The Robert Duvall Hall of Fame

I'm Sean Fentasy and this is the Big Picture 8 Conversation Show about Robert Duvall. Today on the show we are building a hall of fame for the quote American Olivier, an actor whose body of work is so vast that I was still catching up with his movies at 1am last night and I'm here with the playwright, actor, Bon Vivant, the king of physical media, Tracy Letts. We're going to honor Robert Duvall in this episode. It's all coming up right after this. Okay, Tracy, hello. Hi. Are you excited about this endeavor? You raised your hand for this, did you not? I did. Yeah, I'm excited about it. Sure. I love Robert Duvall. And when he died, he died right around the same time as Frederick Wiseman. They died the same day or maybe a day apart. My first thought was, well, we've lost our greatest actor and our greatest documentarian at the same time. And then I thought, well, I'm given the superlative. Maybe that's not the case. Maybe I should say my favorite actor or one of my favorite actors because people value different things in their actors. Some people love a movie star. Most people love a movie star. And Duvall was a movie star, but he was also a character actor and a end of that guy. And he could be the lead in movies, but more often than not a supporting player. And I realized that when I thought of him as our greatest actor, what I was thinking of, he's the kind of actor that I especially admire. He exemplified for me what great screen acting is. That's what I, when you've mentioned a great screen actor, he's one of the first people I think of. Well, what is that though? And what does that mean? Well, it means emotional access, right, that you can easily access and bring to the surface any number of emotions, which is one of the first jobs any actor does. It means a facility with language, which he had. And for me, perhaps most importantly, in terms of Duvall, it means a certain transformational ability. You know, movie stars from the most part bring you some, some version of themselves and they perform that version of themselves over and over. And Duvall was certainly capable of doing that and did that a lot. But he was also capable of, you know, if you sit in a place that is, this is essentially me and then you're sort of fiddle with the dials, you know, you might get some range, but with Duvall, you got a lot of range. You got a tremendous flexibility and very facile transformational quality that he could play low status, high status, verbal, nonverbal, smart, dumb, rural and urban, especially with him. It was a big swing. And so, and occasionally just uncork something way out of what you would think is his comfort zone. That for me is not only, not only what great acting is, it's, it's what makes acting fun. It's why I think anybody would want to be an actor, to be able to be different people in different circumstances. And for me, Duvall was the best example of that. Hard to find a comp. I'm sure we'll talk about that, but it's hard to find a comp. No, there's not, there's between the vast body of work, the range that you're describing, the thing that I think of with him is, and this was underlined by going back to some of the films, could do volcanic as well as anyone and could also do quiet. Like you mentioned verbal and nonverbal, but he could be monosyllabic or have no, no dialogue whatsoever in his performance as he does in one very notable one and convey the same level of power in the performance, whether yelling or not speaking at all. I mean, who, who, who are even actors who have that skill? You know, like even beyond movie star looks and movie star charisma, just that sort of range in terms of the kind of characters that you can play is very rare. And I don't think that there's anyone who quite has his career in part because he was born at the right time, given his skill set and given the kinds of movies he got a chance to be a part of. Right. Well, I mean, if the movies are essentially what, 120 years old, he's, he's the last 60 years of it. I mean, he really encompasses a lot. His longevity goes a long way, not just longevity, not just living a long time, but that he could stay vital and continue to explore for such a large part of his career. He gave screen performances in his nineties. I mean, that's, that's extremely rare for someone to do that. And especially someone who started so early and worked so consistently. He made so many movies. He also appeared in dozens of episodes of television. He appeared in some of the most legendary television miniseries of all time. He worked on the stage pretty consistently at the beginning of his career. He wrote films, produced films, directed films. He made a documentary. His, his body of work, I think it's a little underrated just in terms of its scope and how interested he was in all the different phases. Cause he did not have that kind of, the last time you hear for a hall of fame, that red 40 in world building reputation where he had a, you know, ski resort that he turned into a film festival and an ecological preservation site. And he was a very political figure. Duval, he had his point of view on the world, but so much of his time is spent on the work. And it was honestly hard trying to, I feel like I've seen everything. And there were a lot of movies I'd never even heard of that. He made some of which I thought were terrific. So part of the fun of these exercises is to try to say like, okay, what matters, right? What are like the 10 signal movies that you have to see and you have to put in canonized, but also when we look back at the movies, half of them, we're going to say, you know, take it or leave it. But maybe a third or a quarter of them say like, this is worth your time and you should, you should repel into the cave and check it out. Well, in addition to being good, he also had taste, right? And he continually associated himself with good projects. Now, again, it's hard to make good movies. And so there are some, some that don't quite make the grade in here. But for the most part, I mean, he might, he worked so steadily, but up such big numbers, right? He could, he could put out a few movies that weren't great, only to then hit one out of the park. Well, what about you? Why do you love Robert Duval? Well, I think he was kind of given to me because he is a part of so many legendary and historic movies, the Godfather films, Apocalypse Now, MASH. There's a handful of critical 1970s movies that if you're educating yourself and you're, you're born after those movies come out, you have to watch them. So when, when he's in somewhere between five and 10 of the 100 most historic American movies, he's part, he's part of the scenery. Like you have to accept him. And so I don't know that I necessarily appreciated him as much as I should have until I got a little bit older into my teens and I started seeing him doing interesting and good work in mainstream movies in the 90s. Like not great films, like a civil action. I don't know if you watched the civil action for this, which is, you know, not a movie I really love, but I can see him doing something a little bit different in that film and bringing a different energy and gravitas to that movie that it otherwise might not have had. It might have seemed a little shiny, a little Hollywood. If he's not there doing what he's doing. Um, and also I obviously have a fetish for that guy's in character actors and the idea that someone could transcend in such a way and become such a genuine star, like he wasn't a guy who had like a moment. He was getting recognized for Academy Awards over a 30 year period. You know, he was getting cast consistently by people for 50 plus years. He also had something that I just really like, which is when somebody has a public reputation as extremely successful, but they have passion projects that are really hard to get off the ground and they have decades long journey of trying to get those things made. It really humanizes the iconography to me. So there's a couple of movies that he made in the later stages of his life. There are these fascinating subjects and one in particular, the apostle was came out right as I was kind of getting wise to independent cinema, the awards game, right? You know, independent film studios entering the world of studio operations. And that movie, which he got a lot of recognition for kind of confounded me in a good way. Yeah. It's a real seventies movie in 1997. Yeah. And so I think that that was a big entry point for me just beyond seeing him as Tom Hagan and Kilgore. So I'm very excited to do this with you. I think American Olivier, I think Vincent Canby was the one who came up with that. I don't get it. I mean, or rather I do get it. I just think it's maybe not right in that. I think what Canby is referring to is that transformational quality. But the truth is Lord's Olivier was a romantic lead for 20 plus years. He was married to Scarlett O'Hara. He was Heathcliff. He was Maxim de Winter. Deval did not, not to mention a lifetime on stage, which Deval did not have, right? Early, early stage work. And then he went back a couple of times, but not consistently. So I don't think of him as an Olivier type. He's more workman like than that, right? Yeah. Yeah. He, he, he's a grinder. He really is. Yeah. The period between Godfather and Godfather Part Two is two years, right? 72 and 74. It's two years. Al Pacino makes two movies between those two. I think James Cohn makes three movies between those two. How many movies did Robert DeVal make between those two? One, two, three, four, five, six, seven. Seven movies. And a couple of leads in there as well. Mm hmm. So again, the comp is hard to come by. In some ways, the comp would, would be closer to Robert De Niro or Meryl Streep. In the kind of variety of roles that they were asked to play, allowed to play, wanted to play. But again, they're, they're leads. They were never character. They were, they were leads with a kind of character actor sensibility, but they're leading, leading men and women. And Deval was rarely that. I think that the American Olivier Assygnation is about a kind of commitment over a long period of time to the kind of work that he was doing, you know, where Olivier represents something about the British acting style and this kind of like representational force who could do Shakespeare, who could do some modern work who would pop up in American thrillers and things like that. And I think because of the time, like what Olivier represents to not just the stage, but British filmmaking, especially those Shakespearean adaptations that he made and the role that Duval plays in seventies American cinema and this big transformation that's happening there, him kind of being the glue, like I think you can make the case that he is the binding that happens at that period of time because of all the directors that he works with and the huge best picture nominees that he's a part of. But I agree, like they're obviously completely different kinds of actors. The other reason he's able to make seven movies in that time is though he is in some leads, there's other movies where he shows up for three or four scenes and he brings that intensity that he's famous for and then he leaves. But yeah, it did work a lot. Maybe what can be meant was simply England's greatest actor, America's greatest actor. Do you think that that's something like an idea that was held for a long period of time set aside your own personal interest and appreciation for him? Like was that how he was understood? Because to me, Pacino De Niro, maybe a couple of other people, Nicholson. I think people came to that. They came to it gradually, just the way his career developed so gradually. I think people finally realized they started to do the math. They started to go, wait a minute, he's Ned Pepper, he's Frank Burns, he's Tom Hagan, he's the great Santino. Right, they started to put all of the math of that together. He may maybe he's the best. Maybe he's the best out of all of them. I mean, it's sad to say that Philip Seymour Hoffman might have been the comp, but the longevity issue is sadly really the issue. I mean, by the time Duvall makes Apocalypse Now, he's older than Phil was when he died. Wow. Right, and Duvall's got another 40 plus years of a career after that. Yeah, that's just heartbreaking to think about, but those two actors, at least in terms of that quiet and that explosive quality, they both shared that. They both, they could go all the way to 11 and then come all the way back down. They could be incredibly vulnerable and sad, and they could also be kind of rageful and shielding themselves. Like they did have similar qualities. And again, a kind of dawning awareness of the actor on the part of the audience. Right. People, it's not like Philip Seymour Hoffman sort of exploded on the scene. It was a guy where you kind of looked back and you went, oh, wait a minute, he was this, he was that, he was this, he was that. Yeah, yeah. That's interesting. I hadn't compared them. I have thought a lot about Philip Seymour Hoffman in my time. I've often said he's my favorite actor. So that makes, maybe that's one more reason why we're here today talking about him. You know, he just passed away earlier this year and he was 95 years old. He was born in 1931 in San Diego, California, though it seems as though he lived most of his life in Maryland and Virginia and identified himself a little bit more with the American South. His father was in the service and they moved around a little bit and he began acting at 21. 1952. His first gigs were in summer plays at the Gateway Playhouse in Belleport, Long Island, which is where I'll be this summer and is not far from where I grew up. Does that play house still exist? I don't know the answer to that. Belleport is a very artistic community though. And there are many a theater dweller and folks who have performed on the stage who live there to this day. I believe Isabella Rossellini lives there right now. So very quickly kind of takes off in off Broadway productions and eventually makes his way to Broadway and across the 1950s accumulates a body of work, eventually transitions to television in the late 50s and 1960s. Kind of a similar trajectory to a couple of people we've talked about on this show who've passed away in the last few years. It's very similar to Robert Altman's trajectory over the years. Get some of these TV gigs on the Twilight Zone on Route 66 on a lot of these kind of serialized single story programs. Did you go back and look at any of that stuff? I did. So 60 to 62. He's on the Robert Horridge Theater, two episodes of Armstrong Circle Theater, Playhouse 90, John Brown's Raid, which was a TV movie, Great Ghost Tales, The Defenders, Canes Hundred, Shannon, Alfred Hitchcock presents four episodes of The Naked City. I watched his Alfred Hitchcock presents called Ironically Bad Actor written by Robert Block, who wrote Psycho. And he was the lead in that show and a grisly little tale about an actor who cuts off a rival's head and hides it in an ice bucket. And it's pretty standard angry young man stuff for TV. There's not much to it. Does that resonate with you as an actor with rivals? Sure. There's a lot of ice buckets in my house. I didn't look at much of the TV stuff, though. You could see that that's a place where he really made his bones. His acting style, when you go back and read about it and the way that he operated on sets, it seemed as though he was interested in the method, if not a full blown practitioner, and he worked with Meisner. And he seemed to understand a lot of the kind of intellectual components, but he didn't really intellectualize the approach whenever he talked about it. I don't know if you spent much time researching any of that. Yeah, I mean, you know, we'll talk about it more perhaps when we get to the Godfather, but all these people worshipped at the altar of Brando. Right? I mean, Brando was the icon for all those young, all of his sons in the Godfather movies, although DuVall is only seven years younger than Brando. So he's a little older vintage than those other dudes. But the same trajectory of acting classes in New York, trying to book TV gigs, doing some theater. He knew Gene Hackman and Al Pacino. They all knew each other. They were all coming up together at the same time. And yeah, the approach, you know, they heard Mr. DuVall in his Howard Stern interview. When Howard Stern was trying to kind of knock Brando for his for this business of reading cue cards, there's the photograph you've probably seen of DuVall with Brando's lines take to his chest. And DuVall was quick to say, yeah, partly lazy and partly not. I mean, there was in fact a method to that madness. There was an idea behind it. Brando didn't want to learn the lines too well because he wanted it to seem very fresh. And Howard Stern asked him, said, did you ever do that? He said, I tried it. It didn't work for me. I actually tried. He tried to do what Brando was doing and he couldn't make it work. He had to learn the lines the good old traditional way, though you'll see in a lot of DuVall performances, there's there are little ad libs here and there that, you know, which are making that his own, but he definitely knew the lines. But yeah, there is a there's an immersive quality to the performances, but not so immersive that it seems that, you know, couldn't have a conversation with you. Yeah, he also he could transform, but not disappear. Right. That's an odd thing that not everyone is capable of. Sometimes disappearing is helpful. Sometimes it's not in terms of your iconography or memorability. But I was reading a piece that Scott Cooper, the writer, director who worked with DuVall a couple of times wrote for the Guardian after DuVall passed and he told a story about visiting his library at his home in Virginia and he had two letters framed in his home and one of them was from Brando and in the letter he writes to DuVall that you are the greatest American actor. That's the compliment that he paid to him and that that was the most impactful, like kindest thing that had ever happened to him because of the way that he revered Brando, which I thought was really interesting given that they had worked together and, you know, not exactly contemporaries, but more or less contemporaries. And Brando was a huge star when he was still trying to book television gigs, despite that. They all felt that way about Brando. I mean, I heard DuVall tell a story about Gene Hackman running into Brando in Manhattan, just ran into him, didn't know who he did. They didn't know each other personally and they ran into him and Hackman almost burst into tears, he told DuVall. So tremendous meaning in the way he approached the work, the way they all approached the work, the way they learned to approach the work. And so, yeah, putting all that stuff into place, but also you're making TV. He's making TV shows. You've got a schedule. You've got a director who's not going to ask you for a lot of nuance. You're going to get two takes and then you're going to move on to the next thing. Learning how to work is part of the job. You have to learn how to work. I've been thinking a bit about the recurring creative partnerships that some of these historic figures have over the years. DuVall has a couple. He's got Coppola, of course, where I think has he made six films with Coppola over the years, one, two, three, four, five films over the years. Two with Altman, two with Philip Kaufman, sort of. Two with Walter Hill, two with Billy Bob Thornton, and he also appeared in another film that Billy Bob Thornton wrote, two with Cooper. But I would say that he is not the most important creative force that he's aligned with over the years. My theory is that it's Horton Foote. Horton Foote. So who is Horton Foote as playwright that you are? Well, he was a great, great playwright and a great playwright and a great screenwriter. And he had a community of some family and some actors who had done his work both in New York and elsewhere. His daughters were both involved in the business and their husbands. Peter Masterson, who we'll talk about, was Horton Foote's first cousin. He's the father of Mary Stuart Masterson. And Peter Masterson was directed one of these Horton Foote pieces and directed Tripped to Bountiful, which Mr. DuVall is not in. But yeah, that association was great. And I remember hearing Mr. DuVall say that if his career was only comprised of his collaborations with Horton Foote, he would have considered it a successful career. I think, is it five films written by Horton Foote? I think, but they're pretty key. A couple of them will wind up in our Hall of Fame, I'm sure. I think so too. One of them was very interesting to me and I had not seen it before. The other one thing I'll say before we dig into this. One other thing about the American Olivier title is maybe it's because DuVall was very comfortable playing historic figures in the same way that Olivier did. In his time, DuVall played Eisenhower, Jesse James, Stalin, Robert E. Lee, Eichmann, and Joseph Pulitzer, which is probably a few more in there that I didn't remember. But he didn't mind taking on well-known figures and sometimes he could transform into them and sometimes he had a DuVall doing them quality. Some of those were TV movies, some of them were feature films. But I think that that might also be a part of it where you could say, well, Olivier has a critical Richard the 30, has a critical Henry the fifth, a kind of definitional for what those characters look like on movie screens. One Academy Award nominations over the years, the rare actor who had one in the 70s, 80s, 90s, and 2000s, 90 features. He also directed five films. And produced a few too. Yeah. What are your thoughts on slightly widening the parameters of the Hall of Fame to include some things that are not strictly theatrically released films? Didn't you guys put Nicole Kidman limited series in her Hall of Fame? Which limited series? I candidly do not remember. It's possible. I feel like we've made some allowances. What's the one in the beach with the women, with the mystery? What am I thinking of? Big Little Lies? Yes. Is that what it's called? Did we put Big Little Lies in? I think you did. Don't recall. Thumbs up from Sarah Lucas. Sure. Okay. So then the answer is yes. You feel comfortable with that idea? I'm saying that I think precedent has been established. And are you up on the blue category? There can be one film that you could choose. I think we did this for the Redford Hall of Fame, but remind me. Well, so we have Reds, Greens, and Yellows here on the Hall of Fame. Red is a film that is not in. Yellow is a film that we will hold and we will revisit and see if we should go forward or go backward and put it in red. Green of course is going in. Blue indicates that it is outside of the 10 critical films that go into the Hall of Fame, but it's something that we like. It's something that we have a personal connection to that we can make a case for its relevance, its emotional importance to us. Is that different than I think this should be in the Hall of Fame and you don't? Well, let's not drill down too hard. Do you want to start since we were talking about Horton Foote? Yeah, sure. I will throw in a couple of other TV things as we go that I've seen, but I think we can absolutely start. Okay. In 1962, he is cast on the recommendation of Horton Foote who wrote the screenplay adaptation of To Kill a Mockingbird directed by Richard Mulligan. He plays... Robert Mulligan. Sorry. Who did I say? You said Richard. Who's Richard Mulligan? I have no idea. He's the star of Empty Nest. He's an actor. Yeah, he was on soap. That's right. Robert Mulligan. Yeah. And he was Boo Radley in the film. Yeah. And he has no lines of dialogue. But he is a critical character. And I'm fond of including the breakthrough in the Hall of Fame. It's definitely green. I think it has to be green. It has to be green. A critical American movie. Terrific movie still holds up very well. Here's the thing. If it's not the Great American Novel, it's certainly one of the Great American Novels. It's a beautiful sort of pitch-perfect rendition of the Great American Novel. If he were just one of the townspeople, maybe we wouldn't make a case for Hall of Fame. But he plays a very crucial role. And he's great. I've seen to kill a mockingbird on stage a couple of times. Boo Radley is hard. Deceptively hard. He doesn't have any lines. He doesn't have to show up until the very end. But you got a lot of responsibility as Boo Radley. You have to convey a lot in a short amount of time with no lines. And he's great in it. He's so haunted in this part. And I think he's never really looked that way in any other movie. He has almost like this white pallor and this like a shock of white hair almost. He never really looked like that again. He looks like a ghost. And I think it has to go into. Now, if Amanda were here, she'd be like, all right, you're like shooting your load too soon, you know, don't you can't just pick the first one. You got 89 more movies. I think Amanda would put the kill a mockingbird in Robert DeVall. I don't want to misrepresent her point of view. Now, 1963 Captain Newman MD. I haven't seen the film. I'm going to jump in here with some TV, The Untouchables, three episodes of Route 66, the Twilight Zone, the Virginian, Stony Burke, Arrest and Trial. And he, the Twilight Zone, directed by Walter Grom and teleplayed by Charles Beaumont, who was a great sci-fi writer. And he's the lead in that Twilight Zone. I didn't get a chance to watch it. Yes, Captain Newman MD is the next movie. Did you watch this movie? I did. Did you? I did not. And it's Gordon Miller's first movie after Lonely Are the Brave, which is an absolutely great movie. Yes. It's Gregory Peck's first movie after to Kill a Mockingbird, and it's Robert DeVall's first movie after to Kill a Mockingbird. Is that how he got the gig, did Gregory Peck? I don't know. I don't know. He's also kind of being asked to do something very similar to Boo Radley. The movie is about an army mental hospital, and Gregory Peck is a psychiatrist who's running this hospital. And so it follows the few case studies of some of these guys who come back from battle. It's pretty bad in that the attitude toward mental illness has really changed a lot since this movie was made. And so Eddie Albert and Bobby Darron, who were both good actors, are asked to perform a kind of mental illness that feels very theatrical and hand-bone. DeVall escaped some of that because his character is suffering from PTSD or shell shock, probably they called it at the time. So he's nonverbal. So again, it's kind of a similarity to Boo Radley. He's this nonverbal character who's come back from battle. He's good in the film. Gregory Peck is great in the film. The movie does not hold up. That sounds like a red to me. There's going to be a few spots where you're filling in my blank spots because I know you worked so avidly to prepare for this episode since this is your job. Let me throw in some more TV after this. The Lieutenant, Kraft Suspense Theater, three episodes of the Outer Limits, three episodes of the Fugitive, Voyage to the Bottom of the Sea. I did watch his Outer Limits episode called The Chameleon. Well, he did three Outer Limits episodes, but he did one called The Chameleon, notable because teleplay by Robert Town. Wow. Yeah. Wonderful. How was it? Okay. That's the problem with doing what you've done is sometimes, you know, there's only so many 23-minute intervals in the day where you can check in on old television and then you're a bit heartbroken when you get to the end of an episode and you're like, well, it didn't work out. I don't know why I did that. That wasn't a good use of my time. I appreciate all of your hard work. There's a two-year gap where he films all that television and then he appears briefly in Nightmare on the Sun as a motorcyclist. Not much to say about this. Did you watch it? I watched some of it. I watched it. Directed by Mark Lawrence, who was a bastard who sang like a bird in front of the House on American Activities Committee. So to hell with him. It's very much like that. What's the Oliver Stone movie with Sean Penn where he's in the little desert town, little noir U-turn? U-turn. It's basically the plot of U-turn. John Derrick is in the Sean Penn role. Ursula Endress. Ursula Endress, who was John Derrick's wife at the time. And certainly there was a promise made that John Derrick was going to get her naked for the movie, but that didn't wind up happening. Not sure why, since she certainly was not shy about taking off her clothes and movies later on. It's a comfort there. Thanks to her for that. Duvall and Richard Jake will show up as these motorcycle guys who are trying to capture John Derrick. But they're motorcycle guys who are both like balding blonde haired guys in cardigan sweaters. It's very strange. I don't know what accounts for that. And then there's a scene where Duvall whips his motorcycle with a length of chain in a fit of impotent rage. It's not a good movie. That's a read as well for Nightmare in the Sun. 1966, a film we've already discussed. We discussed it on the Robert Redford whole thing. The Chase, which you were a fan of. I like it better than you guys. I was a little less. So I met and I both were a little less intrigued. Fascinating cast in that film. Duvall's got a relevant part. Written by Horton Foote. Indeed. It's a relevant part, but here he is one of the townspeople. That really is the party's playing here. No, it's not going in his hall of fame. Two more years go by. Oh, wait a minute. I got some more TV. And there's the defenders. Bob Hope presents the Chrysler Theater. The Walk, the Felony Squad, Shane, and a TV movie called Fame is the Name of the Game. Did you watch this? No. Directed by Stuart Rosenberg. Oh, sure. Yeah. And stars Tony Franciosa, Jill St. John and Susan St. James. Maybe the only time the two St. John and Susan St. James. Yes. It's like the Avengers. It was advertised on NBC as the first made for television movie, which is just flatly not true. No, they got away with advertising that. Tony Franciosa is the lead and he is a features writer for a magazine called Fame in Los Angeles. You should see it just to see his office. Just to see the features writer's office. It's palatial. It has a magnificent view. It's got its own bathroom and he has a personal secretary played by Susan St. James working in the office. It was such a popular TV movie. They turned it in with series with Tony Franciosa. I guess there is a theme song that rings out in my mind. Fame is the name of the game. It must get from that series. It was kind of a backdoor pilot. And Duvall does not have a big part in it, but Stuart Rosenberg is somebody who would come back later in his career. So yes, for sure. We spoke about him quite a bit during our Paul Newman episode actually. Oh, even before we get to the next movie, two episodes of The Time Tunnel, two episodes of T.H.E. Cat and an episode of Combat. Do you know what T.H.E. Cat was? I don't. Well, it was about a cat burglar whose initials spelled T.H.E., T.H.E. Cat. Anyway, played by Robert Lozier. I thought you'd appreciate that. I do love Lozier. Now it's notable that you mentioned Combat because I do believe Combat is where Robert Duvall met Robert Altman. And his next feature film, 1967, is Countdown, which is Robert Altman's debut feature, I guess technically his second feature film, but his first in the studio system for Warner Brothers. And it's a space man movie, a movie about NASA, about aspiring astronauts and their countdown to liftoff. It's Apollo 13. It's the early version of Apollo 13. And Robert Duvall is playing the Gary Sinise part from Apollo 13. He certainly is. Have you revisited this recently? Did you watch it for this? I did. It wasn't a revisit for me. I'd never seen it before. You've never seen it? Oh, interesting. James Cahn also in this film. Fascinating movie. I think a bit stiff, but you can feel Altman trying to inject the movie with his style, his overlapping dialogue, his attempts to kind of move the camera in a way that was unusual during that period of time and create a little bit of depth of character in a movie that otherwise would have been, I think, a little stiffer with a different kind of filmmaker. Duvall is pretty good in this movie, I think. Yes. He's very rarely, are we going to say, he's not good in this? I think this is the first movie of his though, where I see his, that lack of fear to be abrasive as a character, to be confrontational, to be a little bit loud, to lose his cool a little bit seems to emerge here. I agree. But I think it's red. It's red. 1960 at the detective. Oh, sorry. Got to dump in here. Over on strip, the wild, wild west, flesh and blood, run for your life, Judd for the defense. Yeah, okay, the detective. Directed by Gordon Douglas, written by Abby Mann. Yes. A curious feature film. Stars Frank Sinatra as the titular detective. Duvall is one of his colleagues, is also a police detective. I would say relatively modest supporting part. The milieu of the movie is quite something. It's around the murder of a gay man and it tries to explore the gay lifestyle at this time through the eyes of police detectives who don't really understand it. I think maybe for its time, I thought it was being sensitive. It now seems bit outmoded and outdated. Yeah. A bit of an odd Sinatra performance. If anyone has seemed less like a cop to me, I don't know if Frank Sinatra is one of them. He's just a casky. I'm just exhausted by Frank Sinatra. He just, I don't know what to make of him. It's like, yeah, you're a great singer and you're a pretty good actor, but you're also this Vegas guy and you're, are you mopped up? You're a bully, you're a Democrat, but you're a friend with Ronald Reagan. I don't know what's going on. It's just exhausting. Okay. Did you have a chance to meet the man? No, God no. He would have punched you right in the nose for saying that. Yeah, exactly. I did have a nightmare where he beat me up in an elevator. No kidding. Yeah. I think Frank on. I think that was a common occurrence, honestly. He did have men who would beat you up though. He wouldn't do it himself. The detective is definitely red. It's an interesting artifact popped in my Twilight Time Blu-ray for this. As did I. 1968 bullet. So I didn't revisit bullet and I couldn't quite remember the context of Duvall's character. So fill me in. Is he, is this, is he the cab driver? He is the cab driver. He takes the mobster around and then later bullet finds him and asks him to retrace his steps and he has pretty good memory about where the mobster went and what the mobster did. It's really very functionary. A small, small part. And it's such an interesting thing that he could be a, play a critical role into Kill Him, Awkingbird. Five years later, he's got a leading role in a Warner Brothers astronaut drama. And then one year later, he's got a ninth build speaking part in bullet. So interesting the way that he just chose parts and picked projects or hoped to get hired for things while we're doing all of this television. Yeah. I don't know, maybe help me understand this as somebody, you know, you get offered a lot of things, you don't do everything, but sometimes there's something that you really want, like the psychology. And sometimes you go, oh, I've got the time and I like Peter Yates and I'd like to be in a Steve McQueen movie. And I'll have scenes with McQueen and, oh, get me out to San Francisco for a week. Yeah, I've got the time. I can do that. You think that's what it was? You know, you've all married four times, no children. So as we get into some of the more workaholic ways, it's like kids will put a real crimp in those plans. Ain't that the truth? It's funny that you say that too. He was pretty open about this in the later part of his life. Said, I tried many times as women I was married to and women I was not married to. I guess I must be shooting blanks. But I think that that might contribute at least in part to the fact that, look, I mean, every single year through in the 1970s, he's got multiple projects. It's amazing how frequently he worked. So Bullet, while it is a legendary film, I don't think he's working it as legendary for the purposes of this exercise. No. Red. 1969, True Grid. Hold on, I've got to jump in here with CBS Playhouse, the Mod Squad and five episodes of the FBI. I pointed out because now it stops. With True Grid, it stops. So it's almost as if he is making a real career decision here. I've done enough of this TV. He had done 30 or some episodes of television and he said, that's enough. And I want to make movies now and his stock was starting to rise a bit in the movie world. And so he calls it quits and, yeah, makes True Grid in 69. So he plays Ned Pepper, a very memorable part. Not a big part. Not a big part. Famously, infamously hated Henry Hathaway. They hated each other in this movie. He gets a good performance out of him. I think this movie is a little bit stiff. It's best known for being the film that got John Wayne, his best actor, Oscar after so many years. Love the novel. I think the novel is one of the absolute classics of the 20th century. Well, in the screenplay by Marguerite Roberts, hues very closely to the Charles Portis book, as does the Cohen's adaptation. I mean, there are a lot of lines. Why would you go in and screw with that unbelievable dialogue? I call that bold talk for a one-eyed fat man, right? That's Duvall's line. It's just great stuff. I don't know that it's necessarily worthy of the hall, but he keeps finding himself in these movies, in these parts, like he's showing up in bullets, showing up in True Grid. This is how you start to amass this quality of, if I don't know his name, I know that And then you start to situate yourself with common moviegoers, and then every time you show up in something, you represent a standard of quality, I think, in addition to these reams and reams of TV that you just listened in. You said you watched all of it, right? You saw every single episode of television. I did not see every single episode. All right, good. True Grid, in? No. True Grid's read. 1969, the Rain People. This part was originally meant for Rip Torn, and Rip Torn couldn't make it. He was cast in Francis Ford Coppola's film, opposite James Kahn. He plays a, remind me, what is he? Is he a man who's picked up on the side of the road? The DeVol character? Yeah, he's the father. No, he's a cop. He's a highway patrolman. He's a highway patrolman. That's what it is. He's the highway patrolman who picks them up and brings them back to his house. By the way, there's a little more to the story than Rip Torn couldn't make it. Do you know this story? Share it. So, Rip Torn, Sheryl Unite, and James Kahn rehearse for weeks in New York with Francis Ford Coppola. And then Coppola takes Sheryl Unite and James Kahn out. They're going to go out on the road, and they're going to shoot essentially sequentially. The cop doesn't show up until the last third of the movie. So they're going out on the road, and Coppola has decided we're going to shoot, and I'm going to remain somewhat improvisatory about this. If I see something interesting, we're going to go there. We don't have a definitive calendar, but we'll see you in Ogallala down the road in a month. And they leave Rip Torn with the motorcycle because he's playing a motorcycle cop. So they leave the motorcycle with Rip Torn in New York, and they tell him to learn how to ride the motorcycle. Well, the motorcycle gets stolen from out in front of Rip Torn's house. And Rip Torn says, it's in my deal. You have to provide me with a motorcycle to learn. And Coppola says, well, we can't, you know, it's a low-budget movie. We can't actually get you another one. We can get you like a second-hand motorcycle that you can learn on. And Torn's mad about it, and he says that wasn't the deal. And then they reach out to him, and they wanted him to get his shoe and calf measured for the boots that he had to wear. And Torn said, that's it, and quit. So they're out on the road filming the movie, and suddenly the guy they've been rehearsing with for weeks can't appear. James Cahn recommends Robert Duvall because they had worked together on Countdown, and Shirley Knight had done an episode of Naked City with Robert Duvall. So they both had associations with them, and they tell Coppola, you should hire Robert Duvall. And they changed the history of movies, really. I mean, that's the first time Coppola meets Duvall is working on this film. We will get to their reunion. The Rain People is an interesting movie. His performances, what I remember most about the performance is the bad dad quality that that character has, which is something he would return to in his time as a film actor. And he's very effective and very menacing in this movie. I don't think it's one of his best performances or one of the most critical performances of all time. No, it won't. I would consider it a yellow for this performance because it becoming the first union with Coppola. We can yellow it. We're going to yellow it. Andy Mash. This is his second film with Altman, and he plays Frank Burns, who is the detestable Frank Burns. I mean, immediately identified at the beginning of the film as the enemy to the two surgeons who come in in this movie. Interesting. He didn't play a lot of characters like this, like the unlikeable kind of squirrely heel who also gets the girl weirdly in hot lips. Perfectly fine performance. I think Frank Burns wouldn't mean anything to us were not for the TV show. I think the TV show kind of solidifies Frank, Larry Linville, who was great as Frank Burns, overtly comic performance on the TV show. But I think he's what cements Frank Burns in the public mind in a way that had the TV show never happened. I don't think Frank Burns, the name would have any meaning for us. And the performance, let's face it, it's not a big part of the film. No, it's very much a part of an ensemble. It's weird because the film itself is so full of ridiculousness and Duvall very rarely played that note as an actor. It was hard for him to not be dignified. And so to me, I say this is read. I agree. 1970, the revolutionary. Now, I had never seen this movie. Speaking of Long Island, this comes from Paul Williams, a filmmaker, only made a handful of films. And what an interesting movie this is. It really is. It's entirely successful, I would say. I agree. But quite an interesting portrait of a revolutionary played by John Voight at the end of the 1960s, who goes on a kind of journey of exploration in terms of what kind of revolutionary he wants to be, what kind of action he wants to take, what kind of community he wants to be a part of. And it's kind of this roving journey movie where he moves from place to place and he does eventually make a connection with Duvall's character, who is this sort of zealot, sort of like hard, seemingly far left figure attempting to incite true revolution. I found Duvall's performance to be a little anonymous in this movie, because it's very much in the psychology of John Voight, who's somewhere between hyper-intellectualized and also wishy-washy at the same time. It's an interesting comment on the vagueness of the movements in that time. I'm glad I watched it. I am too. I was surprised that I didn't know anything about it. It's like, how does a movie with John Voight and Robert Duvall, that's not terrible. How does it just have no footprint at all? It's not a terrible movie. It's kind of interesting. John Voight's very good in it. He is very good. And Duvall playing this character of Despard, yeah, he's set up as a kind of, as a bit of a revolutionary guru only to find that maybe he's also having to play the game to a certain extent. Yeah, it's not a green, but I'm glad I watched it. I want to see the rest of Williams' movies. Tarantino in Cinema Speculation wrote a bit about Paul Williams and how his filmography is a bit overlooked or not really preserved in the way that it should be. But his previous movie out of it also features John Voight, one of his first film performances, I guess the same year as Mennon Cowboy. Or the Berkeley to Boston 40 Brick Lost Bag Blues was this film that came out two years later, stars Michael Douglas based on Michael Crichton novel. I'm not seeing those films. I'd like to check them out. I've seen dealing though a long time. I should try to search that out again. The revolutionary probably read. Yeah. This is an interesting one. THX 1138. I... Isn't Lawman first? Maybe I have the winner one. I have THX here, but we can do... You want to talk Lawman? Sure, it's terrible. A terrible winner is a terrible director. Yes. From the visionary who brought you Deathwish comes a bad Western. He was terrible then. He was always terrible and apparently a terrible person too. Yeah. People say he was not a nice man. Written by Gerald Wilson who wrote some pretty good thrillers from that period as I recall. Novels with Bert Lancaster and Lee Jacob. I got to tell you, I'm out on Lee Jacob. No kidding. I'm kind of out on Lee Jacob. It's pretty, pretty hand bone. Good Lord. It's a terrible movie and it's just like Michael Winner didn't get the memo that something interesting was happening in Hollywood at the time because in a lot of ways it feels like a movie from 1958. It is old fashioned, but you can see him trying to do things with the camera that you can feel him performing the act of Autorism. You know, all these insane zooms like throughout the movie that feel very modern, but he doesn't know how to use them to psychologize the characters. He's just doing them because he thinks they look cool, which is the one kind of tactic in the film that makes it feel not like a Kirk Douglas movie from 1955. I agree. It's not very good. It's definitely not going in. Let's talk about THX. He's the titular THX. This is George Lucas' first movie. That's right. Critical movie in the history of science fiction. When you go to see a movie and you see THX up on the screen, I don't guess you see that anymore, but you're used to for a while. See THX on the screen. Robert Duvall was THX. He literally was. And he had met George Lucas because George Lucas was making a documentary about the making of the rain people. Of course. So again, if Rip Torn doesn't show up, it was Duvall's introduction to Coppola and Lucas. Is this Robert Duvall's only science fiction film? I think so. No. It's the next day with Arnold Schwarzenegger. That's right, of course. I also did not revisit that, but good shout on that one. I mean, technically, he's in the invasion of the body snatchers, but this is real sci-fi. I mean, this is hard core sci-fi. Yes. I mean, a very interesting movie, a very important movie, I think, to the new Hollywood in a lot of ways. It's a bit dull now. When I look back at it, I didn't rewatch it in full for this. I did. You did. I did rewatch it for this. Yeah. I did rewatch it, too, because he also is very internal, very quiet, very measured. Well, it's his first lead. Yeah. The first leading role he's played on, Phil. And yeah, I mean, I just admire its experimental nature. It's an experimental movie. He had made it originally. Lucas had made it as his thesis project when he was at USC. And so then somebody gave him some money to turn it into a feature. There are, I mean, obviously, borrowing liberally from 2001, some of the elliptical things that are happening in this film. And I had only ever seen it in like Bad Tube, Late Night TV or VHS. So to see it now on the blue, on the big screen, it's like, oh, that's, it's really something. Oh, that's Lucas' best film. You think it's Lucas' best film? I can take. So not American graffiti, not in the conversation either. Despite, we know your stance on Star Wars, and you can leave that. I love Star Wars. Leave me alone. Okay. Have you gotten feedback on that? Yeah. What's it been like? I got to say, you know, split. Oh, really? Yeah. There's a real split. You've got trench-run haters who've joined your side. I've got a lot of support from my take on the trench-run. A lot of support. So are these prominent figures in the industry who are calling you up and saying, Tracy Sir, thank you for your fearlessness, your courage in the face of big trench-run? Let's say yes. Let's say yes they are. THX, screenplay by George Lucas and Walter Merch, indeed, who was a sound man. The soundscape in THX is wild. Yeah. You can just... I need to rewatch this. You should just listen to it. The soundscape is really something. I'm waiting on the 4K for this, to be honest with you. Where is that? I don't know where the 4K is. I actually had to replace... My disc was corrupted. I had to get a new disc. Something was wrong with it. That's THX Ian. There you go. Extras in THX, played by members of the cult Synanon. Synanon was a very violent cult. Eventually got into a lot of trouble in San Francisco. A lot of people went to prison and they put a derattled rattlesnake in the mailbox of the district attorney and he actually got bit by the rattlesnake. I mean, Synanon has an ugly history, but they're the extras in THX. Yeah, there was a documentary about Synanon a couple years ago on HPX called the Synanon Fix, upsetting stuff. Good to know George Lucas got them paid. Is this yellow? Sure. Okay. 1972, the godfather. Perhaps you've heard of it. It's one of the most critical American works of art of the last 200 years. He plays Tom Hagan, who was my emotional entry point as a slightly taciturn, emotionally inert Irish man. I'm German Irish, one of my favorite line readings in movie history. I love Tom Hagan. I think Tom Hagan is such a necessary part of this story. Essential. And I think that for an actor who could be so explosive, the choice to play Tom in this way throughout both of these movies is very shrewd because he's up against so many powerhouses and not just Vito and Sonny, but Clemenza and Tessio and obviously Michael, these explosive performers, huge charisma machines. And for him to just withdraw in the way that he does is so great. And he's really the metronome of the movie. But he's used so brilliantly by Coppola throughout the two films, the times that he steps forward, the times that suddenly the scene is about him. I mean, I was thinking of this. I rewatched both godfathers for this draft. I rewatched them with Carrie. And I was thinking about the horse's head and I actually paused the movie and I turned the camera and I said, who whose idea was that? I mean, was it Tom's idea? Just Tom go to the Don and say, he's not going to budge. And the Don says cut off the horse's head and put it in his bed. I don't think so. I think it's Tom. I've never described that level of malevolence to Tom. Who's making that call? This is the kind of thing. That's a big move. My reading of that scene is always that scene that we never see is that Vito says, what does he care about? What matters to him? And Tom knows that he can tell him, well, we had this encounter in the stables and I saw the affection that he showed to Cartoon. I think there's another way to read it, which is that Vito sends him out and says, take care of it. Could be. And Tom. Could be. Then John Marlar says, oh! The best. When Sunny dies, the choice, this is a screenwriter's choice, that Tom is the one to tell the Don. Right. Brilliant. The choice that the Don comforts Tom and not the other way around. Now, I don't know if that's screenwriting or if that's directing or if that's the actor, but it's brilliant. Absolutely brilliant. Yeah, there's something, there's an unspoken vulnerability in Tom as a character who's brought into that world, who's adopted into it and who is made to feel like he belongs to something and yet is still on the outside in some way. It's a very, very psychologically complicated character who never really gets to talk about that. And if this, if that character were in a movie today, you'd get the origin story, you'd get, well, we knew his mother and she was a drug addict or, you know, he was a good friend of his and we brought him in because he was good at book learning or there would have been more. Right. There's not a lot there in the movie. I think there's more in the book. I've not read the book. It's not good. One of the reasons I haven't read it is I hear that over and over again. But I'm happy to not know about it. I think obviously Tom Hagan is going into the Hall of Fame in some form or fashion. The question is once, twice. I don't know. He's absolutely going. Do you want to have a whole Godfather discussion now? There's a lot of work between two. So why don't we just talk two now? Okay. I'm a little out on two. Oh, I just said this on a show. I just said this on a recent Star Wars episode. I was like, two has flaws. I'm a little out on two. For one thing. So I watched both of these with Carrie. Can I tell you the story? This is a good place to do it. Yeah, I first saw the Godfather. The first time I saw it was when it was on TV as what was it called? The Godfather saga, the entire novel on screen or something. Francis Ford Coppola put the two movies together. He put them in chronological order. So we start with De Niro in the old country. Then we move to the Godfather film. Then we move to the Michael section. The first time you saw it. You saw it in the way. Oh, interesting. It was 1977. So I would have been 12 years old. OK. He also added an hours worth of footage. I mean, from the time the Godfather first appeared, they were like, how the hell are we going to put this on TV? It's the biggest movie in history and it was rated R. How the hell are we going to get it on TV without just hacking it up? Coppola wasn't going to let them go in and just hack it up. So he puts this together and played like a miniseries over three nights. That's the first time I saw it. And I remember even then I really enjoyed the Italian section with. De Niro and Bruno Kirby and Gaston. What's the name of the guy who plays Fnuchy? There's a great actor who's also in the conformist, great Italian actor. I really love that section of the movie. I found that very compelling. And then the Godfather starts. Then we go to the wedding. And I believe in America and we watch the guy. And when I believe in America starts, even then you had a sense of. Oh, now this is really special. It was good before, but now this is especially good. This is really special. And you get the Godfather. And then you go to Michael's story in the Godfather part two. And then when I watched with Carrie, first of all, Carrie and I had watched earlier during the pandemic, we watched the Godfather movies. So I put on the Godfather here recently and she was like, we're watching the Godfather. And I said, well, I'm doing the Duvall draft. I want to revisit it. We watched the Godfather and we watched the Godfather. We got about maybe about where Johnny Fontaine arrives at the wedding. And Carrie said, I've never seen the Godfather before. And I said, you watched it with me during the pandemic. And she said, I remember absolutely nothing. I don't remember any of the characters. I don't remember the milieu. I don't remember the times. I remember nothing. Oh, man. So, you know, I need to get Carrie in to get some testing. Well, but the pandemic did do that to us. That's right. There are things that happened in that time that I don't remember either. So we watched the Godfather. And the next night we watched the Godfather part two. And we were both a little lukewarm on Godfather part two. Can I just say something? I think it's actually not helpful to watch them in close succession. I think it's nice to watch them as their own separate artifacts and think about what it was like to see it in 72 and then to wait two years to see part two and to be brought back into that feeling. Because I think narratively, it just it does not feel as strong as part one does. It does not feel as essential to understanding that world. It feels like a lot of the magnitude of Michael's crisis is a somewhat iterative to his crisis in one. It's just an elevation of that crisis. And I just I have never really had the strongest affinity for the De Niro sections of part two. I acknowledge its total mastery from a filmmaking perspective and a performance perspective. I think it's a great film. I'm not saying that Godfather two is bad, but I definitely if I had to choose, I would choose one over two any day of the week. And I I'm I'm like the De Niro section more than the Michael section in part two, because I just don't find following Michael's joyless churning through his job. Any fun. Well, it's a true descent into evil, though. That's I mean, it is real. How much of a descent it is. It seems kind of there when the movie starts. That's fair. That's well, I mean, but what he does to Fredo is the Fredo is totalizing. And here's here's something that'll piss off everybody I know. I don't think Lee Strasburg's that good. Oh, really? I don't think he's that good. That I can't agree with. I really like it. Here's another thing. I got to say, I'm watching with my wife. I can't help but watch a little bit through her eyes. Man, there's not much for the ladies in these movies. That's a fact. You know, the truth is, do you know how many scenes involve a guy telling the ladies, please leave the room or you shut up or don't interrupt or. It's not wrong, but I would argue that that's a key theme of the movie. I don't deny it. I recognize that it's part of the film. But still, when Michael shuts the door in case face, I felt like he was shutting the door in Kerry's face. It was just like, I'm sorry, you just don't get to be a part of this. You're not wrong. So you're saying we should delete the Godfather films. No one should see them. They're terrible. I love, first of all, I'm not submitting to your tyranny of these questions. I know all about this. Second of all, I love the Godfather movies. I recognize how great Godfather Part Two is. I do recognize it's an absolute great movie. And there's a mastery of the film language there that's just undeniable. Yep. John Kozal, for me, is MVP in that in Part Two. And if you want to green Duvall for the Godfathers, can we do that? We just will give him a green for Tom Hagan. What does Tom say? I was always loyal to you, Michael. You know, when he was the best thing he has in two, for the most part, he's just sitting there telling Kate of, you know, chill out. Yeah, but that moment is so very powerful. It's great. Yeah, I would I would choose one over two if I had to choose both because I love the movie more. And I think he has a little bit more to do. He has a little bit more complexity. You mentioned he gets that scene where he gets to talk to the Don. So I'll say we'll do two as the green. But if you want to count it as the saga and then, you know, we can also talk about the fact that he's not in three. See, that's the thing. I think we should also put three in his hall of fame because his absence, his absence. I agree. I mean, it's pure director hubris. I've seen it in storefront theater in Chicago. When the director suddenly gets to a point, they go, it doesn't matter. You know, I'm going to I'm going to make this is going to be great. It doesn't matter who it is. It's like actually it does matter. And you've killed off James. You write you've killed off so many of the energetic characters from the first two movies. Pay the money. Pay him the goddamn money and get Duvall on so famously Duvall felt that he was not getting the quote he should have gotten to appear in Godfather's. We're especially relative to his co-star Al Pacino. So he didn't take the part and he the part was rewritten and recast with George Hamilton, and that is also one of the reasons why they're just two very different kinds of actors, two different kinds of. That's another part of my problem with two, by the way, the the Richard Castellano not coming back. I love men's. Is no. I love I love I love Pintangeli. That's one of my favorite characters. But it's so clearly when you see the writing of the the De Niro section with Clemenza, it's he's so clearly meant. I know, I know. Echo of that in the later scenes, it's real. I mean, I understand maybe that wasn't Coppola's hubris. Maybe that was Richard Castellano's hubris. Based on what we know about him, it does seem like he asked for the moon and the stars. I I I think that that's one of those rare blessing in disguise. I I really think what a what Frankie Five Angels does is really special in that movie. Anyhow, we'll put the put the Godfather in as an experience, but it counts as one. Great. This episode is brought to you by Apple and AT&T. Scroll long enough and you'll hear it all. Miracle diets, fitness trends, you name it. But with iPhone and Apple Watch, you get meaningful insights from a very trusted source, your body. You can track sleep quality, cardio fitness and more than unpack all the information in the health app on iPhone to get a picture of your overall health. These health insights are developed with clinical experts from start to finish. Find out more at apple.com slash health. Apple Watch is not a medical device and should not be used as a substitute for professional medical advice. The great Northfield, Minnesota raid, which is the feature film debut of Philip Kaufman, San Francisco filmmaker again, we're in with the San Francisco guys. Yes. And this is an old West Heist movie starring Duvall is Jesse James. Now, I haven't seen this in a minute. I watched it. Was it the first time your first time seeing it? It was. What do you think? Uh, one of those hippie Westerns, you know, just like, we don't need to cut these guys hair. That's how they would have worn it in the old West. He gets a lot of work in their revisionist Westerns in the 70s. Yeah. Um, it's all right. It's all right. Yeah. His take on Jesse James is, uh, well, he plays him like pretty ignorant, right? Pretty ignorant type, which is, you know, probably, I feel like that's the accurate. I think that's probably true. The character, even though he sometimes is portrayed as much slicker and more, um, debonair in a way. Um, yeah, I think the movie is kind of interesting. It's fascinating that he, that this run of movies that he makes in 1973, I don't know how much time we can spend on all of them, but I will say a great North Philadelphia rate is red. 1973 tomorrow, complete discovery for me had never heard of this movie. Uh, uh, this is a Horton foot wrote it and based on a William Faulkner story, I had not, which I had not read. And Duvall plays a, a poor migrant farmer, um, who comes to meet a pregnant woman and they form a bond. And this is like a very complex, quiet, independent film that clearly only exists because Horton foot and Robert Duvall wanted it to seemingly, I think they had worked on a stage version of it in New York. I know that Horton foot had. I don't know that Duvall was part of it. He might have been. Um, I watched this on to be to be, it was a tube, might've been canopy canopy canopy. Um, and I was, it felt like him channeling Boo Radley in some ways. Um, even though he is, you know, extremely uneducated in this movie, the character that he plays, but I thought a very special performance in a very special kind of movie, an unusual movie in terms of its pacing and what the story is and very theatrical, like not terribly cinematic, um, given its scope. But I liked it. Uh, I think it's a great movie. I think it's a great performance. We talk sometimes that sometimes he takes a big swing and this is a big swing in terms of the, the accent, uh, work that he's doing. Clearly it's a Billy Bob Thornton likes to tell the story of the character of Slingblade came to him while he was shaving in the mirror. Uh, well, uh, he was shaving in the mirror after watching the movie tomorrow because it's very clear that his character in Slingblade takes something from Jackson Fentree, the character that Duvall plays here. You know, this was Duvall's favorite of all the movies. This was his favorite. I think it's superb. And I think more people should know it. Now, do you think this is, I'd like to put a discovery in, you know, I think it's green. I'm going to say yellow for the time being. Fair enough. I don't know how many truly legendary parts he has actually. And in my, I don't know why our timelines are a little different. What I had was Godfather 72 followed by tomorrow 72. And if his first act after the hit of the Godfather, and by the way, they knew the guy, you know, that they knew they had something with the Godfather, right? While they were making it. He talked about that as well for him to follow up the Godfather by going down south and playing this character in this black and white independent thing. By the way, Peter Masterson Horton Foots, first cousin is in the movie. He plays the lawyer in the framing, the framing device of the court case. Yeah. He's the, he's the attorney. So this movie, it says was released April 9th, 1972, but it only played 32 dates. It was not open very long and did not play in very many movie theaters. Right. So it's a little bit hard to know, but it says 72 here. It was pretty obscure. I had seen it before. I think maybe facets had a pretty hard to watch VHS, which is where I had seen it before, or maybe I'd just seen it on regular TV, but I revisited on canopy. It's a good quality transfer on canopy. And if you guys haven't seen this, you should check it out. It's really good. 1973 Joe Kidd. This is Clint Eastwood's first Western after Dirty Harry and also a kind of sort of revisionist Western directed by John Sturgis. Duval plays written by Elmore Leonard. That's right. Based on his novel, right? I don't know that it is. It may be just an original screenplay. Harlan Frank Harlan, the character that Duval plays is a wealthy landowner who wants to get a native man off of his land and assassinated effectively so that he can pause the reclamation movement that he's trying to organize. Clint Eastwood plays a bounty hunter who's hired by Harlan. And that sounds like a complex and interesting material, but I find the movie just turns into a little bit of a shoot them up and doesn't really have any. Everything about it is a little surprising that it's not better than it is. That you've got Eastwood as the hero and Duval as the bad guy and written by Elmore Leonard and directed by John Sturgis, who had certainly made a lot of great movies. Now, maybe he's at the end of his run here. I know that Sturgis and Eastwood fought terribly and Sturgis was perhaps drunk on Settleot. Yeah, I watched some of the extras. It's only a few years after Magnificent Seven though. I mean, it's not that. You know, I don't know. It's funny that it just felt real flabby to me. Don Stroud, who's in the movie. I saw an interview with him talking about the film and he said, he said, Clint should have directed the film. We would have all been better off if Clint had directed the film, but it certainly doesn't take off in any way. And this is in the aftermath of play Misty for me. He had started making film and he makes Breezy one year later. So he's got a bug. And he was going to fire Philip Kaufman off of Outlaw Josie Wales a couple of years after this. So clearly Eastwood had gotten to the point where he was particular about the way these things were being put together. Yeah. So Joe Kidd is not going in. Let's, let's talk about the outfit. Um, a film that came up in a recent discussion we had on physical media episode because it's being reissued just on Blu-ray, right? Not on 4k. I think it's 4k. Uh, from the director, John Flynn written by Flynn, but with a polished by Walter Hill, who come up, who come up again here and is based on a Richard Stark novel. It's a Parker movie. And is it the best Parker movie? No, it's maybe not the best. Use a point blank. I'm going to say point blank is, well, look, there's not Parker, it's Earl Macklin, but it is. Parker. Two sides of the same coin, right? Point blanks after something very different in terms of its architecture and the way it's shot, the kind of prismatic nature of the way that movie is put together. It's very different than the outfit, which is just kind of down and dirty, almost like a drive-in movie. Yes. It's a, it's a, it's a fussy exploitation movie. Um, but it's really good. I was, I was knocked out. I was knocked out by the outfit. I was really, really thrilled with the outfit. Very engaging. I think he's extremely well cast in this part, Duvall. And you know, it's a, it's a, it's a movie star part. It's a tough guy part. And he's, he's very convincing. He's basically on a kind of like a revenge tour to get back the money that he feels he's owed in the aftermath of. Is it a heist? Um, isn't that what Parker's always doing? That's what he's always doing. That's what he's always doing. Uh, Karen Black, Joe Don Baker, Robert Ryan, Timothy Carey, really great cast in the movie. I, this is an interesting one where like, I'll recommend this to anybody who likes this podcast and just be like, this is a really good seventies crime movie. Yeah. Is it a Hall of Fame movie? I don't really know. I don't, in terms of the, the, the act that we're doing here. I watched it with the nanny. I mentioned the nanny to you. Uh, she was just totally transported. She was thrilled by the movie. She was like, that's fantastic. Was this before or after in the realm of the senses? It was before. Okay. Maybe, maybe that has curdled. It primed her for, yeah, what was coming next. Uh, I'll, I'll yell at you just cause I got affection for this movie. You want, you thinking green? I'm thinking green, but let's make it. You went into this act thinking we're going to make the outfit green. I didn't, no, no, no, no, no, I, I didn't, I tried, you know, I tried to stay supple. Okay. You sure do. Uh, once again, 1973 badge 373. This is another crime movie from the perspective of a retired cop who is very clearly based on Eddie Egan, the same character who, uh, Jean Hackman war or less portrays as Popeye Doyle in the French connection. And this is a nasty bit of business, this movie. And Eddie Egan's in both movies too. He is indeed. Uh, legendary slash infamous New York city cop who had unkind words for everybody. Um, I really wanted to like this more. Uh, I think it has all the pieces for things that I'm interested in. And I think Duval's good. I think, I think it's a good performance, but the movie is felt a bit uneven to me. Not to mention the racism. I mean, it had accusations of racism at the time. And then you watch it, you're like, Oh, no, it's really race. It sure is. You know, if, in terms of like authenticity, it seems like it's getting pretty close to what Eddie Egan represented in the world. Yeah. And maybe the way that he moved through it and the way that he saw it. Um, I'm not sure that that does it any favors in the revisit. It's also just not as, uh, I mean, there's the set piece with Duval, uh, in the bus trying to escape the, uh, the, the gang members who are coming after him. And that's a pretty good, uh, action set piece in a movie like this, especially for its period, but the movie itself, I don't know. I, the, give me the, the fact that it's also made so close to the outfit. I'm just like, give me the outfit 10 times out of 10. Well, that's how I feel. This is bread, by the way. This is how I feel about Lady Ice as well, which is another very odd film. This starts his collaboration with Tom Grice. He worked with Tom Grice several times. Uh, I would argue they both did better work, uh, elsewhere. Uh, it says something about Lady Ice that I watched this not for this draft, but I watched it for the first time maybe two years ago. I'd picked up the Blu-ray from Kino. I mean, here's Donald Sutherland and, uh, and, uh, couple of my favorite actors in this movie. It says something that two years later, I can't tell you anything about Lady Ice. I don't even really remember Duvall in it or barely remember him. A very strange movie about like an insurance investigator slash detective figure who gets roped in, uh, some sort of jewel scam. And there's a, a femme fatale who finds her way into the story. I was watching the movie trying to make sense of what the plot was. And you know, sometimes that happens. A movie just doesn't really connect in any way. Yeah. Very dull for the, I mean, this period of time, this, these films, this is my favorite thing in the known universe. Crime movies in the 1970s. That's it. Yeah. This movie stinks. Um, Tom Grice, the father, by the way, of John Grice, uh, great actor, who we know from the white lotus and other things as well. So he starts a collaboration with, uh, Duvall that extends over a few movies. So clearly they were buddies. And like I say, I just think they both did better work elsewhere. In 1974, he has a very small part, but a critical part in the conversation where he plays quote the director, the person who receives some critical information near the end of the film. Yeah. Um, quite chilling. Yeah. Uh, you know, a perfect movie. I'm not sure it's like necessary to the canon of Duvall. Oh no. It's a purely, purely a favor. Yeah. Yeah. Um, so we can, we can read the conversation. The Godfather part two has a, has a green of sorts. Yeah. An honorary green. 1970, you have killer elite. I haven't seen the killer elite in a minute. This is Sam Peckinpaw movie in which he is reunited with James Kahn. And as I recall, this is an extremely violent cynical mean movie. Written by Mark Norman and Sterling Siliphant, Sterling Siliphant, who wrote, uh, in the heat of the night, as well as creating a couple of, uh, great TV series. It's terrible. It's really not a good film at all. Um, and I think we, I think we've talked about this before that I think it's really the demarcation point for Peckinpaw. It's like he kind of falls off a, when he was really struggling at this time in his life for a lot of, a lot of drinking drugs at this time. It's not, not a strong movie. No. Um, it was remade in the 2010s. Uh, similarly mean spirited vehicle, which I think featured Jason Statham. Is that sounding? Uh, Clive Owen, Robert De Niro. It's Robert De Niro and the killer elite remake. I believe he is. Okay. Um, that's red. 1975 breakout. This is the first time I ever saw Robert Duvall. Really? In a movie theater. Okay. I was 10 years old. Interesting, interesting way to be introduced. I went to see breakout. I went to see the Charles Bronson movie. I didn't know who Robert Duvall was. Again, in the sort of that guy way, probably only did I know who he was a couple of years later when the Godfather saga played on television and I watched it. So this would have been the first time I saw it, uh, saw him, uh, kind of a notable movie in that it's the first film ever to use the saturation strategy of release that would be used later the same year for JAWS. Hmm. I did not know that. There was a big marketing campaign. We're going to put it in 1500 that we're just going to clobber them on the first weekend and then we'll let him sort out the bodies after that. And apparently breakout was the first movie to ever do that. It seemed to do okay. I made $16 million in 1975. He was a big star. He's, um, of course opposite his wife, Julyerland. And he always was. Yes. And Duvall, I believe that was in every contract that he signed from henceforth. Uh, duval directed by Tom Gris. That's right. Our union with Gris and Duvall plays a wrongfully imprisoned man in Mexico. Um, and a CIA operation that attempts to extract him from this. And, um, we're kind of a weird movie. I totally like Bronson is cracking a lot of jokes. Yeah. There's some weird, like comic aside. It's strange to try to put him in a little more comic. Yeah. That's not really his speed. But I have to say, as a 10 year old, there's a moment where Duvall is, believes that he's being smuggled out of the prison in a coffin only to then be put in a hole and have some dirt thrown on him. And as a 10 year old, it scared the hell out of me. I've often wondered if Tarantino is citing this in the kill bill sequence where the bride is buried. Yeah. Um, breakout is read. Yeah. 1976, the eagle has landed. Robert Duvall plays Colonel Rattle, who is a leader for the Third Reich. And he plays big swing. Here we go. Another big swing. Nazi doing a German accent. Yeah. German accent. I patch. I patch. That's right. I don't believe any other actors are attempting a German accent in the film. Yeah. It is a bit strange. Every other Hector in the film was British using their natural accent. Brits are allowed to be Brits, I guess, but we have to do a German accent. I got a huge kick out of that. This one was a little disappointing. I hadn't seen this before and I fired it up. I think maybe the night that he passed. Um, and one, a little more from it appreciated what he was doing. I felt like this is a real going for the gusto kind of villainous part. And he's kind of an orchestrator of some of the actions in the movie. It's interesting too, in that it's directed by John Sturges. And so if what Don Stroud had said was accurate, why does Duvall want to go back and work with John Sturges again? Uh, screenplay by Tom Mankiewicz, who was part of the Mankiewicz family based on the book by Jack Higgins. Uh, it's a, it's a fun watch in a sense. And World War Two program. Yeah. Yeah. Uh, great cast. Great cast. And, uh, yeah, Duvall's up for it. He, you know, the German accent is, he's not embarrassing himself with the accent. It's, uh, he's, he's viable in the film. How do you feel about Donald Sutherland's Irish accent? Uh, less sure of myself, but God bless him. Nice to see Jenny Aggar here. Uh, always nice to see her. Always nice. Uh, that's red, the eagle has landed. The 7% solution. A movie I've always wanted to see had been for years, one of those movies. It was like, one of these days I'm going to, I'm going to pop this in and I'm going to love it. And I wish that I loved it and I didn't love it. No, it's not, it's not great. Um, it was such a big hit. I mean, it was a real, I mean, the, the, the book was such a big bestseller. It was really an airport. Was it his book? Yeah. It was Nicholas Meyers book and it was a big, like the, one of the books you pick up in the airport and it was a really successful book and they rushed it in production and like, we're going to capitalize off of the success of this book. The casting of, uh, Robert Duvall as Dr. Watson is unexpected. Uh, it's Nicole Williamson's movie. I mean, as it should be, it should be Holmes's movie. And Nicole Williamson is in interesting homes, I think he has. I think Duvall is fine in the film. I do too. Um, to me, it's really more of a pacing and story issue. It looks gorgeous. Ken Adam was a production designer and the production decided all the stained glass and stuff in this movie. It's really great. Yeah. Um, it, it's an odd one. You know, Alan Arkin plays Sigmund Freud in the film. Vanessa Redgrave is in the movie. Olivia is in the movie. It's Moriarty. Yeah. And then Olivier is in there as Moriarty and Holmes is obsessed with Moriarty thinking he's up to something bad and they're all like, no, it's the cocaine. And so you assume, no, Holmes is right. Something is up with Moriarty and it's going to turn out that he's the big bad. And he's just not. No. And he keeps protesting that he's not and he's not. Um, Samantha Edgar, my, my beloved, oh my God, I had such a crush on her. She plays, uh, um, Duvall's wife, Mary. This should have been my favorite movie. It's, you know, sometimes it just doesn't fire up. Red for the 7% solution 1976, the same year, network. Duvall plays Frank Hackett. Instant green, of course. Of course. Uh, just one of my single favorite performances in movie history. As the hatchet man for the network corporate division. Have you read Dave Itzkov's book? Sure have. Uh, it's, uh, it's a really good read. Uh, it's funny how little Duvall is in it, which just goes to show you, I think something about, I mean, he, he could be famously grouchy, especially in later years. And there were some directors he really didn't like working with, but sometimes I think showed up, he knew the lines, he did the job, he got the hell out. Uh, nothing notable about it. When you watch the special features and you hear Lumet's commentary, he has a kind of chuckling thing about Duvall being in the movie. Kind of like, can you believe this is Robert Duvall? He loves him though. Yeah. He loves him. He's, or at least he loves that performance. Um, the book that you're referring to is called Mad as Hell, the making of network and the fateful vision of the angriest man in movies. It's a wonderful book if you like network. The, you know, Ruddy doesn't count anymore scene, you know, the big sequence with William Holden and Fade Dunaway and Duvall in Duvall's office after we get the ratings for, um, Howard Beale, I just, I could watch it a hundred times in a row. Uh, his, his performance, his glee and rage and energy and bewilderment, everything that he is doing in that it's big, you know, and it is showy and it is, it is performative of the Chayefsky dialogue. You kind of have to, if you're going to be in one of these movies, one of this writer's movies, you need to chew on the scenes and he fucking eats that scene up. I love it so much. It's fantastic. It's, uh, uh, it's fantastic. It's just great. It's just right in the pocket. And, uh, he's playing a corporate head, right? He's got a facility with language. He's got a facility with, he's, he's got money. It's again, it's just, you consider the character he plays in tomorrow. It's just a, a whole or opposites. Totally. He's done some of the best paper acting I've ever seen where he's handed a piece of paper and he starts hitting the piece of paper. Only his little choices that he makes in that scene. I love so much network. Definitely a green 1977, the greatest. Been aware of this for a while. I only watched Robert De Niro or Robert DeVall scenes in this movie. Well, then you didn't watch much. He's not in it very much. Um, this is Muhammad Ali making his very own biopic about his own life. And so bizarre. It's such a bizarre artifact. It's really weird. Would you ever do this for yourself? Yeah. Looking exactly like this, because one of the weird things about it is that, I mean, Ali's playing himself as a 20 year old and he's 35 and he's already a little punchy. Right. Yeah. And you could, it's not like he's, it's almost like right before the action. He says, that went something like this. It's not like he's really in it. So he's remembering a story that happened to him. Yeah. It's a very odd movie. Is this Tom Grice as well? It is. So screenplay by Ring Lardner Jr. who wrote MASH. That's right. He, have Duval plays Bill McDonald who was a promoter and he promoted, it was the first list in fight. Yeah. And there was some controversy around that because Ali in particular wanted to be able to speak publicly about his conversion to Islam and his faith and the nation of Islam. And Bill McDonald did not want that. And they needed a man, I think, an actor of some gravitas. And so they brought in Duval for one scene where he fights back against Ali. And then in one scene later, he decides, actually, it'll be all right. Just do it, do it, do it this way. And there's something very untruthful to me about how all that part of the movie plays out. That's red. Also notable because the song, The Greatest Love of All was written for this movie, sung a couple of times on the soundtrack by George Benson. And then it was only brought back by Whitney Houston for the bodyguard and where, of course, became a massive hit. You think Whitney Houston guy? Sure. Who didn't like Whitney Houston? I agree. It's a shame. 1978 Invasion of the Body Snatchers, a reunion with Philip Kaufman. He shows up for one scene. Should we, where does where not the jet set come in? Well, a good point. Let's talk about that. I haven't seen it. Um, you can't see it. I assume that. So we're not the jet set is the first phone that Duval directs. It's a documentary about rodeo men. So when he and James Kahn were in Ogallala making the rain people, they became friends with this family of rodeo folk. And he stayed friends with them and he went back over some years continuing to shoot them. He said he claimed that he was shooting him in the style of a Ken Loach movie. So he was aware of Ken Loach. He has talked about Ken Loach over the years. I saw him site him multiple times. Yeah. So that's, and it took him years to do. He was doing it with his wife at the time. They eventually put this movie together. And then he and his wife got divorced and she took the movie and it hasn't been seen since. Wow. Yeah. Well, that's too bad. I would really like to see it. Apparently it's pretty good. Yeah. And that's a shame. Hopefully they find a way to put that back out in the world. That's not going to go in though, because we haven't seen it in 78. He does make Invasion of the Body Snatchers. He's in one scene. He has no lines of dialogue. He plays a priest swinging on a swing set. And it is one of the eeriest moments in this very eerie movie. And what a cool little thing to have happened in the movie is to have shown up to see Invasion of the Body Snatchers and Robert Duvall shows up for 30 seconds and then vanishes. They had decided, Philip Kaufman had decided that he was the first. That the character you're seeing is the first snatched body. Yes. Something so perfect too about an actor who's known for his intensity and his explosiveness playing a priest who has been turned into a plant alien. That's red though. 1978, the Betsy had never seen it before. Bored to tears, Tracy. So terrible. Bored to tears. I was really kind of looking forward to it. I thought it was going to be like camp, like a, like a, like a, uh, uh, Russ Meyer, uh, uh, Valley of the Dolls. I think there was going to be kind of a camp. Like, does kind of have some of those qualities. You know, it's directed by Daniel Petrie, who made our beloved life cards a few years earlier. And yeah, it's based on a Harold Robbins novel. You know, there's some beautiful dames in this movie. There's some, there's some sexiness to it. And yet it's like really boring. Early Tommy Lee Jones, Lawrence Olivia, a little miscast, I think Tommy Lee Jones. Lawrence Olivia and, uh, Duvall chopping it up. Yeah. Jane Alexander, Catherine Ross. So boring. So hard to watch. Anyway, it's red. Uh, 1979 apocalypse now. Just to hold on, we got to jump in with Ike the war years. He goes back to TV for the first time. Did you watch this? I did not watch it. You can't, you can't. It's not available. I couldn't find it either. I, I would like to see this. Um, yeah. Directed by Boris Segal and Melville Shavalson, who also wrote the screenplay. Uh, and I guess it's about, uh, Eisenhower's relationship to the secretary. I'm talking about my ass. The, the, the character played by Lee Remick. Okay. Uh, but I don't know. I'm seeing a Remick reunion after the detective. Yeah, right. God, lovely. I'm a Remican detective. 1979 apocalypse. Now he plays Lieutenant Colonel Bill Kilgore. So, um, uh, similarly electrifying scene. Fantastic. I've never understood what Duvall had a problem with it. Right. The scene, he felt some stuff was cut out. Well, isn't that the story of apocalypse now? And how much was cut out of that film? But he felt it was cut out for quote unquote political reasons that, that he had tried to give a performance, a more nuanced character. And that Coppola had cut it and just left in kind of the cartoon stuff. So I don't read it that way at all. He admired the movie, but he, he was always a little angry about the cut. I think that character is fascinating about a person who has diluted himself into imagining that he is part of some mystical conquering story. But that last line of dialogue that he has in the film, some day this war is going to end and then he just walks off screen. Yeah. I think it's such a brilliant choice. I, it, I just saw it last, Chris and I saw it last year on 70 at the Egyptian. And we were, I was 14 all over again, man. I, I was, I'm blown away by it. And, and I think what that character does, the kind of delusional rock and roll energy that he brings to it with the surfing and taking his jacket and shirt off. And he pulls the nekker chiff off. Very, very grand and theatrical acting style too. And he doesn't usually do that. And the pauses that he takes between those lines of dialogue, I love it, man. To me, I think this goes in for one and a half scenes. Absolutely. So totally green. Green. Let's just do a quick green check here. How many greens we got? One, two, three, four, probably five. There's five now, probably six actually given some of the yellows that you see in Fonda. We only have 50 more movies to go. So we got to move a little quicker through this. All right. 1979, The Great Santini. Directed and written by Louis John Carlinio, based on the book by the great Pat Conroy. Yes. I rewatched it for this. It's a great performance. Anybody who's ever had a father relates to this movie. It does. The performances by the other members, the family, Blythe Daner, Michael O'Keefe, Lisa Jane Persky. Are great. They're really important because the way they play against him is really important. He's not just a monster. He's not just a tyrant. He's a loving dad and they all seem to recognize that. And he has to do less to scare them, right? The way they portray that moment that they realize a line is being crossed with dad. The great performances. I mean, it's always been true though. The beef story kind of kills it as a movie a little bit. Utterly bizarre. Yeah. Where Michael O'Keefe's character has a sort of, you know, a secondary experience of the friend played by what's the actor's name? Who is Stan Shaw? Stan Shaw. Who's a good actor, but that character is a little oddly written. And even the way that that part of the film is shot where it has this sort of like halo quality to it and everything else is so raw and intense with Duvall's character. Two sequences, the one on one game with Michael O'Keefe and the actual basketball game that O'Keefe plays in where his father instructs him to take out one of his competitors. As powerful today as the first time I saw it. Very real shit. If you had a domineering father, I had a very domineering father. I really understand this movie. I think it's, I think it should go in. Great. It's one of his legendary performances. Great. The great Santini is in the lexicon as like a, this is what tough dads do. 1981 true confessions. Yet another film I would love to love. Never totally found a place in my heart. Is it Ooloo Grosspart? Is he the director? It is. With Rops, the Robert De Niro. John Gregory Dunn and Joan Didion based on Dunn's book. Yes. What is it? Is it their first screenplay together? I don't know. Schrader was going to take a pass at this at one point and direct and kicked out. I don't know why. Now that version probably would have spoken to me a little bit more. I've always had a little, I've always had some affection for it. I think Duvall's very good in the movie. I think Duvall's kind of the best thing about the movie. I always think an anti mystery is better the next time you watch it. You go in with a kind of expectation that, oh, this is going to be James Elroy. This is going to be the Black Dahlia. And then you find out, oh, it's not really even about that. That's kind of the backdrop against which the drama is playing out. I watched it again with Carrie. Yeah, it's a little dull. It's a little slow. It doesn't go in. But at the time, there was a real feature in like, I think Dunn Niro and Duvall were held up as like these are our two best work in these days. Yeah. It's, I think it's a movie that I probably watched with a lot of anticipation and never revisited. I'll say it's a red. Yeah. The pursuit of D.B. Cooper loosely based on the true story of D.B. Cooper, the airplane hijacker who vanished into the thin air. Treet Williams plays D.B. Cooper. Robert Duvall plays, is he a police officer or an investigator? Insurance investigator. Yeah. Seeking out D.B. Cooper. Um, Catherine Harold. Who might love. Yeah. And it's very good in this actually. And she and Duvall are quite good together. Did you revisit this? I did. Yeah. Um, so let me tell you quickly some tortured history about this movie. Robert Mulligan, the original director who directed, of course, Tequila Mockingbird. Tequila Mockingbird. Not Richard Mulligan. It took him seven days to film a chase scene in the rapids and he got fired off the offset. John Frankenheimer was brought in. He shot one sequence and then he was replaced by Buzz Culek who finished the film. They brought in Roger Spottiswood to edit the film and to shoot one stunt. And he said, this movie is doomed unless I can shoot new scenes written by Ron Shelton. And apparently the movie we're seeing is 70% Spottiswood and Shelton and 30% whatever that mishmash was that goes before. So it's a real, it's, you can kind of feel the jumble as you're watching it. Yes. The stunts are spectacular. Whatever Mulligan was doing, that rapid scene is fantastic. It's really good. I agree. I, um, it's funny we didn't mention this when we spoke with a gambler on yesterday's part of the Spottiswood also edited that movie. He edited Packard and Billy the Kid. You know, he went on to be, you know, a very successful film director, but, um, Ron Shelton has a very conspicuous associate producer credit in the opening of this film. And when I saw that, I was like, what's that? There are no other producers credited in that fashion. It came like right before the director credit. And so that's not surprising to hear that there was some, some stuff going on there. Always like Tree Williams. I always wanted a little bit more for Tree Williams. I think he's a very talented actor. I agree entirely. Um, but this is read unfortunately. 1983, Tender Mercies. This is the film for which Duval won his only Academy Award best actor portraying the aging country singer, Max Sledge, who's on kind of the downside of his life. One of the quietest and most sensitive, uh, films and performances that Duval ever gave. And I think is a, is, is one of two or three movies you probably show when you say who was this person as an actor. Would you agree with that? Absolutely. Totally green. Absolutely. And great movie. In fact, you guys did that episode recently where you played your Oscar Swapo game. Oh yeah. I'm going to play one here. Okay. I'm going to, uh, give the Academy Award for best picture to Tender Mercies over terms of endearment. I can't argue with it. I just looked at it again this week. It's very beautiful movie. And I don't have a lot of time for Bruce Bairseford's filmography to be honest with you, but this movie I like quite a bit. Um, and you know, Duval insisted on singing all the songs himself and good that he did. Um, it gives them a movie, a lot more texture and authenticity. It's a very good film. Um, we got a lot of greens here. We got a lot of movies to go. Now there's a couple here that I haven't seen. You're going to have to hold my hand through the 1980s. Okay. Here we go. 1984, the stone boy. What's that? The stone boy is directed by Christopher Kane, who is Dean Kane's father. Dean Kane plays a teenager who is shot and killed accidentally by his younger brother. And the younger brother is, goes into shock and is unable to process what he's done. And Duval and Glenn Close play the parents of these boys. And, um, Duval's wife at the time, Gail Youngs, who was John Savage, who is John Savage's sister, um, and he, Duval had done American Buffalo on Broadway with John Savage. So there's a relationship there. Gail Youngs is also in the movie. Uh, the stone boy is close to something really good. I don't think it gets there. Uh, it's, it's, uh, it's got some thematic, uh, challenges. Uh, but it's close to something good. And really with Tinder, now it starts earlier than that, of course, with tomorrow or something along those lines, but with Tinder, mercies, you start to enter a period where the rural Duval starts to make really regular appearances in movies like Tinder, mercies and the stone boy. Uh, there was a kind of rural or country domestic drama that we used to make in this country a lot and that we stopped making. And I don't know where they went. Did they go to Hallmark? Did they go to Netflix? Did they go, uh, they're, they're playing, I think so. I mean, I think, I think Taylor Sheridan is operating in that space. Very much operating in that space. I think it's a real shame. And I, I, I don't want to, uh, as a good old, uh, hearty, lefty liberal don't want to take the blame for the divide in this country. But I think that, uh, the fact that we stopped telling those stories is, hasn't been great. I think yet the movies for sure. And you're an Oklahoman. So you know, from what you speak and Duval played Texans and men from Louisiana and he was very well known for that. And he kind of leaned into that a lot in the, in the last 20 years of his career, to the point of maybe a little bit of parody, I think at times, but, um, and yet this family is Montana or Wyoming. And so he's a rural guy. He's wearing a gimme cap and he drives a tractor, but he's not doing that hardcore Texas accent. He's just a guy who lives and works in the country. Okay. Well, maybe I should check it out. Uh, I assume it's not going in here. Not going in. He's in the natural in 1984. Um, I think we've skipped Angelo, my love. We have. We, I'm only going through acting performances, but this is his first Angelo, my love is the first film that he directed. Um, that is, that is a scripted feature. And it's about scripted. It's, yeah, yeah. I guess largely improvised, largely improvised, but, but, but narrative. Um, and it's about the, uh, is it the, uh, Romani people? Yeah. Um, and I, I'm fascinated by why he wanted to make this movie. He apparently overheard a conversation. He was working in New York and he overheard a conversation, a lover's coral. And then he looks over and he finds that the guy engaged in lover's corals and eight year old boy and he became interested in this boy. He was working, it was while he was rehearsing American Buffalo and he would see this boy regularly and he started engaging him in conversation. It's Angelo. He's the kid who's the lead in this movie. And Deval got to know him and got to know his family and got to know the community and put all these people to work, uh, on this movie. Have you seen it? I haven't. It's worth seeing. Uh, it's just such an eight. I mean, every 10 years he's like, I'm going to do something different. A really idiosyncratic choice, but it, it is a very watchable movie. I don't know how the Romani community feels about Robert Deval being the one who's essentially telling their story, but, uh, and there are some Romani directors of note who would probably like to have the kind of, uh, imprint that Robert Deval has, but, uh, uh, it's, it's not a bad movie. Was it, where was it available? Where'd you see it? I, I, it was a rewatch for me. Oh wow. Uh, I had actually seen it when it first came out back, uh, back then in 83. Where did I find it? Maybe YouTube. Maybe I found it on YouTube. Okay. I'll have to dig into that. Uh, I don't think it's going in. I agree with you. 1984, the natural plays Max Mercy, the sports writer who's darned curious about Hobbs's past, um, good performance, good movie. I think I mentioned when we did the Redford draft about Deval going on Letterman and Letterman suggesting this was a great movie and Deval kind of shrugged and said, cute at best. Yeah. I mean, we, we mentioned it then too. And never one of my personal favorites. Um, biggest box office hit he had had since apocalypse now. Right. Notable, but, but a very supporting part. Yeah. Um, I'll say read to the natural. What do you say? I say read. Let's get Harry sounded good, but I didn't see it. Well, that's funny. It, it, it feels in some ways like a, like a ringer, a movie, the ringer. Might like, uh, the, when it starts with these guys and one of their, one of their people has been, uh, one of their friends has been kidnapped in a South American country. Uh, and the friends are all kind of bemoaning it. And then they've decided they're going to go get Harry. Uh, those early scenes are so bad. You're like, what the hell is going on? And then Gary Busey shows up. He's a car dealer in the town who's going to finance their trip to get Harry. And then he decides, he's a bit of a gun nut. He decides he wants to go along. Okay. And then they, they advertise for a mercenary who's going to help them. And Duvall shows up as the mercenary and he's the real deal. He's a badass. And then you realize, oh, this is a total drive-in movie. Yeah. Made a little after the days of the drive-in. Uh, but it's great fun. I mean, Busey and Duvall are both great. This is about a year before Busey, you know, has his accident, scrambles his, scrambles his eggs, but he's still really good. And, uh, of course, the drive-ins were done in 1986. Well, it seems to be trying to play in that kind of missing in action zone. Very much. But it was, I think, a big hit in the video stores. Okay. I think it was a box office is $140,000, which ain't very good, but it's a Stewart Rosenberg movie. It's got a, you know, it took his name off it. Rosenberg did his name off. It is directed by Alan Smithy. No kidding. Yeah. That's so interesting. Um, you know who wrote the story of this movie? Sam Fuller. Yeah, that's right. Sam Fuller wrote the story. Also notable that one of the guys going down to get Harry is Glenn Frye. Oh, sure. Ible's fame. Also Thomas F. Wilson from Back to the Future, Biff and Rick Rasevich coming off of Top Gun. Yeah. I don't know. Kind of an engine. Mark Harmon. Anyway, I haven't seen Let's Get Harry. It's not going in. Belitzare the Cajun. Yeah. Belitzare the Cajun. Belitzare. Belitzare. Yeah. Directed by a Cajun director, Glenn Petrie, it was developed at Sundance. And in fact, the movie begins with a graphic saying this movie, before any credits roll, this movie would not be possible without the contributions of Robert Redford and Robert Duvall. They are both put up front and center. So Duvall helped develop this or helped get it to screen. Okay. He has one scene as a preacher. It's totally a cameo. His wife, Gail Youngs, at the time, his wife at the time, Gail Youngs, is the female lead in the movie. Belitzare is pretty good. It's, you wish there was a bit more Cajun representation in front of the camera, Will Patton and Armand Asanti doing some accents. But it's nice that Belitzare isn't an ass kicker. It's not like Armand Asanti is like this ass kicking action hero. He's more like a brayer rabbit character. He's the medicine man locally. It's not bad. I wish it looked better. I wish they had a little more budget. The way it shot, it looks a little like an episode of Walker, Texas Ranger, but it's not going in. It was a rewatch for me too. I watched that back in the day. Look at you. Yeah. And you, what will you famously not watch? Anything. You'll watch Belitzare the Cajun for a second time. We're going to get something I will not watch. Okay, interesting. 1986, the light ship also missed out on this one. Also a rewatch, saw in the movie theaters in 1986, uh, directed by Yerzy Skolomowski, great Polish director. Of course. The screenplay by William May and David Taylor based on a German novella by Sigfried Lenz. The poster for this movie said, good versus evil, life versus death. Robert Duvall versus Klaus Maria Brandauer. That's how they advertise the movie. And as you mentioned, one of your, one of your favorites. I mean, that's how esteemed he was, you know, as an actor that they, that that was going to be a feature. It was the last feature film made by CBS theatrical films. CBS had its own division of movie releases. So it was abandoned and picked up a year later by Castle Hill production. So it made absolutely no money. Uh, Duvall is taking a big swing here. He's playing the Southern character. He's got this kind of sonorous tone that he speaks when he's doing the way it does not work. Uh, I like you doing some voice work there. Thank you for that. Uh, early, uh, performances from William Forsyth and Arliss Howard playing, uh, Duvall's character shows up on this light ship, which is a ship that doesn't sail. It's a stationary ship for mining purposes, I think. And they're, they show up on a boat. They've lost their ship, Duvall and his two accomplices. And it turns out their criminals and their criminal things happen. It's, it's not a good film. Can I tell you something? Yeah. You're sharp as ever. I don't know how the hell you remember all these details. And this is what I do for a living. Um, the light ship is red. Hotel Colonial, I did dip my toes into this story. Oh my God. What in God's name is this? Okay. Directed by Cynthia T.H. Torini screenplay by Enzo Montalione, Cynthia, T.H. Torini, Robert Katz and Ira Barmak is totally batshit movie. I'm actually going to quote from my own letter box comments. Please do. John Savage wearing white khakis explores the slums, rivers and jungles of Columbia looking for his brother. Robert Duvall is a Colombian drug lord sporting a gorgeous George hair piece and Ascot and a sleeveless shirt. He handles an alligator, two parrots, a falcon and an anaconda. He massacres spider monkeys with a pump shotgun set to a Pinot Denogio score. It's a totally batshit movie. I do not know what anybody was thinking when they made this thing. Well, as you mentioned, John Savage obviously, uh, related to Duvall's wife at the time and, um, giving a very bewildered performance, I'll say. He's got one emotion the entire film. Duvall having a time of his life. Yeah. Um, not sure I would have cast him as an Argentinian man again. You maybe didn't see the twist at the end. Yeah. There's a twist and it when it happens, it's the only reason you didn't see it coming is because it's so stupid. You're like, they couldn't possibly expect me to swallow this. It's not, not good. Not going in. That's right. 1988 colors. Interesting movie directed by Dennis Hopper and about two police officers working in South Central Los Angeles. Uh, Duvall is the veteran opposite rookie Sean Penn. Um, a movie that I like, don't love. I think Duvall's performance is very good. This is a very famous scene in the movie, the two bowls story that he tells it is off repeated. Um, I wouldn't say it's among the most hallowed of the Duvall performances, but it's good. Dude, I think Dennis Hopper directed several other better movies personally. Uh, shot by Haskell Wexler, uh, which is notable. Yeah. No, I don't think it's going in. I, I don't know, man. There's not a lot of, uh, there's not a lot of accountability for the LAPD in this movie. And we've seen in the years since that LAPD could have used a little more scrutiny, uh, perhaps. And think about the timing when this was released. I mean, I think there's some intentionality there. You know, it's not like the film doesn't realize specifically what it's showing, but, um, yeah, colors is a no. I did not see a show of force. I did. It's an excellent title for a film. It is. It's not a very good movie. It's directed by Bruno Beretto, who was a Brazilian filmmaker who made, uh, I think he made Dona Flora and her two husbands. Uh, he was married to Amy Irving at the time, who lives in my little town where I live in New York. Oh, nice. Uh, and, uh, they made this movie together. Andy Garcia, Lou Diamond Phillips, early fat Kevin Spacey. Um, uh, careful. It's thrill. Now I'm coming to Kevin Matt. Uh, it's a thriller based on a real life case in which undercover American agents framed Puerto Rican political activists as terrorists, then murdered them. So it's based on a true story. She's a TV reporter in Duvall. It's her TV news editor. Almost all of his scenes take place in the news office. It's, uh, it's, it's not, it's not great. Uh, Duvall is doing some pretty standard stuff here. Got it. Let's make that read 1990 days of thunder. I think this will be the film that many people who listen to this podcast first saw Robert Duvall in. Have we skipped the handmade's tale? I had that coming right after days of thunder. Have we skipped lonesome dove? We have. You want, let's talk about lonesome dove. It's in, it's green. I agree that it's green. This is the rare, um, is lonesome dove the greatest mini series in the history of television? Yes. Is there more you want to say about Gus and what Duvall does in that series? He's spectacular. He elevates the art form of television acting. It's, it's a remarkable performance. Sometimes the mini series itself does not, uh, transcend its TV bound production style. Uh, certainly the casting of Frederick forest is blue duck is just an embarrassment. Uh, and I think maybe only five years later would not have happened that way. Yeah. Oh, so that's, that's too bad. Uh, but the performances, there's a lot of good performances in it, but Duvall is really something. Yeah. He and Tommy Lee together. There's Duvall's final scene is one of the great scenes in the history of television. Um, and his performance is just tremendously real. Tremendously real. And if you've ever been with someone near the end of their life, it is bizarrely real how, how sincere and great that is. Um, OK, lonesome dove is in. I work, work, we're getting very low on greens here, my friend. We got one, two, three, four, five, six, seven. How are we on time? Not very good. Oh, we have eight greens. We have like 50 movies. We're going to go more quickly. Days of Thunder, you know, not one of my Tony Scott movies. I'm going to Tony Scott aficionado. I'm a huge fan of his work. Feels like a mascot movie for this very much channel. The Rimmer loves this film. I was not on the rewatchables episode of this movie. Also a Tom Cruise aficionado. I think it's perfectly fine. Cole Trickle, wonderful name from Eagle Rock, California, not far from where I live right now. Duvall plays kind of the leader of the pit crew, the coach, the, the, the, the sage figure in Cole's life. He's good as Harry, you know. Paycheck. Paycheck. OK, red. I mean, right. It's I think it's maybe when you look over his filmography, I think maybe it's his first big paycheck, big, big paycheck. Interesting. I mean, that makes sense. Right. It's Simpson, Brachheimer. They're doing top dollar for everything they needed to confer a level of dignity. I watched it for the first time for this. No kidding. It's not my didn't like it. It's fine. It's not my flavor. Yeah. OK. 1990, the hand it's. F1 sure owes a lot to Days of Thunder. No kidding. I mean, it knows. Well, yeah, I mean, Jerry Brockheimer. See, producer 1990, the hand made still. It's a turkey. Yeah. Uh, Carol Reese Rice was developing the script with Harold Pinter. Then they wouldn't allow Carol Reese to shoot the big crowd scenes he wanted to shoot, so he quit. And so Volker Schlandorf came on as director and wanted Harold Pinter to make some changes and Pinter, by that point, had been working on it for a long time. He got exhausted by it was like, go to Margaret Atwood and have her make the changes. Oh, anyway, it just wound up in a kind of script hell. It's it's it's a mess. It's just a mess. It's a shame. It's fascinating because no one will ever watch it now because it has been adapted into an acclaimed and long running television show. But it's the same handmade sale that we know. But it's read. He just like commander, a critical character. And he's good. Again, he's always good. It's a mess of a movie. 1991, Morth Coolidge's Rambling Rose. Really good. Have you seen it? I have seen it. Slurderen's first true star part. I was trying to think about that. I think it's after smooth talk. You're right. It is after smooth talk. But one of her best performances. Duvall is also terrific in this movie. It's a kind of patriarch. I think his character's name is Daddy. And Diane Ladd, who was her life mother. Real life mother and they were the first mother daughter nominated for Oscars in the same year for this. It would probably go in the Laura Dern Hall of Fame. I don't know if it would go in the Robert Duvall Hall of Fame. I agree. Written by Calder Willingham, who wrote The Graduate. Oh, yeah. I did not know that. Based on a novel of his. I recommend this movie of a not for the Duvall Hall. Ninety one convicts haven't seen it. Horton Foot, Horton Foot Joint, Robert Duvall, James Earl Jones, Lucas Haas. Really good. Doesn't it's origins are in the theater. It's directed by Peter Masterson. And it feels like a theater piece. But Duvall doing a cantankerous southern guy. Find some new colors. He's like he's not just trotting out standard issue. Cantankerous southern guy. He finds some colors in there that he doesn't normally. James Earl Jones, always great. It's worth a watch. It won't be the last time they come together. Yeah. That's going to be a red 1992 Newsies. You finally hit on one I haven't seen. No kidding. Never seen Newsies. You know, I've been thinking about whether or not I should show this one to my kid. It's a Disney musical. Right. Perhaps best known for launching Christian Bale into the public. More wider consciousness after Empire of the Sun. It's about newspaper boys. And it's a very vivacious movie, a movie that much loved by many millennials. And a bomb at the time. Not a hit, but a movie that got a lot of burn on VHS and video stores and on the Disney Channel when I was a kid, for sure. He plays Pulitzer, the famed journalist. And it's not going in. I don't know. Maybe your kids would like it. OK, it's got energy. It's got it's got zest. 1992, the plague. I haven't seen this film. Another Argentinian production. Yeah. Directed by Luis Puenzo, who just died yesterday, day before. Director of The Official Story, which is a great movie. It just doesn't work. It's such a. Watch this. I did. Such a serious slog. There's a lot of like wailing on the soundtrack. It's very hyper serious. Serious. William Hurt, Raul Julia, reunited from Kiss the Spider One, the Sandrine Bonair, who was William Hurt's wife at the time, Duvall. It's and a lot of like restatement of Camus philosophy doesn't work. Red, 1993 falling down. You're skipping Stalin. 1992 TV movie. I watched it. TV miniseries. This was watched in my home when I was a child and it was on. I don't think I was paying direct attention to the entire thing. But I remember my parents watching this. It's not nothing. Yeah, it's directed by Ivan Passer. It is written by Paul Monash, who wrote our beloved Friends of Eddie Coil. It's shot by Vilmos Zygmunt and co-stars Julia Orman, Joan Plarrite, Geron Krabbe, that's how you say his name, made for HBO. First thing ever filmed in the Kremlin. As part of Gorbachev's he decided that it that would be allowed. So they filmed in the Kremlin. Very important for America to tell. You're always very proud of this performance. Now, the movie itself is is a bit of Stalin for dummies or Russia for dummies. And I don't know that it always focuses on the thing it should be focused on. Some of the palace intrigue and shit. It's like, really? Are we we're really going to get bogged down in this stuff? It involves really extraordinary. And unfortunately, he's been fitted with a kind of a mask, a cowl, which hides the upper half of his face. And it's really too bad because his accent sounds good. You know, he's he's working his ass off and he and he was proud of it. And the Russians apparently found the whole movie laughable, but they loved Duvall in it. And Duvall got asked to play a lot of Russian characters after he did it. He's he's very good in it. You wish the whole enterprise were better. It's worth to watch. I don't know when I'm going to watch that, but I'm going to think about it. It's not going in. No, 1993 falling down. I watched this for the first time in preparation for this draft. I've seen at least a dozen times in my life. Wow, it was on cable all the time when I was a kid and to a young mind, very transgressive work of art, looking back, kind of a dumb movie. Kind of dumb, right? I mean, there's some interesting ideas, I think, in the early part of the movie. But it just kind of descends into, I don't know, just like a cop show by the end of it. It's yeah, I mean, in no small part because of Duvall's character who plays the most ordinary thing about the movie. Yeah, he's great. He's very good. And as like a once again, playing a kind of weathered LAPD detective, the opening moments of the movie, I think, are like fascinating and electrifying. We're a man who is a middle class, you know, pocket protector. Grunt. It's fed up with traffic and just exits his car and leaves his car in the middle of the road and sets upon a journey across Los Angeles on one very hot and unpleasant day. And it kind of shows like a man at his breaking point. Michael Douglas doing something very off type for him. But a lot of the episodes that he experiences as he goes through the world just feel like very stupid 101 psychology or sociology about how communities operate. It's also like, why is this movie being seen through the eyes of like a middle aged white guy? But I've seen it many times. Not to mention you've got Lois Smith. Barbra Herschy, Amy Morton, Rachel T. Coutine, you've got these great actors, actresses in this thing, and they're given nothing to Barbra Herschy. She's given nothing to do. Yeah, didn't even remember she was in it. Falling Downs Red, wrestling earned his Hemingway. I've never seen it. I've seen it. Starts an association with Randa Haynes, which she produced a couple of other things he's in. It's again, is an odd period of casting where he could play a Cuban man. That's right. He's Latino for sure. It's Richard Harris's movie. And it's a shame too, because of the brown face. The movie won't be considered. And I understand that Richard Harris is doing some good work. He's got Richard Harris has a couple of really heartbreaking scenes in wrestling earned us 10. I didn't rewatch it for this. I remember from Rachel, but not going in. That's right. Geronimo, an American legend. He plays Al Seber, a kind of unfortunate figure in American history. I didn't rewatch this movie. I have seen a Walter Hills portrait of the Native American hero and resistor. I don't for Duvall purposes. You know, I'm not sure. It's an interesting movie. It's a. It's not terribly insensitive, as I recall, to the legend. But they sure make claims that it's somewhat the story of Geronimo seen from Geronimo's perspective. It's like, it's not really a lot of white guys. Yeah, there's a lot of Jason Patrick and Matt Damon talking about stuff. Yeah, and it was sold on that too. I mean, despite the poster, like they look at the trailer of the movie, you'll see they want you to come see the white guys talk about the fighting the Native American hero. That's red. 1994 is the paper. A lot of people are going to fight for this movie. A lot of people like this movie. I never got it. I never was interested in it. I always thought it was just absolute poppycock. But I know it's a comfort movie for a lot of people. Also, a lot of people who work here who are very fond of it. I do think Duvall is very good in it, though. There are likeable things about this movie, some likeable performances screenplay by the Keps, David and Stephen. But there's also like a physical fight between Michael Keaton and Glenn Close. It's like, this is stupid. The ending of the movie, I find very silly. But as the as the kind of worn down, but very world weary newspaper editor, Bernie White, he's like a very credible New York figure for a guy who's playing these rural Southerners or, you know, folks from 300 years ago, you pretty much buy him as somebody running the New York Post or running the New York Daily News. There is so much in the paper that is lifted from the front page. Oh, yeah. No credit is paid to the front page. Yeah, it's a shame. It's too bad. OK, that's red. Ninety five, something to talk about. Supporting part in this Julia Roberts dramedy about a woman experiencing significant change in her life. It's a fine movie. Great theme song. Based on the the the the they wrote the movie after the song was a hit. I saw it at the time. I made no impression on me whatsoever. Red, the stars fell on Henrietta. I haven't seen this one. I watched this one for the draft. It's a sweet movie. It's got a sweet disposition directed by James Keach, written by Philip Railsback. Maybe the first time that Billy Bob and Duvall worked together, that becomes an important collaboration. It's not bad. Duvall is doing something again. He's finding a slightly different color. There's this character is a bit of a trickster. There's something a bit more whimsical going on with this guy. It's certainly red. 1995, the Scarlet Letter. I saw that you watched this for the first time. Just yesterday, this movie is directed by Roland Jaffe and stars at a very critical time in her career, Demi Moore. And it has the line, God, how I've wanted to poke you. Bitch is I don't think in the book. We've got Hawthorne here. Let's bring him in. Nathaniel, was that in the original text? I've seen that. Gary Oldman has stepped out in some defense of this movie saying, yeah, I know it was a big bomb, but there's some there's some good work in there. I watched it. I watched it when it was released. It's an incredibly dull and overdrawn. You know, good people, good artists, great artists come together with the best of intentions. And sometimes it doesn't happen. It's hard to make a great movie. That's right. Just look at this episode, you know, we're doing our best. Exactly. Um, the Scarlet Letter's red sling blade. Now you mentioned the influence that tomorrow had on this movie. This, like a few other films here, it's pretty influential in me getting interested in films outside of the standard summer blockbusters that were easy for kids to get interested in. And this movie was a huge story at the time. The emergence of a new voice, a writer, director, star, Academy Award nominated Duvall plays a critical part. He had a kind of. I've seen like a godfather kind of relationship with Billy Bob. I didn't revisit for this episode, but I remember him having like a critical but modest part in the movie, right? My recollection. Carl's dad. I don't think it's going in the Hall of Fame. I don't either. 1996, a family thing. I watched that just the other night for this. I saw this when it came out. There's some intriguing ideas. It's fun to watch Duvall. Again, we talked about high status, low status. He's definitely the lower status character when he's with James Earl Jones. There's some good acting going on in here. Richard Pierce. Irma P Hall, yeah. And written by Billy Bob Thornton and Tom Apperson. Yes. It gets a little impatient or something midway through and plotty things start happening and characters don't always behave in a way that seems true to them. It's not a bad time. I enjoyed it. It's not Hall of Fame. Family thing is red. 1996 phenomenon. Didn't see it. Haven't seen it. We're going to start to patch here pretty soon. We haven't seen much. I mean, I didn't revisit this movie. I saw this movie in movie theaters and it was released. It was in the re-boom of John Travolta. Where he plays a man who is touched with extraordinary intelligence and telekinesis and all of these extraordinary powers. Duvall in the movie plays Doc, who was sort of like a father figure to him and kind of protects him and believes him through this big change of this happening in this small town, kind of trading on some of his folksy appeal directed by John Turtle Todd, probably best known for the National Treasure movies. It's definitely not going in. 1997, the Apostle. I think there's a case for this one. Before we get to the Apostle, 1996, the man who captured Eichmann. Yes. I watched that HBO film. I think TNT. OK. Directed by William Graham, written by Lionel Chetwind. Where were you at on Eichmann? Pro, anti? I'm not submitting to the tyranny of your questions. Duvall plays Eichmann and Arles Howard plays the Mossad agent who captures Eichmann. And most of the movie, 70% of the movie is the two of them in a room. After Eichmann has been captured, as the Israelis are waiting to find a way to get him out of the country, most of it is a dialogue between the two of them. And it's very good. It's very good. It's very interesting dialogue. You know, when Hannah Arendt wrote about the banality of evil, it's Eichmann that she's talking about. And so that idea is being explored. Is he just he was trying to position himself as not only just following orders, but he's trying to say, I was following the law. What I was doing was just following the laws of my country. And Arles Howard, who has lost a relative in the Holocaust, is engaged. He's not even supposed to talk to him, but he winds up engaging him in this discussion. And the movie sort of plays with the line. Is is does is he just a civil servant? Or in fact, was he a virulent, racist, anti-Semite? Asks that question. It's a compelling watch and devolved. Great. He's great at it. Where did you watch this? Apple TV paid for it on Apple TV. That's nice. You would patronize that fine company. Spotify will be getting my receipt. 1997, the apostle. He was the writer, director and producer of this movie about a preacher who loses control, does something terrible and then disappears and moves to a new community and effectively launches a new mission, a new church where he is in the anonymous preacher, EF, the apostle EF. Amazing movie. I just looked at it again yesterday. You know, imperfect for sure. Long time passion project of his. I think he wrote the screenplay first in 1983 and had been trying to get it off the ground for years and years and he paid for it himself. He financed the movie. It sounds like he financed at least in part the other two previous films that he had worked on as well. And he really put his money where his mouth was on a lot of these things. But this one kind of rose to the surface a bit more and got a lot of attention. He was Oscar nominated for his performance in it. I think it's a really fascinating and clearly very personal story about good people doing bad things and then how do you live with yourself? And I think it's interesting. It's green for me. OK, well, that makes it pretty easy. 1998, The Gingerbread Man. I've seen this movie. Robert Altman directed it. It's an adaptation of a John Grisham novel. It's so weird. Cannot remember Robert Duvall even being in it. It's so weird. It just doesn't even feel like an Altman movie. I don't know. No, I said that was this is a paycheck movie. It's very strange. And I did hear on the special features here when I watched it, Altman saying that he had been trying to get Duvall back since they had made mash, but Duvall was just always booked. He wanted him to be in Nashville, but Duvall was just always booked. Couldn't get him. Wow. Who does he play in Nashville? That's interesting. I don't know. That's a game I'll play with myself tonight. The Gingerbread Man is not going in 1998. A civil action. Also Oscar nominated for this performance. He plays opposing counsel in a case, a civil suit from a group of families who have been affected by what seems like the drinking water due to a corporation that has been polluting in their community. And Duvall is like a practical evil. You know, that's sort of like plaintive, plain, like plain spoken. Here's how things are kind of character opposite John Travolta. Again, they just worked together two years earlier. And John Travolta is a little bit miscast in this movie. He's supposed to be kind of like a slick personal injury lawyer. But there's a little bit too much like inherent decency in John Travolta that like you never buy the first half of the movie. There's a real lack of specificity about Travolta's character. It's an odd thing, an odd choice. Especially given what happens to him in the movie. Yeah, it's an odd choice that Zalion has made to not have more information about just who that guy is. Because by the end of the movie, it was like, oh, we were supposed to be tracking the changes in him, but he doesn't seem like the thing. Duvall does something really interesting here. I mean, this character of the opposing counsel, right? Oh, he's the he's the angel of death. He's the one who's going to. We know that character so well. James Mason, Billy Bob Thornton in The Judge coming out right this. He's always George C. Scott in In Herod the Wind. No, no, no. George C. Scott with Jimmy Stewart in Oh, Anatomy of a Murder. Anatomy of a Murder, right? That and yet Duvall plays against all those types, right? He's this idiosyncratic guy who steals a croissant from the from the breakfast table, steals a pen. That's why I say practical. There's like something small about what he's supposed to represent there. It's one of the few things about the movie that I think is unique. Although the whole structure, the movie is very strange because of what happens to the Travolta character and the case itself that feels kind of brave in its way, but also makes the movie feel very small. This is a huge Christmas movie produced by Scott Rudin. You know, it was a big old fancy thing that kind of has slipped away completely from the culture. It's hard to find. I had to buy it on Apple TV again. I couldn't find it. OK, it's red. Deep Impact. Watch that for the first time. It's not my it's not my it's not my flavor. Deep Impact is best known as the other film that wasn't Armageddon. From 1998, the other apocalyptic world ending saga. I've always found Deep Impact to be pretty solid, honestly. It's well done. It's well done. It's very sincere. It's like it takes the material seriously, I think, in a way that a lot of these movies didn't. And I liked Armageddon as a teenager. And now I I watched Deep Impact maybe like 10 years ago with my wife. And we were like because we had skipped it when we were kids. And I don't know, I think we both felt like it was it wasn't bad. My favorite scene in the movie is Duvall with our blind astronaut, the astronaut who's lost his sight. Oh, come on. See, we've gotten late enough and I haven't had enough protein. I'm starting to lose my proper nouns. And Duvall sits with the blind astronaut and starts to read him Moby Dick. It's a very gentle scene between the two of them. It's my favorite scene in the movie. It's really good. Who's the lead? Who's the lead? Is it Ron Eldar? Ron Eldar. Thank you. Sorry, Ron. Couldn't think of your name. Sorry, Ron. Deep Impact is not going in. I'll tell you what, gone in 60 seconds is also not going in. Never seen it. I saw the original. Slick, stylish, kind of fun, heist action movie from Dominic Senna starring Nicholas Cage. Once again, Duvall playing kind of like the old guy who hangs out in the, you know, he's like the mechanic who's, you know, they're part of the team, but not actually on the cases. It's not going in. The sixth day you watched it. I don't remember seeing this. I'm sure I saw it back in the day as an Arnold fan. It's not good. You know, you take this high concept of there's a great scene where it's about cloning, right? The concept has to do with cloning and Arnold shows up at his house and it's his birthday and he looks in the window and he sees himself celebrating his birthday with his family and he realizes he's been cloned and this guy is the guy who's replaced him. It's an intriguing concept. And then the chase is on. It's just the concept kind of gets thrown out the window and suddenly everybody's just chasing each other and shooting at each other. It's like, well, what did you even need the original concept for? You know, who made this movie? Roger Spotticewood. Roger Spotticewood back in the saddle. Tony Goldwyn, by the way, playing the exact same character he plays in one battle after another, except it's 25 years earlier and he hasn't changed a bit. It's just like he walked from the set of the sixth day on the set of one battle after another. How's it possible? How damn it, Tony. That's part of what makes him great. He's never not never aging, always sort of malevolent in a way. Six days not going in. I don't know what a shot of glory is. A shot at glory is a story about Scottish football. Oh, and it was apparently a real pet project of Duvall's for a long time and he plays a Scottish football manager and now I don't know anything about Scottish football. Apparently, there are some football stars in this movie. I don't know who the hell they are. I kind of enjoyed it. OK, it's kind of it's a real it's about as gentle a sports movie as you'll ever find. Michael Cheaton is also in the movie. He plays the owner of the team and well, he's Brian Cox, Cole Hauser. Very good. Really good time. He looks good in that chapeau. And, you know, on the letter box, some people were bitching about his accent. And I got to say, go to hell. OK, because let's hear some of your Scottish accent. You're not only not going to hear it, I will tell you that it's hard to do. And it's certainly hard to do when you have to do it in Scotland on a set with 200 Scottish people gathered around you and you're going to make a speech in their dialect, an emotional speech in their dialect. Have you considered this? Don't take the part. Well, that's just it. Jean Acton's not taken the part. There are a lot of actors of Duval's stature and time period who would not take on something like that or Stalin. Or a lot of the other things. It's a great point. He was pretty fearless in terms of the range that he was pursuing. Shada Glory is not going in 2002. Another cop in another emotional drama. John Q. Never seen Denzel Washington in the movie. I think about a man who takes a hospital hostage because they can't get treatment for a son, as I recall. Haven't seen this in a while. Nick Cassavetes, John Cassavetes, his son director of the movie. Not a not a bad drama, but not going in the Hall of Fame. 2002, another film that he directed, wrote and produced, Assassination Tango. You watched this? I did watch this last night. Curious film, some interesting stuff. I didn't see this upon release. Duval was got married a fourth time to an Argentinian woman. It was Luciano Pirazzo and Pedrozo, and he fell in love with the tango. Yeah. And so he wrote this movie about a hitman who finds himself in Argentina and kind of falls in love with the tango. Very curious. He really followed his light. He did. You wish at some point the the two stories intersected. They just sort of travel down parallel channels. There's the tango story and there's the assassin story and they never, they never cross over, which is, I think, maybe just a mistake. It's as opposed to the apostle, which is kind of expansive, but not shaggy. This is a very shaggy movie. A lot of scenes where you're like they're playing a very loose. Even the camera is a little shaky when you're watching it. But anyway, I'm glad I saw it. 2000. I love that scene where the guy makes a comment. The cop makes a comment about his face. About the he goes back, cuts back to him. Who do you say I'm old? Yeah. I got wrinkles. It's great stuff. Really good. 2003 Gods in Generals. Now, I did watch this when it came out. This is one I won't watch. Because you feel this is Ted Turner polishing Confederate history. Yeah. Yeah, understood. I don't have time for your revisionist trash. Mine? Not yours. Ted Turner's are the people who made these movies. I don't want to watch these Confederate losers doing anything. This is kind of a sequel to Gettysburg. And he plays Robert E. Lee. Get the hell out of it. It's read 2003 Second Hand Lions. It was a movie about a 13 year old boy who goes to stay with two great uncles played by Robert Duvall and Michael Cain. And Haley Jalosment plays the 14 year old boy coming off of an extraordinary run of the sixth sense in AI. And I remember the movie being perfectly charming. Perfectly. It is perfectly charming. There's a scene at the end with Josh Lucas, who I believe is the little boy grown up. Right. Yes. And then he's the little boy grown up and he has an interaction with a sheriff played by Dennis Letts. No kidding. My dad is in the movie Second Hand Lions. There you go. Small part. Day player. Well, did he ever meet Duvall? He didn't. OK. He was sad about that. 2003 Open Range. Now we're talking. What an ass kicker. Yeah. Love this movie. Great. I was just great. I know. If ever you doubted whether or not Costner had some juice. And just I won't do it for you here. But just go look at the IMDB or the letter box at the like two, three things he did before this or two or three things he did after this. And this sits in the middle. I mean, it's just a gem. It's just great. Terrific Western, you know, late period for both of them in many ways. But the final 40 minutes of this movie is just riveting Western action. Really well staged. Good to good Duvall performance playing a similar kind of mode of like the older hand who's helping the younger hand through whatever the showdown is going to be. I don't know if it's going in, but it's a darn good movie. Yellow. OK. Yellow. Good idea. 2005 Kicking and Screaming, another movie. How about you? That I think a lot of people who are listening are like is Kicking and Screaming going in. This is a soccer comedy, not a Scottish film starring Will Ferrell. I think it's fine to me. This is when the bloom comes off the rose with with Ferrell a little bit, you know, like the little two like Childlike and Slapstick for me. But I know people like it. I'm going to say red 2005. Jason Reitman's Thank You for Smoking. I forget who's Duvall playing this. I've certainly seen this movie. You've seen it. I've seen it too. I don't I don't remember Robert Duvall in the movie. Thank you for smoking. Does he play a key leader in one of the tobacco companies? I feel like he might have sounds right. If no, he plays the founder of the Academy for Tobacco Studies. A man named Captain. Not going in the Hall of Fame. 2007 Lucky You on paper should be one of the most important movies in my life. I'm sitting in the world of high stakes poker. Eric Banna plays a character named Huck, clearly somewhat modeled on Huck Seed, who is a I think modeled on Huck Seed. I assume Huck Seed was playing poker at that time. Why also do you name this character Huck? Whose father is also a big time poker player, a legendary poker player played by Robert Duvall. It's like one part romantic drama with Drew Barrymore and one part kind of father, son poker drama and struck by Curtis Hansen. And it's loosely based on what's the what's the Warren Beatty Elizabeth Taylor film is the only game in town. So that's what it's called. George Stevens movie from 1970. And it's like a soft remake of that and just doesn't it doesn't work at all. It's a big disappointment. Don't know it. It's out. 2007, I think we've skipped Broken Trail. You're right, we have made for TNT. Yes. Very good Western directed by Walter Hill. Robert Duvall, Thomas Hayden Church. Really good, really, really good. Very, very good. Originally conceived as a movie. It's ultimately basically a three hour movie. You can watch it in that way. I have it on Blu-ray. I like it. It was the first movie ever made actually for AMC, the first official project made. And it was quite a big deal made of it. And, you know, they all got Golden Globe nominations and it was pretty celebrated. But if we're giving a Western from this period, it's open range. That's the thing is and what criticism it got was this feels like a little bit of rehashing some of the same territory as Lonesome Dove. 2007, my pal, James Gray's We Own the Night. I think it's my favorite James Gray movie. It's up there for me to. It's a once again, playing a kind of patriarch of a family. Is it a couple of cops? Yeah, well, and he was a cop. He's a cop and his son is a cop, but one of the sons is not a cop. It's the Godfather in reverse. In reverse. You know, solid Duvall performance, good work. Really good. I really like this movie. I don't think it's going in the Hall of Fame. 2008, Four Christmases, you see it? Why didn't you see it? I don't even know what the fuck it is. The level of detail that you spoke about so many of these other movies that no one will ever see you had such depth on show of force. Four Christmases. I mean, the title is not a turn on for me. Are you in a war against Christmas? No, I just four Christmases. I think it means because they go to tell you what, get one Christmas right. Then you can make four. I've been trying all my life. I I'm not a huge fan of the movie. It's a it's a it's a studio comedy starring Vince Vaughn and Reese Witherspoon. Yeah, I don't need to see that. Robert Duvall plays a what you got something against Reese Witherspoon. I don't have anything against anybody. I just don't need to see it. You know who likes this movie? Chris Ryan. Great. It's red. Did Chris Ryan watch 50 plus Duvall movies? I don't think so. I'm staking your claim once more for third chair 2009 Crazy Heart. This is a movie that just watched. You watched it on the as I was coming here. Just watch in the car. Well, basically. OK. I don't know if this movie exists without Robert Duvall, according to Scott Cooper, who was a working actor who met Duvall on the set of Gods and Generals and they struck up a friendship. Duvall brought him under his wing. It sounds like a little bit to Virginians. And you've all read all of his scripts. Just really mentored Scott Cooper and Crazy Heart. In a lot of ways, this is a soft remake of tender mercies. And so he comes on and apart and to support him in this film. Jeff Bridges wins an Academy Award for his role as Bad Blake, which is, you know, Scott Cooper seems like a nice guy whose movies I never totally click with, to be honest with you. A couple of them here and there I enjoy, but I always feel like they're a little bit overwrought, but he always gets good performances out of his actors and he gets them into this movie. Both terrific in this. Yeah. If it were Jeff Bridges, his whole fame, it definitely would be going in, but it's not. 2009, the road. Didn't see it. Really? I'm saying. Three out on Cormac McCarthy. You care? Yeah. He's not he's not at the top of my pyramid, but sure, I care. You want to do the top of your pyramid three hours into the sub-site? I don't. OK. The road, he plays the old man. So that's a, you know, the truth is we're starting now to get into old man territory. And and he just there's less he can physically do. Yes. He hurt himself on a horse while they were shooting open range. He fell off a horse and did it himself. And he was mad and he was embarrassed and he didn't want to ride horses so much anymore. And just what you come up come across as aging, right? It's like a 72 year old man. You can open range. Yeah. So Joe, but he really is with crazy art. You start to feel right. I mean, he's what is he 80 years old when he makes crazy art? Just about 78, maybe 79. Ghetto is an interesting movie. Have you seen that one? I saw it this morning. OK, pretty good. I liked it. Yeah, I like it a lot. I think if you were going to make a case for a late period film, this might be the one you would pick. I think it's good. I wish it had stuck to the stoic tone. It strikes at the beginning of the movie throughout the movie. It's a little goofy. It gets a little and a little and a little saccharine toward the end. But damn, he's great. Bill Murray is great. Sissy Spacek, I always make the case on these podcasts that she's an underrated actress, she's great in the film. Yeah, I like to get low quite a bit. OK, we'll give you get low yellow. Seven days in utopia. I haven't seen. Didn't see it. Well, we're going to skip right over that one. Jane Mansfield's Car. Didn't see it. This is a Billy Bob Thornton film. Less acclaimed than some of his previous work. But once again, Duvall plays Patriarch Jim Caldwell. I saw this in 2012. I don't have a strong memory of it. I do have a strong memory of seeing Jack Reacher in theaters. Didn't see it. Haven't seen it. It's certainly not going into Robert Duvall Hall of Fame. Kind of an entertaining movie, though. I think we skip Hemingway and Gellhorn, which was made for HBO with Clive Owen. And who does he play? Apparently, it's a very small part, like maybe. Oh, yes, he's listed as Russian general to your point about being asked by Russian characters. 2014, a night in old Mexico. Haven't seen it. What is a night in old Mexico? Oh, yes. OK. I have a night in old Mexico. He sure does. A financially strapped but proud senior citizen and is a strange grandson find themselves targeted by drug dealers in search of a missing money bag. Hate when that happens. That's not going in 2014. The judge, you watched this. I did. I had not seen it. I watched it. There are good things about the judge. Movies, Hollywood movies at some point entered into a period where I got skeptical of a lot of Hollywood filmmaking, a lot of tropes of Hollywood filmmaking. But there's good stuff inside the judge. I think it's one of my favorite Robert Downey, Jr. performances. I really do. OK. I think Mr. Duvall brings out the best in Robert Downey, Jr. There are a couple of scenes they have in this movie when it gets really specific, what's happened between these two characters. And they're able to they're not just archetypes. They're able to access real information, specific information about who these people are, where they've come from, what they want, what they wanted, how they were disappointed. They're really effective scenes. I like that Duvall was nominated for this movie because it doesn't feel like just, oh, let's give the old man another nomination. I mean, I think he's really doing something. I think he's giving a real performance here. Yeah, I wish the movie itself was a little bit better. Well, the courtroom stuff is just I was like, come on, have you ever spent 30 minutes in a courtroom? If you have, you know, this is all bullshit. Yeah, it's very dopey. It's a little bit of a letdown, too, because this was the movie that Duvall basically got made. There was like a passion project in the aftermath of so much Marvel success. And it was like this, you know, like he didn't he hasn't really made a lot of good movies, real movies, non IP movies in the last 20 years. This is one of the precious few and it's OK. He's good in the film. I love Vera Farmiga. Vincent D'Onofrio, very good. But oh my god, Jeremy Strong, the playing the autistic character is such a mistake, such a misfire. These things keep happening. Narratively, it's real misfire. Yeah, 2015, he brought and directed a film called Wild Horses, which I've not seen. Haven't seen it. Well, we can't speak to it. That's a shame. I haven't seen in dubious battle either. I haven't seen it. So that's not going to go in 2018 widows. You just saw it for the first time. I did. My wife is in it. We watched it for the first time. What do you think of Duvall? I thought he was good. Yeah, a couple of scenes. Powerful, powerbroker in Chicago, right? Powerful old guy. Not going in the hall of fame. No. Twelve mighty orphans. Have you seen this film? I haven't. I watched this pretty sure. I watched this during covid. It's about a football team. It is about a football team. Luke Wilson plays a football coach in Texas during the Great Depression, who inspires and gets his team into shape and they win in exciting and inspiring fashion. Right. Not going in. 2022 hustle. Didn't see it. Another sports movie in Adam Sandler drama that I kind of like about an NBA scout. I would see it. I just ran out of time. I saw a lot. You did the work. His last feature performance is in the pale blue eye. I'm saying which is Scott Cooper's adaptation of not I don't know if it's an adaptation. It's a portrait of Edgar Allen Poe's life. I think it was based on a novel that is sort of a detective movie featuring Edgar Allen Poe, Christian Bale plays the part Duvall plays Jean Pepe. It's fine. It's nice to see him on screen at this stage of his life. You know, he's giving a very quiet, croaky performance. It's not going in the hall of fame. Let's do some revisiting where we're at. OK. I can't wait. Are people still listening? I'm listening to you. We have one, two, three, four, five, two, four, six, eight greens. Those greens are to kill a mockingbird. The Godfather one and two network apocalypse. Now the great Santini tender mercies lonesome dove and the apostle solid. Here are the yellows, the rain people, THX 1138 tomorrow, the outfit, open range and get low. I feel this could be very easily done by simply putting the outfit and tomorrow into the hall of fame. Read it to me if that's the case. To kill a mockingbird, the Godfather, tomorrow, the outfit, network, apocalypse. Now the great Santini tender mercies lonesome dove and the apostle. Now, if you want to lean into get low or open range to get something from the 2000s in there, we can do that. I'm very comfortable with that hall of fame, and I'm going to take open range as my blue. Wow. Well, let me just take a quick look at what I want to do blue wise. So it might be something here that I enjoy. Hmm. This is when I don't when I'm not speaking, you have to vamp. This is something you have to learn as the third chair. Let me tell you the traffic out there is really bad. You could do better than the one on one. Fox. Can't believe you do this to me. No, I can vamp. Absolute thing. You couldn't. Oh, Robert Duvall. He was awfully good. I loved him. I did love him. I wonder if I would have liked him personally. He did have a did have a cantankerous side, I'm told. I'll take THX 1138. If you had taken open range, I would have taken THX. I think that's a great. What a healthy set of decisions. So we'll guys will we'll green tomorrow in the outfit and we've completed after one hour. Let's hear it. The greens. Let's let's what's the Robert Duvall Hall of Fame. From 1962 to kill a mockingbird from 72 and 74, the Godfather one and two and three from 1973 tomorrow from 1973, the outfit from 1976, network from 1979, apocalypse now from 1979, the great Santini from 1983, tender mercies from 1989, lonesome dove, even though it's TV from 1997, the apostle. The blue for me is THX 1138 and for you. Open range. We've done it. We've done it by God. By God, we've done it. That was that was a big one. That was a really large. That was a lot of work. I'm not going to be the guy that gets called whenever the old guy dies because there's a thing that does happen. The 70s movies are better than the 80s movies and the 80s movies are better than the 90s movies and 90s movies are better than the than the 21st century. 20 seconds, 24th century. Is it? Let's go back to the 80s movies are better than the 90s movies. Pretty much across the board. OK, well, on that we shall part. Tracy, let's thank you. What a fun thing. Incredible amount of work you put into this. That's you know, this is my job, man. This is my job. I take my responsibilities as professional podcaster and third chair of the Big Pick podcast very seriously. Uh huh. You think you'll write another play? Why would I do that? I'd like to read it. That's hard. You know, writing is hard. It is hard. It's really hard. Yeah. Well, I'd like to say thanks to Jackson Anders for his work as producer on this show. Thanks to Lucas Kavanaugh and Sarah Reddy for being in here today, helping us get this episode off the ground. You know, I think what's going to happen is later this week, Chris, Ryan and I are going to talk about Mortal Kombat 2 Obsession, Hulkem and the Future of Horror. Do you know what any of those things are? I know that Mortal Kombat 2 is a sequel to a movie based on a video game. Oh, sounds like you've been boning up. You want to join us? And you're going to talk about what was the second part of it? Obsession, not the Brian DePalma film starring Cliff Robertson. Hulkem. Hulkem is Adam Scott. That's right. I've seen it. Obsession is. Oh, Obsession is about the guy who makes the the hard movie about the guy who makes the deal with the devil that the girl is going to fall in love with him. See, he's been practicing. He's been thinking hard. All you got to do is move to LA and quit all your other stuff and probably leave your family. What do you think? Love. We'll talk. See you soon.