The Diane Keaton Hall of Fame

I'm Sean Fantasy and this is the big picture a conversation show about Diane Keaton today on the show we are building a hall of fame for Diane Keaton, one of the great actresses to emerge from the new Hollywood who had a film career that lasted more than half a century and includes several of the greatest American films ever made. We will dive right into some movie news and her entire career right after this. This episode of The Big Picture is presented by Amazon Prime. One of the best things about streaming is that you never just pick a title, you pick a feeling. And Prime makes that easy, with great entertainment and fast shipping that brings the moment to life, Prime helps you experience the feeling you're craving, shows you can't wait for and deliveries you don't wait for, one click away, from streaming to fast shipping. It's on Prime. Okay, Dobbins, since you're dressed like Diane Keaton, this is your episode and so it's fitting that we discussed the minions before we talk about it. Absolutely dumping all their responsibility on me. It's fine. I'm ready to offer a qualified defense. So of the box office performance of the 8th, 12th, 49th installment of a franchise. I think it's the 7th. That I'm spiritually but not financially or professionally connected to in any way. Things and monsters opened over the July 4th weekend. How was your July 4th weekend? It was great. And it was filled with things that were not going to the movies, which is I think an issue for many Americans. I went to several parties, thanks to everyone. I didn't host any. I went to many parks. I watched many soccer games. I didn't attend the local synoplex. So nor did anyone else. Nor did I. And if I'm not going to the movies, that's a bad sign. I think there's a lot of variety of factors. But yeah, minions and monsters came in five day cumulative 61.4 million dollars. That's the lowest in the franchise. This is history. Only 36.4 million dollars over the three day period. We didn't review the movie. It was released last Wednesday. I guess maybe we'll have a somewhat larger discussion of it later in the month. I will say, as a non minions person, I found it very, very amusing. But after years of being ignored by critics and the Academy of Motion Picture Arts and Sciences, minions and the despicable me franchise finally made a movie that is like a where's Waldo full of movie references for nerds like us. And they were roundly rejected by general audiences. There's something kind of delicious about that. It's sad. Again, I do think the timing was spectacularly bad. It was. And few weeks after Toy Story 5 as well. And but the World Cup got really good this weekend, you know, like we were all sitting there in front of on Saturday and Sunday night. So some of it, I agree, is timing. And I guess even movie nerds did not want to abandon their force of July. I thought, don't forget Taylor Swift's wedding. Sure. That was another cultural event that captured the imaginations of millions of space. And many of the people who have spent the last weeks, let me say to everyone who sent me a Minions meme, including the young woman performing in Minions at one of the premieres, including the interview with Pierre Coffin, we're talking about how Duolipa is a major part of Minions influence. And they even sing some Duolipa songs, I think. I listen, I see you. I appreciate you. I felt seen. But even those people stopped sending me Minions memes and started sending me Taylor Swift guest list updates, so, you know, the intentions were elsewhere. They didn't capture the cultural zeitgeist. Now, I have a question for you about this. Yes. We have been discussing over the last six, 12 months about how all of these historical franchises from the 21st century are starting to fall away in the consciousness. Yes. Now, the Minions, there haven't been as many Minions movies as Jurassic movies or as Marvel movies. Right. But this is the seventh one. Like, is this also just a franchise getting along in the tooth? I think, yes, though, also you just put it up against dinosaurs and superheroes. So then tiny yellow tic-tacs, they're like, hey, I'm not equating them in terms of stature. Sure. But. Well, that's good because they're quite small. But these are, these are mega billion dollar, this is a mega billion dollar franchise. Yeah, absolutely. That we're, we're at the, the end of one generation and the dawn of another, which I think coincides, you know, pretty neatly with you and I are old. And the next generation of people is rising and they don't care about the yellow tic-tacs. Well, I wonder if it's a cinema or a cameo by George Lucas. Yeah, that's true. Well, that's, but that again, that was for us. That wasn't for them. What does George Lucas even mean to 20 year olds who were seven when the first Minions movie came out or maybe even younger than that? That's part of it, too, is sometimes the kids who were born on this stuff, they grow out of these franchises. I don't know, it could, it could, it's probably a lot of what you're describing, though, which was that this was a very active and busy July 4th weekend for a lot of people, not a lot of people went to the movies. You know what hung in there, though, disclosure day with a very small drop of 27%, which I thought was interesting. Right on. I know that because I own disclosure day in my movie fantasy league and picked up some extra points over the weekend by sticking around in the top five. You also injured some like live comment section coming at you. We boasted at one of the many barbecues hosted by our friends and that's fine, you know? Yes. A lot, a lot of stray shots at Steven Spielberg. We love to talk about movies for people who are less talented than Steven Spielberg, but who do make movies? Very interesting experience. Who I like a lot. I love the children, too, but they were, they were just people, people loved to podcast at us. The shouldn't fright her running. And I was like, sir, I'm just trying to finish this candy groney. Yeah. Let me just ask you one quick, a meta question because I think Diane Keaton is one of the great meta stars in a lot of ways. Her persona became her personality or her personality became her persona or whatever. And you're at a social function, and you're Amanda Dobbins of the big picture and myriad other podcasts. Right. But let's just say for these purposes, the big picture, and someone's like, I've got some movie takes for you. A friend. Yes. Someone you care for. Yeah. Are you like, I will turn on podcast persona? No, no, I sit back and relax. And I honestly like a little bit annoyed that a non movie example of this is that when Taylor Swift got married this weekend and the press release went out, you know, tree pain sent out a press release detailing, certain specifics from the wedding. How cool is it that we all know who Taylor Swift's publicist is and it's dystopian nightmare? Some of us have gotten threatening emails from her before. So anyway, as it's happening and I'm, you know, logging onto the jam session doc and making my notes or whatever. And my beloved long suffering husband sitting next to me offers an opinion about he thought that Friday was a weird day to get married. And I was pretty rude. I was like, I don't, I'm not working right now. I'm prepping and I don't need your opinion. So for my loved ones, I'm pretty rude for everyone else. But that's really just sack. I don't think I would do that to anyone else. And then I did apologize. Although I said, I think Friday, a wedding on Friday is the least weird part of this wedding. I can't just agree with that. I got to say. Yeah. Sometimes I really feel for Zach. That's just not nice. I apologize. Okay. I went, I'm wrong. Say that I'm wrong. And I said, I'm really sorry. Well, you were right. Yeah. You can, you can be right about that opinion, but it's how you deliver your rightness, right? That's the challenge. And I was, I was focused. It, you know, he was like, he came into my space. It was like the one time that he asked me to read a piece to like pick which lead he wanted. And my hands went towards the keyboard. And there was just like an sound and I was never allowed to edit anything again because I went into his space. That's not allowed. Okay. So we got to know the rules. But for someone I'm not married to, personally or professionally, I just let them talk. This happened recently where a bunch of people were talking about the drama at a party. And they weren't like, they were new acquaintances. So I just sat back and let it go. Nothing to be getting there. Yeah. Yeah, yeah, yeah. I just let them talk. And I was like, oh, really interesting. For me. And I say this with affection is when everyone knows what I already think because they listened to an episode. Yeah. And then they just want to tell you that they want to rebuttal. Yeah. Even if even if they agree, they just want to rebut all the points, which, you know what? It's a, it's an occupational hazard of this wonderful profession of ours. All right. Let's, let's pivot away from, from this frivolous chitchat and let's get down to the, the real, real work because this has been real work. What we've been doing to honor the great dying. I don't think that we understood what we were taking on when we put this on the calendar. No. So Keaton passed away last fall and we've taken some time to do this. And I, I think we both knew we wanted to do it. But I also knew that I had quite a few holes in terms of covering Diane Keaton's career because it's not just that it's been so long. And as we've talked about, folks like Robert DuVall and Robert Redford have passed in the last year or so. I think I knew I had some, some, some blind spots with those actors. But I know with Diane Keaton that she has really not been, her, the films that she's been making have not been a primary focus of mine for the last 15 years. Yeah. And I actually didn't realize quite how many of them there were. And yet, despite that, despite having moved to like a kind of red box era where she's making a lot of films that are, if not direct to streaming or VOD, feel like they are, I don't think she ever really lost status. She never really got diminished in terms of her iconography and how celebrated she was. And so like, it seems like a pretty interesting like threading of the needle there where it's like people like me are like, I don't know what palms is. I guess that's a movie. But I still. Poms, not palms. Yeah. Not palms. Yeah. poms. Um, well, you know, I know she means a lot to you, but what have you thought about her this century, I guess? No, I mean, you mentioned that she so quickly became Diane Keaton as a person, and, and as a larger than life figure. And that is through all the work in the 70s and the 80s, but really Annie Hall, right? And I mean, we can all see how I'm dressed. And so there was something visual about the, the way that you thought of Diane Keaton that she continued even through all the red box era. And what, you know, she added on hats at some point and like the big glasses. But there was something that was still always aesthetically Diane Keaton, even if she was in a movie that you've never heard of with Richard Geer. And will you image Macy and Susan Sred? Did you watch that one? Weddings and other disasters. Is that what's that's called? I don't remember. Or maybe it's big, maybe I do. And love another disaster is the Jeremy Iron's one. Okay. Yeah. Listen, this is the thing. And I, and I, I volunteered to be Captain Redbox. Yeah. And I think I, I think I saw it all. Okay. Well, we're going to plenty of time to talk about all of that. So you're watching all of this. And, and it is virtually like those movies didn't happen in terms of cinema history. But she's still making her die. She, you know, she has her mannerisms. She's very recognizable as a physical performer. And the, she played into the Diane Keaton of all, they're of it all. There was like a, a, an aura maintenance that she did until the end of her life. That I think helped. Do you think that you will eventually evolve toward hats and oversized glasses? I thought about getting a hat last week. And I was going to, I was going to go for the somethings got to give bucket hat. I do feel on like the spectrum of hats. Bucket hats are more wear. I'm bucket hat and baseball cap as opposed to, you know, bowler hat. Okay. But, bowler hat would be a bold choice. Or I mean, you just walked in one day wearing a bowler hat with a cane. I have to be honest, I do. I'm not, you know, I'm not a milliner. So I think that's what it's called. You're not a milliner. And but so I don't know the terminology for the various, it wasn't a fedora that she gravitated towards. I did some of the 70s and 80s stuff that I revisited. I was just like writing notes like full on style. Just absolutely dynamite. One of the most influential. Yeah. Fashion figures in film history without question. But also very difficult to replicate. I say that with no disrespect to what you're attempting today. But she had a singularity that was. This is an homage. No one can be Diane Keaton. Many have tried and failed spectacularly. Yeah, it's interesting too. Because, you know, in the earliest stages of her career, she's obviously not dressing like Diane Keaton. So we'll talk about these first few films that she made. And she's just a strikingly beautiful woman. Like she's just, she's a beautiful actress. Unreal. I think because of the influence that she made on the people who were making movies for her in the late 70s, started to build movies around her essence, which is, you know, something you might hear about like Greta Garbo. But you don't hear as much now about modern movie stars where this sort of like, not just how they dressed off screen, but kind of what their personalities were. They're kind of that very particular or genus, a quad that she had that were people were like, how do I get who you really are into the movie? Right, right. It's also a little bit because of the types of movies that she was making, but also the time period in which she was making them, which, you know, she starts in 1970 in films anyway, and is going through the women's lib movement if you want to call it that. Sure. I will call it that. I'm just like, we're not there yet. I just want to let you know. They were liberated and now are equal. You're free. And it's 50/50 right now on camera. Do you know whether we have an equal rights amendment? We don't have. Correct. Yeah. Yeah. Okay. Good. You learned that since the last time I popped with you. But so she is often playing. But I'm working on a new one. Oh, good. Thank you. It's called 75/25. You get 25%. Okay. Good. But so she's often to be playing contemporary roles. I was thinking about her in terms of, in comparison to Merrill Street, who is like kind of similar, a little bit younger, but in Adrian and coming up in a similar time period in a similar part of, you know, Hollywood history. And Merrill does a lot of period pieces. And Diane Keaton is sort of is reflecting more often than not what a what a woman or, you know, at least like the most beautiful affluent educated woman you've ever seen in your life. It was doing in the US more in New York City in 1975, 1980, 1987, et cetera. So you see people, the movies start being modeled around her, but her also navigating the world that she is surrounded by. And interesting if not always accurate ways. Well, it's a great comparison between the two of them. Obviously not just because we just watched all of Merrill Street films for an episode earlier this year, but because Street is best known for transformations, accent work. And for frequently playing real people. And as far as I could tell across the 50 plus movies that Diane Keaton made, she only played a real person one time in her entire career, just Louise Bryant and Reds. I think that's right. Maybe there's one or two that I'm forgetting, but I don't think so. And you could say on the one hand, well, Diane Keaton was not as much of a transformational transformationist actress, right? On the other hand, it seemed like maybe filmmakers saw her as what you're describing, which is like a very contemporary, a modern woman. And there was something kind of not very iron lady about Diane Keaton. So why would you cast her in a movie like that? It doesn't seem like she was drawn to those parts either if you read interviews with her. And so even though those two actresses kind of more less kind of, you know, Diane Keaton starts before Merrill Street, but they kind of are similar, a similar stature through the through the early 90s, I would say. And then things start to shift where Merrill becomes kind of the goddess of dramatic film. Right. And and Diane Keaton is still very active and working, but maybe doesn't hold the same, I don't know, sort of like gravitasum on critics and the academy. But I like that. I liked that going through especially that stretch, like all the way through 95 or 96 where it was like, this isn't just some like dopey biopic of a person that you could just read the Wikipedia of like sometimes the movies weren't good, but I was watching the good mother and I was like, Oh, what's happening here? Weird movie. That's interesting. You chose to do this. And so you think that her career is like only these totemic major American movies. And a lot of them are for the first 15 years. But then she's kind of in the wilderness of creativity where she's just relying upon writers and filmmakers to generate something for her that she can fit into. So she's a very present figure in my life as a movie watcher. My wife's favorite director is Woody Allen. Yeah. Or Woody Allen and Hitchcock really. But she had always has what she had Woody Allen movies on. I remember for the first 20 years of our relationship. And so I've seen a lot of these movies over and over again, just like in proximity to Eileen cooking dinner. And you know, she's a major icon for Eileen too. And so she's a little bit like wallpaper to me as a person. I mean, that with no disrespect. But like she was just kind of always around in our life. And it was interesting to kind of try to pull myself out of that wallpaper feeling. And I know she's a huge actress for you. And you know, we talked about something's got to give last year with 25 for 25. So I kind of like reset my brain on who she is. You know what I'm saying? In a similar way to the extent that, you know, because she is Woody Allen's foil in so many of their movies together. And she's kind of like the stand in for Woody Allen. And then she moves on but keeps doing romantic comedies or, you know, comedies about people and relationships and talking and not character work, not stunts that. And then she leads into the next generation or two of romantic comedies or at least, you know, movies starring women talking about feelings. So that she that is the lens. And that's how I know her as well, even though again, I was really startled to see her filmography post 2015. But so same where she's just kind of always existed. And I guess that's another way in which Merrill kind of looms large because they're from the same generation. And Merrill is, you know, has always been the like the woman from the Iron Lady or some version of it. And Diane Keaton has always been like this slightly the neurotic and daffy, but always capable, like aspirational woman in like in a comedy or just in a normal movie in a in a movie about people. Yeah. Yeah. Yeah. She frequently plays middle-class or upper middle-class people too. She doesn't play like she's not an iron, she's not playing a hobo in Iron Weed. All opposite Jack Nicholson. I mean when she goes opposite Jack Nicholson, he's playing Eugene O'Neal. So it's an interesting kind of persona that she crafted for herself. She's from Los Angeles. She was born in 1946. She was raised in I think Santa Anna mostly. Her mother was Mrs. Highland Park. She's something she talks about and frequently in interviews. She studied at Santa Anna and Orange Coast College. And then she studied at neighborhood playhouse under Sandy Meisner. And that hugely informed the kind of actress that she was. And she talks about this all the time about being an actor of reactivity, of looking what the other person is you all performing and bouncing off of that. And so that's an interesting thing because a lot of actors who use the Miesner method and work that way, oftentimes are only as good as their scene partners. And so in some of her films, you can feel her like not being as alive as you want her to be because she's like, maybe I'm not having a good time making this movie. And then other times, you're like, well, this is the most electrifying scene in movie history that I'm watching right here. So it's an interesting thing. She did start on the stage. She was in the first production of Hair in 1968. She was effectively in the chorus. She was like a vocal performer. And she talked in any interviews about how she was like, I liked these songs. I didn't really know what was going on. But then one year later, she gets cast in a Broadway production of Played Against Sam, which was eventually adapted into a film. And she was cast opposite Woody Allen. And that's where they met and started working together and created this very long partnership. And he is the most significant creative collaborator. Yeah. They've made eight movies together over the years. Who's number two? Number two is Nancy Myers, of course. She wrote three films for her and directed one. Would have liked to her to direct one more with with I would I could I could have gone for looking going through the filmography. I was like, I could have gone for one more Nancy in Diane movie. Yeah. You know, but then again, instead of the Nancy instead of Diane, she just used Merrill. Yeah. Which I like. I really like it too. Merrill's obviously not the problem in that film. Yeah. Okay. There are problems. And then of course, she made three movies with Francis Ford Copeland. Yeah. Three Godfather films. And I don't think she recurred with any other directors. Is that possible? Maybe the book club director to that was the same fellow direct both book club movies. I am googling book book club two right now, which I saw in theaters. So I come by this honestly, but yes. Yes. Congratulations to Bill Holderman, who directed book club and book club. That's right. The next chapter. She of course. Of course. Yeah. She notably did not work with many of the hallowed new Hollywood figures. Never made a movie with Scorsese. Never made a movie with Altman. Never made a movie with Friedkin. She almost made a movie with Spielberg that fell apart. Though they have a very interesting connection that I'm not sure if you're aware of. No Kubrick. No Polanski. No Miloš Formin. She didn't work with any of those directors. And I wonder if it's because a lot of those people often made movies not said in the modern times. Yeah. And that she was a very modern woman. And they didn't necessarily fit into the kinds of films that they were working on. Okay. What defines her as a star? We talked about her persona and her style. What else do you think makes a Diane Keaton performance? So when she at the Oscars this year went in the En memoriam segment, it was I believe Rachel McAdams, who introduced her. And she was referenced over and over as a comedian, which I think she was first and foremost and probably the most celebrated and respected of her generation in terms of people like who did comedy. But the way that she did comedy is what made her so special because she understood that comedy is just another vessel to another way to emotions. And so she is sort of playing things for laughs. But I wouldn't say that as she knows that she's funny. But what she is doing is she is processing emotions through absurdity and comedy, which many people including myself do as opposed to through tears and whaling and beating your chest and closing yourself off from the world. So she does plenty of drama and is very good in a lot of it. But most of her comedy roles also have a lot of drama in them. And I think that they are what she is remembered for when we think of, the way that Diane Keaton acts is just like a pathos in being funny that opens it up to everybody. Yeah, I think she has become a bit underrated as a dramatic actress because so much of her iconography is indebted to those comedy roles. And also because you pointed this out to me. This was a really good note that she's so similar to De Niro in that De Niro has made a lot of movies in the last 20 years where you're like Robert De Niro made this movie. Including a movie with her. Certainly do not. And but like we're willing to forgive those movies. We don't really think too hard about those movies. We're like, yeah, but he made the deer hunter. Like it's okay. And and for her, it's very similar where it's like she, you know, she made any haul or she made Manhattan or she made you know, on down the list that we'll talk about. But going back and either rewatching or watching for the first time, some of the more dramatic films that she made, I think maybe because some of those movies in the 80s didn't really work. They weren't financially successful. And she was also kind of pivoting her career a little bit where she starts directing more. Eventually she has a she has a family. Like she starts making some of those choices. And you can see her kind of not getting the respect. Also, she's a woman who's just getting older and Hollywood rights and maybe doesn't have as many opportunities or maybe she's being. She's going up against the Merrill Streeps and the Jessica Langs and the Sissy SpaceX and all of her contemporaries who were maybe considered like more heavy weight dramatic actresses. But I loved a lot of the stuff she does in the late 70s and early 80s. I think she's really, really good in that in some of that's more stealing material too. Yeah, but she's the big, the big exception for me is Reds, which she's just like electric and perfectly balanced against Warren Beatty and then against Jack Nicholson. And it's kind of the fulcrum between the two. And there are no laughs in that. Like that is just straight up. Yeah. That is we are we're saving the world and saving each other in an in an artist dare I say boomer sort of way. Love Reds. Were you laughing a lot during looking for Mr. Goodbar? No, but the end you're like, what the hell is happening here? Yeah, no spoilers. You know, so there but there is something there is something surprising and naturalistic about that performance that you know in Reds, she's like wearing a corset, you know, and she's very good at it. God bless. You ever worn a corset? What do you think? I don't know. I thought maybe for your back, like, you know, I want a brace. Yeah, then you're pretty close. I've never been, you know, stitched in. Yeah, that's not something. I also don't have many people helping dress me every day. Do you have that? I don't. I actually, I don't really like it when people like, I don't like having my hair played with. I don't really like being fussed with in any way, but I did we share that. After a C-section, they recommend that you wear a brace to like support. No kidding. Well, yeah, because things were like a little Lucy Goosey, and I did sometimes have Zach or like a doula like pull it tight. So I've had that experience. That must be nice. Yeah. No, it really hurts because I just said surgery. It's fine. Great. Speaking of Lucy Goosey, one thing I also noticed in reading some interviews with her is that she was very, didn't think she was a very good improviser and didn't like to improvise, but she did like to be what she called loose with the script, which means one of the great things about her as a performer is she has a very particular series of vocal affectations where she gets kind of like startled in the middle of a sentence or stammer's or you mentioned crying. She could just like hit the tear note and then pivot back to seriousness very quickly. And she had a real dexterity with her own emotions and her own like, even like patternistic phrasing within a script. And she talks about this a lot and a lot of interviews about working with Nancy Myers, who's a very, very rigorous writer who is very pressed in sturgis where it's like it's every word matters. And she talked about the push pull of trying to do her thing inside of someone's more tightly woven corset of language. But you know, it's the it's the fincher sorkin that the people coming, you know, the skills coming against each other is what makes it better. Which is great. But I think she also does that in terms of just behaviors on my rewatches. And even a couple of movies I saw for the first time there are there are things that she does on screen. The most the most famous one that I only noticed because Nancy Myers like Instagram about it once was in baby boom when she she picks up the baby at the airport and then gets out of the car. And she holds the baby under her arm like a sack of potato potatoes. And Nancy Myers said that was not in the script. That was not something that like Diane Keaton just instinctively knew that that would both be really funny and communicate something about the character. But there were other not the safest thing I've ever heard. I mean, that's the point. She just inherited a baby out of nowhere. So and you know, she's a high-flying management consultant or something. Absolutely. Sure. Like we all were in the late 80s. There's another scene in the What's the Mel Gibson movie? Mrs. Soffle. Mrs. Soffle when spoiler alert at some point she has reason to part with a ring and the way that she decides just to get the ring. Like there's is not planned. You know, maybe it's written in the script that she gets rid of her ring, but you can imagine anyone else doing it like this very like symbolic. You know, like now is the moment has come when I'm and she just like tosses it off to the side in a perfect, perfect, Diane Keaton way. So she like as you said in some of it's the minor method, but the she's in the moment and and doing her thing. Yeah. I think charisma isn't overused word for movie stars, but she also has a thing where you know, she fell in love with many of her co-stars. She really like a lot of filmmakers became ensorcelled by her. She has like, she just has something. We we use a lot for men, but not Not that often for women, which I think it's completely accurate here, but she did kind of have that thing in an era of movies, you know, not that movies have caught up. But where, like everyone else in this league, in this era, was a man, except for Meryl Streep. And she just, she had something that brought them all in and made everyone want to look at her. One thing that I noticed going through some of the films too is that, you know, all the way throughout her career. She's frequently playing the wife or the girlfriend, you know, in some of the best movies of all time. She's stuck with those roles in some bad movies. She's stuck with those roles, but it does feel like Woody Allen in particular was inspired to just write better parts for her because he's kind of casting her like in love and death. She's just like the girlfriend, you know, she doesn't, she's very funny in that movie, but she doesn't have like a deep reservoir of complexity. She's just the hot girl that he really wants to be married to. And you can feel him like almost challenging himself because he's inspired by her because she is such a unique person, a singular personality that I think because he writes parts that improve her screen persona, she then gets to do more challenging things over time too. Like she gets to kind of transform into the woman who can dress like that, confidently on screen. And that's also unique. And we can talk about the complicated legacy of these Woody Allen movies too. I think we probably have to because she is, she's someone who like stood by him through everything. She always till her last days was like, he was a very special person to me. He gave me extra, I was in love with him. He gave me extraordinary chances. Right. And obviously talking about Woody now is much more complicated than it was some years ago. Okay. The other thing I wanted to point out about her before we go through the list is that she was a film director. Yeah. She directed many movies. She directed music videos. She directed some stuff. I did not realize she directed. And that's also unlike the female stars of her era. I was looking at like the real kind of like rock solid, female movie stars of the 1970s, street, fade on away, Jane Fonda, Goldie Hawn, Ellen Burston, Ali McGraw, Raquel Welch, Pam Greer, Susan Sarandon, Vanessa Redgrave, Glenda Jackson, Jessica Lang, Sissy Spacek, none of these people directed movies. And maybe they wanted to and they weren't given the opportunity. That's certainly possible. But Diane Keaton, yeah. She directed a documentary about the afterlife called Heaven, which is fascinating. She directed two Belinda Carlisle videos. She directed an episode of Twin Peaks. Excuse me. You just yadda yadda Heaven as a place on Earth. A wonderful song in video. I'm making that nothing against it. She directed a very strange episode of Twin Peaks in season two, which when things are kind of going off the rails. But when you watch, when you watch Heaven, that documentary, which the DP of that movie is Frederick Elms, who was David Lynch's DP in the 1980s on a lot of stuff. And that's the very David Lynch documentary. And then she made this TV movie called Wildflower, which is the first known performance, as far as I can tell, of Reese Witherspoon on screen. Yep. It's also shot by a Polish cinematographer named Janusz Kaminski. In 1992 when Steven Spielberg was getting ready to make Schindler's list. He was looking to work with a new cinematographer, someone who understood that part of the world. And he called Diane Keaton and said, who did you work with on Wildflower? Which I saw on the lifetime network and really liked. And she said, Janusz Kaminski gave him his phone number and Spielberg has made movies with Kaminski ever since. Incredible. That's an amazing data point. That's great. Yeah. It's just a fascinating thing. So like as a filmmaker, she has great influence on cinema history. So are you aware of her late in life, like interior design, Pinterest? A little bit. Right. Which is, yeah, and you know, like I have the interior design book. But she's clearly a very visual person, right? And it's clearly very exacting in terms of how she sees the world, what speaks to her, how you put things together. And you know, film is a visual medium. So it makes sense to me in that way that she's always been drawn to, to, to arranging things just so. And then the other thing is that she had kids much later in her life, which I would just, you know, you mentioned everybody else. I think that it is probably easier to direct films if you're not in charge of having small children. And after Baby Boom, when she sort of like, she realizes in the early 90s that she wants to have a family, she doesn't, she doesn't really think she wanted to have a family before that, right? Yeah. I think so. And I, but I have to say, I think she, she adopted like in her 50s. Yeah. So, um, you know, that's, that's how it goes. She's a real one about that too. She's like, it's the hardest thing in the world within children, if you read it in her view. She's very frank about that. And you know, after that film, Wildflower, which was a TV movie, she did go on to direct two more feature films that were released on strong heroes and hanging up. So yeah. I mean, for Academy Award nominations, she, of course, won Best Actress for Annie Hall. I could find a couple of places where she should have gotten more in her career, many, many golden globe nominations. You know, what I didn't see was Amelia Ayerhurt, the final flight where she played Amelia Ayerhurt, did you watch that? I didn't, because that wasn't in the red, that's the TV movie. There's also, there was another TV movie laid in her career that was only released in the UK. So I didn't make it to that. What was it called? Arthur's Whiskey. Oh, yeah. It is streaming. It is streaming. Okay. Well, I'm sorry. I didn't get there. But otherwise, I think I got to most of the, almost all of it. I counted 57 feature films, and she had two, four, six, seven TV films. The TV film, some, some, some of the things that she made are not available. That's the other thing. Like I'm looking at Sister Mary explains it all, for example, I couldn't find that one. A couple of things are just not streaming. And when I make a big show about physical media and whatnot, this is a little bit of what I'm talking about. Some great actors work, not available in the world. Anything you want to say before we start going through the filmography now. I'm excited. I'm nervous. How much, like, what are your preconceived notions right now? What do you think it's going to be in it? I, I didn't do this. I didn't, I didn't pre-haul. I tried to not pre-haul. I, I don't either. I don't know what your relationship is to the Woody movies. We won't, you know, like, there's, Annie Hall is a forever movie, automatic, whatever. Of course. So that goes in no matter what. The other ones you can make the case that these are the most important movies of her career. You can make the case that they're not aging well. Sure. Yeah, but you can't also, well, you can't put eight movies by one director in a whole day. I think it's a question of how many do you want to put in, right? Like, is it two? Is it four? Is it, I don't know. We're going to find out. So let's begin. Okay. After appearing and played again, Sam, she gets cast in her first movie. It's called Love and Other Strangers. Lovers and Other Strangers. It's a romantic dramedy about a young couple and all of the crazy people and their family around them. It's probably best known for launching Richard Castelano, who she would soon co-star with again in the Godfather two years later. He was Academy Award nominated for this movie. She's, she's got a solid, least sized part. She's the sister of the Lee's Bonnie Bidelia. She does. Yeah. So first of all, Bonnie Bidelia. He waited too long to say that. Well, listen. In 1970 she was so hot and continued to be. Diane Keaton at that wedding. I found myself freeze framing it, being like, I would like to look at this eye shadow and how can I? She's so beautiful. She looks very cool. I mean, she's just not the major part of this. You can see that she already is pretty comfortable on screen. She has this kind of semi-dafi, semi-confident persona pretty much locked down from the first movie, which is really interesting. The movie itself is pretty forgettable. I thought she's again, this is a movie about two people. It's centered around wedding. So two people who are about to get married. And then comparing and contrasting all the different relationships surrounding them. And so she is the married but wants to divorce because her husband didn't remember her birthday, you know, like dissatisfied. It's 1970. You know, the. Women's live. Exactly. Yeah. So I forgot. Second wave. Here we go. That's going to be a red, I would say. I agree. And here we go. And here we go. And here we go. Sure. So Godfather, Godfather, part two and Godfather, part three. You want to talk about all of them right now? Well, I thought we couldn't actually say none of them go in. So I thought that we couldn't act to the Robert DeVal, which is that I believe one and two. And then Tracy also tried to put three in because he made the wise decision to not be in three. Yes. Which I thought was entertaining. Thank you. Did not make that choice. She didn't make that choice. She appeared in the film. But well, she had weak spots, you know, and I think she was very, and she talked about working with Coppola and the difference between working with Coppola and other filmmakers. And what she was able to get away with with other filmmakers and the Coppola was an extremely formal filmmaker. Yes. That's where very formal and controlled. And the Godfather movies and horror are so interesting to talk about. Long running bit. I'm very watchable is about how Bill thinks it's changed over time. So for a while, I remember that because I'm kind of team Bill on this. Okay. Terrible. No, no. So he thinks that K does it make sense as a character. I think, and I'm supporting this by my friend Meg Spillade in the entire Spillade family, that Keaton is miscast as this. Now, I'm not saying we can't put it in the hall of fame. I just, I find this to be terrible. I find Bill said to be terrible. I said, we didn't find what he used to do. She is, she is the perspectival character. She is the outsider brought into this world. I understand that. That's the person introduced into the Sicilian way of living in this crime family. And she is her fluster and frustration. And her being, you know, set aside at critical moments in the story is so key to unlock. If she's not in the movie, if a character like that is not in the movie played by someone like her. So I, the character is essential that I just do not believe that Diane Keaton, for all of her fluster and daftiness and, you know, I don't know what's going on. going on is that, that clueless or that week of a person. And, and, and Keaton doesn't play it as someone who's being weak on purpose. Like, Keaton does not play it as a, I'm pretending not to see what I know is happening. So, and the movie is organized around Michael closing the door and her being like, oh my God, can I believe this? Well, yeah, I can't because you're Diane Keaton. You know what's up. And so that's, you bringing it to the movie expose factor. This is her second film. She did not have a confirmed screen presence at this time. So, you have to consider the contemporaneous release of the movie and what we think about her when we watch the movie. And when we're watching this movie in all likelihood, unless you saw her on Broadway or in hair, you were like, you just think she's. That's what she is. Yeah. So, to me, that's the makes sense in retrospect and we can have retrospective opinions all the time. And that's too loud. But the scene when she can't see them in the kitchen and Godfather too, she's lights out amazing. And that's why Godfather too is so good. So, so if you wanted to make the case to me that the Godfather should not go in, but the Godfather too should go in. Okay, to me that it was an abortion Michael scene is amazing. Now, it's amazing because it is like it's surfacing finally the thing that you're thinking while you're watching Godfather one. Yeah. And Godfather one, you're like, what? This girl can't be this stupid. She has to get out of here immediately. It's not this. It's I want to be clear. Love and respect Bill Simmons number 16 limitless number one devil wears product on this matter. It is not the character. It is not the script. It is not Diane Keaton, the person who I love and admire. It is that I think Diane Keaton does not fit the role. Okay, we're going to yellow the Godfather, which is the funniest thing you could ever do in a hall of fame conversation. I'm going to agree in the Godfather to then, but that's fine. If you want to like build up the tension, where do you stand on play against Sam? 1972. Same year. I had never seen it. Oh, this last week. And this was the one where I was suddenly just like Googling, you know, double breasted blazers. Here we are. I already had this. But she's already digging into her style. Oh, yeah. And she looks, but it's also it's not costumey yet. She is just dressed to the nines and looks awesome. I liked it. I mean, I, I to love the film Casablanca and, you know, based my life on it. And were it the 60s and I had the opportunity to write a play and then make a movie that's like making me into Casablanca? Sure. Great way to spend my time. I don't know if it needs to go in. Yeah, I, I, it's an interesting question. So it's the rare movie starring Woody Allen, not directed by Woody Allen. Herbert Ross directed the movie. It is based on Woody's play that he co-starred with Keaton with three years earlier. It's a very nicely made movie. Owen Roisman shot it. It has all of this like kind of interesting framing because Humphrey Bogart, not played by Humphrey Bogart plays this kind of angel on the shoulder of the Woody Allen character. And who's a film critic? Yeah. Who is recently divorced and is being encouraged to start dating again by Humphrey Bogart. And also his wife's, his friend's wife. If we put it in, it would be about like this is the union point of Alan and Keaton. It's a, it's a good movie. But I don't know if it's a great film. Right. But it's the play that brought them together anyway. So we're a kind of couple steps. You can yell at it. But I don't think we'll yellow play it again. Okay. Okay. 1973 sleeper. Yes. Now one of my mom's favorite movies. At the time, I think considered a revelation. One of the early Woody Allen movies. Right. A sci-fi spoof satire in which he's cryogenically frozen and awoken many, many hundreds, thousands of years later, only to discover an absurd society in which he is operating as a robot to survive. Diane Keaton. This is where I'm like he's just writing apart for the girl that he thinks is pretty and funny. Yeah. And not writing for the great Titanic actress, Diane Keaton. I think this movie holds high steam amongst people who were alive when it came out. But it was never one of my movies for Woody. And I love many of Woody's movies. And I think that's beautiful for the people that were alive when it came out. So we're just going to red sleeper. Well, do you want to yell at me again? Listen, it's your mom's, it's, you know, yeah. Well, I'm not going to be real. She's not making this list. This is our list. This is our hall of fame. I, it's just that there are other Woody movies that I would want to fight for. So I would just red sleeper. Okay. Godfather, part two agreed. I agree. Godfather, part two is green. It wasn't a abortion, Michael. Let me just tell you something. Yeah. I read all about it. Keaton and Pacino were madly in love with each other multiple times over their lives. I know. They got together. They broke up. They got together. They broke up. They both called each other the loves of their lives. That scene in particular, they completely ripped up the day that they were shooting it. I think she said they shot it for like eight hours that it took a lot of rehearsal to figure out how they wanted to do it. Most of it is Pacino entering psycho silent mode where that, you know, that image of him with his eyes widening. And the camera holds on him a lot while she's giving her performance and explaining what happened to their child. I think it's great. And I've always thought it was great. But the thing is is that the Godfather, you got to remember is a pot boiler. It's like melodramatic material, you know, I don't have a problem with the scripts. And I, you know, abortion is a weird word to yell just phonetically, you know, so I understand it, but it wasn't abortion. Okay. Women's lib is about being able to say that word out loud. So get on board because I'm here to liberate. All right. I don't think in 74 it was. I think that was before, you know, it got turned on and then turned off again. Who turned it off? 1975 love and death. It's not funny, but I could like to invite only I laughed my pain. But do you think love and death is funny? This is the Russian one. Yeah. Yeah. Okay. I think it's funny. I don't think it needs to go into the hall of fame, but I think it's funny. That's interesting. Okay. Do you want to put it in? Well, this is sort of what I'm talking about with the Woody thing. So Woody is at the beginning of his career, he's kind of riffing on genres. Right. Right. He's like, Oh, I really like Casablanca and Bogar movies. I really like sci-fi. I really like he and my brother doing the, you know, the same thing at the same time in different ways. Now Woody eventually evolves out of this approach. He starts doing other stuff. He continues to be, you know, inspired by like Bergman and Felini, but everything gets a little bit more high-minded. And then he settles into his own style of just like people and apartments in New York. Yeah. This is, I guess this is kind of one of his last, I guess like Mad Magazine style movies, where he is at the center of one of several Russian novels/Russian plays. What is your favorite Russian novel? I mean, I've read Crime and Punishment. If that's what you're asking, I have it. You know, I've read Brothers Caramots off. Okay. Um, both of those are in college and I haven't thought about this since. Did you take a Russian class? I read some Google. Oh, nice. Okay. I did not take a Russian class, Russian like class. I mean, it's very intimidating. I agree. I've always found it sort of insurmountable, except for Anna Karanana, which I famously have read and thought was quite good. I haven't read Anna Karanana. I would like to one day. Uh, I don't know. I mean, I, I, as a person who's like very trapped by my own ethical quandaries. I think they're interesting. Okay. But it's a little late for me, I think, to start digging. I know. I would like for it to happen for me, but I just, I don't know, when, I don't know when that's going to happen. I think Woody was at the ripe old age of 25. I haven't watched season four of the bear. So I'm just not going to get to the great Russian works. If that is really the, the thunder dome for you, you're in a lot of trouble with a lot of things. Or season five. What season is it? I don't know. It's season five now, I believe. Yeah. season five. I watched the last one. They yelled at each other at the restaurant at the end. You know, works closed by Olivia Coleman. I saw it. Okay. Thanks for weighing in on that. Love and death. Yellow or red? Yellow. Okay. Thank you for y'allowing it. More return to it. 1976. I will, I will for now. Okay. This is another one I had not seen nor had I. I didn't know this movie existed. It's always another. This is, you got to consider this is after three Woody Allen movies and two godfather films. She chooses to make this movie. Yeah, but did you see Elliot Gould in this movie? Well, yeah. I mean, I suspect that's why she wanted to make it. Yeah. Elliot Gould's a big star at this point. It's a marriage comedy. Mm-hmm. About two people who are kind of going their separate ways in an attempt to salvage their marriage. They attempt an experimental approach to be a little bit more loose in their arrangement. Would you just say sort of, but then there are also ground rules. I'm fascinating to watch after the invite. And it's very connected. There's a lot going on there. So, and this is the time of Bob and Carolyn Tednallis and this kind of like evolving notions of 268 free love and what is a modern relationship. Right. But the tone of the movie and the filmmaking are pretty bad. Like a pretty dopey. Yes. And it's, it's not very sophisticated, but they both have a lot of star power. Yeah. And they do have chemistry, even though her character in particular, it's so this is 76 when it's released. But you know, they go to sex therapy at some point. Mm-hmm. And there are a lot of jokes at the expense of her prudishness and she's uncomfortable, and it's not really quite as updated as some of her other characters will be. It's true. Or in the reflective of the time. But I think the premature ejaculator. That is true. Which they, that was also an incredible moment for Zach to walk into the, to the real why I was watching it. He was just like, hey, what's going on here? Yeah. It's like, is that only a Cool talking about premature ejaculation two things to recommend this movie, which is absolutely red and there's no chance it's going in. And I didn't even watch this to prepare for the 76 movie draft because I was just like, what is this? No one likes this movie. One Paul Sorvino as the lawyer, best friend who sings opera throughout the movie and it's very entertaining. I really enjoyed him. Two, Victoria Principal on fire. Just very, very, very hot as like the woman who lives in the building, like the apartment next door. The movie itself, I think is very forgettable and there's a reason why we have not seen it before. 1976. And Harry and Walter go to New York, another film with Elliot Gould as well as James Conn and Michael Cain in this movie, a period drama set, I guess, turn of the 20th century, about two rap scallion criminals who help a famed thief rob a bank, rob one of the most, what's it called when you can't break in to something impenetrable? I guess maybe that's not the word I'm thinking of, but Michael Cain plays the thief, Gould and Conn play the low level criminal slash of odd villain entertainers and Dianne Keaton plays a journalist. And this movie stays, it's dried by Mark Rydell, apparently it had a really good script by W.D. Richter who went on to write a lot of great movies directed a couple of cool movies too. But apparently that script was massacred. I think James Conn used to call this movie when he was still with us, Harry and Walter take a dump, I should tell you a little bit about its reputation. Also another shining example of women doing journalism in movies, yeah, which is just a very storied, very illustrious group of women setting an example for all of us. Do you think that's because men are comfortable empowering women in those roles, especially in films in the 1970s, because they think women are always asking annoying questions. Could be. Right? What, what, what other job would they be doing if they had to have a job, okay, Harry and Walter. No, no, out 77 Anyhole. Yep. Green. Yeah. I forgot how long it takes to get to Anyhole and Anyhole. Right. I mean, he's talking about himself for a while, but you know, it's, it's a Woody Allen movie. Yeah. It's Alvie this and Alvie that for about 35 minutes. And then she shows up and you know, I wouldn't say that she's. She's not, she's not doing the, the Dianne Keaton persona as much in this performance. If you know what I mean by that, because she's a little bit of like a magic pixie dream girl. And the movie is very comic, but also played very straight. And like it's often about not just them coming together, but them coming apart. Right. So it's kind of an interesting artifact because it informs everything that she does after this. But I wouldn't say it's like everything she does. Well, it's where it starts. Yeah. And she has not, she doesn't have anything to play against yet in terms of Anyhole. And I think for the rest of her life, she, you know, she wants to ask her for this performance. Like she is Anyhole, you know, we're all wearing the ties and the vests. And so she, and we, the audience are watching her against this particular performance. But this, yeah, this is a little more, you know, again, naturalistic to when, when they're sparring or when they're doing lobsters, they're, they're just kind of doing it. It almost feels like documentary. It's like handheld camera and everything is, you know, so he starts working with Gordon Willis and like this film's take on this slightly more elevated artistic feeling. And her performance is terrific. And it's totally like, it's the birth of the, of a major star. I just found it interesting how it's not quite as, it's not as dopey as the early stuff or as daffy as the later stuff. You know what I mean by that? Yeah. Well, it's, I mean, to our point about Woody Allen as her most important collaborator, which is absolutely true, and they're kind of finding their thing together in real time in this. And so I think he's creating a situation in which she is learning this whole new mode of performance and of comedy. And then again, you know, as time goes on, you start to iterate on it. Yeah. I agree. Annie Hall, easy one going in, 1977, the same year, she makes looking for Mr. Goodbar. And this is based on a very famous novel at the time, about a young single woman who is a teacher who teaches disabled kids, blind kids, deaf kids to learn how to read, write, and speak. And she is interested in exploring her sexuality. Let's just, let's just put it that way. Once again, women's lips. Yeah. And I commend her for pursuing these ideas on screen that this is a really unusual movie. And it has, like, it's reputation has waxed and waned over the years. It's very bracing because of the ending that you talked about, even if you haven't seen it, you know, and also I skip over this part. Yeah. And also, I think because of, again, we all grew up with a different Diane Keaton and a different understanding of both sexual freedom and also what's safe to do in New York City at night, which again, I'm laughing because I'm, you know, because it's messed up. So I think the, it's a cultural artifact, this movie, like, and as much like sociologically as it is in terms of, you know, the cinematography or her performance, but it's fascinating. And that it's Diane Keaton doing it. Yeah. The movie is essential in a way that I'm like, this should definitely be yellow and maybe it should be green. I think it's one of her great performances. Yeah. The movie is kind of uneven. It was not seen for a very long time because it has an extraordinary soundtrack and there were a lot of music rights issues. And it's a great snapshot of this combination of disco and rock in New York, because she's going to clubs all the time. The stuff that doesn't work for me is there's so much flashback material that's like, here's her trauma. I mean, it's good. Like, this is a really unkind way of framing it, but it's kind of like, this is why this woman appears to be a whore. Like, it's kind of like, really silly the way that it tries to psychologize a woman just wanting to have different kinds of romantic and sexual experiences. If you made a movie like that now, you wouldn't include any of that stuff. You'd just be like, this is a woman who's trying to figure her life out and who's really interested in being with and spending time with. And it takes some really gnarly turns, but her performance in the movie is great. And it is very different, basically from like, anything else that she does, can you think of another movie that is even like a character that's in a similar vein to this one? I mean, I'm scrolling through the red box era, but the answer is, no, there were a couple late period ones where it's a little bluer than I expected, but not to this level. Yeah. There's a, she's. Let's yellow it. Let's yellow it. For now. I think we'll come back for a green, personally. Okay. Well, even though, if you want, do you want to listen, make your calls, shoot your shot, you know? Well, we got a lot of stuff to get through. Okay. So in '82, when she passed, I tweeted this. I was like, this is one of the great period. This is one of the great runs for an actor in Hollywood history, the films that they have in a row. So 78 is interiors, new, another Woody Allen film, Woody's like real foray into Bergman-esque drama. Yeah. Very straight-laced movie about three sisters and their relationships and their dynamic, their relationship to their parents, to their significant others and to each other, um, Keaton plays a poet. Yes. Um, who is the sort of, I think she's the eldest and she's sort of like the one to whom the others are compared. She's not the narrator, but she's the stand-in, as close as you can be to the observer because she's obviously, she's a part of the family and is dealing with a lot of this stuff. But it's the other two sisters who are really the one other sister and the parents who are going through it. And so she's, you know, doing the reactivity thing, but she's like a little on the side by it. Yeah. Yeah. And it's a much more somewhat muted performance. It's weird. It's like, sometimes it's very quiet and other times it's very hysterical. I like this movie. It is often considered one of Woody's masterpieces. It's not one of my favorites, though. I like it, but I sort of have a soft spot for the Woody Allen movies that Woody's not in. Uh-huh. Interesting. Yeah. You know, more than happy to yellow it. No. No, I don't think we're going to have room for it, but I like it. Okay. Okay. All right. So red for interiors. 1979 Manhattan. Um, I guess do you have to? Do you have to? Let's talk about her in it. Yeah. Okay. So the movie is obviously about the Woody Allen character going through this crisis of who should he be dating? And he's very attracted to this young girl, which is part of the reasons why this movie is both famous and infamous, very celebrated at the time of a very big hit. One of the most gorgeously filmed movies of the 1970s, Keaton plays the wife of his very dear friend who's played by Michael Murphy. And they fall in love. Yeah. And they begin in a fair. And he thinks that he has kind of found this illicit love in his friend's wife. And there's a very wonderful scene where she tells him that she's going, wants to go back to her husband, um, that I think is like among her best performances, um, and, and he's very funny in the scene and doing Woody's stuff. And she's not breaking like she doesn't, that's one of the great things about those acting. She never tries to like get on his level comically. She's doing her own thing. She's, she's not the reason to watch the movie. It's kind of a weird one for a Hall of Fame, you know? It's a very legendary film that has been made complicated by contemporary history. Right. She is more central to the film than Meryl Streep, who is also in this movie. And but I, we didn't put it in Meryl's Hall of Fame, even though Meryl kind of walks away. two scenes. Yeah, but they're great. And she's a great counterweight. Everyone is like perfectly cast in what it is. I you know, I and understand the problems with the film then and now. I mean, that's another interesting thing. They're rewatched another when we get to it. I'll remember. - I mean, what are you on? Pretty weird about sex, even without all the other stuff that's going to stick your watch again. And you're like, "Hmm, is everything okay here?" - This is the real like, the flag is waving. You're like, "What the fuck?" - But that's the point of the movie. And when it's contained to a film, you know, it's what makes it interesting. - I know, we were just talking about a big movie that we just saw and it's a little bit of a like, when an artist tells you something, believe him, saying, you know, like-- - Yeah, I mean, totally, I agree. I mean, I guess she's not that central to it. - So-- - I will say yellow, we're gonna have a lot of yellows that we're gonna have to come back to. Anyhow on the Godfather Part 2 seemed like obvious. And I think this next one is very obvious as well. - Yeah, Reds. - Reds, which is this mega film, co-written and directed and produced by Warren Beatty, is Epic Portrait of Jack Reed, the journalist who was there for, you know, 10 days, the shook the world and the Bolshevik Revolution and this changing, hopeful potential for socialism or even communism around the world or in the United States. And it's this kind of globetrotting historical piece and she plays Louise Bryant, a writer, journalist, at that time and they have this kind of Torrid, Epic, on again, off again, you're my forever person. - Right. - But are you love affair? - But also Jack Nicholson is over here playing Eugene O'Neal and absolutely just shredding the part everyone's life. - Well, I was one of the single greatest movie scenes. - If you were mine, I would have, I mean, come on. - I know, and she, you know, it's really interesting 'cause she's dating Warren Beatty. - Yeah. - You can almost feel the real person falling in love with Jack Nicholson in the scene. Their performances are so good that they seem like not performances. And this is a very different kind of part for her. It's a real performance. It's not she's not relying on any of her stuff either. And but it's different from looking for Mr. Goodbar. - Yeah, I mean, so much of it is in still shots of her reacting or just looking at the camera and feeling all of the emotions and not spoken, which is not really what you associate with Ein Keaton or with the filmmakers she usually works with, you know, very dialogue, heavy gesturing and just been all over the place. But no, she's really emoting and it's all you need in those scenes, also lit beautifully. So. - It's an amazing film. It's one of the craziest things about this movie is that it did not win Best Picture. - Yeah. - And Baby One for Best Director, but Cherry, it's a fire one best picture this year. - Yeah. - Which is fucking weird that that happened. If you haven't seen Reds, I cannot recommend a movie more. It is a big gigantic quarter house of a movie. Yeah, but it's fantastic. So Reds is a green. - Yeah. - Had you seen Shoot the Moon? - I had not. - Okay. So big one for us, I would say. - Yeah, this was tough, tough said, yeah. - This is a movie, one of the harshest and most direct films about divorce. - Yeah. - Diane Keaton and Albert Finney play a couple who have three children, four children, many children, four children, four children. And when we first meet the couple, Finney is a novelist and journalist who is about to be celebrated with a book award of some kind that is televised. Did you pick up on that? Is children able to watch? I'm not sure if they're airing book awards on television these days or if they ever did. - But the I Heart Podcast Awards. - Yeah, we gotta get those on NBC. And the movie is about, he's already having an affair and they're falling out of love. And they're, I think their characters in the movie are basically at the period of life that we're at. Which is the place where a lot of people end up getting divorced, which is when you have a lot of young kids and you're really stressed about your career and money and does my partner still care about me and who am I in this world? And the movie's super duper frank about their feelings for each other, about what's pulling them away from each other. Albert Finney, I don't know if we're doing the Albert Finney Hall of Fame anytime soon, but he's ferocious in this movie. She's tapping into something a little different. This is the first time where I felt like she wasn't a young engineer in a movie. - Yeah, well some of it is just situational. Yeah, you get to know it before kids. - But and she's still, you know, she's still, she's in her early 30s. I think what she makes this movie, right? She's pretty young, but she's made to be playing older in a way. - Right, and she's also, I mean, she is a mother in the Godfather movies or she's not to be in the case of Godfather too, that one time. - That was her choice. (laughing) - You know, it wasn't legal. - That's right. - Then or now. And depending on what state you're in, because what a special place. - Jersey, was she in Jersey? - I don't really know. I mean, it was the near and Cuba for all know. It's Godfather too. - These are fictional characters. - But for the most part, she's not playing people who are saddled with like a quote unquote traditional American domestic life, but by which I mean, like a mother or two children. - Yep. - And you know, this is also, again, 70s, 80s. So that is more a more quote unquote traditional portrayal in movies of what an American woman does. And yes, it feels different. This was tough for me. You know, it was one of those, it's not that it's bad or that she's bad. It was just uncomfortable. - It's very bracing if you're a COD, if you're a child of divorce as movies released, the Euro is born. I would say, I didn't watch my dad do the things that Albert Finney does in this movie to his kids, but there's a couple scenes that are really traumatic and really confrontational. I think the ending is kind of a mess and it kind of brought the whole movie down for me a bit. And I thought I had seen a bit. Maybe I hadn't seen it. I'm still trying to sort through. Maybe I saw like parts of it on cable and I was growing up and not the whole thing. It's Bo Goldman's first script and he was kind of basing it on something that's interesting to look at. It comes out five years after looking for Mr. Goodbar. And it's kind of like a lot of these people that got together in the '70s and they were like, "Ah, we actually, we shouldn't be together." And we're creating hell on earth because we did end up getting together and having kids. - Right, and also everyone's gotten a lot less uptight about the legal ramifications of this at least. - That's right, that's right. - And this was at a time when yeah, there's just a ton of divorce happening in the United States. Good film. - Not going in. - Two globe nominations for Keaton and Albert Finney. - You don't think it's going in? You think you got, you got all over it. - Yellow it. - Okay. - You can yellow it. - Okay. - I think it's a good performance. - I got, I mean, I actually like a Peter Weller. - I spent the whole time trying to be like, "What do I know Peter Weller from?" And then, "What do I know him from?" - He's Robocop. - No, there was something else besides Robocop. But that's, I was taken it back by that as well. - 1984, the little drummer girl. - Yeah. - I hadn't seen this. - Well, not you have. But you still haven't seen the TV series story starring Florence Pepeu, directed by Park Chanwalk. - I haven't. - Have you read the novel? - I haven't. - Adapted from a John LaCray novel. - What a crazy movie. (laughing) - So how much of that is just this story seems real crazy and how much of it seems is based on the execution of the themes and characters? - I think the execution is like, it goes awry. - Sure does. - I do think there's some real flaws in the design of the story. - Okay. - The movie is about an actress, an American actress living in London, who is, has sympathy towards the free Palestine movement. In the dispute between Israel and Palestine, she's very pro-Palestine. She's going to rallies and speaking engagements where she's hearing more about this. And this is happening in a world where she's sort of being surveilled by, I guess the IDF for lack of a better phrase. The Mossad. - The Mossad, I think. - And she gets drawn into their plan to disarm and capture a well-known terrorist freedom fighter, whatever you want to describe this character, by flipping her sympathies, but because it's known that she is a sympathizer to the movement that she would be able to infiltrate that world. But it's very confusing because she's sort of being pressured into taking this role. - Right. - Because why? That part of the story never really lands. And it's an interesting performance for Dankeen, 'cause she's playing an actress who has to keep giving these performances inside the movie. She's a very baddy woman who's like looking for love and she sort of falls in love with this Mossad agent who draws her into the scheme. But then she has to, it's a really weird movement. - So two catastrophic things happened in 1984. Number one, Dankeen got that perm. And number two, she was given the role of the little drama girl, which if I thought she was miscast in Godfather, I mean, that's nothing. That scheme, that's an agreed-a-disarray. - I really thought you were going to say, number three, I was born. (laughing) - Well, like what did Dankeen do to you talk to? - Terrible haircut. She's definitely miscast. - She's just out of her. So, I mean, I am thrilled to have you trying to explain little drama girl. - I did like it that right. - Yeah, more or less. But it's, I mean-- - It's a really strange story. - Well, it's just, you know, Lik Ray writes, like Spike, Spike Ray. after movies, and this is about two competing spy agencies, or, you know, a spy agency, and then the objects of their spying, and they're using this young woman and her ideology, like, as a pawn, and it's about how, you know, like, is anyone right? Is anyone doing, you know, using any doing anything for quote unquote, good, like, and it, but it's about also her impressionability, and the impressionability of young people and about how ideology can be so easy, easily manipulated, or can be malleable. And so, you know, when you have a very young Florence Pew playing that, or when it's in a novel, which also, I mean, that's the other thing, it's very hard to, it's a very broke novel that gets, it's hard to be condensed into a film. But I think Diane Kim is just not vulnerable, or believable enough. I feel like she has the flightiness that you would need for someone who would kind of like, the thing that I just don't understand, and maybe, maybe the park channel adaptation will help me make it, make more sense. I'm probably not going to read that novel at this point in my life now, having seen this, the movie, or seen the story. You should absolutely do not, so you know, who plays the agent who recruits her, the Israeli agent? Did Alexander Skarskard, yeah, I didn't know that. Yeah, many people are saying he seems like he's in Mossad. I. Did you crack was in Mossad again? Exactly. Thank you for making my point. We keep doing this Hollywood. Anyhow, I think, I just couldn't, I, Klaus Kinski is in this movie. I thought he was very, at least entertaining. She's the sort of chief Mossad strategist who's, who's kind of forcing her to do this work, but not holding her against her will, but like not blackmailing her, like, there's just something about the mind game that never really clicks in the film. And if that doesn't work, then the movie doesn't work. That is the movie. There are times when I think her performance is interesting. I'm spending a lot of time on this because I had never seen this movie before, so this is me unpacking it. But Alina and I watched it together, and we were just like, what? Right. Yes. Why? Well, but I'm sorry, once you see the perm, you're just like, what? I know, I know. She makes a lot of bad choices. The movie, though, the story, like, our story does still have a tremendous amount of resonance, though, which is the sort of like, the sort of pointlessness of it all, you know, the sort of you get to this feeling of like, no one can win. And there's why are you spending all of this time, pain and life toll on this conflict because no one will move one inch. I recommend both the novel and the mini series. I mean, that's the other thing where that's, I think, it's six hours because again, it's hard to consolidate something this intricate into a movie. And they didn't really succeed. I'm sorry to make you spend so much time on a red. No, no, no. I mean, I'm excited to talk about it. The perm also applies to the second film and I too. Okay. Mrs. Soffo, was she kept? Did you notice that? She still has that perm? It didn't occur to me because I didn't watch them together, but that makes that's a really good point. Yeah. And that's not a contemporary, contemporary haircut as far as I can tell from this situation. You know, I mean, in a situation for sure. Yeah. By the way, Little Drama Girl was directed by George Roy Hill. Yeah. Like, you know, what a crazy miss. Just a crazy miss. 1984, Mrs. Soffo, directed by Jillian Armstrong, the Australian filmmaker. And this is a movie about a warden's wife who falls in love with a prisoner. Yeah. And well, but who is, who is the prisoner played by Ms. Mel Gibson in 1984? Very, very handsome, Mel Gibson. Once again, it's like a before we knew she loves a problematic male co star. And her and her brother, his brother Matthew Modine. Yeah. And they hatch a scheme to escape. Mm-hmm. And they do escape. Yes. Interesting movie, not ultimately successful in my opinion. I think she also, again, just like Little Drama Girl, this is a challenging part, kind of sympathizing and believing in understanding this woman and again, making herself a person who's very vulnerable to the wilds of a dangerous man. And that's like two movies in the same year where she does that. Yeah. And shoot the moon is a little bit of this too. Shoot the moon is a little bit of like, how did this man get me in this position where I have become a prisoner of my own life? Right. And just thematically, I find that because her career takes a different turn, you know, she pivots away from these kinds of parts and becomes more about her own independence. Right. But in this period of time, she's kind of weirdly reflective of the Reagan like. Yeah. And make her a Nancy Reagan person. Like this is the vision of women in after the 70s. Yes. And also, I mean, again, the roles that are available to you that I think you're either, I'm thinking what Merrill Streep does at this time where she's just like a bad mom or like a mom that failed in like 40 different time periods and 40 different iterations. And she and Diane Keaton meanwhile is just a woman who, you know, got done dirty by all the men around her, but weren't they handsome? Hey, we're handsome. Gal Gibson's very hot in the movie. You like really get it. And again, there are moments in this movie where I think all of the the warden stuff and kind of the establishing, you know, reasons for her wanting to leave makes sense, but her stodgy. And once again, you're like, you're Diane Keaton. Look at you, why would you do this even with this perm? She's married to Edward Herman. Sure. He's a bit more boring for her. Who is also in reds with her. There's a lot of, you know, people keep popping up. Yes. But, you know, once she goes off with Mel Gibson, and like I said, she like throws the ring away, and there are these moments of connection and really just chemistry between her and Mel Gibson, where I was like, okay, I see, I see what you wanted to do here. It's not going in. I'm glad I watched it for the historical record, but it's red. 1986 crimes of the heart. Now, this is our first same shepherd, but not our last. I, I didn't love this one. I didn't either. This was a, no, you're the southerner here. Yeah. Well, listen, this is just, you know, this is darker, steel magnolias, right? It is. I mean, it's very stagy. It's based on a play. I had a little bit of a Bruce Barisford. He's like a, he's like a, he's like a black licorice for me a little bit. I love Tinder. Where is season movie he made? But like, you know, he made driving Miss Daisy and double jeopardy and a lot of stuff that I really don't like. And this is, I thought very saccharine and very like overperformed. She plays one of three sisters. The other sisters are Jessica Lang and Sissy Spasek. Obviously, all great actresses. But it's just a lot of like post Tennessee Williams. I mean, there was a whole raft of these in the fried green tomatoes was in this mix. Isn't there an Altman one where they all get back together at a diner? Yeah. And it's just like a lot of Southern women come back for one weekend and often Sam Shepard's there, which you can't complain about. And, and none of them leaves the weekend truly fulfilled. But maybe they better understand each other. Yeah. I'd love to know what Tracey lets thinks about this play because it was a Pulitzer Prize winner Beth Henley's play. It's just not a very filmic movie. You know, it doesn't really have a lot of style. And I'm not sure Diane Keaton screams Mississippi to me. She's put that out there. Yeah, it's a good point. Sissy Spasek sure. Yes. And she's doing her best with it. But she's also she's tasked with doing Mississippi and like sad at cast sister. You know, she's the loser sister. Yeah. I mean, I guess they're all losers in their own way. But she struggles. Yeah. She is the one who just stays at home, taking care of people. So I would make this red. Yeah, of course. Okay. 1987. She has a small cameo as a singer in radio days. A reunion with Woody Allen. That is not going in. That's red 1987 baby boom. Yes. Did you rewatch this? I didn't. But we did it on the Nancy Myers episode, which I guess is almost five years ago, which is kind of crazy. That's insane. But I like this movie. I think it also features one. This is this is it, right? This is where it starts. Diane Keaton. Yes. This is the she's with Nancy and Charles Shire. Her ex-husband and her producing and writing and directing partner for many years. This is so, you know, new new team kind of establishes her and and I guess sets the template for all of the romantic comedies to come. And once again, Sam Shepherd is here. The story is that she is a yuppie in New York and, you know, career focused and then inherits a baby like you do. And she gets elbowed out of her job because they don't support working mothers like to thank everyone here in this room and at home for supporting working mothers. Yeah. You guys are allies. Thank you. I saw Lucas throw the double thumbs up. You got damn right. Good job, Lucas. Not one thumb, but two. Yeah. Yeah. And you want women's lib 2.0. But James Peter, who is also working at her company, is not an ally. And so she moves to Vermont, buys a beautiful, dilapidated house. For what reason we don't know? With the baby. Would have avoided that if I were her, given what transpires. And then has to create a new life, which eventually involves hookin up with Sam Shepherd, the local pediatrician and because all pediatricians and door sports surgeons look like Sam Shepherd. As you're learning. And then becomes an apple saw empire, like a starts an apple saw empire. Yeah. And so in the end, she can have it all because she has the baby. She has a career. And she has a really handsome doctor, and that kitchen is really good. And baby, but I'm also just to locate it for everyone. I rewatch some parts of this last lane just to kind of remind myself of its vibe. And I don't know if you think this is the most famous scene, but her melt down in front of the well in front of the man attempting to fix her well. I think it was one of the funniest things she's ever done. And it's so unbridled and she's very tight in a lot of ways. That's the thing about her, right? The neuroses that you were talking about. And she kind of like, let's go. And she starts melting down in front of this guy. And she's very funny despite melting down. And like you can very gestural, very like making a lot of noises like, oh, like stuff like that. And the person that she reminded me of most was Albert Brooks, you know, that there's like a certain kind of comic person on screen who can get away with this, who we like when they do this. And it's interesting. She works with Meg Ryan a little later in her career. And like she's trying to get Meg Ryan to give a die and keep in performance and she can't get her to do it, which is really interesting. But she's great in this. I think this is obviously a green. Yeah, it has to be. Yeah. And a big hit. And like kind of like set the template for the really the rest of her career. Right. And you know, and again, it's like, it is reflective. I find this fascinating to watch, you know, like my mom in 87 was also like, incorporate America trying to be like, it's in it is another time capsule and what it reflects is not realistic or ideal in either case. But it's amazing stuff. Really fascinating. If you haven't seen it a while, it's a really rich text. Same year, she directs that movie heaven, which I think is worth checking out. I think if you can see it for free on YouTube or canopy right now, I've of course bought the Blu-ray. Sure. It's 85 minutes. It's just a reflective documentary in which she interviews regular people and asks them what they think happens when you die. And it's intercut with this hyper fast-moving series of images and sequences from early movie history. And she uses it as a, it's almost, it feels like, um, like a precursor to YouTube or TikTok or something, the way that it's edited together. It's really interesting. And not at all what you would expect from her. I just as an artifact of her life and interest, I think it's very much worth checking out. Not going into Hall of Fame. 1988, the good mother. What the fuck? Yikes. Right. Talk about it really quick. Yeah. Because it's not going in. It's red, the good mother. It's directed by Leonard Neemoy, who of course was spotted on Star Trek. And he directed two Star Trek films in the 1980s. And then he directed a movie called Three Minute Baby, which was a big hit in 1987. And they were like, this guy knows how to make movies with little kids. Let's give him this movie. And this movie is about a woman who is divorced, who has custody of her six-year-old daughter. They have a very close relationship. And the mother played by Dayan Keen is like a little socially awkward and she meets a man, played by Liam Neeson and they fall in love. They fall in love and she's discovers her sexuality. They have a very physical relationship. Right. And one day, you guys know about this movie? You know what happens in this movie? No, no. Okay. I have never heard of this movie. Okay. Okay. One day, Liam Neeson's in the bathroom and a little girl Molly goes in the bathroom. Yeah. Pretty, it's not shown explicitly, but made clear that he reveals to her his private parts and that she maybe touches them. But doesn't she? Isn't she curious? She's curious. Yeah. Of course, she's not forcing her to do anything. Right. But she's six. Sure. I mean, yeah. Listen. The reason that this happens is because Keen and her daughter take a bath earlier in the movie and he's present for that. Yeah. And he thinks that Keen's character is trying to live a slightly more evolved vision of like comfort with her own bodies. But then this leads to the six-year-old sharing this information with her birth father who becomes outraged. Right. Yeah. And then it becomes just. And then it's like Kramer versus Kramer, yeah? What a weird movie. And played very straight the whole time. The whole time it's a crisis drama. You know, it is like. Yeah. No one can. No, there's no levity. There's no. No evolved parenting whatsoever, certainly no evolved legal systems. No. I'm. Is it. Who are the. Who are the. Who are the lawyers? I'm trying to remember who played the lawyers in the film. I think it's Jason Robars and Shoot Who is. Oh, and Joe Morton are the two lawyers. It's a crazy, strange film. Ralph Bellamy's in this movie. It's an artifact. Yeah. A mechanic's time in our culture. This is not something I would do. You. In any direction. There's not a thing done in this film I would do. I mean, I think that I agree across the board. But this is an interesting one. I mean, I don't. I think this would be unwise. And I. Basically everything everyone's doing. But I don't know what to do. My kids just run into my room while I'm getting dressed. No, that happens, of course. Well, sure, but at what age am I going to be like is. But not to be like. But it'll be like come over here and touch this. That's not true. I mean, that's true. Yeah. I agree with you. I agree. But that's the provocation. You can move on from the good mother. 1990 The Lemon Sisters. Yeah. I watched this on YouTube yesterday. Okay. I rented it from videos. Did you really? I did. Good for you, supporting our local video store. I thought it sucked. It's really bad. Now, it's a little hard to judge this one. But her clothes are so good. And I want to dress just like her, even though she is playing once again the saddest of three friends. Yes. Not sisters. In this case, who lives in Atlantic City and is maintaining her dead father's, quote, unquote, TV museum, which is just a bunch of stuff that was on a 50s or 60s TV show once upon a time. Yes. Um, these three women who are friends, Carol Cain and Katherine Grote, uh, are like a musical trio. Mm-hmm. Um, Ellie Gold in this movie again. Yeah. Um, but now they've cast him as dad. Ellie Gold. It happens so fast. I was like, this was only 10 years ago. I know. Well, that is what happened to his star in a lot of ways, you know. One day, wake up with your Rachel Green's, uh, father on television. Yeah. Um, I didn't think this was very good either. However, this is a somewhat early Miramax movie that was shelved for like two years and effectively killed Joyce Chopra's directing career, who made Smooth Talk in 1984, which is a very good movie adaptation of a Joyce Carolow's story. And then like Joyce, Joyce Chopra like never made another feature film. Um, so I, let's just say for the sake of argument. Yes. Harvey Weinstein did this. Um, it's red. Put two and two together. I think also notably features Diane Keaton singing and dancing, which we'll come back to. Yes. Not the first time we've seen her on screen doing this, but she does a bunch. Yeah. Um, just like Merrill. Mm-hmm. 1990, the Godfather Part III. I think it's red. I think it's red. I think she actually gives a good performance and definitely doesn't embarrass herself in this. Yeah. What are you going to do? 1991 Father of the Bride. Now. Yeah. Okay. So we already have Baby Boom. And she is though she. Wow. What? Don't keep going. This is great. So I think this is one of the great films of my lifetime. It's really her movie though. It's not her movie. Yeah. You know, once again, it was July 4th this past weekend. So we all posted the George Banks aka Steve Martin hotdog and hotdog one speech, which we just have not resolved. It's the six and eight. Yeah. Well, now for me, it's five and six. Like five and six. Yeah. Yeah. Well, you know, for him, I think it's eight and 12. Oh, okay. Okay. Listen, they're doing it on purpose. They're doing all sorts of permutations. Of course they are. It's like the apple. You need a new cord thing. Right. You know, it's a beautiful thing to do. It's a beautiful thing to do. She's a good mom, but the movie is called Father of the Brides. This is a different phase of Diane Keaton, but it still also keeps the Keaton. and Woody Allen thing, and she's as much the star of it as he is. Absolutely. It's very funny. What a great pantsuit. I think it's green. Okay, great. Me too. I mean, this is kind of a daffy comedy about two people who think that there are terrible murders happening in their building, living in New York City. It's kind of a little bit of a like, what if these people stuck together in 20 years later, they became the slightly annoying couple who live next door to you in New York, you know, the aspirational in that way. Yeah, very, very annoying sort of person if I didn't watch them in a movie, but very happy to be watching them in a movie. Okay, that was easy. 1993 again. Look who's talking now. She's the voice of Daphne. Yes. You just that movie. I did. I think I saw this in theaters. Yeah, I think I did too. Is Daphne one of the dogs? Daphne, yeah, right? Dog. That's what they, yeah, I mean, good job. Okay, Brad. 1995, she directs, but does not appear in unstrung heroes, which is a, basically true story of Franz Lids, who is a journalist and writer, and he, it's a story about his own life where his mom became very sick and his father, who is a brilliant man, sent him to go live with his uncles. So in the movie, it's Andy McDowell's, his mom, John Traitoro's, his dad, Mory Chacon and Michael Richards play his uncles, and I'm doing this all off of memory. Wow. And it's pretty sentimental. This is going to sound weird because there's a lot of problematic people throughout her career, but Michael Richards is very good in this movie. And the two uncles are very eccentric. Her Mory Chacon's character is sort of a hoarder. Michael Richards's character is a little bit of a conspiracy theorist. But it's mostly about a young boy. It's cool. It's yeah, adapted. This Franz Lids is not a huge fan of the movie of his own life. It's a little complicated, not what you want. I don't think this is going in. I agree. 1995, father of the bride part two, two, no, four years later, four years. Sure. So to catch people up, father of the bride part one, Steve Martin and Diane Keaton's daughter, Jordan Nina Banks's daughter, Annie gets married. Yeah, Kimberly Williams. I think you'll find she's now Kimberly Williams, Paisley. I won't acknowledge that. You're in this Pete Samper Sarah. Yes, that's right. Were they together? Oh, yeah, for years. Like when Samperous was like really. So Bridget Wilson came in and dropped the elbow and ended it. That's nice. I would I would love to happen too. So now she's married and she and the freelance technology consultant, which is code for unemployed, are expecting a baby. And it turns out that George and Nina are as well. And so they are pregnant. They're almost identically pregnant. Also, George has sold the perfect home in San Reno, but that's actually in Pasadena. That the first wedding was held at. And so now we have to figure out how to repurchase his home and also how to be a dad in his mid 40s. But this is most memorable for a scene in which Kimberly Williams, Paisley and Diane Keaton with gigantic baby bumps are led in a prenatal aerobics by Martin Short. Do you remember this scene? Of course. Well, it's literally the only thing I thought about for six months each time I was pregnant trying to do any sort of movement. And I'm just yeah, and it's just like now you got this, you know, I mean, it's the original. You got this mama but played for laughs. So that scene is very good. The movie is quite charming, not as magical as the first. I'm not going to fight for it here. We can yellow it. But what happens if you accidentally get pregnant of 49? I think I think we call K for that father too. But we go to the right. No, I'm it would be a challenge. I think he's 49 when she makes this move. Listen, I mean, science is amazing as our people who carry children, you know, so like anything is possible. It's not possible in the cards for me. That's just really not. I can't do it again. Okay. I'll do it. I'll carry the baby. You think you could carry the child? You just like, I mean, putting aside like basic, basic like violent biology questions or physics. Do I have the strength? Well, and the to my back. I don't think I mean, if you're thinking I was going to say, yes, I can I can barely carry a beach umbrella at this point in my life. Okay. I don't think that movie is going to go in, but I don't think so. I don't think so either. We're about to get to 1996. Okay. Let me just, I'm not going to yuck your yum. But my first wives club very beloved. I'm a massive hit. A very important movie in her career. Yeah. And I think that kind of sets the template for most of the 21st century in terms of like a style of movie that starts making up the person to perceive it the style. Why don't you? Go ahead. We're waiting. Pregnant pause. Well, we we've yellowed many superior films. Sure. Superior in what way? From the perspective of a 43 year old man who hosts a movie podcast. In a in a cineast sort of way. Yeah. I mean, look, my mom got divorced in 1994. And this movie came in 1996. And she was like, this film matters. I would say of all of the text messages I get from people who think that I have any say over what is ever scheduled on their watchbooks, this is number one requested by like a mile. Okay. Everyone is just like, when are you going to do first wives club? Why? And when I'm like, well, there are a number of reasons that I don't have an answer to that. But give us 12. So it is so popular. And we do consider box office. And there is sort of, you know, baby boom. And then into the father of the brides and into first wives clubs, she's kind of suddenly at what, almost 50. The center of like box office filmmaking for the first time in a while. She's one of the biggest female stars of the time. It's a it's a team up movie though. It's kind of the Avengers of middle aged female movie stars. Goldie Han and Bed medler. But listen, who is front and center for you don't only? She is. It's giant. Yeah. So that clip alone, which is is wonderful. To me puts this in the hall fam. I think you got to do it. I think you have to do that over father of the bride and father of the bride part two personally. I understand. So much thing. I anticipated it going in. I'm like, I understand that Manhattan is a quote unquote superior film. Does it honor women in the same way? Does it honor women? Does it put that on the poster of the first wives club? Do any of these movies exist in 4k besides like the godfather? Manhattan, I'm sure. No, none of the Woody movies are available in 4k. I guess maybe Annie Hall's available in 4k, but it's not in the US. I mean, you can imagine there's some concern about promoting the Woody films these days. I don't think any of these movies are in 4k. Is there a Nancy Meyer show on 4k? Oh, looking for Mr. Goodbarra's vinegar syndrome put out a beautiful edition of it. That's really good. Yeah. Because what happens to her in that movie? Yeah. I mean, that's why something's got to give comes to 4k later this year. Okay, that's exciting. Yes, it is, especially because it was never released on Blu-ray. It is only available on DVD. Yeah, while you, you know, I think that maybe the gatekeepers are finally opening their eyes. Maybe they've been listening to you. I guess. First wives club is green. Great. 1996 Marvin's room. Yes. Which we recently discussed on the Merrill Street Hall of Fame. This, Diane Kean gets an Oscar nomination with this film. Now, I didn't revisit this this time either. So you'll have to remind me about this movie. So she is the sick one, right? And she's like the nicer one. And so Merrill is taking up more space. But Diane Keaton is kind of more the. I didn't rewatch it for this. I only rewatch it for Merrill. And I remember being impressed by her. I mean, like, oh, you don't normally see Diane Keaton like this at certainly after the run from baby boom on of a, like, big, broad comedy. Right. And like, it's softer and emotional. And she's surrounded, you know, it's Leo. It's all of these big people. But I don't, it wasn't memorable enough that I'm like, we actually have to put it in. Yeah, I've only seen it once. I remember thinking it was perfectly fine. It's probably a little bit of the thing where she's got the first wives club and Marvin's room in the same year. And she's like back, back, you know, she's not playing the fifth lead of the father of the bride part too. Like she is at the absolute center of movie culture. And she's playing someone with leukemia. And that's the kind of thing that, you know, affords some sympathies when voting time comes around. I would read it. I, you know, I think it's even though it's an Oscar movie, it doesn't, it's not a, it's fine. It's not a big one. I'm fine with that. The only thrill we both watched for the first time for this podcast, which isn't yet another film with Sam Shepard. This is her third movie now with Sam Shepard. Yes. Crimes of the Heart and Baby Boom. And she plays middle aged woman who falls in love with this guy and they talk a lot about movies. Yeah. They do. And also about distributions. So I texted you when he was explaining a Sony beta max player to her. Yeah. So you could watch movies at home. Yeah, I never had a beta max at home. I obviously didn't either. But I was just like, wow, this is the only time I want to hear anyone talk about physical media at home distribution is when it's Sam Shepard. And then the movie kept going. She has to move. They don't really talk anymore. Other people find love. I guess. It's not going as movie is a soggy piece of red. That's red for the only thrill. 1999's the other sister. Yes. She plays the mother of a disabled girl who falls in love with a guy and memorably portrayed by Julia Lewis and Giovanni Robici and parts that would never be played by those actors in 2026. Turned this off because I was just so uncomfortable. Another problematic artifact of Van Keaton's filmography not going in. That's red. It's a sweet movie. It's got its heart and the right place. It's just not. They shouldn't have done this. They shouldn't have done that. 2000 hanging up. This is a movie that she both co-stars in and directs. Yes. That I saw in theaters because I support women directors and I have the entire millennium plus one year because 2000. We're proud of you for that. This was did not, this is transpired in the previous millennium, but that's okay. The movie is based on Delia Efron's novel. Is it something of an autobiographical piece or is it entirely created? I don't know how much it is inspired by their actual father, but it's co-written. I think that they're always sparkling. Everything is. The movie is co-written with Nora Efron and directed by Keaton. It's like the Efron's are a little drunk. That's what the movie is. There's someone who doesn't quite have all their faculties. It's a to me fascinating artifact because you have the Nancy Myers-Dianne Keaton track in the 90s. Then you've got the Nora Efron Meg Ryan track and both have something to do aesthetically with Woody Allen, but they're exploring them in different ways. Yeah. Kind of deconstructing the Woody Allen idea. Exactly. Yeah. But they're running parallel and then this is a full show. It's too confusing when it's all together. It doesn't quite. The movie is not good. There's a very good Walter Matheau performance in this movie as a father who is losing his marbles. He's just very funny. It's his last performance. It's not a good Meg Ryan. Dianne Keaton doesn't have a whole lot to do. Both she and Lisa Kudrow are kind of sidelined for most of the movie. It's mostly Meg Ryan's movie, but this is kind of when things are kind of slipping a little bit from Meg Ryan, I would say. Yeah, this is after you've got mail is 98 and then. Yeah. So yeah, I would say it's red, even though she directed and stars in it. 2001 Town and Country. Okay. This is when we I start I have to start clicking through every single one to remember which is which I got you up until I'm going to basically check out of this podcasts or 2008. Okay. Well, I think everyone's, oh, this is the one that's written by Buck Henry. This is one of the craziest movies of all time. I know. I feel like this is insane. This movie is insane. So it wasn't originally written by Buck Henry. He was paid millions of dollars to rewrite it during production and he famously talked about buying a home with the paycheck he got from rewriting this movie, which stars Warren Beatty. It's his last movie until rules don't apply. Sure. Which you famously loved. I certainly do. I love Warren Beatty. I also love Gary Shanling. I also love Dianne Keaton. Goldie Han. I like Goldie Han. I wouldn't say I love Goldie Han. Nothing personal. It's like that's the thing where you like that's what I like about you, but also I think that's a wrong taste. But you're a little resistant to the to the Daffy Blonde thing. And thank you, you know, because it's not my speed. Yeah, but also she's very challenging. Yeah, I know she's just not really my thing. The movie this movie is terrible. This movie is entirely about how Boomer Men's Central Preoccupation is their own dick. That's the whole movie is like these guys are only interested in what they're able to conquer sexually. Yeah, but it's set in this like farcical world of 60 year olds who are like obsessing over whether they're cheating on someone or being cheated on and it's super overwritten and silly and not funny. There's it's far school, but there's nothing funny about it. It's really bad. It's a famous huge bomb. These are architects. So they're they're hopping from like fancy place to fancy place. And like the crown molding in every home is spot on and then no one's alive behind the ice. Production design and costuming is fantastic. And this movie everything else sucks. And movie costs like $125 million. Yeah. And it's basically just it's quite bad. Not going in. It's it's red plan B didn't see it. Hold on 2002. Oh, I saw this when it came out, but I didn't revisit it. Okay. Um, this is a sequel to that scene from the godfather part two. No, she kind of joins the mob sort of by accident. And then Paul Servino's also in it. This I remember. And this is where you knew Paul Servino and some of the hats come in. I think this movie has been kind of deleted. Right. Like it's not really available in too many places. I guess it was released on DVD. But it does not have a big footprint. It's definitely. And this this starts to happen more and more. Where this is going to come up again. Actually, you know what? I don't have on my list here, but maybe I should have, but I think I skipped over running mates. You know about running mates. No, it's another movie that's been kind of deleted. And I don't know why it's actually not listed here, but 1993. It's directed by. Oh, my goodness. Who is the director of the film? I can't remember. It's Ed Harrison Merrill Street or Ed Harrison, Diane Keaton. He's playing a senator. She's playing a woman who he meets and they fall in love. And it's unclear if they can be together because he's a public person. And I tried to write by Michael Lindsay Hawke. Michael Lindsay Hawke. Thank you. 2019 92. Yes. I don't know why it's not on the list here. It should be on the list, but I couldn't find it. I couldn't watch it. I just couldn't. I didn't know that it existed. Yeah. So and there are a few movies like this where like in her career, they're just really hard to track down. I'm sure there's a DVD copy or the HS copy of running mates floating around somewhere. But you never hear about that movie. Michael Lindsay Hawke absolutely owned in the Peter Jackson. Let it be. Well, yeah, he shot the original get back footage. No, I know. But then he's just in it's really good stuff. It is. Plan B is red. 2003. Something's got to give. Is there anything you need to say about this other than its greenness? You're on the record. I am on the record. I think that it's another example of like this is clearly where Nancy Myers logs on the most. And I think it is if not literally autobiographical, like the most autobiographical of hers, the most Woody Allen ask of hers. So it uses what, you know, Diane Keaton learns in that tradition. I think, you know, it's well known that they had dialogues about how much improvisation or how much of Diane Keaton she could bring to the script, but it works beautifully. And it would have been hard not to pick piano reefs for me personally. But, you know, it works out in the end. Well, it's a wonderful way of like closing up the red. The red thing, you know, where Eugene O'Neill walks out on her and they're both kind of devastated in reds and in this movie, they get to be together and they're so wonderful together. The Hamptons doctor turns out to be quite handsome. Who would have thought? You didn't marry a doctor. I noticed. Yeah. It's interesting. Something's got to give his green, of course. And you know, she gets an Oscar nomination for that. She should, but it's the, I think it's the only Oscar nomination for something's got to give. I don't think screenplay was nominated. I think you're right. Which I think is a mistake. She said that she's effectively playing Nancy. But one thing to keep in mind and I've been told this by a couple of people now is that one of the reasons why maybe starting circa 1998 through this period is Diane Keaton was simultaneously a very established star in star persona and also very particular about how she wanted to appear in movies. She doesn't make a lot of period movies. She's often wearing Diane Keaton clothing. Very notable. She looks as you pointed out at the top of this conversation like herself a lot. And that was important to her. This one, you know, something's got to give is, is a combination. This famously launched coastal grandma 25 years later, which is just wearing gap clothes in neutral colors. But that's okay. Welcome, teens. So funny, though, because again, she's like 56. She's not that old. No, it's true. Like that's 12 years older than me. So to be like coastal grandma, was I mean, I get in close to coastal grandma. And famously is nude in this film and looks hot. She does. And that's, but it's a, it's a, it's a quick shot, you know, they do it. It's tasteful. It's positive. Why not? What's wrong with that? I mean, this is from TikTok or I think don't know that something's got to give is that's great. That's beautiful. 2005, the family still. A lot of people like this movie. I don't care for it. What do you think? I find myself rewashing this like every Christmas at some point. And I don't, it's just on. And then I'm like, Oh, no, I got to get to the point where Sarah Jessica Parker says, like, incredibly racist things at the dinner table. And then I got to get your favorite part. Well, no, but that dinner table scene. And then I got to get to the part with Claire Danes showing up. I got to get to the part with the strata, you know, and then I'm like, wow, I've seen this movie. And then, you know, Luke Wilson is like pretty hot and getting stoned in the attic. And then, you know, it's, so I and I, I think about this movie way more than I should for being a not very good movie. And she's pretty mean in it. She's another mom of five or six kids, I think, including Rachel McAdams, Rachel McAdams, pretty mean to her. This is a nice moment at the end with the famed, framed photograph. I don't know. I guess it's not going in. But it's, I think it's been, you'd like to leave Manhattan on the sidelines and get the family stoned in. - I did my homework for this, so I'm prepared. - I'm just gonna say, you know, we've got quite a few movies left to go, we're gonna have to move quickly through. - Okay. - You always do the sorry that I spent hours and hours. - I'm not trying to wrap you up. I'm just gonna say, I just wanted to count up how many greens we had. - Okay. - Okay, you don't, hold on, hang in there, Mama. One, two, three, four, five, six, seven greens right now. And I know you have at least one more green on your mind as we go through this. - Yeah, but we can talk about that. Like, I'm not gonna say that we need to put that above Manhattan, okay? - My, just wanna say, I did see 2007's because I said so. - Okay. - And I think it's one of the most arranged shows in her filmography. Here's the plot of this movie. Diane Keaton is a mother of three girls. - Yes. - Fathers out of the picture. - Who are the three girls? - Lauren Graham, who's married, happily married. Piper Peribault. - Yes. - I can't tell if she's married or not, but she's got a very active sexual life. - Does she get married, does it start with her wedding? - Is it her wedding? - I think they both get married. I think at first it's Lauren Graham's wedding, then Piper Peribault's wedding. - That would be great. - 'Cause it's, you know, they're setting a. - The third daughter is played by Mandy Moore. And Mandy Moore can't be older than 23 years old in this movie. And the whole movie is premised around this, Diane Keaton desperately needing this 23 year old girl to get locked down. - Right. - To get married. Because she needs this order in her life, because she's an aspiring caterer, also. - Okay. - You know, or I'm sorry. - She's 23. They're treating it like, it's like 1500s. - I mean, I agree with you. - What are the fucking sexual, gender politics of this movie? - So Diane Keaton goes about this by auditioning prospective suitors for her daughter. - And she rejects Tom's Everett Scott from that thing you do. - No, she thinks Tom Everett Scott is like the best choice, and he's a D-bag architect. - Right. - And Gabriel Mockt comes in, and this guy is a fucking charming music teacher who's teaching like elderly people and eight-year-olds how to play the guitar. - Yeah, yeah, yeah. - And Diane Keaton's like, no, no, no, he's not okay. This movie is fucking deranged. It's the one of the most like-- - You just can't compare the presence and the chemistry of Gabriel Mock to Tom Everett Scott. I'm sorry. - What, who's your preference? You're the preferred Tom Everett Scott? - I just listen. - You are sick in the head. - You know, this movie is the most flashing green light of Gabriel Mockt of all time, and they're like, what's true? - It's true. - But also, she's banging both of these guys throughout the movie. - Well, that is her right. - I agree. - Because in 2007 and the women are liberated. - But both men find out about this, and they're like, you whore. Like this is the craziest movie. This movie was not made in like 1984. - It was made 18 years ago. - And this is the one of the ones where I was like, this is a lot bluer than I need it to be for Diane Keaton talking to her three adult daughters. - About sex? - Well, there's a scene in which Mandy Moore vividly recalls the exact experience of having an orgasm to her mother. - Yep. - Is that something you would do? - No. - Okay. - It's very strange. I don't think that it should go in. - Okay, it's red. - I just don't think Gabriel Mockt has a lot of chemistry. - I watch this movie, and that's when I was like a man. I might need you to take over for 2010 through 2024. - Okay, I did. So, mama's boy. - Didn't see this. - Yes, so this is a movie starring Diane Keaton and John Haider. - Yep, Header? - Header, yeah. And then who was her boyfriend? Oh yeah, I'm sure that Jeff Daniels. So basically, John Haider is an older Napoleon Dynamite, but weirder, less charismatic and won't leave home. - Weirder than Napoleon Dynamite? - Well, like, he just doesn't have the risk, you know? And Napoleon Dynamite, whatever you wanna say about it. Like, he has the risk. - He had the risk. - Yes, they made a whole movie about him. - Wow. - So, he doesn't have the risk. - Would you buy him the Napoleon Dynamite? - No, but you're rooting for him. And you're not really rooting for John Keaton. Even though, so Anna Ferris plays his love interest, and she works at a, I don't know that she's an aspiring musician. So, Anna Ferris, like, gives a very funny, like, half-assed musical performance. - Okay. - You know, forever and always, just as for Anna Ferris. Diane Keaton just tries to get her lazy son to move out of her house. And then things go right, it's not going in. - Okay. - Oh my God, did you see mad money? - No. - Okay, mad money. So, what happens is, is when I Google these, then mad money, the gym, you know, they're all borrowed from more familiar. So, the SEO is really not. I just lost my shoe, things are going, okay. - Hang in there. This is what it takes to host this show. - Do you know who directed mad money? - Elon Musk. - Halley Curry. - Oh, I knew that. - The writer of Thelma Louise, yes. - This starts Diane Keaton, Queen Latifa, and Katie Holmes. And then who is her husband? Who is her husband? It's Ted Danson. - Okay. - And Ted Danson, you know, squanders the family finances. So, Diane Keaton gets a job at the Federal Reserve. I think some sort of financial institution. And she sees how they dispose of money. And she's like, well, that isn't fully disposing of the money. I'm gonna hatch a crime plan with Queen Latifa and Katie Holmes. And we're gonna steal all the shredded money. - Uh-huh. - I'll be honest, I chewed out a little bit during the specifics of this, but it's okay. But it's sort of, you know, like a, a Langley Mission Impossible 1996 Hyuses except not at all thrilling and doesn't make sense. And then they do get a lot of the money back. And then they get caught, but then it's okay. Not going in. - Okay, it's not going in. So, you're gonna do that for all of these movies? As many as I can remember, I saw some other. So, some other is another TV movie that, and it's another one of a mom and a son and the dynamic is unusual in that it's-- - Also. - Well, in this case, Dax Shepard has a very overbearing mother played by Diane Keaton. Liv Tyler is in this movie as well as the person that Dax Shepard is romantically involved with. And someone else who I thought was too good for this. Anyway, it's not good because Diane Keaton just like can't let go. And so now she's just, she's kind of in weird mom territory. - Yes, right now. - Right now. - Two movies in a row where she that are very similar. So that's also red. - Okay, that's red. - I mean, 2010 is morning glory. - Morning glory, which I think is a wonderful film. Kind of one of the last like classic romantic comedy is starring Diane Keaton and Harrison Ford as newscasters pass their prime who are brought in to rehabilitate a morning show that is produced by Rachel McAdams with the help of her boyfriend, CBS producer, not CBS producer, though it is effectively CBS. 60 minutes, Ask Producer, Patrick Wilson. - Your boy. - My boy. - Your boy. - So it's very, it's charming, funny, written by Ellen Brush, McKenna. It's mostly focused on Rachel McAdams, but Diane Keaton is playing kind of like the, that like over the hill, but with it, like a little daffy, a little mad, very funny chemistry with Harrison Ford also gets annoyed when he completely steals her show as he does. I don't think it has to go in. - I see the floor to you. - It can be yellow, or it can be blue. - I like this movie, but haven't seen it in 16 years. - Wait, let's just yellow it. - Okay. - And it can be my blue. - I had a respect. - People now when they ask me for recommendations of little scene romantic comedies, they're like not morning glory, we know. - Yeah. - So maybe my work there has already done. - Okay. 2012 Darling Companion, I did see this movie. - Okay, which one is this? - This is Lawrence Cazden, Kevin Klein. - Oh my god, I forgot, yes. - Yeah, this movie's kind of a mess. - This is, yeah, so the dog. - Diane Keaton sees a dog on the highway that's been gravely injured while she's with her daughter played by Elizabeth Moss. They pick up the dog, they adopt the dog, and the dog becomes a part of their family. They go on a vacation after their daughter's wedding and log Kevin vacation, I guess, with their in-laws, and the dog runs away and disappears. And then the whole movie is about the search for the dog. That's the Darling Companion, or is it? Is it the love in our lives that we need to rediscover and relight the flame? - It's true. - And the film answers that question thoughtingly. - It was quite boring. - I didn't really like it very much, so that's red. - It's not going in. - I didn't see the big wedding. The big wedding is a remake of a Swiss French film. So maybe you should check it out. - I just want to say. - Yeah. - I'm really pleased with what the Swiss are doing. Big problem is we're on a plane, well, in the world couple. - Okay. - 'Cause my grandfather born in Switzerland. - Yeah, you've made us aware. You're a media family and friends. - Yes. - Incredibly aware. - Yes, everyone's aware. The Swiss matches, well, we're on the plane tomorrow. So the TV is going to work. - Well, just stream it. If the TVs don't work, then you just stream it. Then the Wi-Fi's got to work. - Wi-Fi's got to work. - Okay. - Can't miss that. - I have to watch like three David Krohnemork films, but that's what we'll be doing. - Just watch one. - Yeah. - I don't need to know one. No spoilers. Go ahead. - Okay. So this is Dineera's in this one. - Yeah, we got to get home for the USM in two minutes. - I know Catherine Heigel. I mean, a Cypherid, Tofer Grace. And so it's another one of these things where there's weddings, you know, the young couples being married and then Diane Keaton plays one of the parents who is having to make amends with or conceal parts of her own relationship in order to make things okay for the next generation. It's supposed to be funny. It's not really, I think she's married to Dineera. Yeah, and then some other things might happen. It's not particularly amusing. And it should not go in. - Okay, right. [BLANK_AUDIO] what goes. I mean, I saw all of these. I watched every. So this one. So this was there. This is the Rob Reiner. Yes. I wanted to watch this. This is Michael Douglas and I just didn't have time to watch this. This is Michael Douglas and Rob Reiner and this is this is on Netflix right now. Michael Douglas is a real estate agent, a racist real estate agent and yeah, he says many offensive things and is kind of profiling all the couples to come to look at the home that he's selling which spoiler alert turns out to be his own home. And then Dan Kins, his neighbor, and then Michael Douglas in a sort of baby boom grandfather situation inherits a grandchild, not inherits, but like his estranged son drops him off and Dan Kitten forms a relationship with the daughter with the grandchild and then with Michael Douglas. And then I can't remember if they sell the house and they do end up together. Here's the thing, the goal of these segments are not for you to entirely recap the film. So red, just give us something about the quality of her performance and whether or not it should go in. She's just kind of on the side. Also, how funny is it when these movies that come out at the end of these people's careers and it's like and so it goes. What does that mean? Well, that's why I'm googling all of them because I feel a real title. Okay, five flights up. She started with Morgan Freeman and this is about gentrification and also real estate and what a year 2014. Well, the presentation isn't innately tied to real estate. And this is the one I stand on gentrification. This is the one where I sent you the screenshot of the painting because Morgan Freeman is a painter. Oh, sure. Yeah. And he's working on a portrait of Dan Kitten that is revealed at the end of the grade. The movie. And I like, this is this is a 2014 film. So I don't think the painting is AI. I think someone has sort of like painted a photograph of Diane Kitten, but we're made today of her, but it is clearly what has been fed into all of the large learning machines in order to create the art that we see all around us in films. It's a horrifying sight. She's fine in it. She, I mean, a lot of them, she's just kind of showing up and like, you know, doing one or two Diane Kitten, like vocal ticks and one moment where she's like, well, I didn't really think it was going to happen like that. You know, and she brings in like 30 minutes of emotion. And you're like, why did you want to do this? Not going in. Love the Cooper's. This is another ensemble thing. This is Christmas. I watched all of them. Okay. Okay. So this is one where it's Christmas. And she's the matriarcher of the family. And they're completely coming apart at the seams. But kick off is in one hour. But I know I'm so sweating. But but I said I would be red box captain. And I do my homework. So here I am. So they don't want to spoil Christmas with a, um, a divorce. So they go through it. She doesn't want to spoil it. Uh, Diane Kitten and her husband played by John Goodman. John Goodman. I love John Goodman. Listen, it's a stacked cast. Alan Arkin. You've said like 40 times in a cypher again. Olivia Wilde, Jake Lacey Olivia Wilde and Jake Lacey are, she's single for reasons that pass understanding. June squibs in this. Timmy shows up for five minutes. Yeah. Shalame. Timothy Shalame. Tim. Yes. And then I didn't know that. And then I've got a hole in my Shalame. Resume. So I think that they, I don't remember honestly. I think they do stay together. John Goodman and Diane Kitten at the end. Um, so is, but she's like, yeah, let's talk about the title for a second. Yeah. Is it, it shouldn't be love comma, the Cooper's or is it just like, oh, I love the Cooper's. I think it's supposed to be both. Like I love the Cooper. Yeah. But anyway, Sue, no, no, no. I'm not dead yet because the entire movie is narrated by Steve Martin. What? Can you explain, can you guess Steve Martin's relationship to this family? Which is revealed at the end of the movie. He's their doctor. He's their dog. Okay. Bravo. That was worth it. Okay. 2016 Finding Dory. She plays the voice of Dory's mom, I believe, Jenny. I took my daughter to see this last year's video. And I, I wept. Good. Okay. I just got to say I thought it was very nice. No, I don't. Okay. But I, it's not, it doesn't need to go in the Diane Keaton Hall of Fame. But and it's a unnecessary Pixar sequel. Okay. Let's like sure. Yeah. Let's come in a bit of a theme with you. But I like Pixar. What can I say? And I like Pixar sequels. And I'm okay with that. 2017 hams that started watching this and decided, no, thanks. Wow. You don't care about a Donald East Brennan Gleason finding love with Diane Keaton and also a bit of real estate and overriding the corporate real estate entrance interest. Once again, a movie about real estate as represented by Leslie Manville. I enjoy Leslie Manville. And I did get to see a little bit of her while watching it. I felt that this was an excuse for Diane Keaton to spend three months in England. That seems like a great reason to do anything. It's not going in. Okay. Red. She's a widow. She's playing a lot of widows and and loner people at this one. 2018 book club. Yeah. I've seen book club. This was a thing. It was a big thing. It was a successful movie. And I keep saying this reset the future for the kinds of movies that she made. But you know, like every 10 years she makes another movie where it's like, don't forget about Diane Keaton, who's a big star. And this was one. And this is at a time when the box office is really booming. And there are always alternatives where it's like, this is an underserved audience for basically women over 50. The movie massively overindexed for women over 50 probably women over 30 to be honest with you because book club and it was based on they read 50 shades of gray. Yes. So it's smart. Yeah, it's sort of it's girl's trip aged up. Yep. And you know, it's not unlike the first wives club template where it's just you get together a group of women of a certain age. You like seeing together. Yes. And she kind of got away from that and was trying to do rom coms with some of the greatest male actors of her generation. And they were all quite poor. So instead she decided to do this. It's good. It's a big team up to because it's the first time that she works with Jane Fonda and Candace Bergen and the, you know, three real mega stars in the 1970s coming together and Mary C. Virgin is the fourth as well. Plus Andy Garcia, Don Johnson. You know, I don't remember being very good. I remember being like bad. It's fine. It's not. And if I remember book club two more fondly, so we can get to that anyway in a bag for sure. So it doesn't need to go in 2019 palms. Palms, which you pronounce like you're just throwing me off. I keep like palm free palm fronds is what I hear when you say it from yes, but it is like palm like, but it's not like palm free. Yeah. Anyway, palms. Are you correcting me on pronunciation? Chris is the pronunciation problem. Okay. Like I'm fine. I'm like, you know, I you got your got French down. I miss as much as I get right. But that's that's life. Okay. So I texted you at 10, 12 last night. And I said, right now is when I learned that this movie is not 80 for Brady. Yes, she's not an 80 for Brady. But Jane Fonda is. Correct. Yes. And so I was bringing the book clubs together. Anyway, this is about this is another women of a certain age team up together this time at a retirement community. Because they need to re discover their love of life through cheerleading. She does another dance performance at the end. Because the elderly cheerleaders, you know, overcome all the various obstacles facing them. And they're, you know, all that stands between them and cheerleading. And they perform at the local regional, whatever championships. So it's kind of bringing on, but for seniors. Okay. And she's front and center. And she does like a funny comedy dance thing like she leans into the physicality of all of it. And it is quite funny. Does she look like the spirit fingers guy like choreography while doing it? Yes. But that's the point. Okay. It's going in. Okay. No. No. 2020 love weddings and other disasters. Yes. I think maybe the single worst movie that I saw out of all of that. I was surprised to learn this film existed when I started research. So I think it was ultimately released in December 2020, which should tell you something. And I believe that this has a 4% on Rotten Tomatoes. 4% I've never seen it. That's why I noticed it. 1, 2, 3, 4. Okay. And it starts. So there's Jeremy Irons among many other people who I whose names I don't remember. And it's really about other people getting married. And then he's the wedding planner. And she is there. I think she gets set up on a date with him. But so first of all, it's asking me to believe that Jeremy Irons is a wedding planner. Oh, she's blind. Sorry. I was wondering as you were speaking, what are these other disasters from the title? That's not even the disaster. That's not a disaster. That's a that's a fact of life. I'm not trying to silence you, but we don't need to talk about this movie anymore. Well, anyway, you asked me to say something about a pharmacist. She's blind. Well, so she's, you know, she's, she's playing a lot. Did she adequately perform as a blind person? Well, then she explains a whole art project that she does where she like she does photography by sound. And then it's that's a thing that's fairly convincing. But I would say that Jeremy Irons is the OCD wedding planner was like the bridge too far for me. So Diane Keaton wasn't really the problem here. Mack and Rita. 2022 Mack and Rita. She plays Rita. Yes, Mack. Mack is her younger self. Did this thing? What in the world did it to me? - With a different name. - So this movie is directed by Katie Asselton and it's a girl speaking in Palm Springs and this young woman, Mack. She's 30s and she's just a little bit lost in life. - Okay. - And so-- - But who portrays her? - I have forgotten this young woman's name. I thought that she was perfectly nice, perfectly good. This was a movie that was not good, but not incompetent. - Elizabeth Lail. - Yeah. - Who does? - It was not, it didn't. She's a star of five nights at Freddy's. - Sure, it didn't work, but it wasn't bad, if that makes any sense. I feel like I watched so many movies that I felt were truly-- - Okay. - And previously-- - I like Katie Asselton. - Love weddings and other disasters. That this anyway just didn't work, but Simon Rex isn't it? Briefly, and so she goes to, you know, she has some sort of, or a reading thing in the desert, in a tent with Simon Rex. And then she gets out of the tanning bed and she's her 70 year old self, as played by Diane Keaton, who is honestly the least effective part of the film. She's trying, but Taylor Page, very funny on it. - 2023, we're almost done here, maybe I do. - I did watch this. Oh, this is, this is, oh, sure, reunion with Richard Gear. And also Susan Sarandon and William H. Macy. And this is another one where the young people are getting married. And the old people have some things they need to work out. She and Gear kind of are interesting in it. It's not their problem, but it's a bad movie. - Okay, so that's not going, yeah. Maybe I do the big wedding, love weddings, and other disasters. This seems to be a theme. She's going back to these things. - Yes, well, book club, book club too. They're also going to a wedding. - The next chapter. - Book club, the next chapter. And so they're going on a bachelor at trip to Tuscany. And I remember the Diane Keaton gets a full makeover and she buys all of these fantastic barriers, Diane Keaton dresses. So that's fun that she gets to do that. And also at a vineyard, I think at the rehearsal dinner, there's a kind of cast movie wide performance of Laura bred against Gloria, which is an underrated song in my opinion. - Okay. (laughs) - That's red. 2024 Arthur's whiskey. You didn't get a chance to see this film. - I did, I did it, did you? - I didn't. - I was, do I fail this? - So that's what you're going to just say red because we have to. And then 2024 her final feature film "Summer Camp." Did you watch this? - I did. So this is, well, I said I would do the work. - That's great. - I did the fucking work. - I'm proud of you. - I've not seen a collection of consecutive reds like this in all my time doing this episode. - This is another girl's trip, but it's friends who used to go to camp together and they go back to camp to refine themselves. - Okay, what did you think? - I'm not a camp person. And I, you know, I'm neither Diane Keaton really. - Did you like, did you go to like summer camp? - Day camp. - I never did. - Well, sure. - I only did sleep over camp for basketball. - Okay. - I did sleep over. - Well, that's trading camp, that's different. - That's serious. - Well, I wasn't quite at that level of performance, but that was the only time I slept away camp. - Yeah, this is like sleep away camp, which is like, you know, you know what I mean? 'Cause the film "Sleepway Camp," which is a wonderful horror film that maybe you should get yourself up on if you're gonna talk about teenage sex and death in camp. - Well, I think currently I'm not because you scheduled it for I'm on vacation. - But, at some point, well, you know, I saw it in May. - It was a prerecord some thoughts. We'll play him on this episode. - Summer camp's not going in. I don't really think Diane Keaton was a huge summer camp person either. - Okay, the Hall of Fame. - Yeah. - Right now we've got seven greens and two, four, six, eight yellows. - Okay. - Three of these yellows must be turned green. - Okay, so looking for Mr. Goodbar, yes. - I fully agree. Looking for Mr. Goodbar, yes. - Why don't we just put Godfather in with Godfather part two? - Under the Robert Duvall umbrella. - I think you have to. - Okay. - I think it would be incomplete if we did that. - But that's fine, but that's just one. - Yeah. - That's how you guys did that. - Is that how we did it? We just counted it as one film. - Am I incorrect on that? - No, that is correct. - Okay, then let's do exactly that. - Listen to that whole episode. - Thank you very much for supporting Tracey Lutz. - I almost was like, should we call Tracey right now? Like live and be like, what should we put in the day and Keaton Hall of Fame? But he, you know? - He and I spoke about whether or not this should be something he should participate in, but he did say to me, I can at least share this, that he was not very up on a lot of the later films. - Right, well neither were you. - I knew that's, and I still aren't. Okay, so play it again, Sam. Yeah, you're nay. - Nay. - I say nay, Manhattan. - Yay. - I think so. - I listen. - Now that gets us down to one more spot. - Okay. - See, I don't father the bride. Maybe we should, what? I think would your brother have shoot the moon or Manhattan? - She's the show in shoot the moon. - I'm fine with that, but you can't be like, thank you for spending so much time talking about this movie and not put Manhattan in, then as a result, that wasn't, that wasn't my decision. - We still have two blues to choose. - So you'll do Manhattan as blue? - Well, that seems problematic. - Okay. - Let's get it say. - What do you, Jack, is that, what do you think about that? - That's not problematic, come on. - I don't think so either. I really like Manhattan. I always really liked it as a movie, even though it's got some very funky stuff going on. So we'll say father the bride is in. - Okay. - You want to do shoot the moon instead of Manhattan, if you want. - Maybe you'll do Manhattan. - I have any hall and Manhattan murder mystery. Like we have, we have a lot of things here. - This is her most significant collaborator. - Okay. - And we would have-- - And three different registers, I would say. - And you're right, and we do also have three. - Nancy, so-- - That seems appropriate. - Okay. - Great. - And then maybe shoot the moon as my blue. - Okay, that's interesting. Do you think about that? - I'm good with that, and I will-- - Would you do morning glory? - I will probably do morning glory as my blue. Even though some people say that I've already let that message be known, let me reinforce it. - I think this is right. - Okay. - What do you think about this? I'm gonna all read it off to you. The godfather one and two exist in one slot, just cheating, but it's okay. Any hall looking for Mr. Goodbar, Manhattan reds, shoot the moon as my blue, baby boom, father of the bride, Manhattan murder mystery, the first wives club, something's gotta give, and your blue is morning glory. - Yeah, this feels correct. - That's right. And that's what, 30, that represents 30 years of a 50 year career. - Yeah, and then what happened? - Watch every one of those movies. - I mean, more than 30 years, it's almost 40 years. - Yeah. - Nearly 40 years. And then she made a lot of other movies. What movie of the one side described her you most curious about? - None of them. I like the one with the dog narrator. - Oh yeah, that was good one. - Yeah, that had a good cast. - Yeah. - Maybe I'll check that out. - I don't think that you should. - And I'd also like to be full on Rob Reiner. Like I'd like to see all the Rob Reiner movies. So maybe I'll watch that one. Maybe I do where you said Michael Douglas is a racist real estate agent. - Well, he's certainly, yeah, he's insensitive. Yeah. - Okay, insensitive. Well, there's a fine line there. - Well, it's not really that. - Did you call him a racist or not? - And it's the character. It's not really that fine of a line. - Got it. Any closing thoughts on Diane Keaton? Wonderful star of stage and screen. - A legend. This is one of the ones where even where I was watching the ridiculous movies. I mean, sometimes that was a little bit of a chore. But otherwise, this was a delight. And it was a different type of movie than normally we got for Hall of Fame. - Will you be screening the good mother at any preschools in the near future? - As you know, I don't really organize any preschool events. So I'm just grateful for those who do. And I show up and then I don't accuse anyone of anything. - Well, that just about does it. We're going to Toronto. That's what we're doing for the rest of this week. Fortunately, we have pre-recorded an episode about what I, certainly one of my favorite movies in the year, I think when he yours as well. - Absolutely. - He invites Olivia Wilde's new movie. - Go see it. - Don't listen to the podcast until you see it. - Yeah, we spoke around spoilers for a bit and then really spoiled the movie and got into it 'cause it is really a rich text. And I've been thinking about writing about this and I'm gonna pick your brain about it a little bit when we get off, but I think about writing about, and maybe we can bleed this into the show, the millennial movie masterpieces. - Oh, okay. - Because that movie is very millennial. - Yes. - And we're getting to the phase now. - And we've reached our era, yeah. - It's like people are in their 40s and they're making a movie. And they're making the movies they wanna make. That's a movie clearly that Olivia Wilde wanted to make for very specific reasons. So anyway, let me give that some thought. And yeah, we'll be crossing the border. Hopefully they'll let you back in the country. You think they will? - I did this morning, put my passport in my bag so I wouldn't forget it because like five times. Last week I googled the adapter, powerful situation. We're all on the clear and ready to go. - Good job. - Yeah. Do you know what province we're traveling to? - Ontario. - Correct. - Yeah, I did know that. I got to study the provinces for, so when I get there, I'm not, what happened? If you don't know they murder you, what do they do? - Yes, very Canadian. - They kill you publicly. I'm excited about that. Thanks to our producer Jack Sanders for his work on this episode. Thanks to Lucas Cabinoff for the production support. As I said, we will have the invite coming on the show on Friday. See you then. (upbeat music) (upbeat music)