a

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Speaker 1: couple of people that are doing it, so.

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Speaker 2: Yes, And that's part of the problem because people are

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Speaker 2: so horned up that they're like, it's worth risking COVID.

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Speaker 1: This, Get this, D get this D God bless you,

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Speaker 1: God bless you. I don't even I can't even imagine,

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Speaker 1: Like I I constantly think I have COVID, Like I

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Speaker 1: constantly think that. So I'm like, there's no way like

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Speaker 1: I will if I if I can't even like hover

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Speaker 1: outside of like a shake shack waiting for a pickup

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Speaker 1: order with my mask on. There's no way I can't

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Speaker 1: even let anybody in the apartment. Like no, oh, you

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Speaker 1: know what I said?

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Speaker 2: As soon as I hugged my friend, I got in

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Speaker 2: my car, I cried. And when I stopped crying, I

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Speaker 2: booked myself an appointment at Dodger Stadium for a fucking

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Speaker 2: COVID test on Friday.

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Speaker 1: You got that Sean Penn test, that Sean Penn COVID.

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Speaker 2: Penner like this when it comes to that test, because

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Speaker 2: every time I leave my house, I go get one.

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Speaker 2: I know.

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Speaker 1: I was like, wants to make sure that if you've

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Speaker 1: hugged somebody, you get a test and don't tell Jan

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Speaker 1: Penn of you're boning, because that's not what that that

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Speaker 1: site is for.

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Speaker 2: That's not for cavalier boning tests.

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Speaker 1: I want to confess all my COVID sins to Sean Penn.

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Speaker 1: Where do I go do that?

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Speaker 2: But how are you doing this week? Other than and

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Speaker 2: I will say that the things that have helped me

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Speaker 2: in this week and thinking about loneliness a lot is

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Speaker 2: there's a podcast by Brene Brown called Unlocking Us, and

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Speaker 2: she has an episode with Vivec Murty doctor Vivek Murty

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Speaker 2: who used to be the Surgeon General, and he has

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Speaker 2: a book out about this kind of thing, and it's

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Speaker 2: just it was a really good conversation that kind of

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Speaker 2: helped me put some stuff in place in my head.

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Speaker 1: That's good.

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Speaker 2: Yeah, And then there's also the Ologies podcast has a

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Speaker 2: double feature episode about fear and it was really illuminating,

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Speaker 2: like just kind of your your fight or flight response

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Speaker 2: because I, you know, I don't want to have to

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Speaker 2: go get a COVID test every time I go out

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Speaker 2: to get my mail. So it kind of talks about

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Speaker 2: fear and kind of you know, what's factual and what's fiction,

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Speaker 2: and those are good things to listen to if you're

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Speaker 2: feeling this kind of anxiety yourself, or if you're feeling

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Speaker 2: like this loneliness that you can't quantify, Like just don't

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Speaker 2: be afraid to like find things to listen to or

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Speaker 2: read or make you feel better about where we are

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Speaker 2: because we're going.

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Speaker 1: To be here for a long time.

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Speaker 2: Guys. So speaking of you know, dealing with stress and

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Speaker 2: trauma and anxiety, are you still listening to your call map?

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Speaker 1: Yes? And Okay, I got I gotta talk about this

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Speaker 1: app because Okay, So first of all, I know that

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Speaker 1: there are very there. There's a multitude of meditation slash

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Speaker 1: white noise apps out there. I've tried probably all of them.

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Speaker 1: So the call map has these like sleep stories. If

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Speaker 1: you have it, I'm sure you probably know what I'm

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Speaker 1: talking about. They're kind of like bedtime stories for adults,

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Speaker 1: which you're great.

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Speaker 2: I love that.

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Speaker 1: I will say initially I had my hater hat on

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Speaker 1: where I was like slave stories for adults. Come on,

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Speaker 1: are we this again? Like we're doing this like kid

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Speaker 1: ship where we're like, let's open a grilled cheese restaurant

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Speaker 1: and like, you know, have bedtime stories for adults. Like

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Speaker 1: I was like hating, asked hater about it, and then

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Speaker 1: grilled cheese.

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Speaker 2: You know, that's that's how it's like jelly restaurant guys.

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Speaker 1: Like it's like one of my one of my pet

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Speaker 1: peeves is like, you know, everything from my childhood is

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Speaker 1: now like a business idea that I have to experience,

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Speaker 1: and I'm like, no, okay, exactly. I was like forty

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Speaker 1: five when I was eight, so I don't have a

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Speaker 1: lot of fondness for my childhood and I don't need

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Speaker 1: to like eat the food from the childhood, every day whatever. Yeah,

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Speaker 1: I feel like you know what I'm talking about.

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Speaker 2: Oh, I know what you're talking about. Seven years old,

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Speaker 2: watching Golden Girls every Saturday, Golden Girls, Empty Nest Amen,

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Speaker 2: like you know, did the whole Saturday night rule. I'm

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Speaker 2: like all of these people, I want to be all

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Speaker 2: of them.

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Speaker 1: Yeah, I thought, oh totally.

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Speaker 2: I thought Sondra was too sexy when I was a kid,

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Speaker 2: Like why I address it so tight? She like made

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Speaker 2: me nervous because she was too sexy. So yeah, I

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Speaker 2: totally understand.

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Speaker 1: Yeah. Yeah, So I'm inherently weary of a bedtime story

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Speaker 1: for adult. However, I'll get in there and I'm like,

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Speaker 1: all right, I need some sleep, I need something I

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Speaker 1: can't have silence, So let me give this a whirl. Okay.

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Speaker 1: It started with Matthew McConaughey. So Matthew McConaughey reads the

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Speaker 1: story in the in the comap and I don't even

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Speaker 1: know what it is, Like I think somebody else writes

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Speaker 1: the story and then they just get the celebrity to

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Speaker 1: read it. But like, whatever this shit was that he

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Speaker 1: was saying sounded great, and he had this like he

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Speaker 1: was speaking in his like not his crazy you know

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Speaker 1: McConaughey in magic Mike voice. It was like his like

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Speaker 1: super chill, like sleepy southern guy voice, and I was like, yes,

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Speaker 1: sleep me away, sand Man here I am.

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Speaker 2: That's That's what caught me on that app because I'm like,

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Speaker 2: I like like the mud Matthew McConaughey and not the

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Speaker 2: Wolf of Wall Street Matthew mcconaeyy.

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Speaker 1: I need like Rust Cole if he's gonna read me

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Speaker 1: a bedtime story about time as a flat circle or whatever,

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Speaker 1: fuck it, I'm there. So then at some point I

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Speaker 1: was like, all right, I'm like the McConaughey thing. I

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Speaker 1: gotta like take a pause on the McConaughey. Then let's

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Speaker 1: see what else is going on here. Then I saw

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Speaker 1: that Harry Styles reads a bedtime story. Now I am

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Speaker 1: too old for Harry Styles. Let's just put that out there,

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Speaker 1: like referentially One Direction, I don't even know anything about

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Speaker 1: One Direction.

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Speaker 2: Same and not pick a song and of a lineup,

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Speaker 2: don't know what they're speaking, voices sound like.

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Speaker 1: Yeah. The only the only thing I knew about any

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Speaker 1: of the members of One Direction was that one sang

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Speaker 1: on a usher remix or something like that, like that's

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Speaker 1: the only thing I knew about one direction, And I

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Speaker 1: definitely feel like they're they're of age where I could

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Speaker 1: have had them as a child, Like they're like, yes

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Speaker 1: that amount where I'm like, you know, if I got

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Speaker 1: knocked up when I was like nineteen years old, I

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Speaker 1: could have like a Harry Styles age.

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Speaker 2: Child right now or whatever exactly.

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Speaker 1: I don't know how precise that math is, but that's

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Speaker 1: kind of how I just feel that way, right. So yeah,

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Speaker 1: I'm like, Okay, he's British, Let's give it a whirl.

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Speaker 1: It'll like I don't know if it's gonna be like

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Speaker 1: a precocious child British thing, or is it gonna be

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Speaker 1: like something else. So then I started listening to it,

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Speaker 1: and I'm like, oh, this is like sexy.

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Speaker 2: Sexy intentionally or just because he is sexy. Like, I

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Speaker 2: don't know, did you go into this expecting like Varuk

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Speaker 2: Assault to be reading this like brandy British voice and

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Speaker 2: then you're like, wait, dude's got some chill.

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Speaker 1: Yeah, I don't know. I don't I don't know if

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Speaker 1: I was expect Yeah, it was either like Varuk Assault

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Speaker 1: or like Sir Anthony Hopkins. I don't know. Who I

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Speaker 1: was expecting. But it was like this thing where he's like, hello,

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Speaker 1: I mean it's a rage show, a bedtime story. And

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Speaker 1: then it's like the text of the story is like

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Speaker 1: this weird kind of like we're like traversing this like

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Speaker 1: LSD soaked like fantasy world, and we're holding hands and

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Speaker 1: we're like in the heather, like touching each other. And

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Speaker 1: I was like, whoa, this is crazy.

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Speaker 2: How's this gonna get anyone to sleep? This is like

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Speaker 2: the most meditation shit where I'm like, wait, now I'm

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Speaker 2: paying attention to why are we in the heather? Why

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Speaker 2: are we in space? I'm not sleeping at this point.

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Speaker 2: I'm not even ramping down at this point. My mind

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Speaker 2: is going crazy.

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Speaker 1: Yeah, And then of course I'm like, so now I

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Speaker 1: gotta look up fucking Harry Styles. Now I gonna look

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Speaker 1: up and see what this guy's all about. So he's

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Speaker 1: putting me to sleep every night, and like, why am

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Speaker 1: I like in love with him?

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Speaker 2: Now?

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Speaker 1: I don't know why because he's definitely too young for me.

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Speaker 1: But it's that weird thing where I was like, did

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Speaker 1: he just trick me into falling in love with him?

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Speaker 1: This motherfucker right here.

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Speaker 2: You know, like you're supposed to be sleeping and instead

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Speaker 2: you're scrolling on your phone being like Harry Styles at

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Speaker 2: the met Gala.

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Speaker 1: I like that outfit.

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Speaker 2: It is the ultimate switcheroo. The com map has fucked,

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Speaker 2: I know, because it's.

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Speaker 1: Like planning these subliminal messages in our head. That's like,

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Speaker 1: you will be in love with Harry Styles and you

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Speaker 1: will be up until five o'clock in the morning looking

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Speaker 1: at the seventy fourth Instagram fan account for him.

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Speaker 2: You know.

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Speaker 1: I'm just like, and then you're gonna start answering memes

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Speaker 1: like what Harry Styles are you? And I'm like, I

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Speaker 1: don't even know what eras he's had, so I guess

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Speaker 1: I just something, but I need to know the answer.

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Speaker 2: They can tell you like you're swamping Harry Styles, and

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Speaker 2: you'll be like, yeah, sure he went to a swamping phase.

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Speaker 2: Sure I must have missed it.

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Speaker 1: I mean, is it. I just feel like, yeah, it's

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Speaker 1: just like not fair to make someone fall in love

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Speaker 1: with a celebrity because they've read them a bedtime story.

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Speaker 2: Yeah, that's cruel, and especially him, especially him, because I

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Speaker 2: could have lived the rest of my life never knowing

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Speaker 2: anything about Harry Styles or one direction, and he hopped

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Speaker 2: on my radar, and I'm telling you, there's something about

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Speaker 2: that that dude where I just I love that he's

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Speaker 2: kind of, you know, he's messing around with gender and

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Speaker 2: messing around with like and his voice, isn't that. I

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Speaker 2: heard that Watermelon Sugar song and I was like, I

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Speaker 2: don't know if I'm there, but I get it now

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Speaker 2: at least I can get it, because at first I'm like,

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Speaker 2: he's like ten, I don't even want to think about this.

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Speaker 1: I know how I get it.

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Speaker 2: He's he's and he's also what He's interesting to me

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Speaker 2: because he's one of these boy banders who could have

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Speaker 2: gone a very different way, because I think he was

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Speaker 2: always like the cute one, like the front you know,

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Speaker 2: he was like the Jordan Knight, Yeah.

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Speaker 1: One direction, the Jordan Knight slash justin Timberlake exactly.

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Speaker 2: Yeah, he could have gone a very different way, and

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Speaker 2: I like that he kind of whatever path he took

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Speaker 2: took him here like that's interesting and cool.

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Speaker 1: And I listened to his album now so.

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Speaker 2: Him now, okay, some songs on a playlist, And there

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Speaker 2: was that article in The Cut a little while ago

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Speaker 2: about him feeding his car broke down and then he

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Speaker 2: like went to a house for help and he's fed

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Speaker 2: one of his fans fish, but he fed her fish

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Speaker 2: while she was gone, and there's just a picture of

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Speaker 2: him like sprinkling breadcrumbs or whatever fish eat into the deck.

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Speaker 2: I'm real smart, guys. Whatever fish eat like bodies of

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Speaker 2: other fish, like can I don't know, they're cannibals, some

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Speaker 2: flakes in there, And I'm like that is also it's

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Speaker 2: so great from a pr perspective, but it's so mean

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Speaker 2: because like you're a fan and he was in your

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Speaker 2: room and at your house and you weren't there. That

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Speaker 2: is the most devastating thing I've ever heard.

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Speaker 1: I'll tell you right now. I mean I was a

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Speaker 1: huge Nuca's on the Block fan, and if Jonathan Knight,

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Speaker 1: who was my my favorite member of NIKO.

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Speaker 2: That so much about you, I know, keep going trust me.

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Speaker 1: That has been said to me a hundred times my

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Speaker 1: people and they're like, oh, you like Jonathan Knight, Do

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Speaker 1: we get it? I get it. But if I had

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Speaker 1: some record of Jonathan Knight appearing in my fucking bedroom

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Speaker 1: even when I was there, but just the idea that

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Speaker 1: he could even be in my town, let alone my house,

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Speaker 1: would have destroyed me for the rest of my life.

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Speaker 1: I would have been I would I don't even know

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Speaker 1: if I'd be here right now, I would just be

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Speaker 1: a completely different person.

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Speaker 2: I would have burned that house to the ground. You

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Speaker 2: don't get over that. She's over that. I guarantee. There's

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Speaker 2: a story out there about like fifteen year old girl

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Speaker 2: commits arson because her dad didn't text it. Harry Styles

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Speaker 2: was in her bedroom.

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Speaker 1: Yeah, I mean, listen, if that was me, I just

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Speaker 1: wouldn't be able to function, Like it would be like

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Speaker 1: a before Christ after Christ scenario, Like I wouldn't be

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Speaker 1: able to deal with it. I love it.

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Speaker 2: But that does kind of segue, or at least go

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Speaker 2: nicely into our theme this week.

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Speaker 1: Yes, so we're doing a recurring segment called Horny four,

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00:19:12,040 --> 00:19:14,399
Speaker 1: which basically means people that were just attracted to and

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Speaker 1: want to talk about. And our first Horny four is

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Speaker 1: a man that you all know if you've had salad

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Speaker 1: dressing in the past twenty five years, if you've had

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Speaker 1: organic popcorn in the past twenty five thirty years. We're

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Speaker 1: talking about the one and only Paul Newman and how

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Speaker 1: to even begin to talk about Paul Newman's truly timeless attractiveness. Yeah, Like,

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Speaker 1: dare I say, he was hot his entire fucking life

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Speaker 1: beginning to end. And Danielle and I have picked two

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Speaker 1: movies that I think really represent that spectrum. Do you

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00:19:56,600 --> 00:20:01,359
Speaker 1: know what I'm saying? Yeah, I know what you're I

398
00:20:01,760 --> 00:20:02,560
Speaker 1: know what you're saying.

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Speaker 2: I almost picked Road to Perdition is a literal last movie.

400
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Speaker 1: Because he was so hot, Like and we you know,

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00:20:10,840 --> 00:20:13,760
Speaker 1: Google exists, like you guys can look him up if

402
00:20:14,160 --> 00:20:16,680
Speaker 1: if you don't know who he is, I would hope

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00:20:16,720 --> 00:20:18,880
Speaker 1: that you know who he is simply because he did

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00:20:18,960 --> 00:20:22,359
Speaker 1: become kind of a cultural icon, like even after he

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00:20:22,720 --> 00:20:25,399
Speaker 1: was you know, in his prime quote unquote like he

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00:20:25,680 --> 00:20:28,879
Speaker 1: was you know, making like food and donating all the

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Speaker 1: profits to charity, and you know, he was so iconic.

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Speaker 2: I'm sorry, Can I can I interrupt to make one

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Speaker 2: suggestion to the audience.

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Speaker 1: Look up Paul Newman at the Venice Film Festival. You

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Speaker 1: will not regret it. Paul Newman at the Yeah, I

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Speaker 1: don't even think you need a year.

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Speaker 2: Just look it up.

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00:20:46,000 --> 00:20:48,159
Speaker 1: Oh just all years. See if gets off in.

415
00:20:48,160 --> 00:20:52,359
Speaker 2: A boat, he's bearded. It's powerful. Okay, I'm gone. Our

416
00:20:52,400 --> 00:20:54,479
Speaker 2: producer Lauren knows what's up that that was a good thing.

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Speaker 2: I'm actually going to butt into engineer here there. It

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Speaker 2: literally prompted it on Google as nineteen sixty three, like

419
00:21:00,600 --> 00:21:04,480
Speaker 2: people have done this. I'm serious, it's ready for real.

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Speaker 2: This is a team that is committed to the theme

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Speaker 2: of it. I love thank you the least thank you

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00:21:11,680 --> 00:21:15,439
Speaker 2: you'll see basically, yeah, I feel. I feel comforted.

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Speaker 1: I feel because it is hard.

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Speaker 2: It's hard to talk about your horniness for someone who's

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Speaker 2: dead and old and.

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Speaker 1: Man like a man. But I also think big horny

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00:21:25,560 --> 00:21:29,679
Speaker 1: for people you know obviously doesn't require anything like it's

428
00:21:29,760 --> 00:21:31,879
Speaker 1: just sort of like who you think is hot, and

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00:21:32,560 --> 00:21:35,560
Speaker 1: it's gonna be everybody. As a recurring segment, it will

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00:21:35,600 --> 00:21:41,440
Speaker 1: be literally everybody. You should see the spreadsheet, guys, you

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00:21:41,440 --> 00:21:49,480
Speaker 1: should see objects. So this week, my film that best

432
00:21:49,520 --> 00:21:54,840
Speaker 1: represents the horny for Paul Newman theme is a movie

433
00:21:54,920 --> 00:21:59,040
Speaker 1: from nineteen sixty three called Hud, directed by Martin Ritt.

434
00:21:59,320 --> 00:22:01,520
Speaker 1: I'll bring it two bound box of candy and maybe

435
00:22:01,600 --> 00:22:04,000
Speaker 1: a battle of perfume from a drug store.

436
00:22:04,359 --> 00:22:05,000
Speaker 2: I love things.

437
00:22:06,720 --> 00:22:09,400
Speaker 1: I've done my time with one coblooded bast people.

438
00:22:10,480 --> 00:22:13,080
Speaker 3: I'm not looking for a Natty, it's too late, Honey,

439
00:22:13,080 --> 00:22:13,800
Speaker 3: you're fineing.

440
00:22:14,320 --> 00:22:16,960
Speaker 1: Hud was like one of the first westerns that I

441
00:22:17,040 --> 00:22:19,000
Speaker 1: ever saw, and it was one of the first westerns

442
00:22:19,000 --> 00:22:22,280
Speaker 1: I ever saw that actually made me love Westerns. Yes,

443
00:22:22,440 --> 00:22:25,199
Speaker 1: I mean I never I gotta be honest, I never

444
00:22:25,280 --> 00:22:28,280
Speaker 1: really loved Westerns until like maybe ten fifteen years ago.

445
00:22:28,640 --> 00:22:34,840
Speaker 1: First of all, the genre in general, you know, seems

446
00:22:35,040 --> 00:22:40,280
Speaker 1: like very American, very white guy. A lot of Westerns

447
00:22:40,359 --> 00:22:42,200
Speaker 1: have a lot of problematic stuff when it comes to

448
00:22:42,320 --> 00:22:45,639
Speaker 1: Native Americans, basically to all races, not just you know,

449
00:22:45,840 --> 00:22:52,120
Speaker 1: but like specifically Native Americans, and a lot of misogyny.

450
00:22:52,320 --> 00:22:55,840
Speaker 1: It's like a man's man's genre. I mean, there's no

451
00:22:56,080 --> 00:22:59,240
Speaker 1: way that the figurehead of a genre is John Wayne

452
00:22:59,280 --> 00:23:01,960
Speaker 1: and you're not Like I don't fuck with that, and

453
00:23:02,280 --> 00:23:05,360
Speaker 1: I didn't for a very long time. And I will

454
00:23:05,400 --> 00:23:10,159
Speaker 1: say that there are probably moments where I might be

455
00:23:10,359 --> 00:23:15,000
Speaker 1: disassociating from the text quote unquote simply because it doesn't

456
00:23:15,000 --> 00:23:17,560
Speaker 1: apply to me, Like, yeah, I don't know what it's

457
00:23:17,680 --> 00:23:19,560
Speaker 1: like to be like a white guy on the frontier,

458
00:23:19,840 --> 00:23:24,520
Speaker 1: like you know, shooting Native Americans. Like it's not that's

459
00:23:24,600 --> 00:23:28,399
Speaker 1: not my perspective of the world. Obviously, but there is

460
00:23:28,600 --> 00:23:31,840
Speaker 1: I have to basically at some point in my mind,

461
00:23:32,080 --> 00:23:35,280
Speaker 1: there is some kind of lesson there that I have

462
00:23:35,440 --> 00:23:39,120
Speaker 1: to like peel away the shitty parts of the fruit almost.

463
00:23:39,520 --> 00:23:42,680
Speaker 1: But it's hard for people to do that, and especially

464
00:23:42,680 --> 00:23:45,040
Speaker 1: if you're just not into it from the jump, like

465
00:23:45,160 --> 00:23:45,800
Speaker 1: if you're just not.

466
00:23:46,040 --> 00:23:47,879
Speaker 2: You know, Well, that's a good question though, is like

467
00:23:47,960 --> 00:23:51,080
Speaker 2: when when did you first see hud Do you remember

468
00:23:51,119 --> 00:23:52,639
Speaker 2: when you first saw it? And like when did you

469
00:23:52,720 --> 00:23:55,080
Speaker 2: start getting into westerns? Like how did you If you're

470
00:23:55,160 --> 00:23:57,720
Speaker 2: someone like me who's like I don't know, and you know,

471
00:23:57,760 --> 00:23:59,280
Speaker 2: maybe some of our listeners are like, I don't know

472
00:23:59,280 --> 00:24:01,399
Speaker 2: if I should watch this into westerns, Like how do

473
00:24:01,480 --> 00:24:03,720
Speaker 2: you break that down a little bit so that you

474
00:24:03,840 --> 00:24:06,560
Speaker 2: can get into those layers? Because there are a lot

475
00:24:06,600 --> 00:24:07,679
Speaker 2: of Westerns with great stories.

476
00:24:07,760 --> 00:24:12,760
Speaker 1: Yeah, I mean honestly, for me, I got very interested

477
00:24:12,800 --> 00:24:18,800
Speaker 1: in like later sixties, early seventies westerns. I feel like

478
00:24:18,880 --> 00:24:22,359
Speaker 1: most people my age, if they weren't just like growing

479
00:24:22,440 --> 00:24:25,440
Speaker 1: up with people like John Wayne and like you know

480
00:24:26,400 --> 00:24:30,840
Speaker 1: whoever Alan Ladd or you know those types, then for me,

481
00:24:31,000 --> 00:24:32,400
Speaker 1: I think a lot of people my age got into

482
00:24:32,440 --> 00:24:35,240
Speaker 1: Westerns via like the Sam Peck and Paul movies like

483
00:24:35,359 --> 00:24:38,240
Speaker 1: The Wild Bunch and or they got into it via

484
00:24:38,440 --> 00:24:42,320
Speaker 1: like Clint Eastwood or even like Tombstone or Unforgiven, like

485
00:24:42,480 --> 00:24:46,800
Speaker 1: nineties westerns, and for me, yeah, I think I watched

486
00:24:48,040 --> 00:24:52,600
Speaker 1: later period westerns, like sixties and seventies westerns, and that's

487
00:24:52,680 --> 00:24:54,520
Speaker 1: kind of how I started getting into it. And at

488
00:24:54,560 --> 00:24:57,840
Speaker 1: that point, the western was being used as a way

489
00:24:57,880 --> 00:25:00,359
Speaker 1: to tell the story of America and kind of and

490
00:25:00,840 --> 00:25:04,440
Speaker 1: seeing it as not the good old times, but that

491
00:25:04,560 --> 00:25:06,679
Speaker 1: it's complicated and fucked up, and like there's a lot

492
00:25:06,760 --> 00:25:11,240
Speaker 1: of like bad actors, like actual bad actors in the world.

493
00:25:12,720 --> 00:25:12,879
Speaker 2: You know.

494
00:25:14,960 --> 00:25:19,480
Speaker 1: Yeah, So basically I kind of got into westerns in

495
00:25:20,600 --> 00:25:24,680
Speaker 1: via like attempts at kind of subverting the genre type

496
00:25:24,680 --> 00:25:27,120
Speaker 1: of stuff, so like spaghetti westerns and like acid westerns

497
00:25:27,160 --> 00:25:28,440
Speaker 1: and things that were like coming out in the like

498
00:25:28,520 --> 00:25:31,480
Speaker 1: the sixties and seventies that it wasn't John Wayne and

499
00:25:31,600 --> 00:25:34,639
Speaker 1: it was more like you know, the new actors, the

500
00:25:34,720 --> 00:25:38,440
Speaker 1: counterculture kind of taking the elements of it and telling

501
00:25:38,480 --> 00:25:41,359
Speaker 1: a different type of story that was traditionally told. So

502
00:25:41,520 --> 00:25:43,840
Speaker 1: essentially the West. The two westerns really that kind of

503
00:25:43,880 --> 00:25:48,040
Speaker 1: got me into them were hud and this movie called

504
00:25:48,240 --> 00:25:52,720
Speaker 1: Ride the High Country. Which was a Sam Peckinpa movie

505
00:25:53,160 --> 00:25:56,159
Speaker 1: that was made with two old Western stars from the

506
00:25:56,240 --> 00:25:59,800
Speaker 1: Glory era, that it was more like a meditation aging

507
00:26:00,240 --> 00:26:02,879
Speaker 1: and about how basically they were getting older, and you know,

508
00:26:04,040 --> 00:26:07,399
Speaker 1: so it was like a Western that wasn't like the

509
00:26:07,480 --> 00:26:09,600
Speaker 1: stuff that I had heard about, like the stuff that

510
00:26:09,640 --> 00:26:12,800
Speaker 1: I thought was boring or racist or whatever. But it's

511
00:26:12,880 --> 00:26:14,840
Speaker 1: it's hard. It's like a thing where like if you

512
00:26:15,040 --> 00:26:17,359
Speaker 1: just don't study film, or if you don't really know

513
00:26:17,400 --> 00:26:20,840
Speaker 1: where to look, then that avenue doesn't present itself to you.

514
00:26:20,920 --> 00:26:23,880
Speaker 1: And so I totally understand. It's basically what I mean

515
00:26:23,920 --> 00:26:27,639
Speaker 1: about how Westerns are problematic and people are turned off

516
00:26:27,680 --> 00:26:27,919
Speaker 1: to them.

517
00:26:27,960 --> 00:26:31,000
Speaker 2: But I do think that this is important and important

518
00:26:31,000 --> 00:26:34,359
Speaker 2: conversation because I think I'm really grateful that I got

519
00:26:34,359 --> 00:26:36,440
Speaker 2: to watch this movie and I did get something different

520
00:26:36,480 --> 00:26:37,760
Speaker 2: out of it, and I would never have known that

521
00:26:37,800 --> 00:26:41,000
Speaker 2: Westerns could be like this. And so if you're hesitant

522
00:26:41,080 --> 00:26:43,920
Speaker 2: about watching something and think like that's not me, give

523
00:26:43,960 --> 00:26:45,560
Speaker 2: it a shot. You know, like, there's a lot to

524
00:26:45,640 --> 00:26:48,800
Speaker 2: be found in the genre, and there's there's a lot

525
00:26:48,800 --> 00:26:50,720
Speaker 2: of horniness to be found for sure, and we're not

526
00:26:50,800 --> 00:26:54,200
Speaker 2: apologizing about that. It's not like let's try to beef

527
00:26:54,280 --> 00:26:57,639
Speaker 2: this up with some academia. I'm just talking about hoariness.

528
00:26:58,400 --> 00:27:00,439
Speaker 2: But I think it is interesting that like that's your

529
00:27:00,560 --> 00:27:02,600
Speaker 2: entry point, that whatever your entry point is, it's fine.

530
00:27:02,640 --> 00:27:05,520
Speaker 2: There's a lot of different ways to get into this genre.

531
00:27:05,560 --> 00:27:08,400
Speaker 2: And that Hud is a really good movie I think

532
00:27:08,640 --> 00:27:11,760
Speaker 2: to bridge that gap because I did not feel like

533
00:27:11,800 --> 00:27:15,800
Speaker 2: I was watching you know, WPIX Sunday movie with my granddad.

534
00:27:16,600 --> 00:27:20,200
Speaker 1: Yeah, truly, Hud like really changed my mind about all that.

535
00:27:20,400 --> 00:27:25,280
Speaker 1: And it was for many reasons, but obviously being Paul Newman.

536
00:27:25,600 --> 00:27:25,760
Speaker 3: Now.

537
00:27:25,800 --> 00:27:29,240
Speaker 1: It was directed by Martin Ritt, who was a frequent

538
00:27:29,359 --> 00:27:32,440
Speaker 1: collaborator of Paul Newman's and they had a production comedy together,

539
00:27:33,040 --> 00:27:37,200
Speaker 1: And it was shot by the famous cinematographer James Wong Howe,

540
00:27:37,400 --> 00:27:40,600
Speaker 1: who was one of the few Asians that were working

541
00:27:40,640 --> 00:27:42,879
Speaker 1: in classic Hollywood, and he did like a ton of

542
00:27:42,920 --> 00:27:46,680
Speaker 1: famous films, and he invented a lot of techniques that

543
00:27:47,560 --> 00:27:51,560
Speaker 1: basically appear in movies now like all the time. And

544
00:27:51,680 --> 00:27:54,280
Speaker 1: he was actually like the first minority cinematographer that was

545
00:27:54,320 --> 00:27:58,040
Speaker 1: admitted to the ASC, which is the American Society for Cinematographers,

546
00:27:58,520 --> 00:28:00,800
Speaker 1: And we didn't know that, Yeah, Oh, it's crazy, and

547
00:28:00,840 --> 00:28:03,119
Speaker 1: he won like tons of oscars and he actually did

548
00:28:03,200 --> 00:28:06,080
Speaker 1: win an Academy Award for HUDs. So there you go. Now,

549
00:28:06,560 --> 00:28:10,400
Speaker 1: the story of Hud comes from this book by Larry

550
00:28:10,480 --> 00:28:15,560
Speaker 1: McMurtry called Horseman pass By, and I've not read the

551
00:28:15,600 --> 00:28:19,600
Speaker 1: whole book, but I would say it's pretty different, as

552
00:28:19,680 --> 00:28:23,320
Speaker 1: I'll get into in just a second. So the titular

553
00:28:23,440 --> 00:28:26,040
Speaker 1: character of this film, Hud, is played by our boy

554
00:28:26,200 --> 00:28:32,480
Speaker 1: Paul Newman, and also stars Melvin Douglas as HUD's father, Homer,

555
00:28:33,280 --> 00:28:38,440
Speaker 1: and has Brandon Dewilda as HUD's nephew Lonnie, and then

556
00:28:38,560 --> 00:28:43,680
Speaker 1: the amazing patrician Eel is their housekeeper Alma. Now, the

557
00:28:43,760 --> 00:28:47,360
Speaker 1: movie is about a cattle rancher family in rurald Texas,

558
00:28:47,520 --> 00:28:52,080
Speaker 1: and it's headed by the Melvin Douglas character, and Homer

559
00:28:52,240 --> 00:28:56,200
Speaker 1: is like an older man who is truly the old

560
00:28:56,360 --> 00:29:00,720
Speaker 1: school kind of guy that I would say is typical

561
00:29:00,920 --> 00:29:05,040
Speaker 1: of Westerns. And maybe I think maybe why a lot

562
00:29:05,120 --> 00:29:08,600
Speaker 1: of people are ultimately fascinated by Westerns, because he's kind

563
00:29:08,640 --> 00:29:10,600
Speaker 1: of like that character, like a man of few words

564
00:29:10,680 --> 00:29:15,479
Speaker 1: and few extravagances, and he's principled and simple and wise

565
00:29:15,640 --> 00:29:17,280
Speaker 1: and he's just like wants to put in an honest

566
00:29:17,320 --> 00:29:20,560
Speaker 1: day of work, and he's just like overflowing with integrity,

567
00:29:20,800 --> 00:29:21,400
Speaker 1: you know what I mean?

568
00:29:21,680 --> 00:29:24,760
Speaker 2: Yeah, those are the kind of Westerns that my granddad

569
00:29:24,800 --> 00:29:27,800
Speaker 2: watched everywhere. Yeah, and that's why I didn't like Westerns

570
00:29:27,840 --> 00:29:29,800
Speaker 2: for a while, right, because I'm like, why am I

571
00:29:29,840 --> 00:29:32,520
Speaker 2: gonna watch this guy kind of stumbling around being mad

572
00:29:32,560 --> 00:29:33,040
Speaker 2: all the time.

573
00:29:33,640 --> 00:29:36,720
Speaker 1: So if you have like Homer being this like very

574
00:29:36,920 --> 00:29:40,800
Speaker 1: much stock Western good, he's like a good guy character,

575
00:29:41,680 --> 00:29:46,680
Speaker 1: Hud is like the complete opposite. So first of all,

576
00:29:47,200 --> 00:29:51,760
Speaker 1: I just have to establish that this man, Paul Newman

577
00:29:51,880 --> 00:29:54,640
Speaker 1: has many hot eras. We've just talked about this, Like

578
00:29:54,800 --> 00:29:57,040
Speaker 1: his entire life is a hot era. He was like

579
00:29:57,160 --> 00:30:00,400
Speaker 1: thirty seven thirty eight when he made this movie, and

580
00:30:00,520 --> 00:30:04,280
Speaker 1: he basically like spends the entire runtime of this film

581
00:30:04,360 --> 00:30:08,160
Speaker 1: in tight jeans, and you're just like, what in white

582
00:30:08,720 --> 00:30:11,080
Speaker 1: and like white tank tops very like low cut, like

583
00:30:11,440 --> 00:30:13,920
Speaker 1: doing the low cut tank top before the nineties?

584
00:30:14,000 --> 00:30:14,200
Speaker 2: Did it?

585
00:30:14,480 --> 00:30:16,800
Speaker 1: I mean? Honestly, like what is not to love? Right?

586
00:30:17,120 --> 00:30:19,800
Speaker 2: I mean, but here's here's the thing. You are still

587
00:30:19,840 --> 00:30:22,000
Speaker 2: gonna have to convince me about his hotness in this era,

588
00:30:22,280 --> 00:30:24,080
Speaker 2: Like because you know what my area show is. You

589
00:30:24,120 --> 00:30:26,360
Speaker 2: don't listeners, you don't know the movie I'm picking yet,

590
00:30:26,400 --> 00:30:29,240
Speaker 2: but you know what my era is. Sure, so I think,

591
00:30:29,880 --> 00:30:32,680
Speaker 2: you know, there's there's something about this genre and this

592
00:30:33,400 --> 00:30:36,640
Speaker 2: era of films that I've always kind of kept at

593
00:30:36,760 --> 00:30:39,040
Speaker 2: arm's length. And part of it, I think is because

594
00:30:39,560 --> 00:30:42,040
Speaker 2: I always expect these films to be racist. Sure, so

595
00:30:42,160 --> 00:30:44,400
Speaker 2: I'm really I was like, oh, but Paul Newman's in

596
00:30:44,440 --> 00:30:45,880
Speaker 2: one and he's kind of a good guy, so like,

597
00:30:45,960 --> 00:30:49,920
Speaker 2: maybe this is not that, and it isn't, but there's

598
00:30:49,960 --> 00:30:52,280
Speaker 2: still something that like, I can't get to the hotness

599
00:30:52,280 --> 00:30:55,200
Speaker 2: because I'm still stuck on the social and cultural capital

600
00:30:55,240 --> 00:30:55,800
Speaker 2: of the movie.

601
00:30:56,000 --> 00:30:59,400
Speaker 1: It is tough as a viewer, and there is something

602
00:30:59,440 --> 00:31:02,280
Speaker 1: that I'll get to just a second that is problematic,

603
00:31:02,440 --> 00:31:06,120
Speaker 1: and but I think it's fascinating and you know, it's

604
00:31:06,160 --> 00:31:09,680
Speaker 1: something that we can get into. But here's the thing.

605
00:31:09,840 --> 00:31:14,480
Speaker 1: He was so basically like in this film, he's a

606
00:31:14,600 --> 00:31:17,280
Speaker 1: bad boy of the family and we and we were.

607
00:31:17,440 --> 00:31:20,320
Speaker 1: That gets established very quickly in this film. He is

608
00:31:20,440 --> 00:31:23,560
Speaker 1: like at the beginning of the film, he's basically having

609
00:31:23,680 --> 00:31:27,120
Speaker 1: to be ousted out of a married woman's house and

610
00:31:27,960 --> 00:31:31,080
Speaker 1: he's smoking and drinking and getting in bar fights, and

611
00:31:31,200 --> 00:31:36,880
Speaker 1: he's like cocky as hell and argumentative and like hates authority.

612
00:31:36,960 --> 00:31:39,440
Speaker 1: I mean, you name it. He's like that guy. So

613
00:31:39,600 --> 00:31:43,320
Speaker 1: he's basically like the complete polar opposite of this Homer character,

614
00:31:43,480 --> 00:31:45,320
Speaker 1: and you can tell that there's some kind of rift

615
00:31:45,520 --> 00:31:48,800
Speaker 1: between the two of them. This character Lonnie, who's the

616
00:31:48,920 --> 00:31:54,160
Speaker 1: grandson of Homer slash nephew of Hud, who's played by

617
00:31:54,800 --> 00:31:57,160
Speaker 1: Brandon Dewolda. He was a child actor and he was

618
00:31:57,400 --> 00:32:00,560
Speaker 1: he was like best known for he was the little

619
00:32:00,680 --> 00:32:04,400
Speaker 1: kid in this like other really famous western that also

620
00:32:04,560 --> 00:32:08,080
Speaker 1: had a guy's first name as the title this movie

621
00:32:08,120 --> 00:32:10,560
Speaker 1: called Shane. But he had a short lived career because

622
00:32:10,560 --> 00:32:12,680
Speaker 1: when he was thirty, he actually died in a car accident.

623
00:32:12,960 --> 00:32:15,840
Speaker 1: And it's a shame because I actually think that Lonnie

624
00:32:15,920 --> 00:32:17,960
Speaker 1: is the best part of this movie. But that's traffic,

625
00:32:18,320 --> 00:32:23,360
Speaker 1: very sad and yeah, so basically okay, in Hud, Lonnie

626
00:32:24,560 --> 00:32:27,560
Speaker 1: is supposed to be probably like seventeen years old, And

627
00:32:27,880 --> 00:32:29,120
Speaker 1: the reason why I think he's the best part of

628
00:32:29,160 --> 00:32:30,640
Speaker 1: this movie is that he's kind of the one that's

629
00:32:30,680 --> 00:32:33,680
Speaker 1: in the middle of Homer and Hut. Like you can

630
00:32:33,760 --> 00:32:37,360
Speaker 1: tell he really cares so much about his grandfather, right,

631
00:32:37,480 --> 00:32:39,360
Speaker 1: like he goes to the movies with him on a

632
00:32:39,400 --> 00:32:42,680
Speaker 1: Friday night, which is it basically makes me cry every

633
00:32:42,680 --> 00:32:44,240
Speaker 1: time I watch this movie. Just the idea of the

634
00:32:44,320 --> 00:32:47,160
Speaker 1: two of them like sitting in the movie theater together,

635
00:32:48,120 --> 00:32:50,440
Speaker 1: and then there's like you know, young co eds like

636
00:32:50,600 --> 00:32:53,560
Speaker 1: necking around them and there, and he's totally like, I

637
00:32:53,720 --> 00:32:55,480
Speaker 1: just like want to be with my grandfather chill and

638
00:32:55,600 --> 00:32:59,360
Speaker 1: chill with him, which I swear is so cute and

639
00:33:00,280 --> 00:33:03,400
Speaker 1: I know and so at the same time, though, he's

640
00:33:03,480 --> 00:33:08,800
Speaker 1: also completely mesmerized by Hud, like he's he's also a teenager.

641
00:33:09,000 --> 00:33:11,600
Speaker 1: He's supposed to be like seventeen. He's curious about girls

642
00:33:11,640 --> 00:33:14,560
Speaker 1: and drinking and and like Hut is like his hero.

643
00:33:15,320 --> 00:33:18,240
Speaker 1: So he's kind of in this middle position, and I

644
00:33:18,320 --> 00:33:20,040
Speaker 1: just think that's a very interesting position to be in

645
00:33:20,320 --> 00:33:26,040
Speaker 1: as a film character. So yeah, Okay, then you have Alma,

646
00:33:26,560 --> 00:33:30,360
Speaker 1: who is her housekeeper. Now she is like one of

647
00:33:30,440 --> 00:33:34,040
Speaker 1: my favorite characters in all movies. Okay, Like Patricia Neil's

648
00:33:34,040 --> 00:33:37,280
Speaker 1: actress is fantastic. She's she has been in so many things,

649
00:33:37,360 --> 00:33:41,440
Speaker 1: and she's she was actually married to Rule Dall, the writer,

650
00:33:41,880 --> 00:33:46,160
Speaker 1: and in this film. She's just like she's competent. She's

651
00:33:46,240 --> 00:33:48,960
Speaker 1: why she takes no shit. She's like a she's a

652
00:33:49,080 --> 00:33:52,760
Speaker 1: ball ballbuster, just like a real like Southern spitfire type

653
00:33:52,760 --> 00:33:55,720
Speaker 1: of lady. She's like smoking cigarettes and playing cards on

654
00:33:55,800 --> 00:33:57,680
Speaker 1: her nights off. And she's like always putting the men

655
00:33:57,760 --> 00:34:01,680
Speaker 1: in their places, including Hut who was constantly trying to

656
00:34:01,720 --> 00:34:02,200
Speaker 1: seduce her.

657
00:34:02,400 --> 00:34:04,400
Speaker 2: And she's always barefoot, and she's kind of a free

658
00:34:04,480 --> 00:34:07,080
Speaker 2: spirit and she feels a little bit about it. Let

659
00:34:07,120 --> 00:34:08,800
Speaker 2: me just tell you that, I'm just gonna button for

660
00:34:08,840 --> 00:34:10,719
Speaker 2: a second to say there are two moments in this

661
00:34:10,840 --> 00:34:13,720
Speaker 2: movie that I could have watched forever. In the opening scene,

662
00:34:14,160 --> 00:34:16,600
Speaker 2: there's a horse standing up on the back of a

663
00:34:16,640 --> 00:34:18,800
Speaker 2: flatbed pickup truck. I could have followed that horse for

664
00:34:19,040 --> 00:34:23,480
Speaker 2: seven thousand miles. And then Almah's entire her entire story.

665
00:34:23,920 --> 00:34:27,399
Speaker 2: I mean, she she's talking about her she calls him

666
00:34:27,520 --> 00:34:32,759
Speaker 2: a which I think is fantastic, And you know, it's

667
00:34:32,840 --> 00:34:36,399
Speaker 2: just like she's seen some things and you can't. She's

668
00:34:36,440 --> 00:34:39,840
Speaker 2: wise to your shithood, which is exactly what he needs.

669
00:34:40,239 --> 00:34:44,840
Speaker 1: Slash drives him insane because no one ever says no

670
00:34:44,920 --> 00:34:47,640
Speaker 1: to him except for her right and and The thing

671
00:34:47,760 --> 00:34:49,719
Speaker 1: is is that Lonnie is also in love with her

672
00:34:49,800 --> 00:34:52,759
Speaker 1: in a lot of ways, because he's like he thinks

673
00:34:52,800 --> 00:34:54,920
Speaker 1: of her though as somebody to love and to marry,

674
00:34:55,160 --> 00:34:57,239
Speaker 1: Like he thinks she's a good woman and you know,

675
00:34:57,880 --> 00:35:00,520
Speaker 1: not like Hood who just wants to have a fuck

676
00:35:00,560 --> 00:35:03,480
Speaker 1: conquest or whatever. Now here's something that I will say

677
00:35:03,680 --> 00:35:07,040
Speaker 1: about the book and the movie. And this was going

678
00:35:07,120 --> 00:35:09,040
Speaker 1: back to what we were talking about earlier about race.

679
00:35:09,440 --> 00:35:13,920
Speaker 1: So in the book, the character of Almah is actually black,

680
00:35:15,440 --> 00:35:21,160
Speaker 1: but in nineteen sixty three, apparently nobody in Hollywood was

681
00:35:21,239 --> 00:35:24,320
Speaker 1: like ready for Hud to be making moves towards a

682
00:35:24,320 --> 00:35:29,239
Speaker 1: black woman. Okay, now here's the thing about the book though.

683
00:35:30,040 --> 00:35:36,000
Speaker 1: In the book, Hud rapes Alma and afterwards Alma and

684
00:35:36,160 --> 00:35:42,120
Speaker 1: Lonnie try to kill him for it. Okay, this should

685
00:35:42,200 --> 00:35:43,960
Speaker 1: have been the move the entire movie.

686
00:35:45,680 --> 00:35:47,880
Speaker 2: Wow, I did not know that. I'd never seen this

687
00:35:47,960 --> 00:35:49,800
Speaker 2: movie before. I had no idea.

688
00:35:50,000 --> 00:35:53,680
Speaker 1: Yeah, and like, listen, I'm not making any excuses for

689
00:35:53,920 --> 00:35:56,160
Speaker 1: choices that were made about the telling the story in

690
00:35:56,360 --> 00:35:58,840
Speaker 1: whatever kind of way. But keep in mind, we were

691
00:35:58,880 --> 00:36:01,279
Speaker 1: still under the production code, so I'm sure none of

692
00:36:01,400 --> 00:36:04,680
Speaker 1: what we actually just talked about is would None of

693
00:36:04,719 --> 00:36:06,680
Speaker 1: that stuff would fly in a Hollywood movie in that era,

694
00:36:07,040 --> 00:36:09,160
Speaker 1: just playing simple. I mean, you couldn't even like have

695
00:36:09,360 --> 00:36:15,160
Speaker 1: sex on film, let alone, you know. So it's problematic,

696
00:36:15,239 --> 00:36:17,520
Speaker 1: but I think it's interesting to know that that's what

697
00:36:17,719 --> 00:36:20,239
Speaker 1: the actual story is, and just about the tone of

698
00:36:20,320 --> 00:36:22,480
Speaker 1: the time where it was just sort of like unheard

699
00:36:22,520 --> 00:36:25,120
Speaker 1: of for people to be like, oh, Hood like this

700
00:36:25,440 --> 00:36:27,920
Speaker 1: this housekeeper was black, and Hood would you know, be

701
00:36:28,040 --> 00:36:30,960
Speaker 1: in love with her? Essentially? Right, It's crazy.

702
00:36:31,040 --> 00:36:32,239
Speaker 2: That makes me want to know a little bit more

703
00:36:32,239 --> 00:36:33,600
Speaker 2: about Larry McMurtry, I know.

704
00:36:34,320 --> 00:36:35,840
Speaker 1: And you know, like I said, I haven't read the

705
00:36:36,000 --> 00:36:40,040
Speaker 1: entire book, but it's it's interesting. He's probably somebody to

706
00:36:40,120 --> 00:36:44,200
Speaker 1: research too. At any rate. Eventually it's revealed that there's

707
00:36:44,239 --> 00:36:46,239
Speaker 1: some trouble at the ranch with the cattle that the

708
00:36:46,320 --> 00:36:50,680
Speaker 1: families own, and the cows are sick. And if the

709
00:36:50,760 --> 00:36:53,840
Speaker 1: cows are sick, then that's their entire livelihood in a

710
00:36:53,880 --> 00:36:56,200
Speaker 1: way of life. I mean, if you're a rancher, that's it, right.

711
00:36:57,120 --> 00:36:59,440
Speaker 1: So of course in the film, Hud wants to take

712
00:36:59,480 --> 00:37:01,600
Speaker 1: the easy way out. He just wants to sell off

713
00:37:01,640 --> 00:37:05,239
Speaker 1: the animals and not tell anybody that they're sick. And

714
00:37:05,440 --> 00:37:07,399
Speaker 1: just cut their losses and just cash the check.

715
00:37:07,480 --> 00:37:07,640
Speaker 2: Right.

716
00:37:08,120 --> 00:37:10,640
Speaker 1: But the grandfather obviously wants to do the honorable thing

717
00:37:10,920 --> 00:37:15,279
Speaker 1: because he raised all those animals himself, and he's got

718
00:37:15,440 --> 00:37:19,040
Speaker 1: pride in his work, and he wants to do the

719
00:37:19,120 --> 00:37:21,960
Speaker 1: thing where he wants to make sure that they're tested

720
00:37:22,040 --> 00:37:23,880
Speaker 1: by the state veterinarian. He wants to go through the

721
00:37:23,920 --> 00:37:28,560
Speaker 1: problem channels and quarantine the animals right so that the

722
00:37:28,640 --> 00:37:33,760
Speaker 1: disease doesn't spread. And it's just a back yeah, exactly,

723
00:37:36,000 --> 00:37:38,759
Speaker 1: so familiar guy. There's a lot of tension there when

724
00:37:38,800 --> 00:37:44,680
Speaker 1: somebody wants to quarantine and somebody doesn't, and yeah, tensions

725
00:37:44,719 --> 00:37:48,320
Speaker 1: really flair. He is what we would call a classic

726
00:37:48,440 --> 00:37:52,440
Speaker 1: movie fuck boy. He's very very much like an asshole,

727
00:37:53,040 --> 00:37:57,880
Speaker 1: and he even in his moments of like a but

728
00:37:58,000 --> 00:38:00,160
Speaker 1: I actually might be a good person or something, he

729
00:38:00,280 --> 00:38:03,120
Speaker 1: still like completely destroys it by being a dick. The

730
00:38:03,239 --> 00:38:05,000
Speaker 1: funny thing is that when this movie came out in

731
00:38:05,080 --> 00:38:12,160
Speaker 1: like nineteen sixty three, America was basically obsessed with bad boys,

732
00:38:12,320 --> 00:38:14,400
Speaker 1: or they were just about they were getting into the

733
00:38:14,480 --> 00:38:17,439
Speaker 1: bad boy thing. You know, stuff like Easy Rider would

734
00:38:17,440 --> 00:38:19,680
Speaker 1: be coming out like a couple of years down the horizon,

735
00:38:20,760 --> 00:38:24,399
Speaker 1: and the craziest thing is that essentially when Hud came out,

736
00:38:25,320 --> 00:38:30,880
Speaker 1: kids fucking loved this guy. They were like, hell yeah, hood,

737
00:38:31,239 --> 00:38:33,920
Speaker 1: stick it to the man hood. Don't get no fucking

738
00:38:34,040 --> 00:38:37,000
Speaker 1: tests for those cows hood, you know, as opposed to

739
00:38:37,040 --> 00:38:40,000
Speaker 1: being like, wait, this guy's kind of psycho, right, Like

740
00:38:40,120 --> 00:38:44,160
Speaker 1: he doesn't he's like a sociopath that doesn't care about anything, right, No,

741
00:38:45,040 --> 00:38:48,799
Speaker 1: they were like, this guy is fucking awesome. He's such

742
00:38:48,840 --> 00:38:49,400
Speaker 1: a badass.

743
00:38:49,680 --> 00:38:54,360
Speaker 2: This is the ramp up period to like countercultural right norms.

744
00:38:54,560 --> 00:38:57,640
Speaker 1: And the funniest thing in the world is that even

745
00:38:57,760 --> 00:39:00,799
Speaker 1: Paul Newman himself, Paul Newman and Mark the two people

746
00:39:00,880 --> 00:39:04,200
Speaker 1: that you know made the movie, were like, you are

747
00:39:04,280 --> 00:39:08,239
Speaker 1: not supposed to like Hud. Okay, we intentionally made him

748
00:39:09,320 --> 00:39:13,839
Speaker 1: an a moral repugnant asshole, right because we were trying

749
00:39:13,840 --> 00:39:17,240
Speaker 1: to send a message about like capitalism and blind idol worship.

750
00:39:18,080 --> 00:39:19,920
Speaker 1: Like we're trying to do a thing here, We're not.

751
00:39:20,080 --> 00:39:22,960
Speaker 1: You're not supposed to love him and think he's cool.

752
00:39:23,160 --> 00:39:25,319
Speaker 2: Well, you know where they you know where they fucked

753
00:39:25,400 --> 00:39:27,440
Speaker 2: up what they put that character in, Paul K.

754
00:39:27,440 --> 00:39:34,120
Speaker 1: Newman. That's exactly my last point. Ultimately, it's because the

755
00:39:34,160 --> 00:39:36,560
Speaker 1: whole reason why people loved Hud and why this movie

756
00:39:36,680 --> 00:39:38,160
Speaker 1: made a lot of money and why it was a

757
00:39:38,320 --> 00:39:42,920
Speaker 1: success for him and helped him continue his career is

758
00:39:43,040 --> 00:39:47,200
Speaker 1: because Paul Newman is too hot and charming to be

759
00:39:47,360 --> 00:39:51,640
Speaker 1: truly bad. His hotness backfired on him in Hud.

760
00:39:51,920 --> 00:39:55,440
Speaker 2: There's this one line that he says when he's fighting

761
00:39:55,520 --> 00:39:58,239
Speaker 2: with Homer, and he says, I just naturally had to

762
00:39:58,320 --> 00:40:01,160
Speaker 2: go bad in the face of so much good. You

763
00:40:01,280 --> 00:40:03,920
Speaker 2: can't look like Paul Newman and say that and expect

764
00:40:03,960 --> 00:40:06,080
Speaker 2: people to not like the bad guy. The only way

765
00:40:06,120 --> 00:40:08,480
Speaker 2: to encapsulate it is HUD's gonna.

766
00:40:08,320 --> 00:40:12,640
Speaker 1: Hud, HUD's gonna Hud. God, literally nothing else you can say.

767
00:40:12,800 --> 00:40:13,160
Speaker 2: I get it.

768
00:40:13,200 --> 00:40:15,279
Speaker 1: I like this is my this is this.

769
00:40:15,400 --> 00:40:16,920
Speaker 2: I'm glad you brought this up, though, because this is

770
00:40:17,000 --> 00:40:21,680
Speaker 2: also my issue going into this thinking about him as

771
00:40:21,719 --> 00:40:23,960
Speaker 2: a hot guy at this age, because I think it's

772
00:40:24,040 --> 00:40:27,080
Speaker 2: not his look, like his look is toys, Like I

773
00:40:27,200 --> 00:40:32,440
Speaker 2: get that that he looks very handsome, it's that that

774
00:40:32,640 --> 00:40:35,680
Speaker 2: all that bad boy ethos and all the stuff that

775
00:40:35,760 --> 00:40:37,440
Speaker 2: came with it that I thought, like, I don't know

776
00:40:37,480 --> 00:40:40,279
Speaker 2: if I like that part of him, even though it's

777
00:40:40,320 --> 00:40:41,920
Speaker 2: an act, and even though you know, he's a good

778
00:40:41,960 --> 00:40:44,360
Speaker 2: actor and what have you like that is that is

779
00:40:44,520 --> 00:40:49,279
Speaker 2: so repellent to me that I don't instantly find horniness

780
00:40:49,480 --> 00:40:52,440
Speaker 2: or hotness can live there for me. But Paul Newman

781
00:40:52,520 --> 00:40:56,400
Speaker 2: is the great instructor of all theory. He was pretty

782
00:40:56,440 --> 00:40:57,000
Speaker 2: goddamn hot.

783
00:40:57,760 --> 00:41:00,440
Speaker 1: Yeah, he's a problematic HAUGHTI for sure. I'm like, he

784
00:41:00,600 --> 00:41:03,759
Speaker 1: does terrible things and you know, obviously know where his

785
00:41:04,000 --> 00:41:06,560
Speaker 1: character is actually capable of if you read the book,

786
00:41:06,680 --> 00:41:09,719
Speaker 1: But it's like, yeah, I mean, ultimately like the era,

787
00:41:10,600 --> 00:41:13,040
Speaker 1: if you basically strip away this entire story and you

788
00:41:13,200 --> 00:41:16,600
Speaker 1: just have Paul Newman in jeans on a on a

789
00:41:16,760 --> 00:41:20,200
Speaker 1: dusty ranch in the middle of nowhere, I'm like, hello,

790
00:41:21,480 --> 00:41:24,560
Speaker 1: that's my thing. But as we'll see, like he he

791
00:41:24,719 --> 00:41:27,279
Speaker 1: can be, so we can establish that he can be

792
00:41:27,360 --> 00:41:29,920
Speaker 1: a terrible person and people will still think he's cool.

793
00:41:30,360 --> 00:41:34,120
Speaker 1: He's just eternally hot. And then even in the film

794
00:41:34,160 --> 00:41:37,759
Speaker 1: that you're about to talk about, like he also has

795
00:41:37,840 --> 00:41:42,359
Speaker 1: a scamp likeness to him, but still charming and still hot.

796
00:41:47,080 --> 00:41:51,359
Speaker 2: My movie in the horny for Paul Newman genre makes

797
00:41:51,840 --> 00:41:55,480
Speaker 2: a sharp My movie is Nobody's Fool. It came out

798
00:41:55,520 --> 00:41:59,640
Speaker 2: in nineteen ninety four, directed by Robert Benton Paul Newman

799
00:42:00,000 --> 00:42:01,200
Speaker 2: so much. You and me go out there and get

800
00:42:01,239 --> 00:42:03,080
Speaker 2: ourselves naked and then just see what happened.

801
00:42:04,160 --> 00:42:05,800
Speaker 1: Okay, sixty years.

802
00:42:05,680 --> 00:42:08,160
Speaker 2: Old, still getting crushes on other men's wives. I would

803
00:42:08,200 --> 00:42:09,799
Speaker 2: hope by if I'm out your age, I'm a little

804
00:42:09,840 --> 00:42:13,560
Speaker 2: smarter than that. Ran our job sure off to a

805
00:42:13,640 --> 00:42:16,080
Speaker 2: slow start. So the one thing I want to say

806
00:42:16,160 --> 00:42:20,640
Speaker 2: off the top is that Robert Benton is huge in

807
00:42:21,200 --> 00:42:25,239
Speaker 2: this industry. He wrote and directed Kramer Versus Kramer and

808
00:42:25,360 --> 00:42:27,160
Speaker 2: The Late Show, which is a personal favorite of it.

809
00:42:27,200 --> 00:42:30,399
Speaker 2: We talk about it, talk about it. And he also

810
00:42:30,480 --> 00:42:32,800
Speaker 2: wrote Bonnie and Clyde, which I had no idea that

811
00:42:32,920 --> 00:42:36,040
Speaker 2: he wrote that. So he he took this book by

812
00:42:36,160 --> 00:42:38,879
Speaker 2: Richard Russo, who was an incredible writer who he won

813
00:42:38,960 --> 00:42:41,560
Speaker 2: the Pulitzer in two thousand and two for Empire Falls,

814
00:42:41,800 --> 00:42:45,440
Speaker 2: and he's just such a great writer. And so Benton

815
00:42:45,560 --> 00:42:48,480
Speaker 2: kind of took this book the year after it was

816
00:42:48,560 --> 00:42:50,719
Speaker 2: released in nineteen ninety three and turned it into this

817
00:42:50,800 --> 00:42:53,680
Speaker 2: great movie starring Paul Newman. Paul Newman in this movie

818
00:42:53,800 --> 00:42:56,520
Speaker 2: is sixty nine years old when you film this, which

819
00:42:56,640 --> 00:42:58,919
Speaker 2: trust me I did. I'm not letting that one slow

820
00:42:58,960 --> 00:43:02,439
Speaker 2: faith Toddlered me will not let that one go. But yeah,

821
00:43:02,520 --> 00:43:04,680
Speaker 2: So I think that what's what's attractive to me about

822
00:43:04,680 --> 00:43:07,319
Speaker 2: this movie, just on the face of it, even before

823
00:43:07,360 --> 00:43:11,160
Speaker 2: we get into horniness, is that Richard Russo was raised

824
00:43:11,160 --> 00:43:13,160
Speaker 2: in Upstate New York and I was raised in upstate

825
00:43:13,239 --> 00:43:16,520
Speaker 2: New York. So I grew up in a town called Warwick. Warwick,

826
00:43:16,560 --> 00:43:19,959
Speaker 2: New York. It's an Orange county. And there's so much

827
00:43:20,200 --> 00:43:23,240
Speaker 2: about this movie, the vibe of it and the feel

828
00:43:23,320 --> 00:43:26,719
Speaker 2: of it. It's set in winter, so it's very snowy,

829
00:43:27,960 --> 00:43:31,040
Speaker 2: but the people also and I think that that's indicative

830
00:43:31,040 --> 00:43:33,239
Speaker 2: of Russo's writing, but it's really comes through in this

831
00:43:33,400 --> 00:43:36,600
Speaker 2: movie that this is a special, weird, small place and

832
00:43:36,680 --> 00:43:38,800
Speaker 2: that is what Upstate New York has always felt like.

833
00:43:39,120 --> 00:43:42,200
Speaker 1: I was gonna say, I have never been to Upstate

834
00:43:42,280 --> 00:43:48,040
Speaker 1: New York. I find it so fascinating and I feel

835
00:43:48,120 --> 00:43:50,840
Speaker 1: like there's and this movie really I've never seen this

836
00:43:50,960 --> 00:43:53,600
Speaker 1: movie before, by the way, and it was, Yeah, it

837
00:43:53,760 --> 00:43:55,359
Speaker 1: was a joy to watch.

838
00:43:55,840 --> 00:43:57,080
Speaker 2: I love when this happens.

839
00:43:57,080 --> 00:44:01,120
Speaker 3: It's like playing CHESSA got bobably shut up, Like it's

840
00:44:01,200 --> 00:44:04,479
Speaker 3: a thing where I'm like, I find like I love

841
00:44:04,920 --> 00:44:07,320
Speaker 3: movies like this that are just about like small towns

842
00:44:07,400 --> 00:44:09,440
Speaker 3: and like the characters of small towns, and like I'm

843
00:44:09,440 --> 00:44:12,960
Speaker 3: from the South, so it's like, I like the Southern

844
00:44:13,000 --> 00:44:15,560
Speaker 3: Gothic literary tradition is basically the same thing, where it's

845
00:44:15,600 --> 00:44:17,640
Speaker 3: just like people living in a small town and everybody

846
00:44:17,719 --> 00:44:19,600
Speaker 3: knows each other and it's kind of like the quirkiness

847
00:44:19,640 --> 00:44:20,160
Speaker 3: of characters.

848
00:44:20,239 --> 00:44:23,000
Speaker 1: But like, so I wanted to ask you, this was

849
00:44:23,040 --> 00:44:25,759
Speaker 1: your experience growing up like in the same way where

850
00:44:25,800 --> 00:44:28,239
Speaker 1: there was like a lawyer with one leg and like

851
00:44:28,400 --> 00:44:31,560
Speaker 1: the snowplow fights and all that stuff. I mean, it

852
00:44:31,680 --> 00:44:34,160
Speaker 1: just felt like so cozy to me, and I was

853
00:44:34,280 --> 00:44:36,400
Speaker 1: kind of jealous almost. I'm like, God, Daniell got to

854
00:44:36,480 --> 00:44:38,160
Speaker 1: experience any of that, that's great.

855
00:44:38,640 --> 00:44:42,000
Speaker 2: Yeah, I Mean there's an artist hamlet in my town

856
00:44:42,120 --> 00:44:45,200
Speaker 2: called sugar Loaf, and it's like you know, small buildings

857
00:44:45,239 --> 00:44:47,560
Speaker 2: where you work and live there and like buy I

858
00:44:47,719 --> 00:44:50,960
Speaker 2: still buy my candles from the Sugar Loaf Candle Company

859
00:44:51,320 --> 00:44:54,880
Speaker 2: because they have the scent of my youth, you know,

860
00:44:55,160 --> 00:44:59,160
Speaker 2: And like these there are characters in all of these towns,

861
00:44:59,480 --> 00:45:01,399
Speaker 2: and that is this brought out to me this movie

862
00:45:01,520 --> 00:45:03,800
Speaker 2: is just there are characters and there's always going to

863
00:45:03,840 --> 00:45:06,400
Speaker 2: be people in your town. If you grew up in

864
00:45:06,440 --> 00:45:09,160
Speaker 2: a small town that you're going to wonder as a kid,

865
00:45:09,560 --> 00:45:12,759
Speaker 2: how did that guy get that way? And this is

866
00:45:12,800 --> 00:45:16,759
Speaker 2: the kind of story that brings out the notions of

867
00:45:17,560 --> 00:45:19,680
Speaker 2: how does someone have a full life in the same

868
00:45:19,760 --> 00:45:25,200
Speaker 2: place and still remain a mystery to some people. So

869
00:45:25,400 --> 00:45:27,759
Speaker 2: this was, yeah, this is very, very upstate New York.

870
00:45:27,800 --> 00:45:30,200
Speaker 2: And it also felt like I lived in Rhode Island

871
00:45:30,239 --> 00:45:32,719
Speaker 2: for a few years and it felt like a like

872
00:45:32,800 --> 00:45:35,239
Speaker 2: a Rhode Island kind of mill town as well, like

873
00:45:35,320 --> 00:45:37,440
Speaker 2: that with the houses were structured, but it is it's

874
00:45:37,520 --> 00:45:40,960
Speaker 2: like there's no new builds in the middle of town.

875
00:45:41,120 --> 00:45:45,359
Speaker 2: It's all old houses. It's all detail oriented, like people

876
00:45:45,480 --> 00:45:47,440
Speaker 2: keep them up, they keep them in their family. It's

877
00:45:47,600 --> 00:45:50,319
Speaker 2: very you know, kind of not Victorian Gingerbready, but it's

878
00:45:50,480 --> 00:45:54,080
Speaker 2: very it's just small town, small town, truly middle class

879
00:45:55,040 --> 00:45:57,839
Speaker 2: ways of living. So Paul Newman plays his character named

880
00:45:57,920 --> 00:46:02,080
Speaker 2: Sully Sully Donald Sullivan but they call him Sully, and

881
00:46:02,440 --> 00:46:03,279
Speaker 2: he lives with.

882
00:46:04,280 --> 00:46:05,440
Speaker 1: He lives with his.

883
00:46:07,120 --> 00:46:11,040
Speaker 2: Grade school teacher. She was played by Jessica Tandy and

884
00:46:11,080 --> 00:46:14,040
Speaker 2: this is just actually Jessica Tandy's last movie, and he

885
00:46:14,160 --> 00:46:16,560
Speaker 2: lives with her in her big, old, sprawling house and

886
00:46:17,160 --> 00:46:20,520
Speaker 2: it's just normal, like they have their own little relationship

887
00:46:20,560 --> 00:46:24,359
Speaker 2: where they're both kind of aging, but he's still charged

888
00:46:24,400 --> 00:46:26,440
Speaker 2: with kind of taking care of stuff, like she's harping

889
00:46:26,480 --> 00:46:28,560
Speaker 2: on him the whole movie to fix the banister, and

890
00:46:28,640 --> 00:46:31,640
Speaker 2: they have this relationship that is not shaped by who

891
00:46:31,680 --> 00:46:34,200
Speaker 2: he was as a kid, but somehow there's an understanding

892
00:46:34,239 --> 00:46:36,760
Speaker 2: of who he is as an adult. And that happens

893
00:46:36,800 --> 00:46:40,000
Speaker 2: in small towns where you can know someone intimately and

894
00:46:40,200 --> 00:46:44,319
Speaker 2: even if you hate them, even if you disagree with them,

895
00:46:44,600 --> 00:46:47,200
Speaker 2: you're always going to be around that motherfuckers and you

896
00:46:47,360 --> 00:46:50,400
Speaker 2: have to find a way to live with them. And

897
00:46:50,560 --> 00:46:52,560
Speaker 2: this is again like these little moments in the movie

898
00:46:52,640 --> 00:46:56,200
Speaker 2: that really drive that home in such subtle and interesting ways.

899
00:46:56,320 --> 00:46:59,880
Speaker 2: So Selly's just kind of he's crabby. He's a crabby

900
00:47:00,040 --> 00:47:02,640
Speaker 2: dude with a limp and he's been injured on the job.

901
00:47:02,800 --> 00:47:06,240
Speaker 2: He's he's the kind of guy who's like he doesn't

902
00:47:06,239 --> 00:47:08,560
Speaker 2: really punch a clock, like he's always just kind of

903
00:47:08,600 --> 00:47:11,320
Speaker 2: picked up work because he knows people who own businesses

904
00:47:12,280 --> 00:47:15,560
Speaker 2: and he does rough labor like he does you know,

905
00:47:15,719 --> 00:47:19,120
Speaker 2: he's clear clearing out bricks out of houses and you know,

906
00:47:19,239 --> 00:47:25,040
Speaker 2: doing construction work essentially under the table. And yeah, so

907
00:47:25,120 --> 00:47:27,160
Speaker 2: he kind of you know, there's these these small moments

908
00:47:27,200 --> 00:47:29,680
Speaker 2: in the movie where you see this kind of crotchety,

909
00:47:29,880 --> 00:47:34,320
Speaker 2: crabby dude interacting with everyone else in this town who's

910
00:47:34,320 --> 00:47:38,080
Speaker 2: also been there forever, and he doesn't seem he's in

911
00:47:38,239 --> 00:47:40,360
Speaker 2: He's in the rhythm of it. He's not upset with it,

912
00:47:40,520 --> 00:47:42,040
Speaker 2: Like he's not like, oh, I should have gotten out

913
00:47:42,080 --> 00:47:43,680
Speaker 2: of here. Like there's no regret. This is not a

914
00:47:43,760 --> 00:47:47,000
Speaker 2: regret film story. It's just you're watching people get by

915
00:47:47,480 --> 00:47:49,560
Speaker 2: and I love that. I love that so much. So

916
00:47:49,960 --> 00:47:55,640
Speaker 2: he was he's fighting with. Bruce Willis plays Carl in

917
00:47:55,800 --> 00:48:00,560
Speaker 2: this movie, and this is truly, to me, like one

918
00:48:00,600 --> 00:48:02,680
Speaker 2: of the only roles where I feel like Bruce Willis

919
00:48:02,840 --> 00:48:07,120
Speaker 2: was made for like this real shitty like construction owner,

920
00:48:07,520 --> 00:48:11,000
Speaker 2: kind of trump dude who like inherited a business and

921
00:48:11,160 --> 00:48:14,279
Speaker 2: is like running it into the ground and fucking around

922
00:48:14,320 --> 00:48:16,880
Speaker 2: on his wife, who's Melanie Griffith plays his wife, Kirby,

923
00:48:17,239 --> 00:48:20,239
Speaker 2: and he's just a shithead. I'm skipping Bruce Willis and

924
00:48:20,280 --> 00:48:23,680
Speaker 2: I'm going right into sixty nine year old All Newman

925
00:48:23,920 --> 00:48:28,719
Speaker 2: who's playing a surly grandpa who doesn't even know he's

926
00:48:28,760 --> 00:48:30,640
Speaker 2: a grandpa. Which is one of the funniest parts of

927
00:48:30,680 --> 00:48:32,799
Speaker 2: this movie to me is that as you learn more

928
00:48:32,800 --> 00:48:35,879
Speaker 2: about Sully's life, you realize that he had his own

929
00:48:35,920 --> 00:48:38,920
Speaker 2: bad childhood that he's contending with, but he also was

930
00:48:39,000 --> 00:48:41,719
Speaker 2: a horrible father, Like he left his family when his

931
00:48:41,840 --> 00:48:44,040
Speaker 2: son was one years old, and they even though they

932
00:48:44,120 --> 00:48:46,560
Speaker 2: lived in the same town, they did not have a relationship.

933
00:48:47,000 --> 00:48:49,880
Speaker 2: So he's hitchhiking on the way back into town, you know,

934
00:48:49,960 --> 00:48:53,040
Speaker 2: during Thanksgiving, and his son just happens to drive by

935
00:48:53,480 --> 00:48:55,920
Speaker 2: with his family, his wife and his two kids and

936
00:48:56,080 --> 00:48:58,839
Speaker 2: picks up his like hitch hiking granddad, and that's how

937
00:48:58,880 --> 00:49:03,719
Speaker 2: he meets his So he's that disconnected from you know,

938
00:49:03,840 --> 00:49:05,600
Speaker 2: his own family and his own life, and he's made

939
00:49:05,640 --> 00:49:09,040
Speaker 2: he's made his world very small, but it works for him.

940
00:49:09,320 --> 00:49:12,240
Speaker 2: So he has, you know, like Pruitt Taylor Vince plays

941
00:49:12,960 --> 00:49:14,640
Speaker 2: I think his name in the movie is Rub, which

942
00:49:14,680 --> 00:49:15,960
Speaker 2: is an incredible character.

943
00:49:18,600 --> 00:49:19,920
Speaker 1: So Rub is like his.

944
00:49:20,080 --> 00:49:23,000
Speaker 2: Sidekick who works with him on these odd jobs, and

945
00:49:23,040 --> 00:49:24,759
Speaker 2: it kind of sees him as a father figure. But

946
00:49:25,280 --> 00:49:28,520
Speaker 2: Sully doesn't want to be anyone's dad, so that relationship

947
00:49:28,600 --> 00:49:30,680
Speaker 2: is tends to begin with. But it's very like you know,

948
00:49:30,840 --> 00:49:36,080
Speaker 2: diner culture. Like it's it's very very upstate New York,

949
00:49:36,200 --> 00:49:38,279
Speaker 2: this movie, and it's just such a vibe, Like I

950
00:49:38,400 --> 00:49:41,799
Speaker 2: watch it every winter, especially since I moved to la

951
00:49:41,880 --> 00:49:44,920
Speaker 2: because I'm like, this is what winter should be, this

952
00:49:45,080 --> 00:49:46,759
Speaker 2: is what it always was when I was growing up,

953
00:49:46,920 --> 00:49:49,800
Speaker 2: and I just I miss it. I miss it. I

954
00:49:49,880 --> 00:49:53,319
Speaker 2: think part of the reason why I picked this as

955
00:49:53,400 --> 00:49:58,840
Speaker 2: my horny for movie is that elder Statesman Paul Newman

956
00:49:59,360 --> 00:50:04,440
Speaker 2: has chemist with everyonebody. Everybody. This man is sixty nine

957
00:50:04,520 --> 00:50:07,920
Speaker 2: years old putting the mac on Melanie Griffith. He's putting

958
00:50:07,920 --> 00:50:12,200
Speaker 2: the mac on Toby, and she's into into it. She's like,

959
00:50:12,239 --> 00:50:14,200
Speaker 2: I'm in this horrible marriage with this guy who cheats

960
00:50:14,239 --> 00:50:16,640
Speaker 2: on me in broad daylight all the time. I'm gonna

961
00:50:16,640 --> 00:50:17,360
Speaker 2: flirt with Tolly.

962
00:50:17,600 --> 00:50:20,600
Speaker 1: She is like, she's got two tickets to paradise, Eddy

963
00:50:20,640 --> 00:50:23,640
Speaker 1: Bundy style. She's like, it's let's go, like I'm ready

964
00:50:23,680 --> 00:50:26,480
Speaker 1: to run away with you, start a new life with you.

965
00:50:28,280 --> 00:50:31,480
Speaker 1: And we're all like, yeah, of course, who would not. Well,

966
00:50:31,520 --> 00:50:33,319
Speaker 1: that's the thing. It's like it does.

967
00:50:33,480 --> 00:50:36,080
Speaker 2: It's not gross in any other instance where I see

968
00:50:36,120 --> 00:50:37,680
Speaker 2: a sixty nine year old man in a you know,

969
00:50:37,800 --> 00:50:40,399
Speaker 2: late twenties, early thirties woman, I'm like, oh, what dude

970
00:50:40,440 --> 00:50:44,680
Speaker 2: wrote this? This is horrible? In this movie it fucking works. Yeah,

971
00:50:45,239 --> 00:50:51,120
Speaker 2: Like he has chemistry with everybody in that movie, and

972
00:50:51,280 --> 00:50:55,279
Speaker 2: it's fascinating. It's fascinating to me, fascinating. So that's part

973
00:50:55,280 --> 00:50:57,560
Speaker 2: of the reason I picked it. But I think it's

974
00:50:57,640 --> 00:50:59,839
Speaker 2: also that, like I think it's that there's these these

975
00:51:00,080 --> 00:51:04,320
Speaker 2: moments of tenderness where like he will run out of

976
00:51:04,360 --> 00:51:07,360
Speaker 2: his house in his stocking feet in the snow to

977
00:51:08,000 --> 00:51:11,080
Speaker 2: help redirect the woman in town who has dementia, who's

978
00:51:11,120 --> 00:51:13,840
Speaker 2: wandering the streets, and it's just kind of what you

979
00:51:13,960 --> 00:51:15,520
Speaker 2: do when you live in those towns, Like if you

980
00:51:15,600 --> 00:51:18,120
Speaker 2: see something, you do something, and then you kind of

981
00:51:18,200 --> 00:51:20,759
Speaker 2: know everybody. So there's this tenderness to him, and you

982
00:51:20,840 --> 00:51:23,279
Speaker 2: see him opening up a little bit, like in his

983
00:51:23,440 --> 00:51:27,759
Speaker 2: own way around his grandkids and his son and kind

984
00:51:27,800 --> 00:51:31,239
Speaker 2: of just reckoning with his own life. But yeah, I

985
00:51:31,280 --> 00:51:34,040
Speaker 2: think he really I think part of it is just

986
00:51:34,160 --> 00:51:37,000
Speaker 2: that I did not have a relationship with my dad,

987
00:51:37,080 --> 00:51:39,480
Speaker 2: but I loved my granddad, so old dudes are hot

988
00:51:39,520 --> 00:51:39,680
Speaker 2: to me.

989
00:51:39,760 --> 00:51:40,080
Speaker 1: I don't know.

990
00:51:40,360 --> 00:51:41,960
Speaker 2: My granddad wasn't hot to me. I'm not saying that,

991
00:51:42,520 --> 00:51:44,760
Speaker 2: but I'm just saying that, like in the grand scheme

992
00:51:44,840 --> 00:51:47,719
Speaker 2: of things, Paul Newman hit my radar when he was

993
00:51:47,760 --> 00:51:48,319
Speaker 2: sixty nine.

994
00:51:49,360 --> 00:51:50,640
Speaker 1: I didn't care about young.

995
00:51:50,880 --> 00:51:52,600
Speaker 2: I found out he was hot when he was young,

996
00:51:53,239 --> 00:51:54,200
Speaker 2: but he hit my radar.

997
00:51:54,680 --> 00:51:58,080
Speaker 1: So most people our age, we probably saw him in

998
00:51:58,160 --> 00:52:00,560
Speaker 1: like The Color of Money or something like, we were

999
00:52:00,560 --> 00:52:02,680
Speaker 1: seeing him in the eighties and nineties, so we actually

1000
00:52:02,719 --> 00:52:05,759
Speaker 1: didn't even know that he had had any movie. Like

1001
00:52:05,960 --> 00:52:08,520
Speaker 1: I didn't certainly know about like the Tennessee Williams movies

1002
00:52:08,560 --> 00:52:10,160
Speaker 1: he was in, and like I didn't know any of that.

1003
00:52:10,640 --> 00:52:13,879
Speaker 2: So right, And what's also what's fascinating to me too,

1004
00:52:14,120 --> 00:52:16,360
Speaker 2: or was you know, just incredibly interesting to me, is

1005
00:52:16,440 --> 00:52:20,480
Speaker 2: that I was reading that book Furious Love, about Richard

1006
00:52:20,600 --> 00:52:23,560
Speaker 2: Burton and Elizabeth Taylor's relationship, and.

1007
00:52:24,200 --> 00:52:27,960
Speaker 1: Which is a jazzy I'm obsessed. I'm obsessed with the

1008
00:52:28,000 --> 00:52:31,239
Speaker 1: two of them. I haven't read Furious Love though, so.

1009
00:52:31,520 --> 00:52:33,880
Speaker 2: It's a really it's a very well written book and

1010
00:52:34,040 --> 00:52:35,960
Speaker 2: well researched, and I like the way they kind of

1011
00:52:36,160 --> 00:52:38,719
Speaker 2: put the story together. But one thing that suck out

1012
00:52:38,760 --> 00:52:43,239
Speaker 2: to me is the way that Richard Burton, and you know,

1013
00:52:43,320 --> 00:52:45,560
Speaker 2: Paul Newman was acting around the same time and he

1014
00:52:45,640 --> 00:52:47,760
Speaker 2: did Ken on a Hot Tin Roof with mister Taylor.

1015
00:52:48,840 --> 00:52:52,360
Speaker 2: But Burton comes from a theater background, so when he

1016
00:52:52,480 --> 00:52:55,600
Speaker 2: hit movies, he was just chewing up scene andy left

1017
00:52:55,640 --> 00:52:57,520
Speaker 2: and right, because it's not you know, theater is not

1018
00:52:57,560 --> 00:53:00,360
Speaker 2: a quiet. Theater is very you know, projector of and

1019
00:53:00,560 --> 00:53:03,800
Speaker 2: reach your audience. Movies are not that way. And I

1020
00:53:03,880 --> 00:53:07,279
Speaker 2: think it was It's kind of cool that Paul Newman

1021
00:53:07,360 --> 00:53:10,319
Speaker 2: has had the longevity of a career that he's had

1022
00:53:10,400 --> 00:53:12,239
Speaker 2: because you could see that change in him. So you

1023
00:53:12,320 --> 00:53:15,800
Speaker 2: watch something like hud where he's very theater ish, like

1024
00:53:15,880 --> 00:53:17,640
Speaker 2: he's a kind of a theater actor in that movie,

1025
00:53:18,000 --> 00:53:20,080
Speaker 2: and then you watch something like Nobody's Fool and it's

1026
00:53:20,120 --> 00:53:22,960
Speaker 2: so subtle, and the fact that he could do that

1027
00:53:23,800 --> 00:53:28,239
Speaker 2: and that he could maintain that speaks volumes about him

1028
00:53:28,239 --> 00:53:29,520
Speaker 2: as an actor and as a person.

1029
00:53:29,719 --> 00:53:31,960
Speaker 1: Think, yeah, he doesn't have to be There's certainly some

1030
00:53:32,040 --> 00:53:35,040
Speaker 1: actors out there that are basically like themselves in every

1031
00:53:35,120 --> 00:53:37,520
Speaker 1: movie and you can really tell that or they're kind

1032
00:53:37,520 --> 00:53:39,120
Speaker 1: of just I had to say one note because it

1033
00:53:39,160 --> 00:53:42,160
Speaker 1: sounds like pejorative, but it maybe maybe it is, but

1034
00:53:42,239 --> 00:53:44,279
Speaker 1: it's like that thing where you're like, oh he can

1035
00:53:44,400 --> 00:53:49,080
Speaker 1: like he's an actual actor, like he can adjust himself

1036
00:53:49,840 --> 00:53:52,520
Speaker 1: and has done so thirty years. Yeah, I thought this

1037
00:53:52,600 --> 00:53:55,360
Speaker 1: movie was so charming. The funny thing is is that

1038
00:53:55,480 --> 00:53:58,000
Speaker 1: when when I saw that it was a Robert Benton movie,

1039
00:53:58,040 --> 00:54:00,480
Speaker 1: I was like, oh, well, there's that's why there's in it.

1040
00:54:00,560 --> 00:54:02,520
Speaker 1: I mean because I figured, oh, there are scenes in

1041
00:54:02,600 --> 00:54:04,520
Speaker 1: this movie that remind me a lot of Kramer versus Cramer,

1042
00:54:04,640 --> 00:54:07,360
Speaker 1: especially with the kid and like you know, with the

1043
00:54:07,480 --> 00:54:10,600
Speaker 1: dad and you know there, you're right, there's like these

1044
00:54:10,680 --> 00:54:14,799
Speaker 1: tender moments in this movie where he realizes, oh, maybe

1045
00:54:14,800 --> 00:54:17,360
Speaker 1: I have a second chance with the grandson, Like I

1046
00:54:17,480 --> 00:54:21,759
Speaker 1: fucked up with the sun, but now I have kind

1047
00:54:21,800 --> 00:54:26,080
Speaker 1: of a reason to be around and you know, and

1048
00:54:26,160 --> 00:54:27,680
Speaker 1: I love when he like lets him drive the car

1049
00:54:27,800 --> 00:54:29,160
Speaker 1: and stuff. I mean, it's just like that kind of

1050
00:54:29,200 --> 00:54:30,480
Speaker 1: stuff is so endearing to me.

1051
00:54:31,160 --> 00:54:36,440
Speaker 2: And yeah, that scene is like my heart beats so

1052
00:54:36,600 --> 00:54:38,960
Speaker 2: hard for that scene because that is such a country

1053
00:54:39,040 --> 00:54:40,759
Speaker 2: thing to do, Like that is what we did in

1054
00:54:40,800 --> 00:54:43,480
Speaker 2: the back. My town had two stoplights in it, soesome,

1055
00:54:43,640 --> 00:54:46,640
Speaker 2: like you could definitely crawl over the bench seat and

1056
00:54:46,880 --> 00:54:49,359
Speaker 2: you know, hop on your mom's lab and pretend to drive.

1057
00:54:49,480 --> 00:54:51,680
Speaker 1: And it was just yeah, it's like and there's one

1058
00:54:51,840 --> 00:54:55,200
Speaker 1: cop and it's Philip Seymour Hoffman and like his boss

1059
00:54:55,320 --> 00:55:00,000
Speaker 1: is like, man, fuck off, like like like you down

1060
00:55:00,120 --> 00:55:01,200
Speaker 1: and realize where you live.

1061
00:55:02,400 --> 00:55:05,120
Speaker 2: We have to talk about Philip, a young Philip sumer

1062
00:55:05,160 --> 00:55:09,160
Speaker 2: Hoffman in this movie. Such a great character. I still

1063
00:55:09,280 --> 00:55:12,000
Speaker 2: my heart breaks when I see him, even still in film.

1064
00:55:12,080 --> 00:55:14,359
Speaker 2: He's given us so much, he gave us so many

1065
00:55:14,440 --> 00:55:18,680
Speaker 2: incredible movies, but I still it hurts. It hurts. But

1066
00:55:18,840 --> 00:55:24,560
Speaker 2: he is absolutely hilarious, is you know as the friction.

1067
00:55:24,840 --> 00:55:27,920
Speaker 2: The friction that he and Sully have is also very

1068
00:55:28,000 --> 00:55:30,279
Speaker 2: small town like Sully's kind of They're like, I've been

1069
00:55:30,360 --> 00:55:33,000
Speaker 2: here way longer than you. You don't tell me what

1070
00:55:33,080 --> 00:55:35,880
Speaker 2: to do, even if you're a cop exactly. And he

1071
00:55:35,960 --> 00:55:38,640
Speaker 2: also like he plays poker every night with the the police,

1072
00:55:39,120 --> 00:55:42,040
Speaker 2: and in that small amount of time, small towns have changed.

1073
00:55:42,080 --> 00:55:44,520
Speaker 2: I'm not like that anymore. Really, there's an air of that,

1074
00:55:44,920 --> 00:55:47,279
Speaker 2: there's like a little bit of that some sometimes, but

1075
00:55:47,440 --> 00:55:49,839
Speaker 2: that's not like when I was a teenager and I went,

1076
00:55:49,960 --> 00:55:52,000
Speaker 2: you know, to get my first job and you know,

1077
00:55:52,120 --> 00:55:54,120
Speaker 2: when I got my working papers and I was ready

1078
00:55:54,160 --> 00:55:57,279
Speaker 2: to go, and my Grandma's like, oh, you should just

1079
00:55:57,360 --> 00:55:59,879
Speaker 2: go up the street and there was a cafe called

1080
00:56:00,880 --> 00:56:03,080
Speaker 2: She's like, you should just go and ask Lovey for

1081
00:56:03,120 --> 00:56:05,279
Speaker 2: a job, because you know, we played bingo together, and

1082
00:56:05,360 --> 00:56:06,880
Speaker 2: she was telling me she was looking for someone on

1083
00:56:07,080 --> 00:56:08,840
Speaker 2: for weekends the other day. Like it's that kind of

1084
00:56:08,920 --> 00:56:12,920
Speaker 2: place that sometimes those things still happen, But that was

1085
00:56:13,000 --> 00:56:15,120
Speaker 2: the whole vibe of the whole town. And it's for

1086
00:56:15,280 --> 00:56:18,600
Speaker 2: better and for worse. Yeah, because people know your business,

1087
00:56:19,040 --> 00:56:22,640
Speaker 2: but people also know your fucking business. It's like it's

1088
00:56:22,680 --> 00:56:25,279
Speaker 2: for better and for the best.

1089
00:56:25,160 --> 00:56:29,680
Speaker 1: Part of that movie to me is when they let

1090
00:56:29,840 --> 00:56:32,680
Speaker 1: Paul Newman's character out of jail to be a pallbearer

1091
00:56:32,800 --> 00:56:35,080
Speaker 1: for a funeral, and like the one of the one

1092
00:56:35,120 --> 00:56:37,239
Speaker 1: of the Paull bars, like gotta love a small town

1093
00:56:37,560 --> 00:56:38,920
Speaker 1: let a guy out of jail to be a pall

1094
00:56:39,000 --> 00:56:40,719
Speaker 1: bear at a funeral. I was like that, It is

1095
00:56:41,400 --> 00:56:47,960
Speaker 1: literally the greatest line and just perfectly encapsulates this whole movie,

1096
00:56:48,040 --> 00:56:48,800
Speaker 1: you know what I mean.

1097
00:56:49,480 --> 00:56:52,840
Speaker 2: Even the fact that he went they let him go

1098
00:56:53,080 --> 00:56:55,799
Speaker 2: to the bar and have a beer and then walk

1099
00:56:55,920 --> 00:56:57,759
Speaker 2: himself to jail across a.

1100
00:56:57,840 --> 00:57:03,640
Speaker 1: Street like that whole jail is so good. Oh my god,

1101
00:57:03,840 --> 00:57:06,640
Speaker 1: I know I look so charming and like and so

1102
00:57:07,000 --> 00:57:11,640
Speaker 1: do you think that how like and knowing that this

1103
00:57:11,960 --> 00:57:15,440
Speaker 1: story or at least this this sort of place, the

1104
00:57:15,520 --> 00:57:18,040
Speaker 1: time and place of this movie is so relevant to

1105
00:57:18,120 --> 00:57:20,320
Speaker 1: you and how you grew up, do you think that

1106
00:57:20,560 --> 00:57:22,320
Speaker 1: it would have Do you think that Soully would have

1107
00:57:22,440 --> 00:57:25,120
Speaker 1: been at all as charming if it was if it

1108
00:57:25,240 --> 00:57:27,720
Speaker 1: was Richard Burton or another actor, Like I don't even

1109
00:57:27,720 --> 00:57:29,280
Speaker 1: think Richard Burton was alive, but you know what I mean,

1110
00:57:29,400 --> 00:57:31,280
Speaker 1: Just like if it was somebody else but Paul Newman

1111
00:57:31,760 --> 00:57:34,880
Speaker 1: wouldn't have been good, you know.

1112
00:57:35,520 --> 00:57:40,200
Speaker 2: Nope, flat out categorically nope. This is also interesting to

1113
00:57:40,280 --> 00:57:43,440
Speaker 2: me about himself, Like he he let himself age on

1114
00:57:43,560 --> 00:57:47,320
Speaker 2: screen so you could see how he could play these

1115
00:57:47,320 --> 00:57:49,480
Speaker 2: different levels and reach and that kind of is the

1116
00:57:49,600 --> 00:57:52,440
Speaker 2: charm that he carried with him throughout every movie, right

1117
00:57:52,560 --> 00:57:54,080
Speaker 2: and just because that's who he was. It was a

1118
00:57:54,160 --> 00:57:58,680
Speaker 2: charming dude or seemed to be. But this guy played

1119
00:57:58,720 --> 00:58:02,600
Speaker 2: by anyone else is a motherfucker because again, like this,

1120
00:58:02,880 --> 00:58:06,280
Speaker 2: this guy in real life does not have any charm.

1121
00:58:06,520 --> 00:58:08,520
Speaker 1: Yeah, he's mean, he kicks.

1122
00:58:08,360 --> 00:58:10,880
Speaker 2: Your car if you park too close to him, Like

1123
00:58:11,040 --> 00:58:15,240
Speaker 2: he's like, you know, mean drunk this guy. Yi.

1124
00:58:15,760 --> 00:58:16,360
Speaker 1: I totally agree.

1125
00:58:16,360 --> 00:58:17,720
Speaker 2: I mean, I totally agree.

1126
00:58:17,880 --> 00:58:21,440
Speaker 1: I feel like it goes back to maybe what we

1127
00:58:21,560 --> 00:58:24,160
Speaker 1: were saying earlier about how Paul Newman really is like

1128
00:58:24,600 --> 00:58:27,240
Speaker 1: America's Sweetheart. Like it's like that thing where you're like,

1129
00:58:28,040 --> 00:58:31,160
Speaker 1: he couldn't even play, Like even when he is the surliest,

1130
00:58:31,280 --> 00:58:33,600
Speaker 1: even when he's in like slap Shot, or he is

1131
00:58:33,760 --> 00:58:38,280
Speaker 1: like and Nobody's Fool, you still love that motherfucker. It

1132
00:58:38,320 --> 00:58:40,680
Speaker 1: doesn't matter. Like even if he's grouchy and grumpy and

1133
00:58:40,800 --> 00:58:43,520
Speaker 1: does bad things, it makes poor choices. You're like, h,

1134
00:58:43,640 --> 00:58:45,840
Speaker 1: but he's still hot, like and he's still charming, and

1135
00:58:45,920 --> 00:58:47,760
Speaker 1: he's still you know.

1136
00:58:48,880 --> 00:58:52,000
Speaker 2: Slapshot is one of my favorite all time different movies. Yeah,

1137
00:58:52,960 --> 00:58:55,000
Speaker 2: and I came to it later in life. I think

1138
00:58:55,040 --> 00:58:57,040
Speaker 2: I watched it for the way after Nobody's Fool. I

1139
00:58:57,080 --> 00:58:59,840
Speaker 2: think because Nobody's Fool came out when I was sixteen.

1140
00:59:00,160 --> 00:59:05,520
Speaker 2: I remember renting it on VHS. I love it, But

1141
00:59:05,640 --> 00:59:08,360
Speaker 2: I saw Slapshop much later, and I'm like, this guy

1142
00:59:08,520 --> 00:59:12,800
Speaker 2: is like a dick bag in both movies. See, but

1143
00:59:12,960 --> 00:59:18,480
Speaker 2: he's really funny, like he's really he's so comical, and

1144
00:59:18,560 --> 00:59:20,960
Speaker 2: I think again, it's just like it's to his credit

1145
00:59:21,040 --> 00:59:23,640
Speaker 2: as an actor that he's able to fucking do that.

1146
00:59:24,160 --> 00:59:26,240
Speaker 2: Then he's able to flip that switch. I can't think

1147
00:59:26,280 --> 00:59:27,280
Speaker 2: of anyone today who does.

1148
00:59:27,240 --> 00:59:29,400
Speaker 1: Well and like the only person I think that even

1149
00:59:29,640 --> 00:59:34,200
Speaker 1: would come close to playing this character in his older

1150
00:59:34,240 --> 00:59:37,000
Speaker 1: age like this is like Jack Nicholson, But Jack Nicholson

1151
00:59:37,040 --> 00:59:40,240
Speaker 1: isn't even this charming Jack Nicholson when he's playing the

1152
00:59:40,480 --> 00:59:42,440
Speaker 1: like as good as It Gets Got is an asshole,

1153
00:59:42,520 --> 00:59:44,760
Speaker 1: and you're like, he's just an asshole, you know, And

1154
00:59:44,880 --> 00:59:48,440
Speaker 1: it's like yep, yeah, okay, eventually he'll like charm his

1155
00:59:48,520 --> 00:59:51,320
Speaker 1: way into the heart. But it's like, no, there's a

1156
00:59:51,480 --> 00:59:54,360
Speaker 1: there's a difference between Paul Newman being an asshole and

1157
00:59:54,480 --> 00:59:55,680
Speaker 1: somebody else being an asshole.

1158
00:59:55,760 --> 00:59:57,880
Speaker 2: I mean as good as he gets asshole, which is

1159
00:59:57,920 --> 01:00:02,440
Speaker 2: an Eastwick asshole, the departed ass whole asshole.

1160
01:00:04,880 --> 01:00:06,880
Speaker 1: He can't do it. He can't do it. No one

1161
01:00:06,920 --> 01:00:09,800
Speaker 1: can do it, can't be a lovable asshole like Paul

1162
01:00:09,880 --> 01:00:11,800
Speaker 1: Newman convey. So that's the testament.

1163
01:00:12,360 --> 01:00:14,760
Speaker 2: And there's also like the what the thing we haven't

1164
01:00:14,800 --> 01:00:19,240
Speaker 2: talked about yet is his physicality. He seemed like he

1165
01:00:19,400 --> 01:00:23,480
Speaker 2: was a short guy. But his eyes and I'm sure

1166
01:00:23,520 --> 01:00:25,880
Speaker 2: there have been sonnets written about this man's face.

1167
01:00:26,320 --> 01:00:28,720
Speaker 1: I wrote them his eyes as.

1168
01:00:29,640 --> 01:00:34,800
Speaker 2: You've got a whole folder and a traveler keeper. I

1169
01:00:34,960 --> 01:00:38,440
Speaker 2: have never in my life been attracted to an eyeball.

1170
01:00:38,800 --> 01:00:42,200
Speaker 2: And then I have in his face like his especially

1171
01:00:42,280 --> 01:00:46,280
Speaker 2: as he ages, like his face becomes so his face

1172
01:00:46,360 --> 01:00:48,240
Speaker 2: is like a work of art, and his eyes are

1173
01:00:48,360 --> 01:00:51,680
Speaker 2: just like jewels shining in this like kind of wrinkly,

1174
01:00:52,200 --> 01:00:54,280
Speaker 2: saggy sort of oh god.

1175
01:00:54,360 --> 01:00:58,320
Speaker 1: It just he has this like athleticism to him, which

1176
01:00:58,680 --> 01:01:01,560
Speaker 1: like even in his old age, like in nobody's full

1177
01:01:01,600 --> 01:01:03,880
Speaker 1: when he's hobbling around because he has a leg injury

1178
01:01:04,000 --> 01:01:08,120
Speaker 1: that he hasn't addressed or whatever, like he's still he

1179
01:01:08,200 --> 01:01:12,120
Speaker 1: doesn't seem old. He always seems really spry, and you know,

1180
01:01:12,240 --> 01:01:15,040
Speaker 1: he was fit, like he's who was fit and that's

1181
01:01:15,080 --> 01:01:17,240
Speaker 1: probably why he lived as long as he did. And

1182
01:01:17,600 --> 01:01:20,480
Speaker 1: you know he was He's got kind of that athletic

1183
01:01:20,600 --> 01:01:23,920
Speaker 1: body that he pretty much kept his entire life. So

1184
01:01:24,440 --> 01:01:27,120
Speaker 1: I was like, I'm just always like mesmerized by the

1185
01:01:27,160 --> 01:01:29,880
Speaker 1: way he moves around and like, you know, so it's like, yeah,

1186
01:01:30,240 --> 01:01:32,160
Speaker 1: you're right, He's amazing completely.

1187
01:01:32,280 --> 01:01:35,320
Speaker 2: His physicality is intensely good. And I know we're probably

1188
01:01:35,360 --> 01:01:37,800
Speaker 2: gonna have to talk about Roger Perdition in another theme,

1189
01:01:37,960 --> 01:01:40,480
Speaker 2: because I do love that movie, but that was his

1190
01:01:40,640 --> 01:01:43,040
Speaker 2: last film, and even in that movie, he was like

1191
01:01:43,840 --> 01:01:49,320
Speaker 2: genuinely dead months later and he's so stoic, like you

1192
01:01:49,360 --> 01:01:52,280
Speaker 2: would not know basically to watch him that he was

1193
01:01:52,400 --> 01:01:55,880
Speaker 2: battling lung cancer. And yeah, he's He's got a real

1194
01:01:56,000 --> 01:02:00,400
Speaker 2: physicality that I think I feel like Leonardo DiCaprio to

1195
01:02:00,480 --> 01:02:02,760
Speaker 2: get to with like The Revenant and all that stuff,

1196
01:02:02,800 --> 01:02:03,720
Speaker 2: but he always goes.

1197
01:02:03,680 --> 01:02:06,240
Speaker 1: Like all the way to the top episode.

1198
01:02:06,600 --> 01:02:07,040
Speaker 2: We know that.

1199
01:02:09,880 --> 01:02:10,280
Speaker 1: That's all.

1200
01:02:11,400 --> 01:02:14,080
Speaker 2: But Newman keeps it subtle, and that's part of his

1201
01:02:14,240 --> 01:02:17,000
Speaker 2: sexiness to me, is that he keeps his shit together

1202
01:02:17,520 --> 01:02:19,040
Speaker 2: and he knows when to lay it on and he

1203
01:02:19,160 --> 01:02:21,440
Speaker 2: knows when to pull back, and he just makes every

1204
01:02:21,600 --> 01:02:23,640
Speaker 2: character pop that way.

1205
01:02:24,200 --> 01:02:26,320
Speaker 1: Well, I for what, I'm so glad that you picked

1206
01:02:26,360 --> 01:02:28,680
Speaker 1: this movie. I mean, I honestly thought it was such

1207
01:02:28,720 --> 01:02:31,120
Speaker 1: a fun I'll just tell you. I watched it on

1208
01:02:31,200 --> 01:02:35,720
Speaker 1: election night and I was like, I popped his annex

1209
01:02:35,800 --> 01:02:38,280
Speaker 1: and watched Nobody's full and I was like, hell, yes,

1210
01:02:38,440 --> 01:02:40,120
Speaker 1: this is the spot I want to be in. I

1211
01:02:40,160 --> 01:02:45,000
Speaker 1: want to be in this cozy, snowy winter wonderland of

1212
01:02:45,120 --> 01:02:49,160
Speaker 1: all these like really great towny characters and Paul Newman's hotness,

1213
01:02:49,760 --> 01:02:53,160
Speaker 1: and I just was so I loved it. I really

1214
01:02:53,240 --> 01:02:57,480
Speaker 1: and it was literally like I hadn't even really known

1215
01:02:57,560 --> 01:02:59,840
Speaker 1: much about it, and you know, like it was that

1216
01:03:00,080 --> 01:03:01,600
Speaker 1: thing where I'm like, oh, and then so and so

1217
01:03:01,800 --> 01:03:03,920
Speaker 1: is in it and Robert Ben directing it, and it's like,

1218
01:03:03,960 --> 01:03:06,000
Speaker 1: you know that kind of thing. So you really did

1219
01:03:06,120 --> 01:03:08,720
Speaker 1: turn me onto something. So I'm so pleased that you

1220
01:03:08,800 --> 01:03:09,080
Speaker 1: pick this.

1221
01:03:09,440 --> 01:03:11,720
Speaker 2: That makes me so happy because it is it is.

1222
01:03:12,880 --> 01:03:14,960
Speaker 2: I mean, the kids are always talking about the vibes.

1223
01:03:15,920 --> 01:03:18,760
Speaker 2: This movie is a vibe, right, Like I'm glad that

1224
01:03:18,840 --> 01:03:20,560
Speaker 2: you had that experience with it because that it is

1225
01:03:20,640 --> 01:03:22,600
Speaker 2: like a comfort love it for me where I just

1226
01:03:22,760 --> 01:03:24,960
Speaker 2: curl up and I'm like, oh, I'm gonna get like

1227
01:03:25,600 --> 01:03:28,920
Speaker 2: the Sully vibes and I'm gonna watch this amazing scene

1228
01:03:29,240 --> 01:03:31,080
Speaker 2: unfold in front of me. And again, like it's a

1229
01:03:31,120 --> 01:03:34,880
Speaker 2: credit to the writers that they were able to draw

1230
01:03:35,000 --> 01:03:38,200
Speaker 2: out so much story and so many characters, like this

1231
01:03:38,360 --> 01:03:41,920
Speaker 2: is a real ensemble cast and I didn't feel like

1232
01:03:42,080 --> 01:03:47,080
Speaker 2: they were ignoring anybody. But it's just it's such a tender,

1233
01:03:47,200 --> 01:03:47,919
Speaker 2: beautiful movie.

1234
01:03:48,000 --> 01:03:49,360
Speaker 1: He is so hot.

1235
01:03:50,920 --> 01:03:53,919
Speaker 2: He is so hot because this is a hard one,

1236
01:03:54,000 --> 01:03:56,440
Speaker 2: like we really I thought about putting in slapshop. Thought

1237
01:03:58,240 --> 01:04:02,959
Speaker 2: he's been hot his whole life. It's again, cheers.

1238
01:04:02,680 --> 01:04:04,760
Speaker 1: Sir to your cheers to that.

1239
01:04:05,320 --> 01:04:08,120
Speaker 2: This is the question question that I have too, though,

1240
01:04:08,720 --> 01:04:12,320
Speaker 2: like trying to like in kind of not understanding this,

1241
01:04:12,440 --> 01:04:16,080
Speaker 2: but maybe I don't know. I just I wonder about

1242
01:04:16,680 --> 01:04:20,400
Speaker 2: what do you know about how his hotness, how it

1243
01:04:20,520 --> 01:04:24,120
Speaker 2: hit people in different eras, Like was he bad boy

1244
01:04:24,160 --> 01:04:25,960
Speaker 2: in the sixties and then he kind of morphed into

1245
01:04:26,000 --> 01:04:28,000
Speaker 2: like a dad and then he kind of warphed into

1246
01:04:28,280 --> 01:04:31,000
Speaker 2: like do you know anything about his areas of hotness?

1247
01:04:31,040 --> 01:04:34,120
Speaker 1: He was literally the good guy his entire life. He

1248
01:04:34,200 --> 01:04:36,960
Speaker 1: was married to the same woman for like fifty sixty years,

1249
01:04:37,080 --> 01:04:39,800
Speaker 1: Joanne Woodward, who was like an actress herself, and they

1250
01:04:39,840 --> 01:04:43,840
Speaker 1: were in movies together. He by all accounts, and you know,

1251
01:04:44,000 --> 01:04:46,360
Speaker 1: not that I know a ton of old Hollywood gossip,

1252
01:04:46,480 --> 01:04:48,040
Speaker 1: Like I'm not like head of Hopper or something like that,

1253
01:04:48,160 --> 01:04:52,200
Speaker 1: but I'm like just based on research and just knowing

1254
01:04:52,680 --> 01:04:55,840
Speaker 1: what I know about old Hollywood. He was like as

1255
01:04:56,000 --> 01:04:59,840
Speaker 1: good as people might have thought he was, Like I mean,

1256
01:05:00,000 --> 01:05:03,400
Speaker 1: he doesn't seem to be a lot of juice on him,

1257
01:05:04,880 --> 01:05:07,000
Speaker 1: and he seemed to be like a stand up guy's

1258
01:05:07,160 --> 01:05:12,760
Speaker 1: entire life. And that is why ultimately people love him

1259
01:05:12,800 --> 01:05:14,880
Speaker 1: so much, is that he's just sort of like he's

1260
01:05:14,960 --> 01:05:17,880
Speaker 1: just good. He's just a good dude. Yeah, he's a

1261
01:05:17,960 --> 01:05:20,560
Speaker 1: wife guy, totally a wife guy.

1262
01:05:20,760 --> 01:05:24,160
Speaker 2: He really Like that's part of the hotness for me. Yeah,

1263
01:05:25,080 --> 01:05:27,760
Speaker 2: is that he's just a good person. Yeah. I have this.

1264
01:05:29,000 --> 01:05:30,600
Speaker 1: You know, I'm sure there's probably been more than one

1265
01:05:30,680 --> 01:05:33,560
Speaker 1: coffee table book about him. I have this one that

1266
01:05:33,600 --> 01:05:36,040
Speaker 1: I think Chronicle put out like many years ago, and

1267
01:05:36,120 --> 01:05:38,120
Speaker 1: it was just called I think it's called Paul Newman

1268
01:05:38,240 --> 01:05:41,040
Speaker 1: in Pictures, And it was just like all these photographs

1269
01:05:41,080 --> 01:05:43,640
Speaker 1: taken of like him and Joe Anne Woodward just like

1270
01:05:43,760 --> 01:05:46,280
Speaker 1: hanging out in the yard and like and I just

1271
01:05:46,480 --> 01:05:49,920
Speaker 1: want to cry because I'm like, I'll never have a

1272
01:05:50,080 --> 01:05:54,760
Speaker 1: love as pure as that, Like they are super cute,

1273
01:05:54,920 --> 01:05:57,440
Speaker 1: like you know, they're both dancing in the living room

1274
01:05:57,520 --> 01:05:59,760
Speaker 1: to records and like you know, in the yard and

1275
01:06:00,360 --> 01:06:03,320
Speaker 1: at the beach, and I just want to cry all night.

1276
01:06:03,520 --> 01:06:04,400
Speaker 1: It's so cute.

1277
01:06:04,880 --> 01:06:06,800
Speaker 2: That's the kind of couple that makes me have hope. Though,

1278
01:06:06,880 --> 01:06:08,640
Speaker 2: Like sometimes most of the time when I see those

1279
01:06:08,840 --> 01:06:12,480
Speaker 2: couples in those pictures, I'm like fuck off. But with them,

1280
01:06:12,480 --> 01:06:14,640
Speaker 2: I'm like, oh no, that was good. Yeah, I mean

1281
01:06:14,760 --> 01:06:17,080
Speaker 2: like they knew it was good. They knew it was good.

1282
01:06:17,960 --> 01:06:20,520
Speaker 1: I mean, classic Hollywood was known to like stage a

1283
01:06:20,600 --> 01:06:24,680
Speaker 1: few you know, publicity photos of time or two for sure,

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01:06:25,160 --> 01:06:30,360
Speaker 1: but it felt they staged entire marriage, entire street marriages

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01:06:30,680 --> 01:06:33,600
Speaker 1: for gay people. So it's kind of like, yeah, it's

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01:06:33,800 --> 01:06:37,680
Speaker 1: it's phony as shit normally, but like you, they were

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01:06:37,760 --> 01:06:41,240
Speaker 1: together their entire lives, and they had kids, and he

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01:06:41,440 --> 01:06:44,480
Speaker 1: was like a race car driver and the salad dressing thing,

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01:06:44,560 --> 01:06:46,960
Speaker 1: and he just seemed like a good dude. I mean

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01:06:47,000 --> 01:06:50,240
Speaker 1: he's like, really one of the only classic actors that

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01:06:50,360 --> 01:06:53,160
Speaker 1: I've heard of that was a decent person. Like I

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01:06:53,200 --> 01:06:55,360
Speaker 1: don't that I don't hear much about. Let's just say

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Speaker 1: that so.

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01:06:56,760 --> 01:07:01,560
Speaker 2: Well, Sully. Sully can get it just any again. I

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01:07:01,640 --> 01:07:04,280
Speaker 2: don't know that I have a type, but I feel like,

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01:07:05,480 --> 01:07:07,760
Speaker 2: have you watched any of the David Letterman My next

1297
01:07:07,800 --> 01:07:11,280
Speaker 2: guest is no or my next guest needs now introduction.

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01:07:12,560 --> 01:07:16,400
Speaker 2: He does an episode with Kanye which is wild and watched.

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01:07:16,520 --> 01:07:21,000
Speaker 2: But there's a scene in that episode where Kanye takes

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01:07:21,120 --> 01:07:25,440
Speaker 2: Dave shopping in his closet essentially for yeezis and like,

1301
01:07:25,800 --> 01:07:28,880
Speaker 2: you know, his line of clothing and David letterman big

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01:07:28,960 --> 01:07:32,360
Speaker 2: white beard, like kinda you know he's David Letter He

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01:07:32,520 --> 01:07:34,600
Speaker 2: dresses like he's gonna go out to the garage and

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01:07:34,680 --> 01:07:37,040
Speaker 2: work on a car when he puts on some of

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01:07:37,120 --> 01:07:39,800
Speaker 2: these like the like a tailored jacket and like a

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01:07:40,480 --> 01:07:41,800
Speaker 2: turtleneck and like.

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01:07:41,960 --> 01:07:44,000
Speaker 1: That is my sees I want.

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01:07:44,120 --> 01:07:46,400
Speaker 2: I used to say, like, don't even approach me if

1309
01:07:46,400 --> 01:07:49,040
Speaker 2: you don't have gray hair, but now I definitely think

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01:07:49,600 --> 01:07:51,800
Speaker 2: don't approach me unless you've had a major cardiac event.

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01:07:53,520 --> 01:07:56,720
Speaker 2: My type is like, you know, you're on lipatour and

1312
01:07:56,840 --> 01:07:58,880
Speaker 2: my kink is I get to sleep in my bed

1313
01:07:59,000 --> 01:08:06,120
Speaker 2: alone from corner corner Like that is so Yeah, Sally

1314
01:08:06,200 --> 01:08:07,800
Speaker 2: fits right in there because he looks like the kind

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01:08:07,800 --> 01:08:10,280
Speaker 2: of guy who's like jacket smells like gasoline. I just

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01:08:10,360 --> 01:08:11,520
Speaker 2: I love it, I just love it.

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01:08:11,680 --> 01:08:15,800
Speaker 1: Yeah, he's adorable. This movie is great and I wouldn't

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01:08:15,800 --> 01:08:17,439
Speaker 1: have known about it truly if it wasn't for you.

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01:08:17,640 --> 01:08:20,439
Speaker 1: And when I saw it, the first ten minutes of it,

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01:08:20,479 --> 01:08:23,439
Speaker 1: I was like, oh, yeah, Danielle picked this movie. It

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01:08:23,560 --> 01:08:26,200
Speaker 1: reminds it reminded me of you, just like knowing what

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01:08:26,320 --> 01:08:28,360
Speaker 1: I know about you growing up in Upstate New York.

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Speaker 2: Like I just knew it.

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01:08:30,360 --> 01:08:33,320
Speaker 1: And that's great. Like I love when movies remind me

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Speaker 1: of people, and I love that, Like you love this movie.

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Speaker 2: So that's incredibly sweet. That makes me very happy, and

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Speaker 2: I'm really glad you loved it. It's a good movie.

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01:08:40,520 --> 01:08:45,040
Speaker 2: It's a good movie. And again, why do you gotta

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Speaker 2: be so hot? This has been an exactly right production.

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Speaker 2: Our producer is Lauren Elizabeth Brown. For engineers Annalise Nelson

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01:08:57,680 --> 01:09:00,760
Speaker 2: or Social media assistant is Taren Matza. Theme songs by

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01:09:00,800 --> 01:09:04,559
Speaker 2: Tom bry Fogel. Artwork by Garrett Ross. Our executive producers

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01:09:04,600 --> 01:09:07,600
Speaker 2: are Georgia Hartstark, Karen co Gareth and Danielle Kramer. You

1334
01:09:07,680 --> 01:09:10,440
Speaker 2: can follow us on Instagram and Twitter at I Sawpod

1335
01:09:10,760 --> 01:09:13,479
Speaker 2: and please listen, subscribe and leave us a review on

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01:09:13,680 --> 01:09:16,320
Speaker 2: Apple podcast, Stitcher or wherever you listen.