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

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Speaker 2: This episode is brought to you by Peloton. Break through

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Speaker 2: the busiest time of year with the brand new Peloton

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Speaker 3: What kind of a show you guys putting on here today?

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Speaker 4: You're not interested in art?

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Speaker 5: Now?

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Speaker 4: No, Look, we're going to do this thing.

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Speaker 3: We're going to have a conversation from Chicago. This is

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Speaker 3: Film Spotting celebrating our twentieth year. I'm Josh Larson and

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Speaker 3: I'm Adam Kempinar. When I am.

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Speaker 6: Alone in the half light of the canyon, all existence

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Speaker 6: seems to fade to a being with my soul and memories,

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Speaker 6: and the sounds of the big Blackfoot River and a

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Speaker 6: four count rhythm and the hope that a fish will rise.

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Speaker 1: When Robert Redford died last month at the age of

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Speaker 1: eighty nine, he left behind a formidable legacy as an actor,

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Speaker 1: as co founder of the Sundance Film Festival, and as

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Speaker 1: a director of films like nineteen ninety two's A River

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Speaker 1: Runs Through It.

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Speaker 3: We remember the icon this week with our top five

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Speaker 3: Robert Redford movies that more ahead on film spotting.

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Speaker 1: Welcome to film Spotting. Here we are Josh, remembering one

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Speaker 1: of the definitive actors of the seventies. The same week

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Speaker 1: we lost another great actor of the seventies, Diane Keaton.

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Speaker 7: Very sad news.

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Speaker 1: She certainly deserves her own top five, and we have

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Speaker 1: been discussing that just a little bit in the film

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Speaker 1: spotting slack. We haven't been able to have a full

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Speaker 1: on film spotting production meeting yet between me, you and

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Speaker 1: producer Sam, but we want to pay tribute to Diane Keaton.

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Speaker 1: Maybe we'll get to it. Unfortunately, fall movie season is

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Speaker 1: upon us. We're getting into screener season and our top

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Speaker 1: ten of the year. If not in the coming weeks,

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Speaker 1: certainly when we get to January.

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Speaker 7: I hope we can do it before then, though.

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Speaker 3: Yeah, I think we we have to. It's it's been

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Speaker 3: a year, you know, as you said, with remembering those

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Speaker 3: who have passed, like Hackman, and thinking about this era

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Speaker 3: of giant actors and Redford as we're gonna do now,

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Speaker 3: and Keaton too, I think I think we have to

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Speaker 3: consider them all together. Debbie and I were just talking about,

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Speaker 3: you know, how this must feel, especially for film fans

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Speaker 3: of maybe our parents' generation, so contemporaries to some of

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Speaker 3: these folks, and and we're watching them, you know, in

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Speaker 3: their heyday, in their prime as those movies came out,

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Speaker 3: you know, the loss has to feel even more. But yeah, Keaton,

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Speaker 3: you know, as is the case with these legends, you

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Speaker 3: and I always still need to do more homework, and

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Speaker 3: so that is what it would be nice to do

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Speaker 3: with her filmography as well. I think of her first

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Speaker 3: and foremost, as most people do with Woody Allen, as

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Speaker 3: a Woody Allen collaborator, and for me, she was always

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Speaker 3: sort of that tonic to Woody Allen that I needed,

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Speaker 3: even going way way back when I was younger and

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Speaker 3: just experiencing him. She was a nice played off him

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Speaker 3: well and with what he brought to the scream. I

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Speaker 3: thought about as if you know Ginger Rogers gave Fred

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Speaker 3: Astaire sex appeal, you know that old talk, something similar

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Speaker 3: happened where Allen's romantic allure was never as believable as

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Speaker 3: when Keaton was responding to it in some of those films.

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Speaker 3: And I think a Manhattan especially where they had that

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Speaker 3: shared banter and maybe a shared back get case quality

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Speaker 3: that made their characters these endearing counterparts. But also, you

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Speaker 3: know Allan's one liners, when he tossed them at Keaton,

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Speaker 3: it was different because she caught them and she juggled

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Speaker 3: them expertly and tossed them back. And that was what

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Speaker 3: I think made the collaboration really as successful as it

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Speaker 3: was acknowledging all the issues, you know, and concerns we

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Speaker 3: should have with Alan, But looking at those films and

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Speaker 3: Keaton's part in them, I think that's a crucial thing

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Speaker 3: she brought to the collaboration.

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Speaker 8: She just called the.

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Speaker 3: Police down nine one one to lopster squad. Come on, Alvy,

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Speaker 3: the only f ones, for God's sakes, they're only babies,

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Speaker 3: and you pick them up.

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Speaker 1: All right, all right, all right here here, don't give

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Speaker 1: it to me.

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Speaker 3: So look one crawl behind the refrigerator, it'll turn up

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Speaker 3: on bed at night, and you get out of.

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Speaker 1: Depending on the character, she also so effortlessly ignored them,

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Speaker 1: and that worked very well for those characters often on screen.

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Speaker 1: I am going to put you on the spot just

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Speaker 1: for a second. You mentioned homework. I'm in a pretty

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Speaker 1: decent position with Diane Keaton because I've seen all of

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Speaker 1: those Woody Allen movies that she collaborated on. Is there one,

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Speaker 1: in particular, if you could only watch one Diane Keaton

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Speaker 1: movie that you need to see, is there one that

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Speaker 1: stands out as the one you would watch?

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Speaker 3: Yeah, it's the one that came up on the show recently,

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Speaker 3: Reds and you had that. Yes, you were top five

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Speaker 3: Jack Nicholson scenes list. Another seventies legend we've reckoned with

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Speaker 3: recently on the show, and I just had to sit

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Speaker 3: there and take your word for it. So you know,

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Speaker 3: that is one that I definitely would probably watch first.

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Speaker 3: I'm pretty good in terms of the Allen films as well.

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Speaker 3: There's probably some more recent ones that I'd want to

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Speaker 3: catch up with to consider the latter stages of her career.

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Speaker 3: But yeah, I'd have to start with Reds.

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Speaker 1: I think for me, the one I'm most curious to

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Speaker 1: see is Looking for Mister Goodbar because it's known as

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Speaker 1: or it has the reputation as being such a departure

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Speaker 1: for her. But the one I'd probably have to see

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Speaker 1: is Something's Got to Give. I'm just not very familiar

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Speaker 1: with really any of the movies that Keaton was in

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Speaker 1: post like ninety six, Marvin's Room, The First Wives Club,

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Speaker 1: those those types of films, the romantic comedies that Diane

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Speaker 1: Keaton was in over the past thirty years. Those are

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Speaker 1: the movies that I need to catch up with. And

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Speaker 1: I think that Something's got to Give is the one

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Speaker 1: that tends to be the movie that people put at

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Speaker 1: the top of that list.

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Speaker 3: So yeah, it's and more Nickels at the top of

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Speaker 3: my list, mar Nicholson with Something's Got to Give, and yeah,

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Speaker 3: the ones I've seen, you know, one of her great

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Speaker 3: late career performances.

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Speaker 1: All I know is I'm putting interiors in every slot

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Speaker 1: on my top five. So if you haven't seen it,

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Speaker 1: you better you better do that homework. Josh in the

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Speaker 1: film Spotting Archive We do have sacred Cow reviews of

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Speaker 1: The Godfather Parts one and two. I think I think

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Speaker 1: we did that just for Film Spotting family members. Least

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Speaker 1: the Godfather Part two. Godfather Part one was a Sacred

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Speaker 1: Cow review and you can find that in the archive

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Speaker 1: of You're a family Member. And as part of our

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Speaker 1: Pantheon project, we've been putting it off. But Annie hall

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Speaker 1: An anniversary will be coming up in twenty twenty seven.

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Speaker 1: I don't know, maybe we need to bump that up

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Speaker 1: on the calendar, Josh and pay tribute properly to Diane

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Speaker 1: Keaton with a discussion of that film.

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Speaker 7: We will see if that happens.

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Speaker 1: Later on this episode, we will also preview the Chicago

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Speaker 1: International Film Festival. It starts right now. If you're hearing this,

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Speaker 1: the festival is going on. It runs through the twenty sixth.

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Speaker 1: You will also hear Massacre Theater. You will also watch

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Speaker 1: Massacre Theater potentially because we remind you that Film Spotting

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Speaker 1: is now available as a video podcast. If you're a

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Speaker 1: Spotify listener, you can toggle between video and audio. You

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Speaker 1: can also watch the show on YouTube, and you can

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Speaker 1: find a link to those video episodes on the main

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Speaker 1: page of our website, Josh. You can also go to

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Speaker 1: filmspotting dot net slash episodes.

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Speaker 3: I can't wait to get the feedback, Adham. On my

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Speaker 3: first visit to a Scottish barbershop, I finally got in.

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Speaker 7: After all, I can tell over.

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Speaker 3: A month here and and yeah, I don't know if

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Speaker 3: it's a little more of the you know, proper football

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Speaker 3: look the a little closer there, but we're, you know,

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Speaker 3: we're getting to know each other. So uh yeah, viewers,

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Speaker 3: viewers of film Spotting can track my Scottish haircuts as

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Speaker 3: we go along. Here.

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Speaker 1: You're opening up a scary door there, Josh, asking for

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Speaker 1: comments about your hair. First up on this week's show,

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Speaker 1: we are paying tribute to Robert Redford, and we decided,

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Speaker 1: as we alluded to on our last show, as we teased,

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Speaker 1: we are doing Robert Redford movies, so not individual performances

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Speaker 1: or individual scenes. We want to include, as we said

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Speaker 1: in the open there, trying to encompass his entire legacy.

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Speaker 1: Though we're not going to count Sunday movies that maybe

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Speaker 1: he shepherded through somehow. We're just going to talk about

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Speaker 1: movies that he starred in or movies that he directed.

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Speaker 1: Those are eligible for this list, and Josh, I'm gonna

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Speaker 1: let you take it away, though I will acknowledge that

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Speaker 1: his first feature was nineteen sixties Tall Story with Jane

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Speaker 1: Fonda and Anthony Perkins, and Redford's role was uncredited as

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Speaker 1: a basketball player. Of course, he appeared in movies in

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Speaker 1: the sixties, the seventies, the eighties, and the nineties on

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Speaker 1: into the two thousands and up until twenty eighteen. He

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Speaker 1: was in David Lowry's The Old Man and the Gun.

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Speaker 1: That was his final role in a movie I did see,

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Speaker 1: and I enjoyed watching him in. Even if I thought

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Speaker 1: it was just a pretty decent film, That's not one

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Speaker 1: that I strongly considered for my list, And of course

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Speaker 1: we only have five slots, and there were a lot

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Speaker 1: of great options.

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Speaker 3: Fair to say, he was involved in a lot of

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Speaker 3: pretty decent films. As you said that phrase, it kind

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Speaker 3: of captured looking over his filmography and considering the titles

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Speaker 3: for this list is a lot of Yeah that was

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Speaker 3: pretty good. Yeah, that was pretty good. And then, of

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Speaker 3: course our task is to narrow it down to these

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Speaker 3: top five. And you're telling me I can't have Sundance

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Speaker 3: as my number four pick. I'll have to maybe figure

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Speaker 3: something else out here. Okay, all right, So yeah, thinking

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Speaker 3: about this, I don't know if you had this experience, Adam,

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Speaker 3: but we have done a fair amount of these actor

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Speaker 3: centric top five's career spanning top fives this year on

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Speaker 3: the show. This one felt very different than say, the

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Speaker 3: Gene Hackman one we did, or the Jack Nicholson one

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Speaker 3: we did. Those actors, to me had this antagonistic energy

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Speaker 3: and it was one that arose out of a sense

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Speaker 3: of inner distress that both actors, in different ways, could

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Speaker 3: electrifyingly convey. You could probably put we didn't do a

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Speaker 3: Pacino Top five, but we did talk about Dog Day Afternoon,

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Speaker 3: a Sacred Cow Pantheon project review of that, and I

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Speaker 3: think you could put al Pacino in this category. Two.

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Speaker 3: So in comparison, Redford to me had an inner ease,

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Speaker 3: I'm going to try not to use that word too much,

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Speaker 3: an inner ease that permeated from within and then it

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Speaker 3: just flowed out into his performances, you know, his characters

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Speaker 3: and the way he just carried himself on screen. And

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Speaker 3: I will say that was largely my perception of him beforehand.

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Speaker 3: And I can't say that my homework, which I was

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Speaker 3: able to fit in a couple of titles. I can't

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Speaker 3: say my homework altered it all that much. I haven't

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Speaker 3: come away discovering unheralded depths to Redford, but more of

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Speaker 3: a greater appreciation for who I understood him to be

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Speaker 3: in the various ways he did it, the unique, unique

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Speaker 3: way he carried that ease in his best performances, or

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Speaker 3: maybe maybe we'll get to one or two here in

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Speaker 3: mine or in your list that that punctured that sense,

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Speaker 3: or maybe even subverted it and went with it a

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Speaker 3: little stronger. So that was sort of the Redford journey

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Speaker 3: I had.

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Speaker 1: This will be fun then, because I think, for the

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Speaker 1: first time doing one of these lists, one of these tributes,

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Speaker 1: I see Robert Redford completely differently.

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Speaker 3: Oh good, okay.

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Speaker 1: I always with these tributes, I start with the image

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Speaker 1: I have of the performer in my head, and of

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Speaker 1: course that's an image that comes from a role, and

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Speaker 1: it's usually a certain scene or a certain moment. But

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Speaker 1: what that's giving me usually is an essence. And I

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Speaker 1: think that's what you're describing too. You have a certain vision,

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Speaker 1: almost a persona of them, but not a persona based

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Speaker 1: on their public figure.

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Speaker 7: That we view them as.

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Speaker 1: It's what we view them as as an actor based

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Speaker 1: on the culmination of all of their performances. And I

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Speaker 1: can definitely see why you would view him that way.

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Speaker 1: But when I think about, especially some of his best performances,

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Speaker 1: I think of an actor who I think is often

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Speaker 1: an antagonistic character, and I see an actor who is

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Speaker 1: often playing someone. I'm going to use your word. I

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Speaker 1: think it wasn't in my notes, but I think distress

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Speaker 1: is a really good word for it.

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Speaker 3: Now.

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Speaker 1: Maybe not in comparison to someone like Gene Hackman, maybe

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Speaker 1: not quite in comparison to some of the roles that

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Speaker 1: al Pacino played, but I'll tell you I'll use some

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Speaker 1: of the words that I have.

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Speaker 7: In my notes, Josh.

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Speaker 1: I see Robert Redford as a guy despite that California

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Speaker 1: cool that sheen that he has about him, Certainly that's

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Speaker 1: how we see him. I see a guy who is

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Speaker 1: quite tortured in his own skin. And my wife and

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Speaker 1: I just happened to be driving together in the car

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Speaker 1: a day or two after he passed, and I heard

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Speaker 1: a few minutes of an interview Terry Gross on Fresh Air.

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Speaker 1: They were replaying some conversations from the asked with him,

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Speaker 1: and he talked about how there was a time in

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Speaker 1: his career, I mean really his entire career where he

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Speaker 1: was being only discussed. The word he used was he

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Speaker 1: was being talked about as a glamour actor, and he

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Speaker 1: was only being considered for glamour roles because of his

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Speaker 1: pretty face, basically, And that was tough for him because

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Speaker 1: he was always interested in the craft of acting, and

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Speaker 1: that's how we saw himself as a craftsman. And he

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Speaker 1: was also someone who was always legitimately worried about celebrity

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Speaker 1: and the consequences of celebrity, and that really came into

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Speaker 1: being for him, or that was a factor for him

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Speaker 1: post Butch Cassidy in The Sundance Kid, right. But he's

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Speaker 1: one of those actors, one of those people who was

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Speaker 1: smart enough and self aware enough to understand that to

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Speaker 1: understand that sometimes people, especially people in Hollywood, say that

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Speaker 1: they hate celebrity, they hate fame, and they don't want it,

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Speaker 1: but they actually crave it and they crave its rewards.

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Speaker 1: And he was someone who wrestled with that within himself.

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Speaker 1: But he's someone who came from a conservative, materialistic family

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Speaker 1: in a conservative materialistic place in California and just never

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Speaker 1: fit and he just wanted out all the time, and

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Speaker 1: he wanted to find a way to express himself. First

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Speaker 1: it was painting, which is solitary and silent, and I'll

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Speaker 1: get to that and why that matters in a second.

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Speaker 1: And then ultimately it was acting, of course. And where

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Speaker 1: I'm going with this, Josh, is that the essence of

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Speaker 1: Redford for me, what I was really trying to tap

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Speaker 1: into with my list, and why I enjoy him so

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Speaker 1: much as an actor, what I enjoy about him so

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Speaker 1: much as an actor. Here's where you can insert Jeremiah

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Speaker 1: Johnson JIFF. And Actually, that movie and that performance would

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Speaker 1: be a good one for this list if it wasn't

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Speaker 1: for the fact that Michael Phillips was right when he

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Speaker 1: said a few weeks ago that maybe I didn't need

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Speaker 1: to bother with it. I'm glad I watched it as

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Speaker 1: homework for this list, but it's not a particularly good movie,

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Speaker 1: not a particularly good Sidney Pollock or Robert Redford movie,

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Speaker 1: even though I am as I said, I'm glad I

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Speaker 1: watched the performance, but it's largely a silent and very

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Speaker 1: physical performance. Josh, He's one of my favorite gesture actors.

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Speaker 1: You might say that, oh, it's about physicality, is what

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Speaker 1: you're saying, But it's not even so much physicality. It's

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Speaker 1: really specifically about how Redford watches. It's about how he listens.

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Speaker 1: It's about how he responds, how and when he chooses

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Speaker 1: to be silent, to speak, or to say something often

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Speaker 1: emphatic without actually saying anything. And for me, it connects

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Speaker 1: to this idea of being a misfit, never totally feeling

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Speaker 1: comfortable with the role that you've been cast into.

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Speaker 7: And I mean the.

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Speaker 1: Role of Charles Robert Redford Junior, but also this role

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Speaker 1: of Robert Redford movie star. And I think this will

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Speaker 1: make a little more sense when I get to one

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Speaker 1: of my picks that I am pretty sure is also

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Speaker 1: going to be on your list. But that, for me

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Speaker 1: is really the key to Redford. I think he's someone

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Speaker 1: who that distress within him that I see. He's not

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Speaker 1: the gregarious performer that I think. And I don't know

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Speaker 1: if that's what you're suggesting either, but I just don't

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Speaker 1: see him as really a charismatic, easy going type of

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Speaker 1: actor at all. I see him really as someone who

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Speaker 1: often is very restrained and wrestling with his characters, and I,

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Speaker 1: at least I'll tell you this much. I pick performances.

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Speaker 1: That's my favorite Redford anyway, I'll tell you that, and

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Speaker 1: I pick performances that support that.

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Speaker 3: Okay, Yeah, we'll have to see if you convince me.

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Speaker 3: The distress I do resonate with a couple of things

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Speaker 3: you talked about there. In watching a lot of his performances,

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Speaker 3: the generosity stood out to me absolutely, especially with co

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Speaker 3: stars and the number of films that he shared the

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Speaker 3: narrative with I thought was striking. And the self awareness absolutely,

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Speaker 3: I think that, to my mind, is what makes him

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Speaker 3: interesting as an actor of ease or effortlessness. Is that

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Speaker 3: he didn't just have that. He was always self aware

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Speaker 3: of it. And for me, his best performance has played

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Speaker 3: with it a little bit. It's kind of what happens

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Speaker 3: with my number five. So maybe we can just jump

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Speaker 3: in there and I'll continue talking about that a little bit.

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Speaker 3: At number five. I have The Way We Were, which

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Speaker 3: was a bit of homework for me nineteen seventy three,

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Speaker 3: and I want to thank listener for and Josephs for

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Speaker 3: nudging me to consider this title. It was kind of,

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Speaker 3: you know, on the edge there of which ones am

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Speaker 3: I going to make time for which ones? Might I

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Speaker 3: just let fall to the wayside? But Fern said that

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Speaker 3: she picked it or would have picked it, for what

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Speaker 3: seems like ffortless acting and stage presence. So yeah, there's

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Speaker 3: that ease what Fern describes as effortless. He certainly demonstrates

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Speaker 3: that opposite Barbara streisand here streisand plays Katie Morowski, a

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Speaker 3: politically active American student, and I think this is about yeah,

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Speaker 3: the nineteen thirties. Redford plays Hubble Gardner, so he's I

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Speaker 3: would say, politically indifferent. When we first meet him, an

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Speaker 3: athlete at the same college. Now in college, they have

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Speaker 3: a mutual curiosity, though not much more. At that point,

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Speaker 3: they're traveling in very different circles and sort of looking

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Speaker 3: at each other. Askance from afar. The movie jumps ahead

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Speaker 3: and they do bump into each other in New York

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Speaker 3: City about a decade later, this is after World War Two,

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Speaker 3: that curiosity grows and sparks into an affair. This leads

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Speaker 3: to a marriage and a stint in Hollywood, where Hubble

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Speaker 3: gets work as a screenwriter during the Blacklist era.

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Speaker 4: Can I ask you a personal question, sure, do you

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Speaker 4: smile all the time, no.

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Speaker 5: No, no, no again.

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Speaker 3: Ada'm like you, glad I watched this. I don't know

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Speaker 3: that it entirely worked for me as an epic romance

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Speaker 3: or even necessarily a political drama, but it was fascinating

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Speaker 3: for this list and in the context of Redford and

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Speaker 3: the why why it is here at number five because

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Speaker 3: to me, this is all a case study on the

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Speaker 3: dichotomies that these two stars embody intellectual slash athlete, jewish

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Speaker 3: slash wasp, uniquely beautiful slash classically handsome, insistent force slash

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Speaker 3: casual charm, and within that context, Redford gives this astonishingly

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Speaker 3: dexterous and self aware meta performance. That's what That's what

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Speaker 3: this movie is all about. To It's less about Hubble

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Speaker 3: Gardener's Golden Boys status Hubble Gardeners, and it's more about

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Speaker 3: the comfortability Redford has with his goldenness. And you can

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Speaker 3: see in so many of these scenes that Redford has

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Speaker 3: that understanding of it and that it somehow exists. I

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Speaker 3: think this is a key to him and it makes

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Speaker 3: him way more interesting than just the glamour star. This

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Speaker 3: comfortability exists outside of his own ego. He never preams,

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Speaker 3: I don't think you can find Robert Redford preening, and

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Speaker 3: in that you also that opens up the door for

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Speaker 3: a little bit of discomfort. And this is maybe where

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Speaker 3: you were going, Adam, and the things you tapped into

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Speaker 3: more with your picks a hint of discomfort with it

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Speaker 3: here and there. Maybe at the end of the day

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Speaker 3: he's ultimately fine with it. It depends on the performance,

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Speaker 3: depends on the role. But here in the way we

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Speaker 3: were he's definitely playing with it the entire time. Sidney Pollack,

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Speaker 3: the director, very aware of all of this. There's an

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Speaker 3: incredible shot when we get to that New York City section.

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Speaker 3: We're reintroduced to Hubble. Haven't seen him in a while.

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Speaker 3: We've been spending some time with Katie instead, and she

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Speaker 3: sees him at a nightclub. He's asleep at the bar,

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Speaker 3: and Pollock's camera just pushes in on him as if

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Speaker 3: it's selling us the perfect product. And the fact that

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Speaker 3: Hubble is sleeping at the bar is the chef's kiss

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Speaker 3: to me, because he's not even consciously aware that he's

400
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Speaker 3: holding this entire room hostage with his golden seed. Again,

401
00:22:38,119 --> 00:22:40,640
Speaker 3: it goes to the idea that he doesn't print. He's

402
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Speaker 3: the guy sleeping and still doing it. It's that ease.

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Speaker 3: So The Way We Were one of seven films that

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Speaker 3: Pollack and Redford made together. Pretty sure more will come

405
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Speaker 3: up on this list, but I've got it here at

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Speaker 3: number five.

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Speaker 1: And speaking of Sydney Pollack, I watched The Way We

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Speaker 1: Were for the first time because of this show. I

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Speaker 1: think it was before you joined the show. I could

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Speaker 1: be wrong, but I'm pretty sure it was for a

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Speaker 1: top five list that predates you, and it was our

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Speaker 1: top five Sydney Pollock movies and it made my list

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Speaker 1: at number five. A movie I'm really glad I watched,

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Speaker 1: in a movie I do enjoy. I'm happy to see it.

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Speaker 1: There's your list on your list, Josh, at number five.

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Speaker 1: But I'm gonna go the opposite direction in terms of

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Speaker 1: a performance and a role at number five. A character

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Speaker 1: where Robert Redford is not comfortable for a single moment

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Speaker 1: of this film, or maybe very early in the film,

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Speaker 1: until the plot kicks in. Once Peter Boyle's character meets him,

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Speaker 1: and I'll give you the title of the movie here

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Speaker 1: in a second. Once Peter Boyle's character meets him and

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Speaker 1: taps him for this role, and he agrees to it.

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Speaker 1: It's pretty much downhill from there. And the role is

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Speaker 1: the role of the Candidate in the movie Candidate, the

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Speaker 1: Michael Ritchie film from nineteen seventy two. And I am,

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Speaker 1: at least at the start here, Josh, going to lump

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Speaker 1: this together with two other movies. I'm going to talk

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Speaker 1: about a trilogy, because for me, they all are grouped

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Speaker 1: together in my mind at the moment. All three of

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Speaker 1: them are Michael Ritchie movies, two of them are Robert

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Speaker 1: Redford movies, and two of them happen to be sports movies.

433
00:24:29,119 --> 00:24:32,280
Speaker 1: So the other two movies are Downhill Racer and The

434
00:24:32,320 --> 00:24:35,320
Speaker 1: Bad News Bears. And this all started for me, the

435
00:24:35,920 --> 00:24:39,520
Speaker 1: collection or grouping these together. They all came together in

436
00:24:39,560 --> 00:24:41,600
Speaker 1: my mind because of The Bad News Bears, a movie

437
00:24:41,680 --> 00:24:45,600
Speaker 1: I rewatched for the first time recently, probably since I

438
00:24:45,800 --> 00:24:49,320
Speaker 1: was a little kid, Michael Ritchie movie. As I said,

439
00:24:49,400 --> 00:24:52,200
Speaker 1: all three of these movies are nineteen seventy six, so

440
00:24:52,240 --> 00:24:55,919
Speaker 1: the later one of these three movies, and for what

441
00:24:55,960 --> 00:24:59,400
Speaker 1: it's worth, the best of these three movies. As much

442
00:24:59,400 --> 00:25:01,639
Speaker 1: as I like The Candidate, The Bad News Bears is

443
00:25:01,680 --> 00:25:04,720
Speaker 1: the best of these three movies. And I'm watching it

444
00:25:04,800 --> 00:25:07,320
Speaker 1: and I'm realizing that this is a film that's all

445
00:25:07,359 --> 00:25:11,960
Speaker 1: about the very American ethos of winning at all costs

446
00:25:12,359 --> 00:25:16,320
Speaker 1: and characters having to come to terms with the compromises

447
00:25:16,400 --> 00:25:21,040
Speaker 1: they've made in order to win. And I'm realizing, boy,

448
00:25:21,119 --> 00:25:24,760
Speaker 1: that sounds kind of familiar, like another Michael Ritchie film,

449
00:25:25,600 --> 00:25:29,320
Speaker 1: like The Candidate. Only the world is politics instead of

450
00:25:29,359 --> 00:25:33,239
Speaker 1: Little League baseball. And then I watched Downhill Racer and

451
00:25:33,320 --> 00:25:39,040
Speaker 1: I realized that, oh, it's back to sports, except it's skiing,

452
00:25:39,640 --> 00:25:44,119
Speaker 1: competitive skiing, Olympic skiing instead of little league baseball. And

453
00:25:44,160 --> 00:25:46,440
Speaker 1: Downhill Racer is the one with Redford. That one came

454
00:25:46,480 --> 00:25:49,879
Speaker 1: out in sixty nine. Candidate was seventy two. So this

455
00:25:50,119 --> 00:25:53,200
Speaker 1: was something that Michael Ritchie as a filmmaker. I haven't

456
00:25:53,240 --> 00:25:57,560
Speaker 1: done enough research. I assume it was consciously, or maybe

457
00:25:57,640 --> 00:25:59,440
Speaker 1: it just turns out he was drawn to this type

458
00:25:59,480 --> 00:26:04,240
Speaker 1: of material. Michael Ritchie was very, very drawn to He

459
00:26:04,680 --> 00:26:10,040
Speaker 1: was very interested in exploring this idea on screen. And

460
00:26:10,480 --> 00:26:15,360
Speaker 1: when Redford becomes this candidate Bill McKay, I think it's

461
00:26:15,359 --> 00:26:17,840
Speaker 1: a neat analogy for what we're talking about with Redford,

462
00:26:17,880 --> 00:26:23,280
Speaker 1: because the analogy to his good looks would be in

463
00:26:23,320 --> 00:26:26,320
Speaker 1: the movie The only reason he's approached as a candidate

464
00:26:26,880 --> 00:26:33,520
Speaker 1: is because Bill McKay's father was formerly the governor, right

465
00:26:33,680 --> 00:26:38,040
Speaker 1: very popular, and so he's got that name recognition, and

466
00:26:38,600 --> 00:26:41,240
Speaker 1: he's going to lose. They know he's going to lose,

467
00:26:41,280 --> 00:26:43,199
Speaker 1: so they're saying, you have nothing to lose, you can

468
00:26:43,240 --> 00:26:46,680
Speaker 1: say whatever you want, come out on the campaign trail.

469
00:26:46,840 --> 00:26:50,400
Speaker 1: But as he goes along he actually starts to make

470
00:26:50,800 --> 00:26:54,280
Speaker 1: some progress. He has to wrestle with that then who

471
00:26:54,359 --> 00:26:56,240
Speaker 1: he is becoming along the way.

472
00:26:56,920 --> 00:26:58,000
Speaker 8: I think the time.

473
00:26:57,840 --> 00:26:58,520
Speaker 3: Has come.

474
00:27:00,440 --> 00:27:04,399
Speaker 5: When the American people realize that we're in this together

475
00:27:07,800 --> 00:27:10,760
Speaker 5: and that we sink or swim together.

476
00:27:11,920 --> 00:27:14,320
Speaker 1: Jeremy Larner wrote the screenplay, Josh. He won an Oscar

477
00:27:14,600 --> 00:27:18,720
Speaker 1: for Best Original Screenplay that year, and he had he

478
00:27:18,760 --> 00:27:23,159
Speaker 1: had been on the campaign trail with Eugene McCarthy, so

479
00:27:23,560 --> 00:27:27,920
Speaker 1: he knew this world. He knew those compromises that the

480
00:27:28,119 --> 00:27:30,960
Speaker 1: candidates made in the scene here for me, the one

481
00:27:31,000 --> 00:27:33,119
Speaker 1: that that that sticks with me and the one that

482
00:27:33,160 --> 00:27:39,840
Speaker 1: really goes with my overall point about Redford as a performer.

483
00:27:39,880 --> 00:27:43,640
Speaker 1: Here is what is a pretty famous scene where it's

484
00:27:43,720 --> 00:27:46,280
Speaker 1: late in the campaign and he's in the back of

485
00:27:47,359 --> 00:27:53,040
Speaker 1: the car that's driving him around and he's reciting his

486
00:27:53,160 --> 00:27:58,879
Speaker 1: Stump speech to himself, and so it's a it's a

487
00:27:59,040 --> 00:28:05,440
Speaker 1: verbal scene, Josh, but it's also one of these gesture

488
00:28:05,560 --> 00:28:09,720
Speaker 1: driven scenes in a way, because it's it's Redford, it's

489
00:28:09,800 --> 00:28:15,800
Speaker 1: McKay kind of losing it and and playing with the

490
00:28:15,800 --> 00:28:20,280
Speaker 1: words as he says them. And you know those moments

491
00:28:20,320 --> 00:28:23,800
Speaker 1: sometimes when you when you have said a word too

492
00:28:23,800 --> 00:28:25,919
Speaker 1: many times in your head and you start to almost

493
00:28:25,960 --> 00:28:29,439
Speaker 1: forget what that word even means, or it starts to

494
00:28:29,440 --> 00:28:32,919
Speaker 1: sound funny to you. That's that's what his entire Stump

495
00:28:32,960 --> 00:28:36,439
Speaker 1: speech is starting to become to him. And so the

496
00:28:36,520 --> 00:28:40,240
Speaker 1: way the way Redford plays with the words and the

497
00:28:40,280 --> 00:28:42,680
Speaker 1: way they roll off his tongue, it's not so much

498
00:28:42,800 --> 00:28:46,720
Speaker 1: listening here, but it's still something something silly that he's

499
00:28:46,720 --> 00:28:50,280
Speaker 1: doing just with his just with his mouth that I

500
00:28:50,520 --> 00:28:54,040
Speaker 1: that I enjoy watching so much, and it's so effective

501
00:28:54,120 --> 00:28:57,400
Speaker 1: that that a lot of people have always assumed that

502
00:28:57,400 --> 00:29:02,360
Speaker 1: that Redford was improvising this scene. That's the naturalness with

503
00:29:02,480 --> 00:29:03,560
Speaker 1: which it comes off.

504
00:29:04,040 --> 00:29:04,560
Speaker 7: But it's not.

505
00:29:05,160 --> 00:29:10,400
Speaker 1: It's all completely scripted. And Larner in an interview said

506
00:29:10,440 --> 00:29:15,280
Speaker 1: it really well, Josh. He talked about this, he said,

507
00:29:15,760 --> 00:29:19,040
Speaker 1: you go over the falls, you lose yourself. You become

508
00:29:19,240 --> 00:29:23,480
Speaker 1: eternally confused by the difference between yourself and who your

509
00:29:23,600 --> 00:29:27,920
Speaker 1: public thinks you are. And it's a disarming dissociative experience,

510
00:29:28,200 --> 00:29:31,880
Speaker 1: and Redford played that very well. The better McKay gets

511
00:29:31,880 --> 00:29:35,000
Speaker 1: it campaigning, the more he loses himself.

512
00:29:35,560 --> 00:29:41,120
Speaker 5: I say to you, can any longer, Oh no, can

513
00:29:41,240 --> 00:29:46,200
Speaker 5: any longer? Play off black against old, young against poor?

514
00:29:47,960 --> 00:29:49,880
Speaker 3: This country cannot house.

515
00:29:50,080 --> 00:29:54,040
Speaker 7: It's houseless, feed, it's foodless.

516
00:30:00,360 --> 00:30:04,320
Speaker 1: I think that's what Redford really taps into well, is

517
00:30:04,360 --> 00:30:08,960
Speaker 1: that that split, that dichotomy that I think was inherent

518
00:30:09,040 --> 00:30:12,200
Speaker 1: in Redford as well as the pretty face that everyone

519
00:30:12,280 --> 00:30:16,440
Speaker 1: saw him as, and he always saw himself as someone

520
00:30:17,040 --> 00:30:21,760
Speaker 1: who was able to give a little bit more whatever

521
00:30:21,800 --> 00:30:26,160
Speaker 1: it was. It comes through really well in The Candidate.

522
00:30:27,480 --> 00:30:31,440
Speaker 3: So you just unlocked something for me regarding another pick

523
00:30:31,480 --> 00:30:33,280
Speaker 3: on my list that I made that we'll get to

524
00:30:33,880 --> 00:30:35,920
Speaker 3: in just a bit, so I'll come back to this,

525
00:30:36,800 --> 00:30:42,120
Speaker 3: But yeah, it supports sort of an instinct I had

526
00:30:42,160 --> 00:30:44,719
Speaker 3: for putting this other film on the list, and I

527
00:30:44,760 --> 00:30:47,520
Speaker 3: love that reading. I really like The Candidate. I think

528
00:30:47,560 --> 00:30:49,720
Speaker 3: it's a very strong film and great performance. It was

529
00:30:49,720 --> 00:30:53,200
Speaker 3: an honorable mention for me, but we'll come back to

530
00:30:53,240 --> 00:30:55,000
Speaker 3: it for now. I have a different title in mind

531
00:30:55,000 --> 00:30:58,719
Speaker 3: at number four, and this is, you know, speaking of

532
00:30:58,920 --> 00:31:03,000
Speaker 3: Redford and Pollock. As I mentioned with the Way We Were,

533
00:31:03,200 --> 00:31:06,720
Speaker 3: I heard from Patrick Banks via my Larson on film

534
00:31:07,040 --> 00:31:11,480
Speaker 3: email newsletter, who highlighted his favorite of the Redford Pollock

535
00:31:11,600 --> 00:31:15,000
Speaker 3: collaborations three Days of the Condor. So that's my pick

536
00:31:15,000 --> 00:31:18,000
Speaker 3: here at number four. Patrick said it's one of the

537
00:31:18,000 --> 00:31:21,760
Speaker 3: best of the seventies political thrillers. It's posters probably displayed

538
00:31:21,800 --> 00:31:24,680
Speaker 3: in my family room, right next to two other fantastic

539
00:31:24,760 --> 00:31:27,960
Speaker 3: seventies thrillers, Black Sunday and The Taking of Pelm one

540
00:31:28,040 --> 00:31:32,320
Speaker 3: two three. So in Condor, Redford plays Joseph Turner, a

541
00:31:32,320 --> 00:31:36,040
Speaker 3: low level CIA researcher who returns to the office after

542
00:31:36,160 --> 00:31:39,400
Speaker 3: lunch one day to find every one of his colleagues murdered.

543
00:31:40,240 --> 00:31:43,680
Speaker 3: This is the distressed pick on my list, Adam, to

544
00:31:43,800 --> 00:31:47,400
Speaker 3: use your term. We absolutely see Redford not in control here,

545
00:31:47,560 --> 00:31:51,840
Speaker 3: out of his element, not the suave guy. He's still

546
00:31:51,880 --> 00:31:57,480
Speaker 3: elegantly disheveled for sure, and he's never quite clumsy. But yeah,

547
00:31:57,520 --> 00:32:02,360
Speaker 3: this is someone who does not have supreme control of

548
00:32:02,400 --> 00:32:07,440
Speaker 3: the situation, and nothing comes easy to him. Part of

549
00:32:07,480 --> 00:32:10,840
Speaker 3: the thrill of the movie is watching him use his

550
00:32:10,920 --> 00:32:14,480
Speaker 3: wits to outthink these tougher, better trained spies who are

551
00:32:14,480 --> 00:32:17,680
Speaker 3: on his trail. Patrick put it this way, He's an

552
00:32:17,680 --> 00:32:21,560
Speaker 3: intellectual who must use all his smarts to avoid bullets

553
00:32:21,680 --> 00:32:24,320
Speaker 3: from all levels of assassins.

554
00:32:25,040 --> 00:32:28,840
Speaker 9: Oh, I get it, I get it.

555
00:32:28,960 --> 00:32:32,200
Speaker 10: You expect me to draw a fire like one of

556
00:32:32,240 --> 00:32:35,440
Speaker 10: those penny arcade bears that parades back and forth waiting

557
00:32:35,480 --> 00:32:38,200
Speaker 10: for somebody, somebody's very good just to take another shot,

558
00:32:38,400 --> 00:32:40,200
Speaker 10: and you're just gonna hang around and pick him up

559
00:32:40,200 --> 00:32:41,560
Speaker 10: before he does it, or just.

560
00:32:41,600 --> 00:32:43,680
Speaker 9: After, to try and find out what's going on. I'm

561
00:32:43,720 --> 00:32:45,160
Speaker 9: gonna crush check all those names.

562
00:32:45,240 --> 00:32:46,200
Speaker 10: Nice talking to you, Higgins.

563
00:32:46,320 --> 00:32:47,440
Speaker 7: Wait a minute, I have a nice day.

564
00:32:47,440 --> 00:32:47,960
Speaker 3: Where you're going?

565
00:32:47,960 --> 00:32:49,880
Speaker 8: Where will I find you? So?

566
00:32:49,920 --> 00:32:53,360
Speaker 3: I do think there's maybe a bit of subversion going

567
00:32:53,400 --> 00:32:56,920
Speaker 3: on here to that easy going matinee idle persona in

568
00:32:57,040 --> 00:33:00,760
Speaker 3: Three Days of the Condor. It's a stress test that

569
00:33:01,520 --> 00:33:05,240
Speaker 3: for me, and that's what makes it a very interesting

570
00:33:05,320 --> 00:33:06,640
Speaker 3: Redford performance.

571
00:33:07,800 --> 00:33:10,960
Speaker 1: And I love the choice because I really am a

572
00:33:11,000 --> 00:33:13,920
Speaker 1: fan of Three Days of the Condor. But what's ironic

573
00:33:14,000 --> 00:33:16,480
Speaker 1: to me, Josh, I think your read of the film

574
00:33:16,520 --> 00:33:19,959
Speaker 1: and the performance and the character is right on. But

575
00:33:20,000 --> 00:33:24,040
Speaker 1: the spy movie that I considered for my list that

576
00:33:24,120 --> 00:33:26,640
Speaker 1: had just a slight advantage over Three Days of the

577
00:33:26,680 --> 00:33:31,200
Speaker 1: Condor was the more recent, relatively more recent Spy Game.

578
00:33:31,640 --> 00:33:35,440
Speaker 1: And what's the difference in those characters and performances? Though

579
00:33:36,120 --> 00:33:40,160
Speaker 1: that character is definitely in distress. He spends the entire

580
00:33:40,280 --> 00:33:46,160
Speaker 1: movie trying to get his friend and colleague, the protege

581
00:33:46,160 --> 00:33:48,520
Speaker 1: that he trained played by Brad Pitt, out of a

582
00:33:48,640 --> 00:33:53,720
Speaker 1: harrowing situation, right, but he plays it only with elegance,

583
00:33:53,960 --> 00:33:57,240
Speaker 1: he plays it only with charm and ease. It's the

584
00:33:57,320 --> 00:34:01,960
Speaker 1: Redford that you might imagine, who is the CIA professional

585
00:34:02,160 --> 00:34:05,320
Speaker 1: who has to always just act like everything is perfect

586
00:34:05,360 --> 00:34:08,200
Speaker 1: because everything he's doing is a ruse.

587
00:34:08,239 --> 00:34:11,359
Speaker 7: He's doing it, he's doing it on the down low, right.

588
00:34:11,400 --> 00:34:14,640
Speaker 1: So it's a completely different type of spy character and

589
00:34:15,160 --> 00:34:19,000
Speaker 1: spy movie two to Three Days of the Condor. And

590
00:34:19,040 --> 00:34:21,920
Speaker 1: I love that we get both types of Redford characters

591
00:34:21,920 --> 00:34:23,680
Speaker 1: and performances in those spy movies.

592
00:34:24,320 --> 00:34:26,640
Speaker 3: Yeah, Spy Game honorable mentioned for me. I'm a big

593
00:34:26,719 --> 00:34:27,520
Speaker 3: fan of that one too.

594
00:34:28,600 --> 00:34:33,160
Speaker 1: So my number four is a nostalgia pick that had

595
00:34:33,880 --> 00:34:39,200
Speaker 1: to be here and it it. It doesn't go It

596
00:34:39,239 --> 00:34:43,920
Speaker 1: doesn't go with my with my Redford thesis here as

597
00:34:44,000 --> 00:34:46,279
Speaker 1: much as some of my other choices. Though now as

598
00:34:46,280 --> 00:34:48,440
Speaker 1: I say that out loud, it doesn't go with it, Josh,

599
00:34:48,480 --> 00:34:50,759
Speaker 1: only because I don't have a great I don't have

600
00:34:50,800 --> 00:34:57,600
Speaker 1: a great scene that depicts him listening, reacting small gestures.

601
00:34:57,920 --> 00:35:00,360
Speaker 1: What I do have, but I do have, is a

602
00:35:00,360 --> 00:35:04,560
Speaker 1: lot of physicality. But I also do have a character

603
00:35:05,200 --> 00:35:08,920
Speaker 1: who is tortured. I do have a character who has

604
00:35:08,960 --> 00:35:13,160
Speaker 1: a haunted past. I have a character who is trying

605
00:35:13,239 --> 00:35:19,000
Speaker 1: to keep that past and those secrets at bay because

606
00:35:19,000 --> 00:35:23,239
Speaker 1: he doesn't want them getting out. And the movie is

607
00:35:23,400 --> 00:35:25,319
Speaker 1: I also like that I'm getting to the eighties here,

608
00:35:25,360 --> 00:35:28,840
Speaker 1: at least one different decade, not the sixties and the seventies.

609
00:35:29,040 --> 00:35:32,480
Speaker 1: The movie is the natural Barry Levinson's film, the character

610
00:35:33,160 --> 00:35:36,520
Speaker 1: Roy Hobbs. I did just rewatch a bunch of scenes

611
00:35:36,520 --> 00:35:41,600
Speaker 1: from this, not even in preparation for this list, And

612
00:35:41,640 --> 00:35:46,120
Speaker 1: maybe I'm just too much of a sucker, Josh. But

613
00:35:46,200 --> 00:35:50,960
Speaker 1: the end of this movie, which yeah, dramatically different than

614
00:35:51,040 --> 00:35:54,440
Speaker 1: the book, which is way more cynical, and most people

615
00:35:54,480 --> 00:35:58,480
Speaker 1: think is better, at least people who don't maybe love

616
00:35:58,560 --> 00:36:01,799
Speaker 1: the movie or come at this from a more intellectual

617
00:36:01,840 --> 00:36:05,520
Speaker 1: point of view, and I appreciate more pessimistic, cynical things.

618
00:36:06,160 --> 00:36:10,920
Speaker 1: The movie ends with such triumph, such brio with the

619
00:36:11,400 --> 00:36:15,239
Speaker 1: home run and the ball hitting the lights and the

620
00:36:16,360 --> 00:36:20,279
Speaker 1: sparkles of the after the light is shattered coming down

621
00:36:20,320 --> 00:36:22,480
Speaker 1: on the field as he rounds the basses in the dark.

622
00:36:22,560 --> 00:36:28,000
Speaker 1: It's incredible. And the music, the triumphant score. I still

623
00:36:28,000 --> 00:36:32,480
Speaker 1: get chills. I get chills now watching it for the

624
00:36:32,840 --> 00:36:39,280
Speaker 1: millionth time. And here's where I give Redford so much credit.

625
00:36:39,360 --> 00:36:42,920
Speaker 1: The movie's called the Natural. We do have to believe

626
00:36:43,040 --> 00:36:48,720
Speaker 1: that he is this natural performer as a pitcher early

627
00:36:48,760 --> 00:36:52,799
Speaker 1: in the film and as a hitter most of the

628
00:36:52,800 --> 00:36:56,200
Speaker 1: film early on, but also especially later in the film.

629
00:36:56,640 --> 00:37:01,040
Speaker 1: And that really is Redford throwing the ball throughout the

630
00:37:01,080 --> 00:37:06,480
Speaker 1: movie as a pitcher. One of the best actors playing

631
00:37:06,520 --> 00:37:09,279
Speaker 1: a pitcher you'll see in any movie. I know, Kevin

632
00:37:09,320 --> 00:37:12,839
Speaker 1: Costner gets all the credit, and deservedly so, as one

633
00:37:12,840 --> 00:37:16,399
Speaker 1: of our best athletes on screen, but Redford's performance here

634
00:37:16,560 --> 00:37:19,840
Speaker 1: is right up there as a pitcher looking the part,

635
00:37:20,120 --> 00:37:23,560
Speaker 1: playing the part, throwing the ball for real, and as

636
00:37:23,560 --> 00:37:26,920
Speaker 1: a hitter he is often the one hitting the ball,

637
00:37:27,320 --> 00:37:30,600
Speaker 1: sometimes hitting the ball into the stands. Josh, No, he

638
00:37:30,600 --> 00:37:32,400
Speaker 1: didn't hit the ball into the lights. That was some

639
00:37:32,480 --> 00:37:35,720
Speaker 1: movie magic. But he is sometimes actually hitting a home run.

640
00:37:35,840 --> 00:37:42,240
Speaker 1: That's his natural swing. Redford, that physicality was so essential

641
00:37:42,400 --> 00:37:46,600
Speaker 1: to this role and us believing him as a character.

642
00:37:47,320 --> 00:37:51,000
Speaker 1: And I certainly believed it back when I was in

643
00:37:51,040 --> 00:37:54,000
Speaker 1: grade school watching this movie over when I was obsessed

644
00:37:54,040 --> 00:37:55,160
Speaker 1: with baseball as a kid.

645
00:37:55,320 --> 00:37:57,760
Speaker 7: I'm less obsessed, a lot less obsessed.

646
00:37:57,400 --> 00:38:01,560
Speaker 1: With baseball now, but the movie still, as I said earlier,

647
00:38:02,040 --> 00:38:06,680
Speaker 1: the movie still has magic over me. And Redford's performance,

648
00:38:07,000 --> 00:38:13,680
Speaker 1: not just the physicality, but the quiet of the performance,

649
00:38:14,600 --> 00:38:19,239
Speaker 1: the mystery of the performance, the way he doesn't what

650
00:38:19,360 --> 00:38:25,040
Speaker 1: he doesn't express through his words is something that really

651
00:38:25,080 --> 00:38:27,879
Speaker 1: always draws me into the character of Roy Hobbes as well.

652
00:38:28,160 --> 00:38:33,279
Speaker 3: Redford literally glows in the natural. It's it's incredible. And

653
00:38:34,000 --> 00:38:35,640
Speaker 3: I'm not as big a fan of the movie, but

654
00:38:35,680 --> 00:38:39,239
Speaker 3: I know many people are, so I won't give them

655
00:38:39,239 --> 00:38:42,400
Speaker 3: any distress by detailing that further. And I'll say what

656
00:38:42,440 --> 00:38:45,040
Speaker 3: I love about it is the cinematography. It is the

657
00:38:45,040 --> 00:38:50,680
Speaker 3: way Redford glows and all the other incredible the incredible

658
00:38:50,719 --> 00:38:53,440
Speaker 3: use of lighting by Caleb Deschanel in this film. It

659
00:38:53,600 --> 00:38:58,680
Speaker 3: turns this, It turns Redford into a mythic figure, an

660
00:38:58,680 --> 00:39:05,720
Speaker 3: instrument of God. He's preordained, predestined for this, this sort

661
00:39:05,760 --> 00:39:09,880
Speaker 3: of holy level of baseball playing. And if there's something

662
00:39:09,920 --> 00:39:13,800
Speaker 3: for me a little narratively less interesting in that visually visually,

663
00:39:13,840 --> 00:39:16,640
Speaker 3: I've got to give you, like, there may not have

664
00:39:16,680 --> 00:39:20,200
Speaker 3: been a better actor to choose to be that instrument.

665
00:39:21,200 --> 00:39:22,440
Speaker 7: He's not done what they want to do.

666
00:39:23,440 --> 00:39:25,640
Speaker 1: He's not the only one that benefits from Caleb d

667
00:39:25,760 --> 00:39:30,040
Speaker 1: Chanelle's cinematography. Glenn Close as well. A shot and that's

668
00:39:30,040 --> 00:39:31,239
Speaker 1: my favorite shot.

669
00:39:31,000 --> 00:39:31,600
Speaker 7: That shot.

670
00:39:31,719 --> 00:39:34,800
Speaker 1: And and she I did just find this out recently.

671
00:39:35,280 --> 00:39:39,400
Speaker 1: She actually thanked him when she got her Oscar nomination

672
00:39:39,520 --> 00:39:42,720
Speaker 1: for Best Supporting Actress. She thanked him, saying that he

673
00:39:42,920 --> 00:39:46,319
Speaker 1: did all the work basically, and and he was. She

674
00:39:46,760 --> 00:39:49,840
Speaker 1: was probably right. And it's funny you mentioned that about

675
00:39:50,080 --> 00:39:53,560
Speaker 1: about maybe the religious overtones. In a book that just

676
00:39:53,600 --> 00:39:56,240
Speaker 1: came out this year called Baseball the Movie that Noah

677
00:39:56,239 --> 00:39:59,799
Speaker 1: Gatell wrote, he talks about something that I never fully

678
00:39:59,800 --> 00:40:01,839
Speaker 1: pick up on, at least back when I was a kid.

679
00:40:01,880 --> 00:40:05,880
Speaker 1: I certainly wouldn't have picked up on it the myths,

680
00:40:06,400 --> 00:40:12,480
Speaker 1: all of the different mythological narratives that the natural taps into.

681
00:40:13,000 --> 00:40:17,440
Speaker 1: It's like seventeen different stories that we're all familiar with,

682
00:40:17,480 --> 00:40:21,479
Speaker 1: from the Bible to the Odyssey to the Fisher King.

683
00:40:21,600 --> 00:40:24,279
Speaker 1: I mean, you know anything about King Arthur. Like, it's

684
00:40:24,440 --> 00:40:29,200
Speaker 1: all crammed into the natural, which I suppose for some

685
00:40:29,600 --> 00:40:33,520
Speaker 1: may may be overstuffed, but it's also all of those

686
00:40:34,080 --> 00:40:39,600
Speaker 1: myths are also what contribute to it feeling like something

687
00:40:40,040 --> 00:40:42,040
Speaker 1: we latch onto and can't forget.

688
00:40:42,239 --> 00:40:44,200
Speaker 3: And just for those who haven't seen it, there is

689
00:40:44,280 --> 00:40:46,880
Speaker 3: this moment where Glenn Close is in the stands and

690
00:40:46,920 --> 00:40:49,800
Speaker 3: this heavenly spotlight comes down on her. What's incredible about

691
00:40:49,800 --> 00:40:53,040
Speaker 3: it is this is not a nighttime scene. It's the daytime,

692
00:40:53,480 --> 00:40:58,759
Speaker 3: and somehow Dashanel manages to pull that off. So all right,

693
00:40:58,840 --> 00:41:02,120
Speaker 3: let's go Adam to a pick that is about puncturing myths.

694
00:41:02,440 --> 00:41:05,080
Speaker 3: I feel and maybe a little bit more in line

695
00:41:05,120 --> 00:41:08,839
Speaker 3: with what you've been keen in on with Redford. And

696
00:41:08,880 --> 00:41:12,640
Speaker 3: this is a directorial effort. It is Quiz Show from

697
00:41:12,719 --> 00:41:15,560
Speaker 3: nineteen ninety four. A quiz show was based on a

698
00:41:15,560 --> 00:41:18,600
Speaker 3: real life TV game show scandal in the nineteen fifties.

699
00:41:19,080 --> 00:41:22,160
Speaker 3: In the movie, John Turturo plays the raining champ of

700
00:41:22,200 --> 00:41:25,640
Speaker 3: this show that's called twenty one. The ratings start to sag.

701
00:41:25,680 --> 00:41:27,760
Speaker 3: He's been on there for a while, so the network

702
00:41:27,840 --> 00:41:30,920
Speaker 3: looks for a new star, and they find one in

703
00:41:31,239 --> 00:41:36,400
Speaker 3: Ray finds Charles Van Doren. He is a handsome, waspy

704
00:41:36,680 --> 00:41:41,600
Speaker 3: sound familiar Columbia University instructor who becomes morally conflicted and

705
00:41:41,760 --> 00:41:45,759
Speaker 3: complicit as he enters this quiz show world. This is

706
00:41:45,800 --> 00:41:49,360
Speaker 3: sturdily directed, which I think you could say of most

707
00:41:49,480 --> 00:41:54,520
Speaker 3: of Redford's efforts as a director. It's a very gripping story,

708
00:41:54,560 --> 00:41:57,880
Speaker 3: full of what would I do? Elements? You know you're

709
00:41:57,920 --> 00:42:01,799
Speaker 3: asking yourself that question continually throughout quiz Show? Would I

710
00:42:01,880 --> 00:42:02,200
Speaker 3: say no?

711
00:42:02,360 --> 00:42:02,600
Speaker 4: Here?

712
00:42:03,080 --> 00:42:06,760
Speaker 3: Would I put a stop to this? And in terms

713
00:42:06,800 --> 00:42:10,839
Speaker 3: of its overall place in Redford's career, I wonder if

714
00:42:10,920 --> 00:42:16,760
Speaker 3: this is something of a self interrogation on Redford's part.

715
00:42:16,960 --> 00:42:19,440
Speaker 3: And here is where we can circle back to your

716
00:42:19,480 --> 00:42:23,160
Speaker 3: pick of the candidate. I think, Adam, I can see

717
00:42:23,239 --> 00:42:26,760
Speaker 3: Van Doorn being a stand in for the tailor made star,

718
00:42:27,440 --> 00:42:30,759
Speaker 3: the handsome boy who things came easily to, at least

719
00:42:30,840 --> 00:42:36,640
Speaker 3: on the surface. But perhaps if you're that person. If

720
00:42:36,640 --> 00:42:40,320
Speaker 3: you're behind the scenes, you know that it's not that simple.

721
00:42:40,480 --> 00:42:45,440
Speaker 3: It's not that easy. Maybe compromises have inevitably been made

722
00:42:45,719 --> 00:42:50,319
Speaker 3: along the way to your acclaim to your stardom. And

723
00:42:50,640 --> 00:42:54,360
Speaker 3: obviously I'm getting into some psychologizing here, but it tracks

724
00:42:54,440 --> 00:42:58,040
Speaker 3: with your setup and your discussion of the Candidate. It's

725
00:42:58,120 --> 00:43:01,359
Speaker 3: just intriguing to think about what Redford might have seen

726
00:43:01,600 --> 00:43:04,200
Speaker 3: in this story to bring it to the screen, and

727
00:43:04,280 --> 00:43:06,680
Speaker 3: I wonder if it is something of what he got

728
00:43:06,680 --> 00:43:10,759
Speaker 3: to play with as an actor in The Candidate.

729
00:43:11,400 --> 00:43:16,319
Speaker 11: I lied to the American people. I lied about what

730
00:43:16,400 --> 00:43:19,960
Speaker 11: I knew, and then I lied about what I did

731
00:43:20,000 --> 00:43:26,080
Speaker 11: not know. In a sense, I was like a child

732
00:43:26,160 --> 00:43:28,279
Speaker 11: who refuses to admit a fact in the hope that

733
00:43:28,360 --> 00:43:34,839
Speaker 11: it'll go away. Of course, it did not go away.

734
00:43:35,680 --> 00:43:43,440
Speaker 11: I was scared, scared to death. I had no solid position,

735
00:43:43,520 --> 00:43:47,520
Speaker 11: no basis to stand on for myself. There was one

736
00:43:47,560 --> 00:43:51,200
Speaker 11: way out, and that was simply to tell the truth.

737
00:43:52,200 --> 00:43:54,879
Speaker 3: So Quiz Show an honorable mention on my Top five

738
00:43:54,920 --> 00:43:57,600
Speaker 3: Films of nineteen ninety four list we did some years back.

739
00:43:57,760 --> 00:44:00,439
Speaker 3: I know I reviewed it on its release. I could

740
00:44:00,440 --> 00:44:05,160
Speaker 3: not find that anywhere even in my old print clippings

741
00:44:05,200 --> 00:44:08,719
Speaker 3: I had, so rather than pull from that, I'm going

742
00:44:08,800 --> 00:44:12,320
Speaker 3: to cite Manola Dargis. This comes from her La Weekly

743
00:44:12,400 --> 00:44:14,799
Speaker 3: review of Quiz Show at the time, and she used

744
00:44:14,880 --> 00:44:17,439
Speaker 3: language that somewhat fits with my theory here. She called

745
00:44:17,480 --> 00:44:22,280
Speaker 3: it a terrifically entertaining account of the tarnishing of television's

746
00:44:22,400 --> 00:44:26,200
Speaker 3: golden age, and I do wonder if it's that tarnishing

747
00:44:26,280 --> 00:44:30,840
Speaker 3: quality that perhaps Redford was intrigued by. Either way, he

748
00:44:30,880 --> 00:44:33,760
Speaker 3: made a pretty great film, my favorite of his as

749
00:44:33,800 --> 00:44:41,239
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753
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Speaker 3: to catch within the course of a month or two.

756
00:45:01,800 --> 00:45:05,839
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757
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Speaker 1: Quiz show an honorable mention for me a movie I

782
00:46:46,280 --> 00:46:51,080
Speaker 1: do quite appreciate, Josh, But there is another Robert Redford

783
00:46:51,160 --> 00:46:57,760
Speaker 1: directorial effort. I like more haters like Michael Phillips be damned.

784
00:46:58,280 --> 00:47:01,040
Speaker 1: I don't care how cheesy. I don't know it may

785
00:47:01,160 --> 00:47:05,359
Speaker 1: feel now some forty five years later. I'm going with

786
00:47:05,440 --> 00:47:09,120
Speaker 1: the movie that won Best Picture in nineteen eighty one.

787
00:47:09,680 --> 00:47:15,600
Speaker 1: It is his debut as a director, Ordinary People, And yes,

788
00:47:15,719 --> 00:47:19,080
Speaker 1: I can look back now. I have not seen tests,

789
00:47:19,680 --> 00:47:23,439
Speaker 1: but I like coal Miner's Daughter. I really like coal

790
00:47:23,480 --> 00:47:26,200
Speaker 1: Miner's Daughter. I like Ordinary People better. Do I like

791
00:47:26,320 --> 00:47:28,160
Speaker 1: Ordinary People better than Raging Bull?

792
00:47:28,800 --> 00:47:28,920
Speaker 2: No?

793
00:47:29,360 --> 00:47:31,880
Speaker 1: Do I think Robert Redford should have won Best Director

794
00:47:31,920 --> 00:47:35,560
Speaker 1: for Ordinary People over Martin Scorsese for Raging Bull.

795
00:47:36,000 --> 00:47:36,080
Speaker 5: No.

796
00:47:36,560 --> 00:47:38,640
Speaker 1: I don't think he should have beat David Lynch for

797
00:47:38,719 --> 00:47:43,640
Speaker 1: The Elephant Man either. I like that movie more than

798
00:47:43,800 --> 00:47:48,400
Speaker 1: Ordinary People. But I'm not an Academy voter, and I

799
00:47:48,440 --> 00:47:51,040
Speaker 1: can't go back in time and change how that came out.

800
00:47:51,360 --> 00:47:55,600
Speaker 1: All I know is I've always loved the movie Ordinary People,

801
00:47:55,760 --> 00:47:57,359
Speaker 1: and I don't think I probably have to go into

802
00:47:57,440 --> 00:48:01,480
Speaker 1: a lot of detail, Josh, in order to explain why

803
00:48:01,480 --> 00:48:04,680
Speaker 1: it's on my list in terms of my Redford theme.

804
00:48:05,280 --> 00:48:09,680
Speaker 1: Ordinary people just google that and repression, right, it's all

805
00:48:09,719 --> 00:48:13,920
Speaker 1: about It's all about the things we say and the

806
00:48:13,960 --> 00:48:17,919
Speaker 1: things we are brave enough to say because we've been

807
00:48:18,280 --> 00:48:22,320
Speaker 1: holding them in. This is the story of Conrad Connie

808
00:48:22,360 --> 00:48:27,439
Speaker 1: played by Timothy Hutton, who feels tremendous guilt after being

809
00:48:27,480 --> 00:48:31,200
Speaker 1: involved in a sailing accident where his older brother Buck

810
00:48:32,040 --> 00:48:36,400
Speaker 1: pat Buck died and it feels to him and it

811
00:48:36,400 --> 00:48:39,960
Speaker 1: feels very much to the audience as well, like his

812
00:48:40,080 --> 00:48:44,239
Speaker 1: mother Beth played by Mary Tyler Moore, favored Buck and

813
00:48:44,320 --> 00:48:49,800
Speaker 1: hasn't really been able to move on with Buck being gone.

814
00:48:50,000 --> 00:48:54,719
Speaker 1: Donald Sutherland plays Calvin, the father, and Judd Hirsch is

815
00:48:54,800 --> 00:49:00,520
Speaker 1: the psychiatrist trying to help Conrad through this. If you

816
00:49:00,560 --> 00:49:03,520
Speaker 1: need it a little more though, I found an old

817
00:49:04,560 --> 00:49:09,320
Speaker 1: you know, kind of Q and A on Entertainment Weekly

818
00:49:09,600 --> 00:49:13,560
Speaker 1: or an oral history, a brief oral history, and Robert Redford.

819
00:49:13,640 --> 00:49:16,440
Speaker 1: I wanted to know what drew him to the material, Josh.

820
00:49:16,480 --> 00:49:19,319
Speaker 1: I wondered if there was something that would that would

821
00:49:19,400 --> 00:49:24,359
Speaker 1: fit with my my notion here of of what what

822
00:49:24,400 --> 00:49:27,800
Speaker 1: would bring Robert Redford, what would draw him to this material,

823
00:49:27,880 --> 00:49:30,800
Speaker 1: the original source material of the book by Judith Guest,

824
00:49:31,200 --> 00:49:33,600
Speaker 1: and guess what he said. I was looking for a

825
00:49:33,640 --> 00:49:37,879
Speaker 1: piece of material that was about behavior and feelings. When

826
00:49:37,880 --> 00:49:39,920
Speaker 1: I read Judith Guest book, I thought, this is it

827
00:49:40,600 --> 00:49:42,239
Speaker 1: behavior and feelings.

828
00:49:42,880 --> 00:49:43,759
Speaker 7: It's behavior.

829
00:49:44,080 --> 00:49:46,680
Speaker 1: Behavior is the best word to describe what it is

830
00:49:46,800 --> 00:49:51,280
Speaker 1: so much that I love watching Robert Redford do on screen.

831
00:49:51,560 --> 00:49:56,879
Speaker 1: It's not it's not make grand pronouncements, it's not dexterity

832
00:49:56,920 --> 00:50:01,399
Speaker 1: with words. It isn't even ultimately a amazing physicality, even

833
00:50:01,440 --> 00:50:04,200
Speaker 1: though that is something I love watching in the natural,

834
00:50:04,239 --> 00:50:08,960
Speaker 1: a certain type or specific type of physicality. It's the

835
00:50:09,000 --> 00:50:14,480
Speaker 1: way he expresses behavior and that combination of behavior and feelings,

836
00:50:14,480 --> 00:50:17,760
Speaker 1: and I think he does it very subtly more often

837
00:50:18,280 --> 00:50:21,600
Speaker 1: than not. I do want to draw attention to one

838
00:50:21,600 --> 00:50:25,520
Speaker 1: scene because I think you hear this a lot, right,

839
00:50:26,520 --> 00:50:29,720
Speaker 1: and it makes sense. You hope that when an actor

840
00:50:30,719 --> 00:50:33,839
Speaker 1: and a very good actor, makes the transition to being

841
00:50:33,840 --> 00:50:37,600
Speaker 1: a director, you hope that they're able to work with

842
00:50:37,680 --> 00:50:41,359
Speaker 1: actors in a very effective way, and maybe even in

843
00:50:41,400 --> 00:50:44,360
Speaker 1: an efficient way right, because they can cut right to

844
00:50:44,400 --> 00:50:47,920
Speaker 1: the heart of what the other actor needs. Maybe they

845
00:50:48,000 --> 00:50:52,120
Speaker 1: can give them the right type of notes or maybe

846
00:50:52,320 --> 00:50:54,640
Speaker 1: no notes at all, but they can give them the

847
00:50:54,719 --> 00:50:58,799
Speaker 1: direction that they need to get them where they need

848
00:50:58,840 --> 00:51:05,080
Speaker 1: to go. And as we're talking about expression and repressed

849
00:51:05,400 --> 00:51:08,880
Speaker 1: feelings and finally saying them out loud, the moment in

850
00:51:08,920 --> 00:51:13,240
Speaker 1: this film that's so heartbreaking when when Calvin, when Donald

851
00:51:13,239 --> 00:51:18,560
Speaker 1: Sutherland finally tells Beth, his wife, how he feels, when

852
00:51:18,560 --> 00:51:21,360
Speaker 1: he's he's finally coming to terms with what he thinks

853
00:51:21,440 --> 00:51:25,320
Speaker 1: the true nature of their relationship is as as husband

854
00:51:25,360 --> 00:51:30,480
Speaker 1: and wife. In that oral history, Redford is complimenting Sutherland.

855
00:51:30,520 --> 00:51:35,160
Speaker 1: He says he could do anything, and he knew this

856
00:51:35,280 --> 00:51:38,600
Speaker 1: scene was going to be this big dramatic moment he

857
00:51:38,640 --> 00:51:41,200
Speaker 1: has to tell his wife that he's not sure he

858
00:51:41,239 --> 00:51:46,040
Speaker 1: loves her anymore. And he mentioned to Redford as the director,

859
00:51:46,360 --> 00:51:49,719
Speaker 1: that he was looking forward to it, that he was

860
00:51:49,760 --> 00:51:54,799
Speaker 1: anticipating it eagerly. And Redford thought, maybe he got a

861
00:51:54,800 --> 00:51:57,800
Speaker 1: little too excited about it, that he got a little

862
00:51:58,080 --> 00:52:02,440
Speaker 1: wired for it, and so when the moment came he

863
00:52:02,520 --> 00:52:06,120
Speaker 1: maybe his words were he really let loose, Redford said.

864
00:52:06,360 --> 00:52:08,359
Speaker 1: And Redford thought it was it was a bit too

865
00:52:08,440 --> 00:52:12,920
Speaker 1: much for it. Here here, I'll go back to what

866
00:52:12,960 --> 00:52:17,160
Speaker 1: he said. Maybe he just wanted Sutherland to exhibit some behavior,

867
00:52:17,280 --> 00:52:20,240
Speaker 1: behavior and feelings and it needed to be more subtle

868
00:52:20,280 --> 00:52:24,080
Speaker 1: and more restraint. And so what he did, all he

869
00:52:24,160 --> 00:52:29,440
Speaker 1: did as a director, and he compliments Sutherland for interpreting

870
00:52:29,480 --> 00:52:33,800
Speaker 1: this correctly. Is he just he just showed him the rushes.

871
00:52:34,360 --> 00:52:37,280
Speaker 1: He just showed him the scene and he just said, Donald,

872
00:52:37,320 --> 00:52:39,040
Speaker 1: I want you to look at this. And they just

873
00:52:39,080 --> 00:52:44,480
Speaker 1: watched the scene together and that's all that's all Donald

874
00:52:44,520 --> 00:52:48,359
Speaker 1: needed is basically to see it. And he said, can

875
00:52:48,440 --> 00:52:50,840
Speaker 1: I do it again? And they went back to the

876
00:52:50,880 --> 00:52:54,160
Speaker 1: location and they shot it and they recut that into

877
00:52:54,239 --> 00:52:56,359
Speaker 1: the film, and he knew that he needed to take

878
00:52:56,400 --> 00:52:59,160
Speaker 1: it down just a little bit, and that's what we

879
00:52:59,200 --> 00:53:01,200
Speaker 1: see in the final film.

880
00:53:01,960 --> 00:53:06,879
Speaker 4: I don't know who you are. I don't know what

881
00:53:06,880 --> 00:53:19,560
Speaker 4: we've been playing at. So I was crying because I

882
00:53:19,640 --> 00:53:22,360
Speaker 4: don't know if I love you anymore.

883
00:53:24,000 --> 00:53:26,399
Speaker 3: Yeah, I do like ordinary people, not quite as much

884
00:53:26,440 --> 00:53:29,880
Speaker 3: as you. But as you've been talking about gestures in

885
00:53:29,960 --> 00:53:34,120
Speaker 3: terms of Redford using them, I think of that scene

886
00:53:34,440 --> 00:53:37,799
Speaker 3: where Mary Tyler Moore, who's excellent in this movie. She

887
00:53:37,920 --> 00:53:41,600
Speaker 3: is her son is trying to connect with her at

888
00:53:41,640 --> 00:53:46,200
Speaker 3: a certain moment, and instead she prioritizes a justing a vase,

889
00:53:46,960 --> 00:53:50,080
Speaker 3: and if you could ever have just a small gesture

890
00:53:50,160 --> 00:53:53,720
Speaker 3: that communicates everything you need to know about a character,

891
00:53:53,840 --> 00:53:56,680
Speaker 3: it's something like that. So yeah, I was thinking about

892
00:53:56,680 --> 00:53:59,759
Speaker 3: that too, as when you mentioned you were picking ordinary people.

893
00:54:00,080 --> 00:54:02,880
Speaker 3: Of what is Redford bringing to a project like this

894
00:54:03,120 --> 00:54:08,760
Speaker 3: as an actor turned director? You probably see that particularly

895
00:54:09,280 --> 00:54:14,840
Speaker 3: here in ordinary People? All right, my number two getting

896
00:54:14,880 --> 00:54:19,440
Speaker 3: into iconic territory. Here it's Butch Cassidy and the Sundance

897
00:54:19,520 --> 00:54:23,400
Speaker 3: Kid early, relatively earlier in his career, but I still

898
00:54:23,440 --> 00:54:26,960
Speaker 3: think maybe a test of the Redford charm, because you know,

899
00:54:27,040 --> 00:54:30,640
Speaker 3: he's playing this wanted robber in the American West of

900
00:54:30,680 --> 00:54:34,560
Speaker 3: the eighteen nineties, so he's ostensibly a bad guy. He's

901
00:54:34,560 --> 00:54:38,000
Speaker 3: the Sundance Kid, and Paul Newman is Butch, and you

902
00:54:38,040 --> 00:54:42,280
Speaker 3: know they're Robin Folks. Newman, of course, by this point,

903
00:54:42,320 --> 00:54:45,160
Speaker 3: he was way more experienced at playing the anti hero.

904
00:54:45,440 --> 00:54:47,600
Speaker 3: He had the likes of Hud and cool Hand Luke

905
00:54:47,640 --> 00:54:50,560
Speaker 3: already in his filmography before he got to this in

906
00:54:50,600 --> 00:54:54,160
Speaker 3: nineteen sixty nine. It's fun to see Redford pushing in

907
00:54:54,200 --> 00:54:57,040
Speaker 3: that direction, but let's all be honest, Neither of these

908
00:54:57,040 --> 00:55:00,040
Speaker 3: guys is an anti hero in the way we it

909
00:55:00,120 --> 00:55:04,440
Speaker 3: would talk about say a Hackman character or a Nicholson character.

910
00:55:05,200 --> 00:55:08,960
Speaker 3: This is really more a mythology of the Old West

911
00:55:09,160 --> 00:55:15,319
Speaker 3: robber as dashing romantic figure, and Newman and Redford they

912
00:55:15,360 --> 00:55:18,000
Speaker 3: look the part, of course, But to me, the real

913
00:55:18,080 --> 00:55:20,560
Speaker 3: success of this movie is the way they take William

914
00:55:20,600 --> 00:55:24,360
Speaker 3: Goldman's script and they turn it into and I promise you,

915
00:55:24,440 --> 00:55:27,000
Speaker 3: I mean this is the highest of praise. They turn

916
00:55:27,040 --> 00:55:30,879
Speaker 3: it into a superior sitcom. By that, I mean it's

917
00:55:31,160 --> 00:55:37,520
Speaker 3: character based interplay and the exchanges are just electric. All right,

918
00:55:39,040 --> 00:55:39,840
Speaker 3: I'll jump first.

919
00:55:40,160 --> 00:55:43,080
Speaker 8: Nope, Then you jump first? Oh, I said, what's the

920
00:55:43,080 --> 00:55:56,600
Speaker 8: matter with you? I can't swim? Why are you crazy?

921
00:55:57,200 --> 00:55:58,760
Speaker 8: The fall will probably kill.

922
00:55:58,560 --> 00:56:02,240
Speaker 3: You as a I'll suggest. Butch Cassidy and the Sundance

923
00:56:02,320 --> 00:56:06,600
Speaker 3: Kid is also a good example of Redford's willingness to

924
00:56:06,680 --> 00:56:10,960
Speaker 3: share the spotlight, which we touched on earlier, and think

925
00:56:11,000 --> 00:56:14,480
Speaker 3: about the major movies where he did this. Streisand in

926
00:56:14,520 --> 00:56:17,160
Speaker 3: the way we were the Sting Again with Newman, which

927
00:56:17,280 --> 00:56:21,120
Speaker 3: was nineteen seventy three Out of Africa with Meryl Streep.

928
00:56:22,200 --> 00:56:24,719
Speaker 3: There are probably others we could mention, including my number

929
00:56:24,719 --> 00:56:27,000
Speaker 3: one pick, which i'll get too shortly. But I have

930
00:56:27,680 --> 00:56:32,400
Speaker 3: Butch and Sundance here at number two. Honestly, could have

931
00:56:32,920 --> 00:56:36,480
Speaker 3: could have maybe put in an argument for number one.

932
00:56:36,560 --> 00:56:39,680
Speaker 3: But you know, raindrops keep falling on my head. It's

933
00:56:40,200 --> 00:56:42,759
Speaker 3: every time I watch it, Adam, it's still there. It's

934
00:56:42,800 --> 00:56:44,920
Speaker 3: still in the movie.

935
00:56:45,440 --> 00:56:47,799
Speaker 1: So you're not a fan of raindrops, is what you're saying?

936
00:56:49,040 --> 00:56:49,520
Speaker 3: Brutal?

937
00:56:50,160 --> 00:56:50,399
Speaker 7: Yeah.

938
00:56:51,239 --> 00:56:56,319
Speaker 1: In that Terry Gross interview, he mentions that when he

939
00:56:56,400 --> 00:56:58,399
Speaker 1: saw the film for the first time, and I think

940
00:56:58,440 --> 00:57:01,960
Speaker 1: he's referring to maybe an early cut of it, He's like,

941
00:57:02,960 --> 00:57:05,800
Speaker 1: what is happening? Why is this song here? There's no

942
00:57:06,000 --> 00:57:08,480
Speaker 1: there's no rain first of all, he says, and then

943
00:57:08,719 --> 00:57:11,720
Speaker 1: it just it doesn't work. Why are you ruining this movie?

944
00:57:11,760 --> 00:57:14,640
Speaker 1: That was his thought, And then he said, well, what

945
00:57:14,680 --> 00:57:17,440
Speaker 1: do I know? Right the next six months, all he

946
00:57:17,440 --> 00:57:19,440
Speaker 1: heard on the radio was rain drops keep falling on

947
00:57:19,560 --> 00:57:21,680
Speaker 1: my head. And of course the movie is a huge hit.

948
00:57:22,000 --> 00:57:25,400
Speaker 3: So maybe that's maybe that's what I'm responding to, to

949
00:57:25,440 --> 00:57:28,600
Speaker 3: be fair, is the ubiquitousness of it, and not necessarily

950
00:57:28,640 --> 00:57:29,560
Speaker 3: the use in the film.

951
00:57:29,640 --> 00:57:34,040
Speaker 1: Yeah, well, I'll be shocked if we don't share number

952
00:57:34,040 --> 00:57:37,240
Speaker 1: two and a number one here. I say every now

953
00:57:37,280 --> 00:57:39,440
Speaker 1: and again that sometimes there are just right answers, and

954
00:57:39,640 --> 00:57:43,200
Speaker 1: there might be right answers here with this list, I

955
00:57:43,240 --> 00:57:46,120
Speaker 1: also have Butcher Cassidy and The sun Dance Kid, And

956
00:57:46,200 --> 00:57:51,200
Speaker 1: maybe when I talked about the concept for my list

957
00:57:51,280 --> 00:57:54,880
Speaker 1: and that essence of Redford, part of it came from

958
00:57:56,200 --> 00:57:59,240
Speaker 1: this gesture, a gesture that I had in mind. And

959
00:57:59,280 --> 00:58:01,800
Speaker 1: I don't remember what the top five was. I didn't

960
00:58:01,840 --> 00:58:03,800
Speaker 1: have time to look it up, but a top five

961
00:58:03,880 --> 00:58:07,240
Speaker 1: we did fairly recently. Time is a flat circle, so

962
00:58:07,280 --> 00:58:08,800
Speaker 1: who knows. It could have been eight years ago, but

963
00:58:09,000 --> 00:58:11,520
Speaker 1: I think sometime in the past three years or so

964
00:58:11,600 --> 00:58:14,680
Speaker 1: we did a top five and I had Butch Cassadine

965
00:58:14,680 --> 00:58:16,680
Speaker 1: the Sundance Kid on it, and I talked about my

966
00:58:16,720 --> 00:58:21,520
Speaker 1: favorite moment being the famous scene where Sundance wants to

967
00:58:21,520 --> 00:58:25,600
Speaker 1: shoot his way out and Butch wants to jump and

968
00:58:25,640 --> 00:58:28,240
Speaker 1: Sundance has to admit that he can't swim. But what

969
00:58:28,360 --> 00:58:33,120
Speaker 1: I love about it is Redford's choice the gesture after

970
00:58:33,200 --> 00:58:37,080
Speaker 1: he says I can't swim, he admits he can't swim,

971
00:58:37,240 --> 00:58:40,920
Speaker 1: and there's a pause and Redford just does this very

972
00:58:41,000 --> 00:58:46,960
Speaker 1: pronounced shrug and head nod, and he in that silence Newman.

973
00:58:47,040 --> 00:58:51,840
Speaker 1: Then after that silence he bursts out laughing. And something

974
00:58:51,840 --> 00:58:56,000
Speaker 1: about that is just always registered with me, Josh, it

975
00:58:56,120 --> 00:58:59,800
Speaker 1: cracks me up. It's more than the line that he admits.

976
00:59:00,040 --> 00:59:03,600
Speaker 1: It's the way he's like with that gesture, He's like,

977
00:59:03,800 --> 00:59:07,040
Speaker 1: so there, you know, and something about it just always

978
00:59:07,120 --> 00:59:11,360
Speaker 1: kills me. But on one thing I heard in that

979
00:59:11,440 --> 00:59:14,640
Speaker 1: interview that that really stands out talking about this movie

980
00:59:15,160 --> 00:59:18,680
Speaker 1: is he said that Newman was originally going to be

981
00:59:18,720 --> 00:59:25,680
Speaker 1: Sundance and Redford was offered Butch, and Redford didn't want it,

982
00:59:26,160 --> 00:59:32,720
Speaker 1: he didn't want to play Butch. He responded more to Sundance.

983
00:59:33,160 --> 00:59:36,880
Speaker 1: He felt like that was a character he was more

984
00:59:36,920 --> 00:59:41,440
Speaker 1: interested in playing and could play better. And what's the

985
00:59:41,440 --> 00:59:44,120
Speaker 1: big difference, at least what I'm going to tell you

986
00:59:44,120 --> 00:59:46,360
Speaker 1: what I think the big difference is. The big difference

987
00:59:46,480 --> 00:59:52,240
Speaker 1: is Butch is the talker. Sundance lets his guns do

988
00:59:52,360 --> 00:59:55,600
Speaker 1: most of the talking. Butch is the gester. Butch is

989
00:59:55,640 --> 01:00:00,280
Speaker 1: the provocateur. He's the charming one. That's why I love

990
01:00:00,400 --> 01:00:06,080
Speaker 1: the scene where they're playing cards and Sundance wins and

991
01:00:06,120 --> 01:00:09,600
Speaker 1: the guy he beats says they can leave, but the

992
01:00:09,600 --> 01:00:10,280
Speaker 1: money stays.

993
01:00:10,880 --> 01:00:18,920
Speaker 10: The money stays, and you go, well, we seem to

994
01:00:18,920 --> 01:00:20,720
Speaker 10: be a little short on brotherly love around here.

995
01:00:21,040 --> 01:00:23,120
Speaker 3: If you're with him, you better get yourselves out of here.

996
01:00:23,320 --> 01:00:24,000
Speaker 3: We're on our way.

997
01:00:24,640 --> 01:00:27,680
Speaker 1: They're building up to some suspense because again Butch loves

998
01:00:27,720 --> 01:00:30,240
Speaker 1: to be the provocateur. And then he finally says it.

999
01:00:30,320 --> 01:00:33,240
Speaker 1: He finally lets it out. He says to Redford, I

1000
01:00:33,280 --> 01:00:38,240
Speaker 1: can't help your Sundance. And when Sundance sees the look

1001
01:00:38,280 --> 01:00:41,720
Speaker 1: of recognition on the guy's face, now that the name

1002
01:00:41,840 --> 01:00:45,280
Speaker 1: is out there, he knows he knows him by reputation.

1003
01:00:45,400 --> 01:00:50,880
Speaker 1: Of course, Redford just subtly clocks that recognition in the

1004
01:00:50,920 --> 01:00:55,120
Speaker 1: other guy's face by tilting his head back just a bit,

1005
01:00:55,520 --> 01:00:59,160
Speaker 1: just slightly, and then he stands up slowly, just in

1006
01:00:59,280 --> 01:01:03,000
Speaker 1: case the other guy is actually going to draw, because

1007
01:01:03,000 --> 01:01:05,920
Speaker 1: at this point he has cocked his gun, but it's

1008
01:01:05,960 --> 01:01:10,120
Speaker 1: in his holster still, so he's standing up slowly. In

1009
01:01:10,160 --> 01:01:15,320
Speaker 1: the last minute of this scene, Josh Redford says three words.

1010
01:01:15,840 --> 01:01:20,120
Speaker 1: Otherwise he's just standing there waiting, and he lets Butch

1011
01:01:20,840 --> 01:01:21,520
Speaker 1: have his fun.

1012
01:01:21,840 --> 01:01:24,480
Speaker 9: So why don't you just invite us to stick around.

1013
01:01:26,840 --> 01:01:27,440
Speaker 9: You can do it.

1014
01:01:28,680 --> 01:01:35,600
Speaker 1: I'm easy, Come on, come on, I do really love

1015
01:01:35,600 --> 01:01:39,040
Speaker 1: how George roy Hill is the director, he knows after

1016
01:01:39,920 --> 01:01:45,320
Speaker 1: Sundance stands, he knows as Sundance starts to walk towards us,

1017
01:01:45,680 --> 01:01:50,800
Speaker 1: he knows to start pulling the camera back on the tracks.

1018
01:01:51,160 --> 01:01:55,520
Speaker 1: So we get the full body of Sundance walking towards us,

1019
01:01:55,680 --> 01:01:57,600
Speaker 1: get the whole body in the frame, but we also

1020
01:01:57,680 --> 01:02:02,720
Speaker 1: get what the poker table in the background, and we

1021
01:02:02,760 --> 01:02:06,600
Speaker 1: see Butch entering the frame so that he can start

1022
01:02:07,120 --> 01:02:10,440
Speaker 1: putting the poker chips in his bag or his sack

1023
01:02:10,600 --> 01:02:18,120
Speaker 1: or whatever. Right, but it also visually anticipates something, something's

1024
01:02:18,160 --> 01:02:22,240
Speaker 1: going to happen because the guy is also in the shot.

1025
01:02:22,520 --> 01:02:25,400
Speaker 1: He's in the kind of the middle ground of the shot,

1026
01:02:25,560 --> 01:02:26,960
Speaker 1: and of course he can't help himself.

1027
01:02:26,960 --> 01:02:27,600
Speaker 7: What does he say?

1028
01:02:27,880 --> 01:02:31,520
Speaker 3: Hey kid, Hey kid? How good are you?

1029
01:02:37,120 --> 01:02:39,640
Speaker 1: And if you watch the scene, Josh, what's so great

1030
01:02:39,680 --> 01:02:42,000
Speaker 1: about it is? Butch is there, as I said, picking

1031
01:02:42,080 --> 01:02:45,720
Speaker 1: up the money. The guy asks it twice, how good

1032
01:02:45,760 --> 01:02:49,280
Speaker 1: are you kid? Before he can even finish the second line,

1033
01:02:50,080 --> 01:02:54,080
Speaker 1: Newman's running out of the frame. Butch is running out

1034
01:02:54,080 --> 01:02:59,280
Speaker 1: of the frame because he knows what's coming. Butch like

1035
01:03:00,080 --> 01:03:04,360
Speaker 1: it's choreographed down to that level that Butch knows that

1036
01:03:05,120 --> 01:03:08,400
Speaker 1: this questions coming because Sundance gets tested.

1037
01:03:08,280 --> 01:03:08,880
Speaker 7: All the time.

1038
01:03:09,400 --> 01:03:11,600
Speaker 1: They have to try him, right, They got to know,

1039
01:03:11,760 --> 01:03:13,320
Speaker 1: they always got to know if he's really as good

1040
01:03:13,360 --> 01:03:15,960
Speaker 1: as they say he is. And Sundance always is going

1041
01:03:16,000 --> 01:03:19,520
Speaker 1: to show them. And that's what he does. He gets

1042
01:03:19,560 --> 01:03:21,760
Speaker 1: the gun out and he shows him just how fast

1043
01:03:22,000 --> 01:03:24,520
Speaker 1: he really is, and Butch has to move. Butch has

1044
01:03:24,560 --> 01:03:26,680
Speaker 1: to move quickly because the bullets are going to come

1045
01:03:26,720 --> 01:03:30,880
Speaker 1: flying that way over the poker table. It's such a

1046
01:03:30,920 --> 01:03:33,160
Speaker 1: good scene. There's so many good scenes in that movie,

1047
01:03:33,200 --> 01:03:35,680
Speaker 1: but that scene is so good, and it's Redford just

1048
01:03:35,760 --> 01:03:39,920
Speaker 1: keeping it all contained. He doesn't smile, you know, he

1049
01:03:39,960 --> 01:03:44,360
Speaker 1: does nothing except pretty much use his body. And he

1050
01:03:44,440 --> 01:03:47,439
Speaker 1: says about maybe the whole scene about ten words.

1051
01:03:47,440 --> 01:03:51,240
Speaker 3: Just looking up top five romances. We did that, yeah,

1052
01:03:51,240 --> 01:03:54,040
Speaker 3: I mean, of course two. Yeah, yeah, and you had

1053
01:03:54,040 --> 01:03:58,560
Speaker 3: it there at number two, all right? Should we get

1054
01:03:58,560 --> 01:03:59,560
Speaker 3: to all the presidents men?

1055
01:04:00,120 --> 01:04:00,280
Speaker 8: Yeah?

1056
01:04:00,360 --> 01:04:01,560
Speaker 3: I think it has to be there. I think it's

1057
01:04:01,560 --> 01:04:07,520
Speaker 3: about time. Redford is the wood word to Dustin Hoffman's burnstain,

1058
01:04:08,240 --> 01:04:12,480
Speaker 3: his most I don't know, this sounds like it's your area.

1059
01:04:12,560 --> 01:04:16,840
Speaker 3: So you tell me his most de charmed performance. Maybe

1060
01:04:17,000 --> 01:04:19,720
Speaker 3: maybe the opposite end of what we get in something

1061
01:04:19,800 --> 01:04:23,680
Speaker 3: like The Natural and and that fits because this movie

1062
01:04:23,920 --> 01:04:28,280
Speaker 3: is all about the unglamorous, nuts and bolts work that

1063
01:04:28,440 --> 01:04:32,120
Speaker 3: goes into the level of journalism that brought down Nixon

1064
01:04:32,600 --> 01:04:37,960
Speaker 3: and his cronies, and Redford is completely in sync with this.

1065
01:04:38,520 --> 01:04:41,880
Speaker 3: Similar to how you were just describing the butch character

1066
01:04:41,960 --> 01:04:45,360
Speaker 3: and him wanting Newman to have that, he allows Hoffman

1067
01:04:45,480 --> 01:04:47,720
Speaker 3: to be more of the charmer here, right, or at

1068
01:04:47,800 --> 01:04:51,560
Speaker 3: least have more of the personality. Yeah, the lively, the

1069
01:04:51,680 --> 01:04:54,680
Speaker 3: lively one in the scenes. Now, when we did our

1070
01:04:54,720 --> 01:04:57,800
Speaker 3: Sacred Cow review of all the Presidents men, I called

1071
01:04:57,840 --> 01:04:59,920
Speaker 3: out one of my favorite scenes, which I'm going to

1072
01:05:00,040 --> 01:05:03,560
Speaker 3: refer to here because it's also to me the epitome

1073
01:05:03,760 --> 01:05:09,120
Speaker 3: of Redford's acting career. It's where his Woodward manages to

1074
01:05:09,120 --> 01:05:13,480
Speaker 3: get Kenneth Dalberg back on the phone after he'd already

1075
01:05:13,480 --> 01:05:16,640
Speaker 3: been hung up on. So this is a long single

1076
01:05:16,720 --> 01:05:20,280
Speaker 3: take where a couple of phone calls have been going

1077
01:05:20,320 --> 01:05:23,439
Speaker 3: on during this single take, and Woodward has to play

1078
01:05:23,440 --> 01:05:28,200
Speaker 3: that tenuous game that reporters play of being direct in

1079
01:05:28,280 --> 01:05:31,840
Speaker 3: his questioning, not wasting any words, but also not scaring

1080
01:05:31,880 --> 01:05:32,760
Speaker 3: the subject away.

1081
01:05:33,440 --> 01:05:34,120
Speaker 10: I know, I.

1082
01:05:34,040 --> 01:05:44,960
Speaker 9: Shouldn't be telling you this. I gave it to mister Stands, my.

1083
01:05:44,920 --> 01:05:45,479
Speaker 7: Begg your pardon.

1084
01:05:47,360 --> 01:05:50,920
Speaker 6: I gave it to Stands, Maurice Stands, the head of

1085
01:05:50,960 --> 01:05:52,200
Speaker 6: finance for Nixon.

1086
01:05:52,200 --> 01:05:53,640
Speaker 3: Yes, in Washington.

1087
01:05:54,040 --> 01:05:57,400
Speaker 9: Now what he did with it, I really do not know.

1088
01:05:58,280 --> 01:06:00,200
Speaker 5: I see were there any other checks for that you

1089
01:06:00,280 --> 01:06:01,720
Speaker 5: might be aware of they could have compelled.

1090
01:06:02,200 --> 01:06:03,919
Speaker 9: That's that's all I have to say.

1091
01:06:04,560 --> 01:06:07,080
Speaker 3: When Woodward is so close to getting what he wants,

1092
01:06:07,120 --> 01:06:09,400
Speaker 3: when when Dalberg basically says, I know I shouldn't be

1093
01:06:09,400 --> 01:06:15,680
Speaker 3: telling you this. Watch Redford's eyes they close slowly, as

1094
01:06:15,720 --> 01:06:18,760
Speaker 3: if if he's saying a little prayer. It's like you,

1095
01:06:18,760 --> 01:06:21,800
Speaker 3: you know it's fishing right, it's you got the you

1096
01:06:21,800 --> 01:06:25,520
Speaker 3: don't got the nibble, You've got the snag, but you

1097
01:06:25,560 --> 01:06:28,000
Speaker 3: know it could still go wrong. And his eyes in

1098
01:06:28,040 --> 01:06:32,080
Speaker 3: that moment are just waiting for the full hook. It's

1099
01:06:32,320 --> 01:06:37,520
Speaker 3: just a master class of an actor being compellingly simple

1100
01:06:39,040 --> 01:06:42,040
Speaker 3: while being on one side of a phone call. Never,

1101
01:06:42,120 --> 01:06:45,080
Speaker 3: we never cut to the other actors we hear in

1102
01:06:45,120 --> 01:06:49,760
Speaker 3: the scene. And here's the key for me. Think of

1103
01:06:49,800 --> 01:06:53,280
Speaker 3: all the tools Redford has to make this scene compelling.

1104
01:06:53,680 --> 01:06:58,680
Speaker 3: He has that essence of ease, he has that charm,

1105
01:06:59,080 --> 01:07:01,120
Speaker 3: He has so many of these things that would make

1106
01:07:01,160 --> 01:07:04,520
Speaker 3: the scene work, but instead he sticks to the nuts

1107
01:07:04,520 --> 01:07:09,120
Speaker 3: and bolts of being completely inside this character and completely

1108
01:07:09,160 --> 01:07:13,680
Speaker 3: in this moment. I don't know if Redford could ever

1109
01:07:13,800 --> 01:07:17,760
Speaker 3: fully disappear into a role, but you know, for someone,

1110
01:07:17,800 --> 01:07:20,320
Speaker 3: for a star of his magnitude, that's incredibly difficult to do,

1111
01:07:20,800 --> 01:07:23,520
Speaker 3: no matter how talented they are. I do think this

1112
01:07:23,600 --> 01:07:26,120
Speaker 3: might be. I think All the President's Men might be

1113
01:07:26,160 --> 01:07:28,720
Speaker 3: where he comes closest to managing that.

1114
01:07:29,600 --> 01:07:33,320
Speaker 1: You said it's a masterclass of acting in terms of

1115
01:07:33,320 --> 01:07:33,920
Speaker 1: the performance.

1116
01:07:34,000 --> 01:07:34,760
Speaker 7: I agree.

1117
01:07:34,880 --> 01:07:40,080
Speaker 1: I think it's a masterclass of seventies filmmaking or just

1118
01:07:40,160 --> 01:07:41,400
Speaker 1: a filmmaking, right.

1119
01:07:41,560 --> 01:07:43,520
Speaker 3: I mean, we spent a lot of time on in

1120
01:07:43,560 --> 01:07:47,720
Speaker 3: our talking I did about split diacter.

1121
01:07:47,880 --> 01:07:51,000
Speaker 1: Use split all that, Yeah, and I didn't go back

1122
01:07:51,040 --> 01:07:53,600
Speaker 1: and listen to it, but we did put that recently

1123
01:07:53,640 --> 01:07:55,840
Speaker 1: back in our in our feed if you want to

1124
01:07:55,840 --> 01:07:58,800
Speaker 1: listen to that seven from seventy six Sacred Cow conversation.

1125
01:07:59,040 --> 01:08:00,800
Speaker 1: But I looked at my notes and I know we

1126
01:08:00,880 --> 01:08:04,520
Speaker 1: did devote a ton of time to that scene. I

1127
01:08:04,560 --> 01:08:08,959
Speaker 1: always loved it, but getting to really devote that time

1128
01:08:09,000 --> 01:08:11,400
Speaker 1: to it and really just pay more attention to it

1129
01:08:11,840 --> 01:08:14,920
Speaker 1: as part of a Sacred Cow discussion was great. I

1130
01:08:14,960 --> 01:08:19,080
Speaker 1: saw things that I hadn't noticed before. And it's the

1131
01:08:19,080 --> 01:08:22,360
Speaker 1: shot of the film in a movie I love, and

1132
01:08:22,360 --> 01:08:24,840
Speaker 1: and credit to Alan Pakula obviously as a director here,

1133
01:08:24,920 --> 01:08:26,679
Speaker 1: but I think it really is one of the shots

1134
01:08:26,720 --> 01:08:30,840
Speaker 1: of the seventies and and hell of cinema. How how

1135
01:08:30,880 --> 01:08:34,080
Speaker 1: it's shot with that split diopter, the long take, the

1136
01:08:34,120 --> 01:08:37,920
Speaker 1: way it creeps in eventually to a close up, but

1137
01:08:38,040 --> 01:08:43,200
Speaker 1: how it's written and acted, and what Redford does. You

1138
01:08:43,320 --> 01:08:47,760
Speaker 1: mentioned the gestures, the small physical parts, the eyes. That's

1139
01:08:47,800 --> 01:08:51,240
Speaker 1: the that's the moment of the right, that's that's where

1140
01:08:51,280 --> 01:08:55,200
Speaker 1: we're So we're so aligned with Woodford, with Woodward there

1141
01:08:55,320 --> 01:08:59,519
Speaker 1: right when he does that, we're we're we're exactly praying

1142
01:08:59,600 --> 01:09:02,479
Speaker 1: for the same thing that he's actually going to say it.

1143
01:09:02,600 --> 01:09:02,800
Speaker 3: Right.

1144
01:09:03,120 --> 01:09:06,400
Speaker 1: But it's not only that, it's the moment. For example,

1145
01:09:06,439 --> 01:09:12,200
Speaker 1: when when Redford lifts his head up when Dahlberg says stands,

1146
01:09:12,720 --> 01:09:17,280
Speaker 1: the significance of stands it is significant. It means, oh,

1147
01:09:17,439 --> 01:09:19,479
Speaker 1: this this goes all the way up to the top.

1148
01:09:19,920 --> 01:09:23,200
Speaker 1: And he knows that, and he shows that just by

1149
01:09:23,200 --> 01:09:26,160
Speaker 1: he's kind of looking down, just taking notes, and then

1150
01:09:26,200 --> 01:09:27,720
Speaker 1: all of a sudden, all he has to do is

1151
01:09:27,760 --> 01:09:31,160
Speaker 1: lift his head up slightly, and it tells us that, oh, okay,

1152
01:09:31,400 --> 01:09:35,560
Speaker 1: we have now gone to another level in this investigation.

1153
01:09:36,240 --> 01:09:41,320
Speaker 1: And and and that's that's Redford just just doing really

1154
01:09:41,640 --> 01:09:46,839
Speaker 1: great subtle work. But it's almost not not quite, because

1155
01:09:47,000 --> 01:09:52,240
Speaker 1: that scene is incredible, and if you're watching us on YouTube,

1156
01:09:52,560 --> 01:09:57,280
Speaker 1: I'm sure Sam is showing it, but I also will

1157
01:09:57,400 --> 01:09:59,160
Speaker 1: make sure that we're linking to it in our show

1158
01:09:59,200 --> 01:10:01,960
Speaker 1: notes or over on our website if you go to

1159
01:10:02,000 --> 01:10:05,839
Speaker 1: Filmspotting dot nets slash list. It's such an incredible scene.

1160
01:10:05,920 --> 01:10:08,559
Speaker 1: It's also fun, though, Josh, just watching, of course, the

1161
01:10:08,600 --> 01:10:13,679
Speaker 1: scenes where Redford's talking to Deep Throat, the way Redford

1162
01:10:14,520 --> 01:10:19,840
Speaker 1: exhibits paranoia, the desperation, the way he is he is

1163
01:10:19,960 --> 01:10:24,080
Speaker 1: so craving as here again we are too, as as

1164
01:10:24,360 --> 01:10:27,960
Speaker 1: an audience member, and the way Redford is our surrogate

1165
01:10:28,280 --> 01:10:32,640
Speaker 1: craving more information, and you know, he's wanting so desperately

1166
01:10:33,040 --> 01:10:37,960
Speaker 1: to just ask some direct questions and get direct answers,

1167
01:10:38,200 --> 01:10:41,519
Speaker 1: and he's trying sometimes to cajole more information out of

1168
01:10:41,520 --> 01:10:45,000
Speaker 1: how Hulbrook's deep throat character. But he also understands that

1169
01:10:45,080 --> 01:10:48,920
Speaker 1: he has to do this on that character's terms. He

1170
01:10:48,960 --> 01:10:51,920
Speaker 1: has to do it on deep throats terms, or else.

1171
01:10:52,439 --> 01:10:55,879
Speaker 1: He goes away and he has nothing, and he risks

1172
01:10:56,080 --> 01:11:01,360
Speaker 1: sinking this entire investigation. Forget them, that the media is

1173
01:11:01,400 --> 01:11:05,280
Speaker 1: created about the White House. The truth is it is

1174
01:11:05,400 --> 01:11:08,240
Speaker 1: not very bright guys, and things got out of hand.

1175
01:11:10,520 --> 01:11:12,240
Speaker 7: Hunt's come in from the cold.

1176
01:11:13,439 --> 01:11:16,599
Speaker 5: Supposedly he's got a lawyer with twenty five thousand dollars

1177
01:11:16,640 --> 01:11:17,800
Speaker 5: in a brown paper bag.

1178
01:11:18,000 --> 01:11:20,919
Speaker 3: Follow the money.

1179
01:11:22,080 --> 01:11:22,559
Speaker 4: I mean.

1180
01:11:24,560 --> 01:11:24,920
Speaker 9: Where?

1181
01:11:25,280 --> 01:11:28,320
Speaker 7: Oh, I can't tell you that, but you could tell

1182
01:11:28,360 --> 01:11:28,759
Speaker 7: me that.

1183
01:11:29,640 --> 01:11:36,040
Speaker 1: When Holbrook says follow the money, Redford's instinct to pause

1184
01:11:36,800 --> 01:11:41,800
Speaker 1: to process it, still completely still. He understands that this

1185
01:11:41,880 --> 01:11:45,360
Speaker 1: is this is so major. He stays completely still, and

1186
01:11:46,040 --> 01:11:48,920
Speaker 1: then he says where, And when he says where, he

1187
01:11:49,080 --> 01:11:52,880
Speaker 1: just he leans in. He just leans in slightly. He

1188
01:11:52,960 --> 01:11:55,640
Speaker 1: knows how important this is, and he leans in as

1189
01:11:55,680 --> 01:12:00,240
Speaker 1: if leaning in will somehow get him to say where

1190
01:12:00,960 --> 01:12:03,240
Speaker 1: the money is going to lead him? Right, of course,

1191
01:12:03,560 --> 01:12:05,200
Speaker 1: he's not going to tell him that, And he says,

1192
01:12:05,280 --> 01:12:07,439
Speaker 1: I can't tell you that, but I love the lean

1193
01:12:07,520 --> 01:12:10,040
Speaker 1: in that he does. Their Josh is if that's going

1194
01:12:10,080 --> 01:12:13,679
Speaker 1: to somehow pull the answer out of him. So yeah,

1195
01:12:13,760 --> 01:12:17,519
Speaker 1: All the Presidents Men had to be number one, one

1196
01:12:17,560 --> 01:12:19,880
Speaker 1: of my all time favorite movies in a movie that

1197
01:12:20,680 --> 01:12:24,880
Speaker 1: is in the pantheon for a reason. Those are our

1198
01:12:24,880 --> 01:12:28,719
Speaker 1: top five Robert Redford films. We would love to hear

1199
01:12:29,120 --> 01:12:33,439
Speaker 1: your picks. You can email us feedback at filmspotting dot net.

1200
01:12:33,680 --> 01:12:36,800
Speaker 1: A few other titles have come up, Josh, but would

1201
01:12:36,840 --> 01:12:40,080
Speaker 1: you like to officially put some honorable mentions on the record.

1202
01:12:40,320 --> 01:12:44,280
Speaker 3: Yeah, we brought up Spy Game The Candidate on your list.

1203
01:12:44,439 --> 01:12:46,280
Speaker 3: Both of those honorable mentions for me. You wanted to

1204
01:12:46,280 --> 01:12:49,320
Speaker 3: give a nod to River Runs through It, which I

1205
01:12:49,400 --> 01:12:52,719
Speaker 3: saw on its release and actually rewatch for this because

1206
01:12:53,439 --> 01:12:56,200
Speaker 3: you know, I wanted to make sure I gave you know,

1207
01:12:56,280 --> 01:13:01,679
Speaker 3: significant consideration to his directorial efforts and again sturdily directed,

1208
01:13:01,880 --> 01:13:05,479
Speaker 3: as I said, but mostly interesting because Redford just hovers

1209
01:13:05,520 --> 01:13:08,639
Speaker 3: over this thing like a ghost as a director, of course,

1210
01:13:08,680 --> 01:13:11,320
Speaker 3: but he has the voiceover. I'd forgotten that his is

1211
01:13:11,360 --> 01:13:15,800
Speaker 3: the voiceover as the older version of one of the

1212
01:13:15,800 --> 01:13:18,920
Speaker 3: brothers here. And of course just the fact that Brad

1213
01:13:19,000 --> 01:13:24,479
Speaker 3: Pitt is shockingly a Robert Redford stand in in terms

1214
01:13:24,560 --> 01:13:29,800
Speaker 3: of physicality in this movie. Maybe not quite yet, acting ability,

1215
01:13:30,560 --> 01:13:34,480
Speaker 3: but that is still another you just feel Redford throughout

1216
01:13:34,520 --> 01:13:37,080
Speaker 3: this film, and I also thought it was interesting about,

1217
01:13:37,600 --> 01:13:40,640
Speaker 3: you know, thinking about Redford as placing himself or his

1218
01:13:40,800 --> 01:13:44,240
Speaker 3: interest in landscapes, which has been a through line in

1219
01:13:44,320 --> 01:13:47,400
Speaker 3: his career, which also brings me to another bit of

1220
01:13:47,960 --> 01:13:52,800
Speaker 3: homework I did Out of Africa. I liked it. I'm

1221
01:13:52,840 --> 01:13:55,559
Speaker 3: just gonna say I actually think Redford is not good

1222
01:13:55,560 --> 01:13:59,600
Speaker 3: in it. But since this is a career memorial praising

1223
01:14:00,160 --> 01:14:02,800
Speaker 3: praising him as an actor, I'll leave it at that.

1224
01:14:03,080 --> 01:14:05,840
Speaker 3: But yeah, river runs through It is definitely another one

1225
01:14:05,840 --> 01:14:07,280
Speaker 3: I considered as an honorable mention.

1226
01:14:08,120 --> 01:14:10,479
Speaker 1: I've got a few that have been said already. Quiz

1227
01:14:10,479 --> 01:14:12,559
Speaker 1: Show on your List, Three Days of the Condor on

1228
01:14:12,600 --> 01:14:16,439
Speaker 1: your List, the way we were on your List, Spy Game,

1229
01:14:16,640 --> 01:14:18,920
Speaker 1: as we said, I really do like him in All

1230
01:14:19,000 --> 01:14:23,080
Speaker 1: Is Lost, The JC Chander One Man Show. Very good movie,

1231
01:14:23,479 --> 01:14:26,639
Speaker 1: and he's very good in it. Speaking of physicality, it's

1232
01:14:26,760 --> 01:14:29,040
Speaker 1: basically a silent film. I mean, it would have been

1233
01:14:29,080 --> 01:14:31,439
Speaker 1: perfect for my list. Actually, I can't believe I didn't

1234
01:14:31,680 --> 01:14:33,800
Speaker 1: find room for it, because he's out at sea all

1235
01:14:33,800 --> 01:14:40,200
Speaker 1: by himself. The Sting another Paul Newman collaboration. Obviously very good,

1236
01:14:40,320 --> 01:14:44,520
Speaker 1: very entertaining film, and this one would have gone against

1237
01:14:44,800 --> 01:14:49,000
Speaker 1: my list in terms of its theme. But I really

1238
01:14:49,000 --> 01:14:52,280
Speaker 1: do like indecent Proposal. I'd say that Adrian Lyne film

1239
01:14:52,320 --> 01:14:54,160
Speaker 1: is a guilty pleasure, but again I don't believe in

1240
01:14:54,160 --> 01:14:58,120
Speaker 1: guilty pleasures. And it would have been good for your list, Josh,

1241
01:14:58,160 --> 01:15:02,320
Speaker 1: because he's a care character. Based on what he does

1242
01:15:02,640 --> 01:15:07,240
Speaker 1: in that movie, you should hate him as an audience member.

1243
01:15:07,280 --> 01:15:10,360
Speaker 1: As a viewer, you want not only should you hate him,

1244
01:15:10,400 --> 01:15:12,840
Speaker 1: you want to hate him. I remember sitting in the

1245
01:15:12,840 --> 01:15:18,879
Speaker 1: theater wanting at every turn to loathe him and simply

1246
01:15:19,479 --> 01:15:24,320
Speaker 1: never being able to, never never getting there. And it's

1247
01:15:24,479 --> 01:15:27,880
Speaker 1: it's because of Redford. It's just it's just who he is.

1248
01:15:28,080 --> 01:15:30,720
Speaker 1: He pulls it off as that character. That was my

1249
01:15:30,800 --> 01:15:32,400
Speaker 1: experience with it, anyway. So I'm going to put in

1250
01:15:32,439 --> 01:15:35,400
Speaker 1: decent Proposal on my list again. We would love to

1251
01:15:35,439 --> 01:15:38,880
Speaker 1: hear your picks. You can email us feedback at film

1252
01:15:38,960 --> 01:15:41,519
Speaker 1: spotting dot net. We may share some of that feedback

1253
01:15:41,560 --> 01:15:44,559
Speaker 1: on a future show, and you can find our picks

1254
01:15:44,880 --> 01:15:47,760
Speaker 1: and some of those scenes at film spotting dot net.

1255
01:15:48,000 --> 01:15:49,120
Speaker 7: Slash lists.

1256
01:15:49,400 --> 01:15:51,120
Speaker 3: Listening is the number one thing you could do to

1257
01:15:51,160 --> 01:15:54,840
Speaker 3: support an independently produced show like film Spotting. There are

1258
01:15:54,880 --> 01:15:57,600
Speaker 3: a couple of other things you could also do. You

1259
01:15:57,640 --> 01:15:59,880
Speaker 3: could take a minute to give us a rating or

1260
01:16:00,080 --> 01:16:03,640
Speaker 3: a review on Apple Podcasts or Spotify. Doesn't matter if

1261
01:16:03,680 --> 01:16:06,040
Speaker 3: you're a brand new listener or you've been with us

1262
01:16:06,160 --> 01:16:09,679
Speaker 3: all twenty years. Every new review does help us reach

1263
01:16:09,760 --> 01:16:13,160
Speaker 3: new listeners. The most substantial way to support us, however,

1264
01:16:13,280 --> 01:16:15,880
Speaker 3: is to join the Film Spotting Family, and you can

1265
01:16:15,920 --> 01:16:19,559
Speaker 3: do that at film Spottingfamily dot com. We want to

1266
01:16:19,560 --> 01:16:25,120
Speaker 3: thank family plus member Zach Mulhagan in Reno, Nevada. Zach's

1267
01:16:25,200 --> 01:16:27,880
Speaker 3: letterboxed handle. If you want to follow him, there is

1268
01:16:28,120 --> 01:16:30,120
Speaker 3: film Hunt podcast.

1269
01:16:30,560 --> 01:16:31,160
Speaker 7: Here is Zach.

1270
01:16:31,479 --> 01:16:33,920
Speaker 1: He says he started listening in college as I was

1271
01:16:33,960 --> 01:16:37,400
Speaker 1: diving deeper into film criticism, and the Criterion Collection and

1272
01:16:37,439 --> 01:16:39,960
Speaker 1: Film Spotting were my guides. This would have been around

1273
01:16:40,000 --> 01:16:42,120
Speaker 1: twenty eleven, when I was just cutting my teeth on

1274
01:16:42,240 --> 01:16:46,120
Speaker 1: cinema and its history. A favorite review or segment, the

1275
01:16:46,439 --> 01:16:48,960
Speaker 1: review that got me hooked was Matdi Ballgames Run on

1276
01:16:49,080 --> 01:16:51,599
Speaker 1: Tree of Life. I heard that right after seeing the film,

1277
01:16:51,640 --> 01:16:54,719
Speaker 1: and I was pumping my fists saying yes on every point.

1278
01:16:54,960 --> 01:16:57,160
Speaker 1: Can't wait to return to that review with the archive.

1279
01:16:57,400 --> 01:17:00,960
Speaker 1: I think, you know, film criticism that makes people throw

1280
01:17:01,000 --> 01:17:02,880
Speaker 1: their fist in the air. That's that's what all film

1281
01:17:02,960 --> 01:17:06,200
Speaker 1: criticism should do, shouldn't it Just it's like a spectator

1282
01:17:06,600 --> 01:17:07,920
Speaker 1: sport in the coliseum.

1283
01:17:08,479 --> 01:17:10,280
Speaker 7: What review did we get wrong?

1284
01:17:10,520 --> 01:17:13,400
Speaker 1: I will die on the hill that Benjamin Button is

1285
01:17:13,520 --> 01:17:18,280
Speaker 1: Forrest Gump perfected Adam? When will you open your heart?

1286
01:17:19,200 --> 01:17:22,040
Speaker 1: Look Adam, come on into your heart?

1287
01:17:22,280 --> 01:17:23,760
Speaker 7: Yes? His letter number?

1288
01:17:24,760 --> 01:17:26,160
Speaker 3: I mean, I don't I don't think he's wrong.

1289
01:17:26,280 --> 01:17:32,160
Speaker 1: To think he's wrong, Wow, Letterbox Top four, Brazil, Fight Club,

1290
01:17:32,560 --> 01:17:37,080
Speaker 1: The Godfather, and Akiu. The sequence of those changes all

1291
01:17:37,120 --> 01:17:41,280
Speaker 1: the time. A favorite movie that he revisited recently was

1292
01:17:41,320 --> 01:17:43,599
Speaker 1: Wizard of Oz. Thanks to us, he watched it as

1293
01:17:43,600 --> 01:17:46,840
Speaker 1: part of our eighty fifth anniversary Pantheon Project review that

1294
01:17:46,880 --> 01:17:50,200
Speaker 1: was episode nine eighty. Thank you for doing your homework

1295
01:17:50,240 --> 01:17:54,000
Speaker 1: there or playing along with us. Zach a random film

1296
01:17:54,120 --> 01:17:56,400
Speaker 1: or filmmaker that he loves. Not sure how random it is,

1297
01:17:56,439 --> 01:17:59,240
Speaker 1: but every person I can get into Truffau and the

1298
01:17:59,280 --> 01:18:02,719
Speaker 1: French New Wave is a win. A movie you credit

1299
01:18:02,760 --> 01:18:06,600
Speaker 1: with becoming a sinophile. I'm a crazy person, but Tarkotsky's

1300
01:18:06,600 --> 01:18:09,559
Speaker 1: stalker lit the spark in me. I feel like he's

1301
01:18:09,600 --> 01:18:11,599
Speaker 1: not that crazy. He's probably not alone in.

1302
01:18:11,520 --> 01:18:13,640
Speaker 3: That, right, Josh, No, that makes sense to me.

1303
01:18:14,000 --> 01:18:17,080
Speaker 1: Okay, I think he's accurate on this one too. A

1304
01:18:17,160 --> 01:18:22,360
Speaker 1: book about movies or movie making Hitchcock slash Trufo is goaded.

1305
01:18:23,160 --> 01:18:26,120
Speaker 1: I think it might be it might be goaded. Our

1306
01:18:26,160 --> 01:18:28,280
Speaker 1: thanks to Zach for joining the family and for all

1307
01:18:28,360 --> 01:18:30,640
Speaker 1: of those years of listening. In addition to keeping us

1308
01:18:30,680 --> 01:18:32,640
Speaker 1: doing what we're doing, your sport comes with perks. You

1309
01:18:32,680 --> 01:18:34,720
Speaker 1: get to listen early in ad free, You get our

1310
01:18:34,720 --> 01:18:39,200
Speaker 1: weekly newsletter. You get to participate in exclusive things like

1311
01:18:39,240 --> 01:18:41,679
Speaker 1: being part of the Film Spotting Family discord. You also

1312
01:18:41,800 --> 01:18:46,200
Speaker 1: get our monthly bonus shows. Our October bonus show is

1313
01:18:46,280 --> 01:18:51,719
Speaker 1: a Film Spotting Family draft with a Film Spotting Family member,

1314
01:18:52,160 --> 01:18:56,360
Speaker 1: and we did finally put out the email. The submissions

1315
01:18:56,400 --> 01:19:00,280
Speaker 1: have been coming in now nice as as we're taping this,

1316
01:19:00,600 --> 01:19:03,879
Speaker 1: we have not made the selection yet of the family

1317
01:19:03,880 --> 01:19:07,799
Speaker 1: member or the topic, Josh. But by the time people

1318
01:19:08,000 --> 01:19:11,759
Speaker 1: hear this that will be the case. We will know both.

1319
01:19:11,840 --> 01:19:15,759
Speaker 1: We will have reached out to both the Film Spotting

1320
01:19:15,800 --> 01:19:20,680
Speaker 1: Family member and secured their topics. So you know, if

1321
01:19:20,680 --> 01:19:23,120
Speaker 1: only we could live in the future. But at this moment,

1322
01:19:23,200 --> 01:19:26,200
Speaker 1: we don't know that. I'm I'm excited about it though,

1323
01:19:26,280 --> 01:19:28,599
Speaker 1: and we do have a plethora of entries.

1324
01:19:29,360 --> 01:19:31,800
Speaker 3: I mean, that's a that's a quick turnaround. I'm just

1325
01:19:32,400 --> 01:19:35,639
Speaker 3: trying to figure out how the slacking is are we doing?

1326
01:19:35,680 --> 01:19:37,400
Speaker 3: Are we going to do some massive slacking? Is that

1327
01:19:37,479 --> 01:19:39,440
Speaker 3: what we're looking at to figure this out?

1328
01:19:39,640 --> 01:19:42,360
Speaker 1: Girder Loins, Josh, massive slacking is coming.

1329
01:19:42,479 --> 01:19:47,200
Speaker 3: Oh boy. You can learn for a production meeting, but

1330
01:19:47,320 --> 01:19:49,080
Speaker 3: your timeline is not allowed for that.

1331
01:19:49,760 --> 01:19:52,759
Speaker 1: Yeah, you can learn more about becoming a family member

1332
01:19:52,760 --> 01:19:57,120
Speaker 1: at film spottingfamily dot com.

1333
01:19:57,200 --> 01:20:02,599
Speaker 3: It all starts with something magnificent, Adam. The sixty first

1334
01:20:02,680 --> 01:20:07,880
Speaker 3: Annual Chicago International Film Festival is underway as we're recording this,

1335
01:20:08,520 --> 01:20:13,120
Speaker 3: just getting started here, and yeah, I look forward to

1336
01:20:13,160 --> 01:20:16,360
Speaker 3: this every year. Usually try to make it for a

1337
01:20:16,400 --> 01:20:19,280
Speaker 3: couple of titles there in Chicago, but being off here

1338
01:20:19,280 --> 01:20:23,519
Speaker 3: in Scotland studying, this one's slipping past me. So I'm

1339
01:20:23,520 --> 01:20:26,320
Speaker 3: going to be relying on you to give me and

1340
01:20:26,439 --> 01:20:29,400
Speaker 3: listeners a little roundup of what's happening at the fest

1341
01:20:29,479 --> 01:20:32,960
Speaker 3: this year and maybe highlight a title or two that

1342
01:20:33,000 --> 01:20:35,800
Speaker 3: if they're interested in going, they might want to try

1343
01:20:35,800 --> 01:20:37,599
Speaker 3: to grab some tickets for well.

1344
01:20:37,600 --> 01:20:39,960
Speaker 1: As you know, I'm in Iowa City, so I may

1345
01:20:40,000 --> 01:20:42,080
Speaker 1: not get to as many films as I would like either,

1346
01:20:42,080 --> 01:20:45,280
Speaker 1: though I am making a trip to Chicago and I

1347
01:20:45,320 --> 01:20:47,799
Speaker 1: will see at least a few films at the fest.

1348
01:20:48,120 --> 01:20:52,519
Speaker 1: We typically with these previews try to highlight smaller films,

1349
01:20:52,520 --> 01:20:55,360
Speaker 1: and that's because we try to do a bit of

1350
01:20:55,400 --> 01:20:58,120
Speaker 1: a service for our audience. And what I mean by

1351
01:20:58,160 --> 01:21:00,880
Speaker 1: that is we don't need to promote the bigger movies,

1352
01:21:00,960 --> 01:21:04,400
Speaker 1: the special presentations. Those are going to find an audience,

1353
01:21:04,439 --> 01:21:06,960
Speaker 1: they probably are already sold out. But there's a lot

1354
01:21:06,960 --> 01:21:10,120
Speaker 1: of interesting films or films that look or sound interesting

1355
01:21:10,160 --> 01:21:14,640
Speaker 1: to us, sometimes by filmmakers that we know are interesting filmmakers,

1356
01:21:14,640 --> 01:21:18,320
Speaker 1: but they might go under the radar. So we want

1357
01:21:18,360 --> 01:21:21,640
Speaker 1: to highlight those and maybe those have some tickets available

1358
01:21:22,040 --> 01:21:25,559
Speaker 1: for people who are listening to seek out. That said,

1359
01:21:25,960 --> 01:21:28,759
Speaker 1: I'm going to give you four bigger titles real quick,

1360
01:21:28,880 --> 01:21:31,000
Speaker 1: and one of them is a movie I am going

1361
01:21:31,040 --> 01:21:33,840
Speaker 1: to get to see this Friday night. As people are

1362
01:21:33,880 --> 01:21:36,519
Speaker 1: hearing this, it will have already passed. But Friday Night

1363
01:21:37,400 --> 01:21:42,599
Speaker 1: at the Music Box, October seventeenth, Frankenstein, Guermo del Toro's

1364
01:21:42,680 --> 01:21:45,040
Speaker 1: film that's coming out here in a month or so.

1365
01:21:45,160 --> 01:21:47,639
Speaker 1: That's one of the special presentations. It is playing again

1366
01:21:47,680 --> 01:21:50,439
Speaker 1: on October twentieth. I don't know if there are tickets

1367
01:21:50,439 --> 01:21:52,840
Speaker 1: available or not. It might be rush line only, but

1368
01:21:52,960 --> 01:21:56,320
Speaker 1: sometimes you can get in rush line. I'm actually Josh

1369
01:21:56,400 --> 01:21:59,919
Speaker 1: very excited to be bringing ten of my film criticism

1370
01:22:00,080 --> 01:22:04,320
Speaker 1: students from Iowa City, and we're closing out our little

1371
01:22:04,360 --> 01:22:09,120
Speaker 1: trip to the fest with that music box screening of Frankenstein.

1372
01:22:09,560 --> 01:22:12,519
Speaker 1: Of course, one of the big movies that everyone's buzzing

1373
01:22:12,560 --> 01:22:17,280
Speaker 1: about this fall is Chloe Joo's Hamnet. First of all,

1374
01:22:17,360 --> 01:22:20,640
Speaker 1: if you just told me that it's I'm reading here

1375
01:22:20,680 --> 01:22:22,960
Speaker 1: the synopsis, the powerful story of love and loss that

1376
01:22:23,040 --> 01:22:26,960
Speaker 1: inspired the creation of Shakespeare's masterpiece Hamlet, I'm interested. Then

1377
01:22:27,000 --> 01:22:29,519
Speaker 1: you tell me it's Chloe Jao. Then you tell me

1378
01:22:29,560 --> 01:22:33,400
Speaker 1: it's Jesse Buckley and Paul Meskel. Yes, of course I

1379
01:22:33,479 --> 01:22:37,160
Speaker 1: want to see Hamnet. That is playing Saturday, the twenty fifth,

1380
01:22:37,160 --> 01:22:39,599
Speaker 1: and the last day of the fest, the twenty six

1381
01:22:40,720 --> 01:22:41,599
Speaker 1: Nouvelle Vague.

1382
01:22:41,800 --> 01:22:43,360
Speaker 7: I mean, come on, Richard link.

1383
01:22:43,240 --> 01:22:49,679
Speaker 1: Later, reimagining the making of Gadar's Breathless. Yeah, of course

1384
01:22:49,680 --> 01:22:51,960
Speaker 1: I want to see that. That's Sunday the nineteenth, and

1385
01:22:52,000 --> 01:22:54,559
Speaker 1: then the last Sunday of the fest the twenty sixth.

1386
01:22:55,760 --> 01:23:00,000
Speaker 1: Right before that at the Cisco, though, Josh, they're playing Breathless,

1387
01:23:00,600 --> 01:23:03,519
Speaker 1: so you can do a double feature of those back

1388
01:23:03,560 --> 01:23:05,400
Speaker 1: to back. I think it's noon and then a two

1389
01:23:05,400 --> 01:23:09,360
Speaker 1: point thirty of Nouvel Lawns. Sentimental Value is also one

1390
01:23:09,400 --> 01:23:11,720
Speaker 1: of the films I'm most excited about this fall. That's

1391
01:23:11,760 --> 01:23:16,160
Speaker 1: the new yoakum Trier film that stars werenad A Reinsfe

1392
01:23:16,320 --> 01:23:19,320
Speaker 1: who I thought they were so amazing as collaborators on

1393
01:23:19,479 --> 01:23:21,840
Speaker 1: The Worst Person in the World a few years ago.

1394
01:23:22,000 --> 01:23:26,360
Speaker 1: This reunites that actress and director. That's another special presentation.

1395
01:23:26,920 --> 01:23:31,679
Speaker 1: That's screening Sunday the nineteenth and then Saturday the twenty fifth.

1396
01:23:31,720 --> 01:23:34,120
Speaker 1: So those are some special presentations.

1397
01:23:34,280 --> 01:23:36,840
Speaker 7: May already be on your radar, may not.

1398
01:23:37,280 --> 01:23:41,120
Speaker 1: In terms of some smaller films that I'm very interested

1399
01:23:41,200 --> 01:23:45,120
Speaker 1: in trying to see, Josh Michael mentioned this movie that

1400
01:23:45,240 --> 01:23:49,559
Speaker 1: played at Venice that I believe he saw and recommended.

1401
01:23:49,640 --> 01:23:51,519
Speaker 1: It wasn't just one that he said. There was a

1402
01:23:51,560 --> 01:23:54,960
Speaker 1: lot of buzz about the new documentary from Laura Poitras

1403
01:23:55,439 --> 01:23:59,960
Speaker 1: called cover Up, which is a film about Chicago journ

1404
01:24:00,320 --> 01:24:07,560
Speaker 1: Seymour hirsh and is about accountability, holding those in power accountable,

1405
01:24:07,960 --> 01:24:11,920
Speaker 1: and the journalist's role in that. I don't know, seems

1406
01:24:11,960 --> 01:24:16,040
Speaker 1: fairly relevant right now. Right Friday the twenty fourth, Cover

1407
01:24:16,120 --> 01:24:19,080
Speaker 1: Up is screening, and Saturday the twenty fifth, we did

1408
01:24:19,080 --> 01:24:22,960
Speaker 1: a marathon a few years ago Argentine Cinema. We watched

1409
01:24:22,960 --> 01:24:27,360
Speaker 1: a couple films by Lucretia Martel. She's got a documentary

1410
01:24:27,560 --> 01:24:32,040
Speaker 1: that's playing at the fest that chronicles the trial of

1411
01:24:32,080 --> 01:24:35,280
Speaker 1: three men who killed the leader of an indigenous community

1412
01:24:35,760 --> 01:24:37,040
Speaker 1: in northern Argentina.

1413
01:24:38,080 --> 01:24:38,719
Speaker 7: I'm intrigued.

1414
01:24:38,840 --> 01:24:42,439
Speaker 1: Saturday the twenty fifth, Sunday the twenty sixth, this one, Josh,

1415
01:24:42,640 --> 01:24:45,840
Speaker 1: I don't know anything about the main character of this documentary.

1416
01:24:45,840 --> 01:24:47,640
Speaker 1: I love docs, so I've got three docks here that

1417
01:24:47,680 --> 01:24:49,880
Speaker 1: I'm mentioning. I don't know anything about this main character.

1418
01:24:49,920 --> 01:24:53,920
Speaker 1: I don't know anything about this director Andre Horman. But

1419
01:24:54,320 --> 01:24:57,599
Speaker 1: the description says, shot over ten years, this intimate family

1420
01:24:57,640 --> 01:25:00,400
Speaker 1: story charts the path of an aspiring cowboys coming of

1421
01:25:00,400 --> 01:25:04,360
Speaker 1: age struggle in the American heartland. So just the fact

1422
01:25:04,400 --> 01:25:06,920
Speaker 1: that the subject matter itself interests me, but the fact

1423
01:25:06,960 --> 01:25:10,080
Speaker 1: that it was shot over ten years. Also sounds like

1424
01:25:10,320 --> 01:25:13,759
Speaker 1: a fascinating project. That's called The Cowboy, and that's Monday

1425
01:25:13,800 --> 01:25:17,360
Speaker 1: the twentieth and Tuesday the twenty first, and then two

1426
01:25:17,400 --> 01:25:21,080
Speaker 1: more maybe under the radar titles. You may recall that

1427
01:25:21,160 --> 01:25:25,160
Speaker 1: we were both fans of Radu Judahs. Do Not Expect

1428
01:25:25,160 --> 01:25:27,599
Speaker 1: too Much from the End of the World. Yeah, last year,

1429
01:25:27,600 --> 01:25:32,320
Speaker 1: for sure. He's got two films playing the festival. One

1430
01:25:32,439 --> 01:25:36,559
Speaker 1: is Dracula and that's just under the spotlight heading at

1431
01:25:36,560 --> 01:25:41,160
Speaker 1: the festival. It is a version of the Dracula story,

1432
01:25:41,280 --> 01:25:45,240
Speaker 1: though you can imagine it's got his own absurdist take

1433
01:25:45,479 --> 01:25:48,320
Speaker 1: on Dracula from what I understand. And then he's got

1434
01:25:48,360 --> 01:25:52,360
Speaker 1: a movie that's in the international competition called Continental twenty five.

1435
01:25:52,400 --> 01:25:54,800
Speaker 1: I'll read you the description. Plagued with guilt over her

1436
01:25:54,920 --> 01:25:58,280
Speaker 1: role in the suicide of a recently evicted man, court

1437
01:25:58,320 --> 01:26:02,439
Speaker 1: bailiff or Solia, wanders the city of Clues in search

1438
01:26:02,479 --> 01:26:07,479
Speaker 1: of absolution. So two very different movies by Radu Judah

1439
01:26:07,560 --> 01:26:11,280
Speaker 1: playing the festival, and after seeing Do Not Expect, which

1440
01:26:11,320 --> 01:26:14,200
Speaker 1: was the first Judah film I had seen, I'm going

1441
01:26:14,240 --> 01:26:18,200
Speaker 1: to be interested in any film or films in this

1442
01:26:18,320 --> 01:26:21,760
Speaker 1: case that he makes I've got three other titles for you, Josh.

1443
01:26:21,800 --> 01:26:24,400
Speaker 1: These are three titles that I've seen that are playing

1444
01:26:24,880 --> 01:26:28,439
Speaker 1: the festival. One of them is a documentary that's part

1445
01:26:28,479 --> 01:26:33,280
Speaker 1: of their Black Perspectives lineup called Seeds, that just came

1446
01:26:33,320 --> 01:26:35,080
Speaker 1: out this year. I think it played at sun Dance

1447
01:26:35,160 --> 01:26:37,679
Speaker 1: is where it premiered. It's from a director named Britney Shine,

1448
01:26:37,880 --> 01:26:41,360
Speaker 1: who is a cinematographer by trade, and boy can you

1449
01:26:41,439 --> 01:26:44,680
Speaker 1: tell watching the movie in terms of her eye the

1450
01:26:44,760 --> 01:26:49,920
Speaker 1: black and white cinematography. It's a portrait of black farmers

1451
01:26:49,960 --> 01:26:55,120
Speaker 1: in the South and as you can imagine, they're not

1452
01:26:55,200 --> 01:26:59,160
Speaker 1: having a good go of it. It's about their resilience

1453
01:27:00,000 --> 01:27:02,800
Speaker 1: who also can probably imagine that it seems as if

1454
01:27:02,800 --> 01:27:05,520
Speaker 1: they may not be getting a fair shake, that they've

1455
01:27:05,560 --> 01:27:08,640
Speaker 1: been taken advantage of a bit, but they have this

1456
01:27:08,720 --> 01:27:13,800
Speaker 1: tremendous legacy that they're trying to still fulfill that they're

1457
01:27:13,840 --> 01:27:18,600
Speaker 1: trying to continue. And it's not a talking heads documentary.

1458
01:27:18,800 --> 01:27:21,200
Speaker 1: It's not filled with a lot of information, you know,

1459
01:27:21,240 --> 01:27:25,080
Speaker 1: it's not dense in that way. It's dense with imagery certainly,

1460
01:27:25,240 --> 01:27:30,360
Speaker 1: and that that's why people should seek out Seeds. I

1461
01:27:30,400 --> 01:27:34,519
Speaker 1: don't have the exact dates that that's screening, but you

1462
01:27:34,520 --> 01:27:38,479
Speaker 1: can look that up at Chicago Film Festival dot com.

1463
01:27:39,120 --> 01:27:41,920
Speaker 1: The hell Sinki Effect. I told you I'm into documentaries.

1464
01:27:42,040 --> 01:27:45,040
Speaker 1: I watched The hell Sinki Effect. This is from director

1465
01:27:45,200 --> 01:27:50,880
Speaker 1: Arthur Frank and he's a finish director. It's a documentary

1466
01:27:50,880 --> 01:27:57,120
Speaker 1: that that consists entirely of archival footage from the nineteen

1467
01:27:57,240 --> 01:28:01,760
Speaker 1: seventy three Global Security conference that took place in Helsinki.

1468
01:28:02,280 --> 01:28:07,480
Speaker 1: Like Breshnef and Gerald Ford, the Whole World Converged on Helsinki.

1469
01:28:08,880 --> 01:28:12,160
Speaker 1: It plays on Saturday, October eighteenth and Monday the twentieth.

1470
01:28:12,280 --> 01:28:18,479
Speaker 1: It's in the documentary competition. It's intriguing, it's interesting. I'm

1471
01:28:18,479 --> 01:28:21,320
Speaker 1: glad I watched it. I think it's worth seeing, Josh,

1472
01:28:21,320 --> 01:28:27,120
Speaker 1: if you're someone who is really into politics, and I

1473
01:28:27,160 --> 01:28:29,840
Speaker 1: don't know who's into bureaucracy, so maybe that doesn't make

1474
01:28:29,880 --> 01:28:35,040
Speaker 1: sense to say, but you're into the machinations of politics,

1475
01:28:35,479 --> 01:28:41,599
Speaker 1: the maneuverings of politics, but not the broad sweep of it,

1476
01:28:41,880 --> 01:28:46,680
Speaker 1: the actual the little movements that make the nuts and

1477
01:28:46,680 --> 01:28:50,719
Speaker 1: bolts that make politics happen. What I'll say about it, though,

1478
01:28:51,080 --> 01:28:56,600
Speaker 1: is that I think it has a very worthwhile payoff,

1479
01:28:57,600 --> 01:29:01,080
Speaker 1: and it's a short movie, it has a worthwhile payoff,

1480
01:29:01,800 --> 01:29:04,360
Speaker 1: it takes a long time to get there. And what

1481
01:29:04,400 --> 01:29:06,439
Speaker 1: I mean by that is maybe you've even done this

1482
01:29:06,479 --> 01:29:09,240
Speaker 1: once or twice in your career as a writer, whether

1483
01:29:09,280 --> 01:29:13,240
Speaker 1: writing a review, writing some kind of it could be

1484
01:29:13,280 --> 01:29:16,000
Speaker 1: a news report, or maybe it was a longer feature,

1485
01:29:16,240 --> 01:29:19,639
Speaker 1: and maybe you've had an editor say, I understand why

1486
01:29:19,680 --> 01:29:23,720
Speaker 1: you're withholding this. Not a twist, but you're withholding this

1487
01:29:23,840 --> 01:29:27,400
Speaker 1: kind of surprise reveal for the end because you're trying

1488
01:29:27,439 --> 01:29:29,880
Speaker 1: to build up to it. You think that it needs

1489
01:29:29,920 --> 01:29:31,920
Speaker 1: to build up to it, so you're not You don't

1490
01:29:31,960 --> 01:29:35,479
Speaker 1: want to you don't want to reveal this ending just yet,

1491
01:29:36,160 --> 01:29:39,439
Speaker 1: but you're going to lose people along the way unless

1492
01:29:39,479 --> 01:29:42,320
Speaker 1: you give them something you know. You can't withhold this.

1493
01:29:43,920 --> 01:29:46,599
Speaker 1: That's the That's the advice I probably would have given him.

1494
01:29:46,840 --> 01:29:50,080
Speaker 1: I think maybe an editor, not even a film editor,

1495
01:29:50,080 --> 01:29:53,080
Speaker 1: but any kind of editor might have given him that advice,

1496
01:29:53,160 --> 01:29:57,640
Speaker 1: because I think it takes a little too long to

1497
01:29:57,760 --> 01:30:02,240
Speaker 1: get to that payoff, even though the payoff is one

1498
01:30:02,520 --> 01:30:06,000
Speaker 1: that we need to hear right now considering the state

1499
01:30:06,000 --> 01:30:10,600
Speaker 1: of our our global our domestic and global politics. The

1500
01:30:11,000 --> 01:30:14,600
Speaker 1: last movie I'll mention Man here it is again another documentary.

1501
01:30:14,640 --> 01:30:18,400
Speaker 1: One Golden Summer is the movie that opens the fest or.

1502
01:30:18,439 --> 01:30:21,679
Speaker 1: It opened it this past Wednesday night. It is also

1503
01:30:21,720 --> 01:30:25,320
Speaker 1: playing on Saturday the eighteenth and Sunday, October twenty sixth.

1504
01:30:26,000 --> 01:30:29,759
Speaker 1: It's directed by Kevin Shaw and it's about that team

1505
01:30:30,160 --> 01:30:34,360
Speaker 1: from Chicago, Josh Jackie, Robinson West. You probably remember all

1506
01:30:34,400 --> 01:30:37,440
Speaker 1: the stories about the Little League team that really captured

1507
01:30:37,840 --> 01:30:41,960
Speaker 1: the imagination and the attention of Chicago, but also the

1508
01:30:42,080 --> 01:30:45,799
Speaker 1: United States getting tons of media coverage in twenty fourteen

1509
01:30:46,360 --> 01:30:51,479
Speaker 1: winning the Little League World Series the United States title,

1510
01:30:51,680 --> 01:30:54,960
Speaker 1: not the world title, but they won the United States

1511
01:30:55,320 --> 01:31:02,280
Speaker 1: World Series title. Incredible story, but then there was a downfall.

1512
01:31:02,360 --> 01:31:06,160
Speaker 1: There were complications, there were legal complications. After that, they

1513
01:31:06,240 --> 01:31:10,680
Speaker 1: really muddied the story and ended up making it for

1514
01:31:11,680 --> 01:31:16,200
Speaker 1: those players who are now obviously many years removed from

1515
01:31:16,200 --> 01:31:19,439
Speaker 1: that since it was twenty fourteen, made it for many

1516
01:31:19,479 --> 01:31:25,640
Speaker 1: of those boys, then made it a negative story and

1517
01:31:26,680 --> 01:31:30,519
Speaker 1: seeing how they've had to deal with that, that's what

1518
01:31:30,720 --> 01:31:36,360
Speaker 1: director Kevin Shaw chronicles, chronicles the high of it, the

1519
01:31:36,400 --> 01:31:39,360
Speaker 1: many highs of it, and also chronicles the lows of it,

1520
01:31:39,439 --> 01:31:44,439
Speaker 1: and chronicles the very interesting media coverage of both the

1521
01:31:44,520 --> 01:31:47,800
Speaker 1: highs and the lows. So I recommend one Golden Summer

1522
01:31:47,840 --> 01:31:49,240
Speaker 1: if you get a chance to see that again. That

1523
01:31:49,680 --> 01:31:51,919
Speaker 1: opened the fest, but it's also playing on the eighteenth

1524
01:31:52,000 --> 01:31:57,200
Speaker 1: and the twenty six. So that's my snapshot Chicago Film

1525
01:31:57,240 --> 01:31:58,200
Speaker 1: theest preview.

1526
01:31:58,240 --> 01:32:01,360
Speaker 3: Sounds like a tantalized lineup, like we tend to get

1527
01:32:01,360 --> 01:32:05,800
Speaker 3: every October. The sixty first Chicago International Film Festival is

1528
01:32:05,880 --> 01:32:08,880
Speaker 3: open now and it does run through the twenty six.

1529
01:32:09,040 --> 01:32:12,559
Speaker 3: If you want more information details on any of those films,

1530
01:32:12,600 --> 01:32:17,719
Speaker 3: Adam mentioned their showtimes and yeah, just more background infro,

1531
01:32:18,280 --> 01:32:23,559
Speaker 3: go to Chicago Film Festival dot com. Adam, you're fresh

1532
01:32:23,560 --> 01:32:28,280
Speaker 3: out of another film festival previously, the Refocus Film Festival

1533
01:32:28,360 --> 01:32:31,799
Speaker 3: closer to home there, How did things go? I saw

1534
01:32:32,080 --> 01:32:36,120
Speaker 3: on Instagram some photos of you and Michael there in

1535
01:32:36,160 --> 01:32:39,559
Speaker 3: front of the crowd. Yes, I felt a little left out,

1536
01:32:39,640 --> 01:32:42,639
Speaker 3: I'll admit it, but I just had to miss this one.

1537
01:32:42,680 --> 01:32:45,240
Speaker 3: But yeah, I give us a little little feedback on

1538
01:32:46,000 --> 01:32:48,559
Speaker 3: the recording of the show and some of the movies

1539
01:32:48,600 --> 01:32:48,920
Speaker 3: you caught.

1540
01:32:49,640 --> 01:32:52,160
Speaker 1: Yeah, it really was a good time. October is a

1541
01:32:52,320 --> 01:32:55,799
Speaker 1: very busy time with Refocus and the Chicago Film Festival,

1542
01:32:55,920 --> 01:33:00,160
Speaker 1: usually coming right on the heels of each other, sometimes overlapping.

1543
01:33:00,600 --> 01:33:03,000
Speaker 1: Michael did come to town, his second trip to Iowa

1544
01:33:03,120 --> 01:33:07,200
Speaker 1: City in a row and his first time at the

1545
01:33:07,240 --> 01:33:11,040
Speaker 1: Refocus Film Festival. We had a good turnout Friday afternoon.

1546
01:33:11,560 --> 01:33:14,800
Speaker 1: For our live taping, we did a top five. We've

1547
01:33:14,840 --> 01:33:17,200
Speaker 1: been talking about it the past couple of weeks here

1548
01:33:17,240 --> 01:33:22,360
Speaker 1: on the show. Our top five movies adapted from Iowa writers.

1549
01:33:22,600 --> 01:33:24,559
Speaker 1: Got a lot of good feedback. I had a lot

1550
01:33:24,560 --> 01:33:27,240
Speaker 1: of fun with the top five. We ended up talking

1551
01:33:27,280 --> 01:33:30,400
Speaker 1: about some movies that this was the good feedback to get.

1552
01:33:30,439 --> 01:33:33,200
Speaker 1: We talked about movies that a lot of people in

1553
01:33:33,240 --> 01:33:36,640
Speaker 1: the audience weren't familiar with, and that's always good. We

1554
01:33:36,760 --> 01:33:40,000
Speaker 1: like sharing movies that people then get to discover or

1555
01:33:40,240 --> 01:33:43,920
Speaker 1: in some cases they say, oh, you know, I've heard

1556
01:33:44,080 --> 01:33:46,120
Speaker 1: of that one, or I've always heard that's supposed to

1557
01:33:46,160 --> 01:33:48,640
Speaker 1: be good, but I've never taken the time to see it.

1558
01:33:48,760 --> 01:33:50,720
Speaker 1: Now I'm going to go see it. We got that

1559
01:33:51,240 --> 01:33:55,360
Speaker 1: quite a bit, so the feedback was really great. Michael

1560
01:33:55,400 --> 01:33:57,400
Speaker 1: and I had a very good time. I didn't get

1561
01:33:57,400 --> 01:34:00,400
Speaker 1: to see as many movies at that fest. The age

1562
01:34:00,439 --> 01:34:03,000
Speaker 1: old dilemma. You never get to see as many as

1563
01:34:03,000 --> 01:34:06,000
Speaker 1: you'd like. You never have as much free time as

1564
01:34:06,080 --> 01:34:09,439
Speaker 1: you would like. But I want to thank Andrew Sherburn,

1565
01:34:09,520 --> 01:34:12,800
Speaker 1: the executive director, Ben Delgado, longtime Film Spotting listener Ben

1566
01:34:12,840 --> 01:34:17,040
Speaker 1: Delgado who's the programming director. They did put together an

1567
01:34:17,040 --> 01:34:21,559
Speaker 1: incredible lineup and they made the event a really smooth

1568
01:34:21,600 --> 01:34:24,519
Speaker 1: one for us. Our listeners will hear that top five.

1569
01:34:24,600 --> 01:34:27,240
Speaker 1: We usually save that and play that around Thanksgiving, so

1570
01:34:27,600 --> 01:34:33,639
Speaker 1: we will share that later in November. And as I said,

1571
01:34:34,080 --> 01:34:35,479
Speaker 1: I thought it was a good one. I did get

1572
01:34:35,560 --> 01:34:37,840
Speaker 1: to see one movie that was really a highlight. I

1573
01:34:37,920 --> 01:34:39,680
Speaker 1: know you've seen the movie, Josh. I think you might

1574
01:34:39,720 --> 01:34:43,160
Speaker 1: have watched it last year at the Chicago Film Festival,

1575
01:34:43,479 --> 01:34:46,160
Speaker 1: The Spook who sat by the Door, the movie the

1576
01:34:46,800 --> 01:34:50,920
Speaker 1: satire Ivan Dixon satire from nineteen seventy three. His daughter

1577
01:34:51,720 --> 01:34:56,400
Speaker 1: Noma Dixon, who travels with that movie, attend screenings of

1578
01:34:56,400 --> 01:35:00,000
Speaker 1: that movie very often and does talkbacks with the movie.

1579
01:35:00,200 --> 01:35:04,760
Speaker 1: As she did hear she was there and I was,

1580
01:35:04,880 --> 01:35:07,639
Speaker 1: I was really blown away by The Spook who Sat

1581
01:35:07,680 --> 01:35:08,240
Speaker 1: by the Door.

1582
01:35:08,720 --> 01:35:10,280
Speaker 7: Grill love it film.

1583
01:35:10,600 --> 01:35:13,160
Speaker 1: So I'm really glad I got to see that, got

1584
01:35:13,200 --> 01:35:15,080
Speaker 1: to see it with the crowd, got to see it

1585
01:35:15,200 --> 01:35:16,639
Speaker 1: on the big screen.

1586
01:35:17,000 --> 01:35:20,720
Speaker 3: Yeah, I saw that come by a letterbox that you

1587
01:35:20,880 --> 01:35:24,559
Speaker 3: logged it, and was so thrilled. I can't imagine seeing

1588
01:35:24,600 --> 01:35:29,080
Speaker 3: it right now with what we're going through here exactly

1589
01:35:29,160 --> 01:35:31,640
Speaker 3: in the US, and how it mirrored a lot of

1590
01:35:31,640 --> 01:35:36,200
Speaker 3: the political unrest and you know, the hammer coming down

1591
01:35:36,280 --> 01:35:39,960
Speaker 3: on that and who what a film the program at

1592
01:35:39,960 --> 01:35:42,080
Speaker 3: this moment, the spook who sat by the door? If

1593
01:35:42,080 --> 01:35:45,200
Speaker 3: it's if any listeners out there like what, I've never

1594
01:35:45,240 --> 01:35:48,280
Speaker 3: heard of this film either had I until it came

1595
01:35:48,360 --> 01:35:51,880
Speaker 3: up in the twenty twenty two documentary Is That Black

1596
01:35:52,000 --> 01:35:55,120
Speaker 3: Enough for You? From Elvis Mitchell, the film critic Elvis

1597
01:35:55,160 --> 01:35:57,080
Speaker 3: Mitchell talking about it on there, I was like, I

1598
01:35:57,120 --> 01:35:59,960
Speaker 3: have got to check this out, and yeah, so check

1599
01:36:00,120 --> 01:36:03,880
Speaker 3: it out if you haven't before, especially right now.

1600
01:36:04,600 --> 01:36:08,840
Speaker 1: An infamous film in many ways because of its incendiary

1601
01:36:08,960 --> 01:36:13,360
Speaker 1: subject matter and the filmmaking as well to some extent,

1602
01:36:13,479 --> 01:36:16,320
Speaker 1: but Ivan Dixon didn't get to make much after this.

1603
01:36:17,080 --> 01:36:20,599
Speaker 1: The main Lawrence maybe you can just make sure I'm

1604
01:36:20,640 --> 01:36:23,519
Speaker 1: saying this one hundred percent correctly, Josh Lawrence. Is that

1605
01:36:23,600 --> 01:36:28,040
Speaker 1: Lawrence Cook the actartists Cook. Lawrence Cook, who was so good,

1606
01:36:28,360 --> 01:36:30,840
Speaker 1: really didn't get to appear in many films after this

1607
01:36:31,080 --> 01:36:34,800
Speaker 1: because of this David Picker, Nomah said, or maybe it

1608
01:36:34,880 --> 01:36:37,639
Speaker 1: was uh Toriano Berry who did the Q and A

1609
01:36:37,960 --> 01:36:40,839
Speaker 1: said this that you know, David Picker essentially got fired

1610
01:36:41,040 --> 01:36:44,800
Speaker 1: from United Artists because of this film. So there was

1611
01:36:44,880 --> 01:36:48,799
Speaker 1: a lot of fallout because of this movie. But that's

1612
01:36:49,000 --> 01:36:53,720
Speaker 1: that's to its credit. That that that's absolutely because of

1613
01:36:53,760 --> 01:36:56,960
Speaker 1: how provocative the movie is and and as you were

1614
01:36:57,000 --> 01:37:01,679
Speaker 1: alluding to it, it would have been even more heightened

1615
01:37:02,120 --> 01:37:05,040
Speaker 1: had it been this year playing at the Chicago Film

1616
01:37:05,080 --> 01:37:07,719
Speaker 1: Festival instead of at a film festival in Iowa City.

1617
01:37:07,960 --> 01:37:10,639
Speaker 1: But this is a movie in which the National Guard

1618
01:37:10,760 --> 01:37:15,280
Speaker 1: rolls into Chicago to put down, to put down. In

1619
01:37:15,320 --> 01:37:18,559
Speaker 1: this movie, though there's actually a revolt, you know, so

1620
01:37:18,920 --> 01:37:24,200
Speaker 1: it's a little bit of a different right, But but

1621
01:37:24,640 --> 01:37:28,200
Speaker 1: it it would have felt even more relevant in that case.

1622
01:37:28,240 --> 01:37:31,200
Speaker 3: So spook about a double feature with this in one

1623
01:37:31,240 --> 01:37:35,000
Speaker 3: battle after another, right now? I mean absolutely, that'd be incredible.

1624
01:37:35,080 --> 01:37:38,960
Speaker 1: So next week on the show, Josh, your number one

1625
01:37:39,000 --> 01:37:42,799
Speaker 1: film of nineteen eighty five, ahead of Kurusawa was Ron

1626
01:37:42,920 --> 01:37:47,200
Speaker 1: and the Cone Brothers Blood Simple. That is how much

1627
01:37:47,240 --> 01:37:49,080
Speaker 1: you love. We'll see if it sticks. I have a

1628
01:37:49,080 --> 01:37:52,600
Speaker 1: feeling it will. That's how much you love Back to

1629
01:37:52,680 --> 01:37:53,200
Speaker 1: the Future.

1630
01:37:54,080 --> 01:37:56,320
Speaker 3: Yeah, I mean in that context, I better, I better

1631
01:37:56,360 --> 01:37:59,479
Speaker 3: bring the justification right, Adam. I better had this on

1632
01:37:59,640 --> 01:38:02,080
Speaker 3: top four list here and there over the year and

1633
01:38:02,760 --> 01:38:07,200
Speaker 3: referenced its greatness in my mind. But now this is it.

1634
01:38:07,320 --> 01:38:10,439
Speaker 3: If we're doing if we're doing the Sacred Cow, I

1635
01:38:10,439 --> 01:38:12,480
Speaker 3: don't know. Is this going to be a Pantheon project

1636
01:38:12,600 --> 01:38:16,200
Speaker 3: consideration maybe? In any case, we're putting Back to the

1637
01:38:16,200 --> 01:38:19,760
Speaker 3: Future under the spotlight, so it's time for me to

1638
01:38:19,960 --> 01:38:22,960
Speaker 3: justify my love for it. I cannot wait to watch

1639
01:38:22,960 --> 01:38:23,880
Speaker 3: it yet again.

1640
01:38:24,160 --> 01:38:26,880
Speaker 1: It is not currently in the Pantheon, but yes, this

1641
01:38:27,040 --> 01:38:30,800
Speaker 1: might or this will make it eligible for Pantheon consideration

1642
01:38:31,040 --> 01:38:35,479
Speaker 1: in the next induction round. It turns forty this year.

1643
01:38:35,680 --> 01:38:39,639
Speaker 1: There are so many movies coming out that we need

1644
01:38:39,680 --> 01:38:42,599
Speaker 1: to see and will try to review on the show.

1645
01:38:42,960 --> 01:38:46,120
Speaker 1: This coming weekend is the last weekend where we looked

1646
01:38:46,120 --> 01:38:48,120
Speaker 1: at the schedule and saw that we kind of had

1647
01:38:48,160 --> 01:38:52,000
Speaker 1: an opening that short of seeing movies at the Film Festival,

1648
01:38:52,040 --> 01:38:56,439
Speaker 1: which Josh can't see obviously, we had an opening. We

1649
01:38:56,479 --> 01:38:58,720
Speaker 1: saw that this is turning forty, that it's going to

1650
01:38:58,760 --> 01:39:03,320
Speaker 1: be back in theaters this month, and we thought why not,

1651
01:39:03,479 --> 01:39:05,360
Speaker 1: so we're going to give it the sacred cow treatment,

1652
01:39:05,800 --> 01:39:09,040
Speaker 1: and yes, maybe queue it up for Josh's Film Spotting

1653
01:39:09,080 --> 01:39:14,000
Speaker 1: Pantheon nomination next year. Also next week, results from the

1654
01:39:14,080 --> 01:39:17,040
Speaker 1: deeply flawed Film Spotting poll asking you to choose one

1655
01:39:17,640 --> 01:39:22,840
Speaker 1: and only one Robert Redford performance. Sam didn't say anything,

1656
01:39:22,960 --> 01:39:24,800
Speaker 1: as far as I know, to you. He didn't say

1657
01:39:24,800 --> 01:39:29,040
Speaker 1: anything to me either or in the newsletter about how

1658
01:39:29,040 --> 01:39:35,360
Speaker 1: we took out other and just left it woodward or Sundance.

1659
01:39:35,560 --> 01:39:38,759
Speaker 1: I don't know if that silence means that he's he's

1660
01:39:38,840 --> 01:39:42,200
Speaker 1: so livid that he's just not going to talk about it,

1661
01:39:42,560 --> 01:39:45,960
Speaker 1: or if he's fine with it and he doesn't care.

1662
01:39:46,560 --> 01:39:50,160
Speaker 3: He's just stewing. He's just stewing alone. Over you know what,

1663
01:39:50,280 --> 01:39:54,040
Speaker 3: I feel better about our decision based on the top

1664
01:39:54,080 --> 01:39:56,400
Speaker 3: five list we just shared. I think the fact that

1665
01:39:56,439 --> 01:40:00,840
Speaker 3: we had those as are shared number one and two

1666
01:40:00,920 --> 01:40:05,639
Speaker 3: picks in the same order justifies making people choose between

1667
01:40:05,640 --> 01:40:07,360
Speaker 3: the two incredibility.

1668
01:40:07,439 --> 01:40:07,920
Speaker 7: I don't know.

1669
01:40:08,240 --> 01:40:10,760
Speaker 1: I don't know if Sam agrees, but we'll see if

1670
01:40:10,760 --> 01:40:13,200
Speaker 1: he waves in on that. For our current show schedule,

1671
01:40:13,560 --> 01:40:16,360
Speaker 1: you go to filmspotting dot net slash.

1672
01:40:15,960 --> 01:40:19,680
Speaker 3: Episodes speaking of one battle after another, Adam, I just

1673
01:40:19,880 --> 01:40:23,599
Speaker 3: queued up the episode of the Next Picture Show where

1674
01:40:23,640 --> 01:40:26,880
Speaker 3: they do discuss the Paul Thomas Anderson film. I've been

1675
01:40:27,000 --> 01:40:29,599
Speaker 3: enjoying it quite a bit. The Next Picture Show, of course,

1676
01:40:29,640 --> 01:40:32,960
Speaker 3: our sister podcast, looking at cinema's present via its past.

1677
01:40:33,080 --> 01:40:37,280
Speaker 3: This is part two of their Revolutionary Roads pairing. So

1678
01:40:37,439 --> 01:40:41,800
Speaker 3: part one they considered Sidney Lumett's Running on Empty an

1679
01:40:41,840 --> 01:40:45,439
Speaker 3: inspiration for one battle after another. And now yeah, the

1680
01:40:45,520 --> 01:40:48,479
Speaker 3: latest episode they're digging into the new film. Spent a

1681
01:40:48,520 --> 01:40:53,120
Speaker 3: little more time than we did, Adam on the Christmas Adventurers,

1682
01:40:53,280 --> 01:41:00,160
Speaker 3: the White supremacy conspiracy group that is horribly imute us

1683
01:41:00,560 --> 01:41:03,840
Speaker 3: horribly amusing in that movie. We touched on it a

1684
01:41:03,840 --> 01:41:06,800
Speaker 3: little bit, but I enjoyed the conversation so far where

1685
01:41:06,840 --> 01:41:09,720
Speaker 3: the Next Picture Show group is digging into it. New

1686
01:41:09,720 --> 01:41:12,519
Speaker 3: episodes of The Next Picture Show drop every Tuesday and

1687
01:41:12,560 --> 01:41:16,200
Speaker 3: you can find them wherever you get your podcasts. All right,

1688
01:41:16,240 --> 01:41:19,080
Speaker 3: it's time now for Massacre Theater, where we perform a

1689
01:41:19,160 --> 01:41:21,320
Speaker 3: scene and you get a chance to win a film

1690
01:41:21,360 --> 01:41:25,960
Speaker 3: spotting prize. Last time we mascreed this scene. Where are

1691
01:41:26,000 --> 01:41:31,600
Speaker 3: we calibri We're close. I don't know if there's a

1692
01:41:31,640 --> 01:41:36,960
Speaker 3: hotel around here. Well, Julian promised me a little bit

1693
01:41:37,000 --> 01:41:41,720
Speaker 3: of action. You still like it in the afternoon, So

1694
01:41:41,760 --> 01:41:45,120
Speaker 3: what'd you do? Robert train Low up a building.

1695
01:41:47,280 --> 01:41:50,360
Speaker 7: You told me he was Swab When gets a drunk.

1696
01:41:49,920 --> 01:41:52,639
Speaker 3: He swab show seen him in the old days, when

1697
01:41:52,640 --> 01:41:55,040
Speaker 3: he was a real activist. You were the activist. I

1698
01:41:55,080 --> 01:41:57,599
Speaker 3: just wanted to get laid. One time the police came

1699
01:41:57,600 --> 01:41:59,800
Speaker 3: to throw us at our squat and THEO invited them

1700
01:41:59,840 --> 01:42:01,200
Speaker 3: up coffee to negotiate.

1701
01:42:01,400 --> 01:42:03,559
Speaker 5: Only the coffee was spiked.

1702
01:42:03,600 --> 01:42:08,880
Speaker 3: Academy Julian Moore, Clive Owen, Claire Hope Ashety and Pam

1703
01:42:08,920 --> 01:42:12,439
Speaker 3: Ferris in two thousand and six's Children of Men. It

1704
01:42:12,479 --> 01:42:16,759
Speaker 3: was written by Timothy J. Sexton, David Arata, Mark Fergus Hawk,

1705
01:42:16,880 --> 01:42:21,439
Speaker 3: Ostpy and Alfonso Qoran, directed, of course by Quran. That

1706
01:42:21,560 --> 01:42:24,559
Speaker 3: massacre was part of our one battle after another show

1707
01:42:24,560 --> 01:42:26,840
Speaker 3: a couple weeks back. There's always a tie in. So

1708
01:42:27,000 --> 01:42:30,600
Speaker 3: why that scene from Children of Men?

1709
01:42:31,040 --> 01:42:35,360
Speaker 1: I count five names, five actors that you read there,

1710
01:42:35,400 --> 01:42:37,760
Speaker 1: but we are but two performers. Josh, how did we

1711
01:42:37,800 --> 01:42:38,559
Speaker 1: do that scene?

1712
01:42:39,280 --> 01:42:41,760
Speaker 3: I mean, Sam has been pressing us with some of

1713
01:42:41,800 --> 01:42:45,680
Speaker 3: his choices for Masacar theater lately. Apparently we've bet we've

1714
01:42:45,680 --> 01:42:48,200
Speaker 3: gotten too good at just doing two person scenes. Sure,

1715
01:42:48,720 --> 01:42:51,520
Speaker 3: and he feels like he has to raise the challenge.

1716
01:42:51,960 --> 01:42:54,880
Speaker 1: Okay, Sam is also doing something that I don't think

1717
01:42:54,880 --> 01:42:56,880
Speaker 1: he's ever done in the history of the show. He's

1718
01:42:56,960 --> 01:43:00,799
Speaker 1: telling us what his tie in was, former slash present

1719
01:43:00,840 --> 01:43:04,479
Speaker 1: activists on the run, trying to protect an innocent young woman.

1720
01:43:04,760 --> 01:43:07,920
Speaker 1: But wait, there's more. Our listeners always come up with

1721
01:43:08,000 --> 01:43:11,640
Speaker 1: more and better tie ins. Carrie in Chicago says, it

1722
01:43:11,680 --> 01:43:14,320
Speaker 1: took me a minute, but this is definitely Children of Men.

1723
01:43:14,439 --> 01:43:16,720
Speaker 1: There are a few connections between Children of Men and

1724
01:43:16,800 --> 01:43:21,240
Speaker 1: one battle after another, one cursed road trip, two former

1725
01:43:21,240 --> 01:43:26,040
Speaker 1: activists turns into grumpy, apathetic man. Three children are the Future.

1726
01:43:26,439 --> 01:43:29,479
Speaker 1: There's a great book by Mark Fisher called Capitalist Realism,

1727
01:43:29,720 --> 01:43:32,320
Speaker 1: which uses Children of Men as an example to introduce

1728
01:43:32,360 --> 01:43:35,920
Speaker 1: the concept of this book. I could definitely see Leo's

1729
01:43:36,040 --> 01:43:40,640
Speaker 1: character reading it in one Battle after Another if you

1730
01:43:40,720 --> 01:43:44,000
Speaker 1: read Carrie, I'm not sure Leo's character reads.

1731
01:43:44,880 --> 01:43:48,000
Speaker 3: He likes to watch movies. We know that here. Watch

1732
01:43:48,040 --> 01:43:52,160
Speaker 3: Frederick CRUs Frederick from Norway. It's been a while since

1733
01:43:52,200 --> 01:43:54,800
Speaker 3: I saw Children of Men. But the characters indeed have

1734
01:43:54,840 --> 01:43:57,680
Speaker 3: to navigate one battle after another. And Julian Moore is,

1735
01:43:57,720 --> 01:44:01,920
Speaker 3: of course a former collaborator of Paul Thomas Anderson. PTA

1736
01:44:02,080 --> 01:44:04,240
Speaker 3: is also known to dabble in the occasional use of

1737
01:44:04,280 --> 01:44:06,600
Speaker 3: the single long take, something that has also used a

1738
01:44:06,640 --> 01:44:10,400
Speaker 3: great effect in Children of Men. There are also thematic

1739
01:44:10,439 --> 01:44:13,280
Speaker 3: connections between the films. For me, they are both films

1740
01:44:13,320 --> 01:44:17,040
Speaker 3: that reflect on how our children and the following generations inherit,

1741
01:44:17,080 --> 01:44:20,679
Speaker 3: our battles, conflicts, and that state we leave the world

1742
01:44:20,680 --> 01:44:24,440
Speaker 3: in all in spite of having no say in their origins.

1743
01:44:25,040 --> 01:44:29,320
Speaker 1: Well said, here is Chris di Ippolito in New York, Josh,

1744
01:44:29,400 --> 01:44:31,840
Speaker 1: I had to laugh at your gravelly take on Clive Owen,

1745
01:44:31,840 --> 01:44:35,240
Speaker 1: but adam a surprisingly effective Julianne Moore, this is why

1746
01:44:35,280 --> 01:44:38,000
Speaker 1: you must keep Massacre Theater going. I can always count

1747
01:44:38,040 --> 01:44:39,960
Speaker 1: on the segment to provide a good chuckle on my

1748
01:44:40,040 --> 01:44:43,720
Speaker 1: commutes to and from work. Thanks for everything, guys, we

1749
01:44:43,760 --> 01:44:47,120
Speaker 1: did get see it work a decent outboring it worked.

1750
01:44:48,280 --> 01:44:52,639
Speaker 3: You threatened to cancel the segment, and you received praise

1751
01:44:52,680 --> 01:44:53,640
Speaker 3: for your performance.

1752
01:44:53,800 --> 01:44:54,320
Speaker 7: There you go.

1753
01:44:54,720 --> 01:44:56,880
Speaker 3: I wanted has been restored.

1754
01:44:56,479 --> 01:44:58,799
Speaker 1: And I got what I wanted. I got enough people

1755
01:44:58,840 --> 01:45:02,519
Speaker 1: saying that they like Massacre Theater to keep it around

1756
01:45:02,520 --> 01:45:06,200
Speaker 1: for at least another month or so. Reach into the

1757
01:45:06,200 --> 01:45:10,400
Speaker 1: film Spotting hat. It's it's more brimming than top Gun Maverick.

1758
01:45:10,720 --> 01:45:13,160
Speaker 1: I'll say that. I guess that tells you where our

1759
01:45:13,240 --> 01:45:16,760
Speaker 1: audience's head is, right, Josh, reach in and pick out

1760
01:45:16,800 --> 01:45:17,479
Speaker 1: this week's winner.

1761
01:45:17,680 --> 01:45:22,120
Speaker 3: Our winner is David Martin, who we believe is from Washington, DC.

1762
01:45:22,680 --> 01:45:23,120
Speaker 7: I think so.

1763
01:45:23,439 --> 01:45:27,160
Speaker 1: Congratulations David. Email feedback at Filmspotting dot net and we

1764
01:45:27,200 --> 01:45:28,960
Speaker 1: will set you up with your very own film Spotting

1765
01:45:29,000 --> 01:45:31,960
Speaker 1: t shirt, tote bag, or trial membership to the Film

1766
01:45:32,000 --> 01:45:33,080
Speaker 1: Spotting Family.

1767
01:45:33,479 --> 01:45:39,040
Speaker 3: With the symbol would they would?

1768
01:45:39,040 --> 01:45:42,559
Speaker 7: The simple would the twis the same point?

1769
01:45:42,560 --> 01:45:43,120
Speaker 3: Why do you say that?

1770
01:45:43,160 --> 01:45:45,200
Speaker 7: Why do you say tur will you said?

1771
01:45:45,200 --> 01:45:45,479
Speaker 3: Say it?

1772
01:45:45,560 --> 01:45:48,960
Speaker 1: Like I said, We move on out of this week's

1773
01:45:49,080 --> 01:45:53,120
Speaker 1: edition of Massacre Theater and this scene will not require

1774
01:45:53,360 --> 01:45:56,960
Speaker 1: any setup. That doesn't mean it's necessarily a famous scene.

1775
01:45:57,400 --> 01:46:00,960
Speaker 1: The tie in will just be in. It's redibly obvious,

1776
01:46:01,040 --> 01:46:02,120
Speaker 1: right Josh, it will.

1777
01:46:02,200 --> 01:46:05,320
Speaker 3: And this is the place where listeners we expect you

1778
01:46:05,400 --> 01:46:09,599
Speaker 3: to do the deep dive, the investigative reporting into other

1779
01:46:09,680 --> 01:46:13,400
Speaker 3: possible tie ins, because yeah, it's going to be clear immediately.

1780
01:46:13,479 --> 01:46:15,599
Speaker 3: Why we chose it, but there's got to be more

1781
01:46:15,600 --> 01:46:17,400
Speaker 3: here that we're not aware of, so you let.

1782
01:46:17,360 --> 01:46:21,320
Speaker 1: Us know there usually is. And I tried to think

1783
01:46:21,360 --> 01:46:23,280
Speaker 1: about what that might be. And when I say tried,

1784
01:46:23,320 --> 01:46:25,040
Speaker 1: I mean I thought about it for about seven and

1785
01:46:25,040 --> 01:46:30,440
Speaker 1: a half seconds to do this thing. But our listeners,

1786
01:46:30,880 --> 01:46:34,559
Speaker 1: our listeners are smarter than we are, so we'll see

1787
01:46:34,600 --> 01:46:37,840
Speaker 1: what they can dig up in their investigative reporting. You

1788
01:46:37,920 --> 01:46:40,479
Speaker 1: started off, I'm going to give you the action. Are

1789
01:46:40,479 --> 01:46:40,960
Speaker 1: you ready?

1790
01:46:41,640 --> 01:46:46,479
Speaker 3: Let's do it and action? What are you doing here?

1791
01:46:47,040 --> 01:46:48,439
Speaker 7: I just came here to make sure that you were

1792
01:46:48,439 --> 01:46:48,840
Speaker 7: all right.

1793
01:46:49,040 --> 01:46:49,559
Speaker 4: You did not.

1794
01:46:50,439 --> 01:46:52,920
Speaker 3: You're trying to horn in on my source.

1795
01:46:53,160 --> 01:46:55,240
Speaker 1: How come you get to meet deep throat. I'm the

1796
01:46:55,240 --> 01:46:56,519
Speaker 1: one who actually saw that movie.

1797
01:46:56,640 --> 01:46:58,599
Speaker 3: You're supposed to be checking phone records.

1798
01:46:58,760 --> 01:47:00,000
Speaker 7: I did it? Give me a headache?

1799
01:47:00,400 --> 01:47:01,520
Speaker 3: Stop whining.

1800
01:47:01,720 --> 01:47:03,520
Speaker 7: I'm not whining. I'm explaining.

1801
01:47:03,720 --> 01:47:05,719
Speaker 3: Yes you are. You're whining.

1802
01:47:05,840 --> 01:47:06,559
Speaker 7: I'm at work.

1803
01:47:06,800 --> 01:47:10,599
Speaker 3: We've talked about this and and scene.

1804
01:47:12,320 --> 01:47:14,360
Speaker 7: I saw the rolling of your eyes.

1805
01:47:16,240 --> 01:47:17,519
Speaker 3: I feel like we were putting it inside.

1806
01:47:17,520 --> 01:47:19,040
Speaker 7: I think I see that look too often.

1807
01:47:21,080 --> 01:47:27,240
Speaker 3: Well, was it intentional that David Lynchian pauses between responses.

1808
01:47:26,680 --> 01:47:30,800
Speaker 1: Or is that's called that's called Internet in Scotland. That's

1809
01:47:30,840 --> 01:47:31,879
Speaker 1: Internet in Scotland.

1810
01:47:31,960 --> 01:47:36,840
Speaker 3: Josh, Hey, hey, don't blame my internet. My experiences. Things

1811
01:47:36,880 --> 01:47:38,160
Speaker 3: work pretty well over here.

1812
01:47:38,720 --> 01:47:41,000
Speaker 1: I don't know, do you, I mean, do you want

1813
01:47:41,040 --> 01:47:42,360
Speaker 1: to do a live speed test?

1814
01:47:42,600 --> 01:47:43,160
Speaker 7: We can do it.

1815
01:47:43,320 --> 01:47:47,160
Speaker 3: We can do it. That would be fascinating. I think

1816
01:47:47,200 --> 01:47:47,800
Speaker 3: we should.

1817
01:47:47,640 --> 01:47:52,360
Speaker 1: Especially do it. Great great great video podcasting. If you

1818
01:47:52,400 --> 01:47:54,960
Speaker 1: know what film we just massacred emailed the movies title

1819
01:47:55,040 --> 01:47:57,240
Speaker 1: and your name and location to feedback at film spotting

1820
01:47:57,320 --> 01:48:00,680
Speaker 1: dot net. The deadline is Monday, October twenty seven. We

1821
01:48:00,760 --> 01:48:03,639
Speaker 1: will select the winner randomly from all the correct entries

1822
01:48:03,680 --> 01:48:07,160
Speaker 1: and announce it in a couple of weeks. Josh, that

1823
01:48:07,479 --> 01:48:08,640
Speaker 1: is our show.

1824
01:48:08,640 --> 01:48:10,599
Speaker 3: All right. If you want to connect with us on

1825
01:48:10,680 --> 01:48:16,920
Speaker 3: social media, you can find Adam and the show on Instagram, Facebook, letterboxed, YouTube,

1826
01:48:17,640 --> 01:48:21,679
Speaker 3: all as film Spotting. I'm in those places as well

1827
01:48:21,720 --> 01:48:26,920
Speaker 3: as Larsen on film We are independently produced and listener supported.

1828
01:48:27,320 --> 01:48:29,599
Speaker 3: You could support the show by joining the film Spotting

1829
01:48:29,640 --> 01:48:33,200
Speaker 3: Family at film spottingfamily dot com. That way you can

1830
01:48:33,240 --> 01:48:36,559
Speaker 3: listen early and ad free. You'll also get a weekly

1831
01:48:36,640 --> 01:48:40,519
Speaker 3: newsletter from Sam, who did a lovely job this week

1832
01:48:40,520 --> 01:48:43,760
Speaker 3: of writing about the late Diane Keaton. You'll also get

1833
01:48:43,800 --> 01:48:48,000
Speaker 3: monthly bonus episodes and access to the entire show archive.

1834
01:48:48,520 --> 01:48:51,120
Speaker 3: For show t shirts and other merch go to film

1835
01:48:51,160 --> 01:48:53,240
Speaker 3: spotting dot net slash shop.

1836
01:48:53,800 --> 01:48:56,800
Speaker 1: In that archive, you can find that conversation about All

1837
01:48:56,800 --> 01:49:00,120
Speaker 1: the President's Men. It is episode eight twelve, but it

1838
01:49:00,160 --> 01:49:03,519
Speaker 1: also was just dropped in our feed recently, so it's

1839
01:49:03,560 --> 01:49:06,400
Speaker 1: available to the public, as are our.

1840
01:49:06,479 --> 01:49:08,120
Speaker 7: Most recent fifty.

1841
01:49:08,240 --> 01:49:13,200
Speaker 1: Or so episodes out streaming or vod this weekend. Good

1842
01:49:13,240 --> 01:49:16,960
Speaker 1: News Robert Daniels says it's a deeply funny and wonderfully

1843
01:49:17,080 --> 01:49:21,719
Speaker 1: bonker satire. It's on Netflix, Also on Netflix The Perfect Neighbor,

1844
01:49:21,960 --> 01:49:24,280
Speaker 1: and on Apple TV Plus. Man, Do I need to

1845
01:49:24,280 --> 01:49:27,960
Speaker 1: make time for this? Mister Scorsese? A documentary about the

1846
01:49:27,960 --> 01:49:31,840
Speaker 1: filmmaker by Rebecca Miller who made Maggie's Plan and The

1847
01:49:31,880 --> 01:49:35,280
Speaker 1: Ballad of Jack and Rose. In wide release, you can

1848
01:49:35,320 --> 01:49:38,599
Speaker 1: see Luca Guadarino's After the Hunt with Julia Roberts, Andrew

1849
01:49:38,640 --> 01:49:43,280
Speaker 1: Garfield and Ioadebris. Ethan Hawk is Back in Black Phone two.

1850
01:49:44,200 --> 01:49:47,160
Speaker 1: The Aziz on Zari directed Good Fortune Is Out with

1851
01:49:47,280 --> 01:49:52,559
Speaker 1: Keanu Reeves, Kiki Palmer, and Seth Rogan and pets on

1852
01:49:52,640 --> 01:49:56,320
Speaker 1: a train. It's animated. This is real. It's called Pets

1853
01:49:56,360 --> 01:50:00,439
Speaker 1: on a Train, Josh. Apparently, I believe you. I'm gonna

1854
01:50:00,439 --> 01:50:02,040
Speaker 1: take your and Sam's.

1855
01:50:01,600 --> 01:50:02,120
Speaker 3: Word for it.

1856
01:50:02,720 --> 01:50:05,000
Speaker 1: Sometimes I just wonder if Sam is playing games with

1857
01:50:05,040 --> 01:50:07,720
Speaker 1: me though, if he's doing the anchorman thing. He just

1858
01:50:07,760 --> 01:50:11,320
Speaker 1: wants to see if I'll read it out loud, right, And.

1859
01:50:11,120 --> 01:50:13,800
Speaker 3: I was revenge. It's his revenge for us messing with

1860
01:50:13,840 --> 01:50:14,240
Speaker 3: his poll.

1861
01:50:14,640 --> 01:50:17,599
Speaker 1: There you go in limited release. If I had legs,

1862
01:50:17,640 --> 01:50:21,479
Speaker 1: I'd kick you a howl of maternal desperation spiked with

1863
01:50:21,600 --> 01:50:24,160
Speaker 1: jagged humor. According to The New York Times, it stars

1864
01:50:24,240 --> 01:50:28,640
Speaker 1: Rose Byrne. Now here's the movie. I almost proposed instead

1865
01:50:29,160 --> 01:50:32,240
Speaker 1: we should be doing a sacred cow review of Josh.

1866
01:50:32,280 --> 01:50:37,160
Speaker 1: It would certainly be a more entertaining conversation. Sane Almo's

1867
01:50:37,200 --> 01:50:43,040
Speaker 1: Fire is forty to me, more Emilio Westavez, Rob Low

1868
01:50:43,080 --> 01:50:46,960
Speaker 1: and company. Yeah, they're all there in Sane almost Fire.

1869
01:50:47,040 --> 01:50:49,280
Speaker 1: So go ahead sing the theme song for us, Josh.

1870
01:50:49,320 --> 01:50:50,040
Speaker 1: I know you can do it.

1871
01:50:50,240 --> 01:50:53,240
Speaker 3: Well I can't because this would have been a blind

1872
01:50:53,439 --> 01:50:58,240
Speaker 3: cow review. Adam, what despite your confidence, your confidence that

1873
01:50:58,280 --> 01:51:00,360
Speaker 3: this would have made for a better converse station?

1874
01:51:01,600 --> 01:51:03,960
Speaker 7: And yeah, easy to do it.

1875
01:51:04,000 --> 01:51:07,040
Speaker 3: Now really felt the need to catch up with Saint

1876
01:51:07,080 --> 01:51:10,240
Speaker 3: Elmo's Fire, so sure, I guess there'd be more to

1877
01:51:10,280 --> 01:51:13,080
Speaker 3: talk about there compared it Back to the Future show.

1878
01:51:13,280 --> 01:51:14,360
Speaker 3: Come on, come on.

1879
01:51:14,840 --> 01:51:17,400
Speaker 1: I might be able to quote more lines from Saint

1880
01:51:17,400 --> 01:51:19,160
Speaker 1: Elmo's Fire than Back to the Future.

1881
01:51:19,640 --> 01:51:22,080
Speaker 3: Well, I think that is how they determine the site

1882
01:51:22,120 --> 01:51:24,799
Speaker 3: and sound best Films of All Time lists.

1883
01:51:24,800 --> 01:51:29,240
Speaker 1: So you have me there, okay, also forty yeah, back

1884
01:51:29,280 --> 01:51:31,240
Speaker 1: to the Future. Okay, I guess we're going to do

1885
01:51:31,320 --> 01:51:33,559
Speaker 1: that instead. You can listen to that next week.

1886
01:51:33,840 --> 01:51:36,639
Speaker 3: Film Spotting is produced by Golden Joe Toss and Sam

1887
01:51:36,720 --> 01:51:39,920
Speaker 3: van Halgren. Without Sam and Golden Joe, this show wouldn't go.

1888
01:51:40,320 --> 01:51:43,880
Speaker 3: Our production assistant is Sophie Kempinar. Special thanks to everyone

1889
01:51:43,960 --> 01:51:48,480
Speaker 3: at wb easy Chicago. More information is available at wbez

1890
01:51:48,720 --> 01:51:52,120
Speaker 3: dot org. For film Spotting, I'm Josh Larson.

1891
01:51:51,840 --> 01:51:54,000
Speaker 7: And I'm Adam Kempinar. Thanks for listening.

1892
01:51:54,120 --> 01:51:57,080
Speaker 4: This conversation can serve no purpose anymore.

1893
01:51:57,960 --> 01:52:03,760
Speaker 7: The fine.

1894
01:52:15,000 --> 01:52:17,960
Speaker 1: Film Spotting is listeners supported. Join the film Spotting Family

1895
01:52:18,000 --> 01:52:20,559
Speaker 1: at film Spotting Family dot com and get access to

1896
01:52:20,680 --> 01:52:24,160
Speaker 1: ad free episodes, monthly bonus shows, our weekly newsletter, and

1897
01:52:24,280 --> 01:52:26,559
Speaker 1: for the first time all in one place, the entire

1898
01:52:26,840 --> 01:52:29,280
Speaker 1: film Spotting archive going back to two thousand and five.

1899
01:52:29,600 --> 01:52:34,959
Speaker 1: That's a film Spotting family dot com panically