The Robert Duvall Hall of Fame

I'm Sean Fantasy and this is the big picture and conversation show about Robert DuVal. Today on the show we are building a Hall of Fame for the quote "American Olivier," an actor whose body of work is so vast that was still catching up with his movies at one a.m. last night. I'm here with playwright, actor, Balm Vivon, the King of Physical Media, Tracy Letts. We're gonna honor Robert DuVal in this episode. It's all coming up right after this. Okay, Tracy, hello. Hi. Are you excited about this endeavor? You raised your hand for this, did you not? I did. Yeah, I'm excited about it. Sure. I love Robert DuVal. You know, when he died, he died right around the same time as Fredrick Wiseman. They died the same day or maybe a day apart. And my first thought was, well, we've lost our greatest actor and our greatest documentarian at the same time. And then I thought, well, I'm given the superlative. Maybe that's not the case. Maybe I should say my favorite actor or one of my favorite actors because people value different things in their actors. Some people love a movie star, most people love a movie star. And DuVal was a movie star, but he was also a character actor and a, and that guy and he could be the lead in movies. But more often than not a supporting player. And I realized that when I thought of him as our greatest actor, what I was thinking of, he's the kind of actor that I especially admire. He exemplified for me what great screen acting is. That's what I, when you mentioned a great screen actor, he's one of the first people I think of. Well, what is that though? And what does that mean? Well, it means emotional access, right, that you can easily access, bring to the surface any number of emotions, which is one of the first jobs any actor does. It means a facility with language, which he had. And for me, perhaps most importantly in terms of DuVal, it means a certain transformational ability. You know, movie stars from the most part bring you some, some version of themselves and they perform that version of themselves over and over. And DuVal was certainly capable of doing that and did that a lot. But he was also capable of, you know, if you sit in a place that is, this is essentially me. And then you've sort of fiddle with the dials, you know, you might get some range, but with DuVal, you got a lot of range. You got a tremendous flexibility and a very facile transformational quality that he could play low status, high status, verbal, nonverbal, smart, dumb, rural and urban, especially with him. It was a big swing. And so, and occasionally just uncork something way out of what you would think is his comfort zone. That for me is not only it's not only what great acting is. It's, it's what makes acting fun. It's why I think anybody would want to be an actor, to be able to be different people in different circumstances. And for me, DuVal was the best example of that hard to find a comp. I'm sure we'll talk about that, but it's hard to find a comp. No, there's not, there's, between the vast body of work, the range that you're describing, the thing that I think of with him is, and this was underlined by going back to some of the films, could DuVal canek as well as anyone and could also do quiet. Like you mentioned, verbal and nonverbal, but he could be monoselobic or have no, no dialogue whatsoever in his performance as he does in one very notable one, and convey the same level of power in the performance, whether yelling or not speaking at all. I mean, who are even actors who have that skill? You know, like even beyond movie star looks and movie star charisma, just that sort of range in terms of the kind of characters that you can play is very rare. And I don't think that there's anyone who quite has his career in part because he was born at the right time, given his skill set, and given the kinds of movies he got a chance to be a part of. Right. Well, I mean, if the movies are essentially what, 120 years old, he's, he's the last 60 years of it. I really, he really encompasses a lot. His longevity goes a long way, not just longevity, not just living a long time, but that he could stay vital and continue to explore for such a large part of his career. He gave screen performances in his 90s. I mean, that's, that's extremely rare for someone to do that. And especially someone who started so early and worked so consistently, he made so many movies. He also appeared in dozens of episodes of television. He appeared in some of the most legendary television miniseries of all time. He worked on the stage pretty consistently at the beginning of his career. He wrote films, produced films, directed films, he made a documentary. His, his body work, I think it's a little underrated just in terms of its scope and how interesting he was in all the different phases, because he did not have that kind of, the last time you heard for a Hall of Fame, that read 40 in world building reputation where he had a, you know, ski resort that he turned into a film festival, an ecological preservation site, and he was a very political figure. Doval, he had his point of view on the world, but so much of his time is spent on the work. And it was honestly hard trying to, I feel like I've seen everything. And there were a lot of movies I'd never even heard of that he made. Some of which I thought were terrific. So the part of the fun of these exercises is to try to say like, okay, what matters, right? What are like the 10 signal movies that you have to see and you have to put in canonites. But also when we look back at the movies, half of them we're going to say, you know, take it or leave it. But maybe a third or a quarter of them say, like, this is worth your time. And you should, you should repel into the cave and check it out. Well, in addition to being good, he also had taste, right? And he continually associated himself with good projects. Now, again, it's hard to make good movies. And so there are some, some that don't quite make the grade in here. But for the most part, I mean, he might, he worked so steadily, he put up such big numbers, right? He could, he could put out a few movies that weren't great only to then hit one out of the park. What about you? Why do you love Robert Duval? Well, I think he was kind of given to me because he is a part of so many legendary and historic movies, the Godfather films, Apocalypse Now, a mash. There's a handful of critical 1970s movies that if you're educating yourself and you're born after those movies come out, you have to watch them. So when, when he's in somewhere between five and 10 of the 100 most historic American movies, he's part, he's part of the scenery. Like you have to accept him. And so I don't know that I necessarily appreciated him as much as I should have until I got a little bit older into my teens. And I started seeing him doing interesting and good work in mainstream movies in the 90s. Like not great films, like a civil action. I don't know if you watched the civil action for this, which is, you know, not a movie I really love, but I can see him doing something a little bit different in that film and bringing a different energy and gravitas to that movie that otherwise might not have had. It might have seemed a little shiny, a little Hollywood if he's not there doing what he's doing. And also I obviously have a fetish for that guy's and characters and the idea that someone could transcend in such a way and become such a genuine star. Like he wasn't a guy who had like a moment, he was getting recognized for Academy Awards over a 30 year period. You know, he was getting cast consistently by people for 50 plus years. He also had something that I just really like, which is when somebody has a public reputation as extremely successful, but they have passion projects that are really hard to get off the ground and they have decades long journey of trying to get those things made. It really humanizes the iconography to me. So there's a couple of movies that he made in the later stages of his life that are these fascinating subjects. And one in particular, the apostle was came out right as I was kind of getting wise to independent cinema, the awards game, independent film studios entering the world of studio operations and that movie, which he got a lot of recognition for, kind of confounded me in a good way. It's a real 70s movie in 1997. And so I think that that was a big entry point for me, just beyond seeing him as Tom Hagen and and and and and Kilgore. So I'm very excited to do this with you. I think American Olivier, I think Vincent Cambie was the one who came up with that. I don't get it. I mean, I or rather, I do get it. I just think it's maybe not right. In that, I think what Cambie is referring to is that transformational But the truth is, Lord's Lvivier was a romantic lead for 20 plus years. He was married to Scarlet O'Hara. He was Heathcliff. He was Maxim DeWinter. You've all did not not to mention a lifetime on stage, which Duval did not have, right? Early early stage work and then he went back a couple of times, but not consistently. So I don't think of him as an Lvivier type. He's more workmen like than that, right? He's a grinder. He really is. The period between Godfather and Godfather Part 2 is two years, right? 72 and 74. It's two years. Al Pacino makes two movies between those two. I think James Conn makes three movies between those two. How many movies did Robert Duval make between those two? Two, three, four, five, six, seven. Seven movies. And a couple of leads in there as well. So again, the comp is hard to come by. In some ways, the comp would be closer to Robert De Niro or Meryl Streep. In the kind of variety of roles that they were asked to play, allowed to play, wanted to play. Their leads, they were never character. They were leads with the kind of character actor sensibility, but they're leading men and women. And Duval was rarely that. I think that the American Lvivier asignation is about a kind of commitment over a long period of time to the kind of work that he was doing. We're a Lvivier represents something about the British acting style and this kind of like representational force who could do Shakespeare, who could do some modern work who would pop up in American thrillers and things like that. And I think because of the time, like what Lvivier represents to not just the stage, but British filmmaking, especially those Shakespearean adaptations that he made. And the role that Duval plays in 70s American cinema and this big transformation that's happening there. Him kind of being the glue, like I think you can make the case that he is the binding that happens at that period of time because of all the directors that he works with and the huge best picture nominees that he's a part of. But I agree, like they're obviously completely different kinds of actors. The other reason he's able to make seven movies in that time is though he is in some leads. There's other movies where he shows up for three or four scenes and he brings that intensity that he's famous for and he leaves. But so maybe what maybe what can be meant was simply England's greatest actor America's greatest actor. Do you think that that's something like an idea that was held for a long period of time set aside your own personal interest and appreciation for him? Like, was that how he was understood? Because to me, Pacino De Niro, maybe a couple of other people, Nicholson, I think people came to that. They came to it gradually, just the way his career developed so gradually. I think people finally realized they started to do the math. They started to go, wait a minute, he's Ned Pepper, he's Frank Burns, he's Tom Hagen, he's the great San Diego, right? They started to put all of the math of that together. He may maybe he's the best. Maybe he's the best out of all of them. And it's sad to say Phillips, he more Hoffman might have been the comp, but the longevity issue is sadly really the issue. I mean, by the time Duval makes apocalypse now, he's older than Phil was when he died. Wow. Right. And Duval's got another 40 plus years of a career after that. I mean, that's just heartbreaking to think about, but those two actors, at least in terms of that quiet and that explosive quality, they both shared that. They both, they could go all the way to 11 and then come all the way back down. They could be incredibly vulnerable and sad and they could also be kind of rageful and shielding themselves. Like they did have similar qualities. And again, a kind of dawning awareness of the actor on the part of the audience. Right. People, it's not like Phillips, he more Hoffman sort of exploded on the scene. It was a guy where you kind of looked back and you went, oh, wait a minute, he was this, he was that, he was this, he was that. Yeah. Yeah. That's interesting. I hadn't compared them. I have thought a lot about Phillips, he more Hoffman in my time of often said he's my favorite actor. So that makes maybe that's one more reason why we're here today talking about him. You know, he just passed away earlier this year and he was 95 years old. He was born in 1931 in San Diego, California, though it seems as though he lived most of his life in Maryland in Virginia and identified himself a little bit more with the American South. His father was in the service and they moved around a little bit. And he began acting at 21, 1952. His first gigs were in summer plays at the Gateway Playhouse in Bellport, Long Island, which is where I'll be this summer and is not far from where I grew up. Is that playhouse still exist? I don't know the answer to that. Bellport is a very artistic community, though. And there are many a theater dweller and folks who have performed on the stage who live there to this day. I believe Isabella Rosalini lives there right now. So very quickly kind of takes off in off Broadway productions and eventually makes his way to Broadway. And across the 1950s accumulates a body of work, eventually transitions to television in the late 50s and 1960s. Kind of a similar trajectory to a couple of people we've talked about on this show who passed away in the last few years. It's very similar to Robert Altman's trajectory over the years. Get some of these TV gigs on the Twilight Zone on Route 66 on a lot of these kind of serialized single story programs. Did you go back and look at any of that stuff? So 60 to 62. He's on the Robert Horridge theater. Two episodes of Armstrong Circle Theater playhouse 90 John Brown's raid, which was a TV movie. Great ghost tales. The defenders canes hundreds Shannon Alfred Hitchcock presents four episodes of the naked city. I watched his Alfred Hitchcock presents called ironically bad actor written by Robert Block. Oh, yeah. And he was the lead in that show and grizzly little tale about an actor who cuts off a rival's head and hides it in an ice bucket. And it's pretty standard angry young man stuff for the TV. It's not much to it. What is does that resonate with you as an actor? Sure. A lot of ice buckets in my house. I didn't look at much of the TV stuff, though you could see that that's a place where he really made his bones. His acting style. When you go back and read about it and the way that he operated on sets, it seemed as though he was interested in the method. If not a full-blown practitioner and he worked with Myzner and he seemed to understand a lot of the kind of intellectual components. He didn't really intellectualize the approach whenever he talked about it. I don't know if you spent much time researching any of that. We'll talk about it more perhaps when we get to the Godfather, but all these people worshipped at the altar of Brando. Brando was the icon for all of his sons in the Godfather movies, although it was only seven years younger than Brando. He's a little older vintage than those other dudes, but the same trajectory of acting classes in New York trying to book TV gigs, doing some theater. He knew Gene Hackman and Al Pacino that they all knew each other. They were all coming up together at the same time. The approach, they heard Mr. Devall in his Howard Stern interview when Howard Stern was trying to knock Brando for this business of reading cue cards. There's the photograph you've probably seen of Devall with Brando's lines take to his chest and Devall was quick to say, partly lazy and partly not. There was, in fact, a method to that madness. There was an idea behind it. Brando didn't want to learn the lines too well because he wanted it to seem very fresh. Howard Stern asked him, said, "Did you ever do that?" He said, "I tried it. It didn't work for me." He actually tried to do what Brando was doing and he couldn't make it work. He had to learn the lines the good old traditional way. You'll see in a lot of Devall performances, there are little ad-libs here and there which are making his own, but he definitely knew the lines. But yeah, there is an immersive quality to the performances, but not so immersive. It seems that it couldn't have a conversation with you. Also, he could transform but not disappear. That's an odd thing that not everyone is capable of. Sometimes disappearing is helpful. Sometimes it's not in terms of your iconography or memorability. But I was reading a piece that Scott Cooper, the writer/director, worked with Duval a couple times, wrote for the Guardian after Duval passed. He told a story about visiting his library at his home in Virginia. He had two letters framed in his home. One of them was from Brando. In the letter, he writes to Duval that you are the greatest American actor. It was a compliment that he paid to him and that that was the most impactful, kindest thing that had ever happened. Because of the way that he reviewed Brando, which I thought was really interesting given that they had worked together and not exactly contemporaries, but more or less contemporaries. Brando was a huge star when he was still trying to book television gigs despite that. But I felt that way about Brando. I mean, I heard Duval tell a story about Jean Hackman running into Brando. in Manhattan, just ran into him, didn't know who he, they didn't know each other personally. And they, and ran into him, and Hackman almost burst into tears, he told Duval. So, tremendous meaning in the way he approached the work, the way they all approached the work, the way they learn to approach the work. And so yeah, putting all that stuff into place, but also you're making TV, he's making TV shows. You've got a schedule, you've got a director who's not gonna ask you for a lot of nuance. You're gonna get two takes, and then you're gonna move on to the next thing. Learning how to work is part of the job. You have to learn how to work. - I've been thinking a bit about the recurring creative partnerships that some of these historic figures have over the years. Duval has a couple. He's got, he's got Copolo, of course, where I think as he made six films with Copolo over the years, one, two, three, four, five films over the years. Two with Altman, two with Philip Kaufman sort of, two with Walter Hill, two with Billy Bob Thornton, and he also appeared in another film that Billy Bob Thornton wrote, two with Cooper. But I would say that he is not the most important creative force that he's aligned with over the years. My theory is that it's Horton foot. - Horton foot. - So who is Horton foot as playwright that you are? - Well, he was a great, great playwright, and a great playwright and a great screenwriter. And he had a community of some family and some actors who had done his work both in New York and elsewhere. His daughters were both involved in the business and their husbands, Peter Masterson, who we'll talk about was Horton foot's first cousin. He's the father of Mary Stewart Masterson. And Peter Masterson was directed one of these Horton foot pieces and directed, "Tripped a Bountiful," which Mr. Duval was not in. But yeah, that association was great. And I remember hearing Mr. Duval say that if his career was only comprised of his collaborations with Horton foot, he would have considered it a successful career. I think, is it five, five films written by Horton foot? I think, but they're pretty key. A couple of them will wind up in our Hall of Fame, I'm sure. - I think so too. One of them was very interesting to me and I had not seen it before. The other one that I'll say before we dig into this, one other thing about the American Olivier title is maybe it's because Duval was very comfortable playing historic figures in the same way that Olivier did. In his time, Duval played Eisenhower, Jesse James Stalin, Robert E. Lee, Eichmann, and Joseph Pulitzer. There's probably a few more in there that I didn't remember, but he didn't mind taking on well-known figures and sometimes he could transform into them and sometimes he sort of had a Duval doing them quality. Some of those were TV movies, some of them were feature films, but I think that that might also be a part of it where you could say, well, Olivier has a critical richer, the third, he has a critical Henry, the fifth, a kind of definitional for what those characters look like on movie screens. Seven Academy Award nominations over the years. He, the rare actor who had one in the '70s, '80s, '90s and 2000s, '90 features. He also directed five films and produced a few too. Yeah. What are your thoughts on slightly widening the parameters of the Hall of Fame to include some things that are not strictly, theatrically released films? Didn't you guys put Nicole Kidman, limited series in her Hall of Fame? Which limited series. And I can't, can't hardly do not remember. It's possible. I feel like we've made, we've made some allowances. What's the one in, in, what's the one in the beach with the women, with the, the mystery? What am I thinking of? Big little lies? Yes. Is that what it's called? Can we put big little lies in? I think you did. Don't recall. We did do that. Thumbs up from Sarah Lucas. Sure. Okay. So then the, the answer is yes. You feel comfortable with that idea? I'm saying that I think precedent has been established. And are you up on the blue category that there can be one film that you can choose? We did this for the Redford Hall of Fame, but remind me. Well, so we have Reds Greens and Yellows here on the Hall of Fame. Red is a film that is not in. Yellow is a film that we will hold and we will revisit and see if we should go forward or go backward and put it in red. Green, of course, is going in. Blue indicates that it is outside of the 10 critical films that go into the Hall of Fame. But it's something that we like. It's something that we have a personal connection to that we can make a case for its relevance. It's emotional, important stuff. Is that different than I think this should be in the Hall of Fame and you don't? Well, it's not real down to hard. Do you want to start since we were talking about Horton foot? Yeah, sure. I will throw in a couple of other TV things as we go that I've seen, but I think we can absolutely start. Okay. In 1962, he is cast on the recommendation of Horton foot who wrote the screenplay adaptation of To Kill a Mockingbird directed by Richard Mulligan. And he plays Robert Mulligan. Sorry. Who did I say? You said Richard. Who's Richard Mulligan? I have no idea. He's the star of empty nest. He's an actor. Yeah, he was on soap. That's right. Robert Mulligan. Yeah. And he was boo-radly in the film. Yeah. And he has no lines of dialogue. Right. But he is a critical character. And I'm fond of including the breakthrough in the Hall of Fame. Definitely green. I think it has to. It has to be green. Critical American movie. Terrific movie still holds up very well. Here's the thing. It's if it's not the Great American novel, it's certainly one of the Great American novels. It's a beautiful sort of pitch perfect rendition of the Great American novel. And if he were just one of the townspeople, maybe we wouldn't make a case for Hall of Fame, but he plays a very crucial role. And he's great. I've seen to Killamockingbird on stage a couple of times. Boo-radly is hard, deceptively hard. He doesn't have any lines. He doesn't have to show up until the very end. But you got a lot of responsibility as boo-radly. You have to convey a lot in a short amount of time with no lines. And he's great in it. He's so haunted in this part. I think he's never really looked that way in any other movie. He has almost like this white pallor, and it's like a shock of white hair almost. He never really looked like that again. He looks like a ghost. And I think I think it has to go into. Now if Amanda were here, she'd be like, "All right, you're shooting your load too soon. You can't just pick the first one. You got 89 more movies." I think Amanda would put Killamockingbird in the comic devolves. I don't want to miss representing her point of view. Now in 1963, Captain Newman MD, I haven't seen the film. I'm going to jump in here with some TV. The Untouchables, three episodes of Route 66, The Twilight Zone, The Virginian, Stony Burke, Arrest, and Trial. The Twilight Zone, directed by Walter Grommand, teleplay by Charles Beaumont, who was a great sci-fi writer. And he's the lead in that Twilight Zone. I didn't get a chance to watch it. Yes, Captain Newman MD is the next movie. Did you watch this movie? I did, did you? I did not. Directed by David Miller. It's David Miller's first movie after Lonely Are the Brave, which is an absolutely great movie. Yes. It's Gregory Peck's first movie after The Killamockingbird, and it's Robert DuVolves' first movie after The Killamockingbird. Is that how we got the gig? The Gregory Peck. I don't know. I don't know. I don't know. He's also kind of being asked to do something very similar to Boo Radley. The movie is about an army mental hospital. And Gregory Peck is a psychiatrist who's running this hospital. And so it follows the few case studies of some of these guys who come back from battle. It's pretty bad in that the attitude toward mental illness has really changed a lot since this movie was made. And so Eddie Albert and Bobby Daron, who were both good actors, are asked to perform kind of mental illness that feels very theatrical and ham bone. DuVolvescape some of that because his character is suffering from PTSD or shell shock, probably they called it at the time. And so he's nonverbal. So again, it's kind of a similarity to Boo Radley. He's this nonverbal character who's come back from battle. He's good in the film. Gregory Peck is great in the film. The movie does not hold up. Well, that sounds like a red to me. There's going to be a few spots where you're filling in my blank spots because I know you worked so avidly to prepare for this episode. Since this is your job. Let me throw in some more TV after this. The lieutenant craft suspense theater. Three episodes of the outer limits, three episodes of the fugitive, voyaged to the bottom of the sea. I did watch his outer limits episode called the chameleon. Well, he did three outer limits episodes but he did one called the chameleon notable because teleplay by Robert Town. Ow. Yeah. Wonderful. How was it? It's not very good. Okay. That's a problem with doing what you've done. Is sometimes, you know, there's only so many 23-minute intervals in the day where you can check in on old television and then you're a bit heartbroken when you get to the end of an episode and you're like, "Well, I didn't work out." And I don't know why I did that. That wasn't a good use of my time. I appreciate all of your hard work. There's a two-year gap where he films all that television and then he appears briefly in Nightmare on the Sun as a motorcycleist. Not much to say about this, right? Did you watch it? I watched it. some of it. I watched it direct by Mark Lawrence, who was a bastard who sang like a bird in front of the House on American Activities Committee, so to hell with him. It's very much like that. What's the Oliver Stone movie with Sean Penn where he's in the little desert town, little noir. You turn. You turn. It's basically the plot of you turn. John Derrick is in the Sean Penn role, Ursula Andrews, Ursula Andrews, who was John Derrick's wife at the time. Apparently, there was a promise made that John Derrick was going to get her naked for the movie, but that didn't wind up happening. I'm not sure why, since she certainly was not shy about taking off her clothes and some movies later on, but thanks to her for that. Duval and Richard Jaigel show up as these motorcycle guys who are trying to capture John Derrick, but they're motorcycle guys who are both like balding, blonde, haired guys in cardigan sweaters. It's very strange. I don't know what accounts for that. And then there's a scene where Duval whips his motorcycle with a length of chain in a fit of impotent rage. It's not a good movie. That's a red as well for Nightmare in the Sun. 1966, a film we've already discussed. We discussed it on the Robert Redford chase, which you were a fan of. I like it better than you. I was a little less. I mean, and I both were a little less intrigued, fascinating cast in that film. Duval's got a, it's got a relevant part written by Horton's foot. Indeed. It's a relevant part, but here he is one of the townspeople that really is the party's playing here. No, it's not going in his hall of fame. Two more years go by. Oh, wait a minute, I got some more TV. And there's the defenders. Bob Hope presents the Chrysler theater, Hawk, the felony squad, Shane. And a TV movie called Fame is the name of the game. Did you watch this? No. Directed by Stuart Rosenberg. Oh, sure. Yeah. And stars Tony Fransiosa, Jill St. John and Susan St. James. Maybe the only time the St. John and Susan St. James. Yes. Yeah. It's like the Avengers. It was advertised on NBC as the first made for television movie, which is just flatly not true. I don't know how they got away with advertising that. Tony Fransiosa is the lead and he is a features writer for a magazine called Fame in Los Angeles. You should see it just to see his office just to see the features writers office. It's palatial. It has a magnificent view. It's got its own bathroom and he has a personal secretary played by Susan St. James working in the office. It was such a popular TV movie. They turned it into a series with Tony Fransiosa. I guess I guess there is a there is a theme song that rings out in my mind. Fame is the name of the game. It was a from that series. It was the it was kind of a backdoor pilot. Yeah. And Dave Alder's not have a big part in it, but Stuart Rosenberg is somebody who would come back later in his career. Yes. For sure. We spoke about him quite a bit during our Paul Newman episode, actually. Oh, even before we get to the next movie, two episodes of The Time Tunnel, two episodes of THCAT and an episode of Combat. Do you know what THCAT was? I don't. Well, it was about a cat burglar who's who's initials spelled THE THCAT anyway played by Robert Lozier. I thought you'd appreciate that. I'm going to love it. I do love Lozier. Now it's notable that you mentioned combat because I do believe combat is where Robert Duval met Robert Altman. Yeah. And his next feature film 1967 is Countdown, which is Robert Altman's debut feature. I guess technically his second feature film, but his first in the studio system for Warner Brothers. And it's a Space Sman movie, a movie about NASA, about aspiring astronauts and their it's the Apollo 13. It's the early version of Apollo 13 and Robert Duval is playing the Gary Sunise part from Apollo 13. He certainly is. Have you revisited this recently? Did you watch it for this? I did. It wasn't a revisit for me. I'd never seen it. Oh, interesting. James Conne also in this film. Fascinating movie. I think a bit stiff, but you can feel Altman trying to inject the movie with his style, his overlapping dialogue, his attempt to kind of move the camera in a way that was unusual during that period of time and create a little bit of depth of character and a movie that otherwise would have been I think a little stiffer with a different kind of filmmaker. Duval's pretty good in this movie, I think. Yes. He's quite good. He's very rarely going to say he's not good in this. I think this is the first movie of his, though, where I see his that lack of fear to be abrasive as a character, you know, to be confrontational, to be a little bit loud. He'll lose his cool a little bit. Seems to emerge here. I agree, but I think it's red. It's red. 1960 at the detective. Oh, sorry. Got us jumping here. Simmerone strip. The Wild Wild West. Flesh and blood run for your life. Judd for the defense. Yeah. Okay. The detective. Directed by Gordon Douglas written by Abby Mann. Yes. Curious feature film. Stars Frank Sinatra as the titular detective. Duval is one of his colleagues is also a police detective. Yeah. I would say relatively modest supporting part. The milieu of the movie is quite something. It's around the murder of a gay man and it tries to explore the gay lifestyle at this time through the eyes of police detectives who don't really understand it. I think maybe for its time, it thought it was being sensitive. It now seems bit outmoded and outdated. Bit of an odd Sinatra performance. If anyone has seemed less like a cop to me, I don't know if Frank Sinatra is one of them. I'm just exhausted by Frank Sinatra. He just, I don't know what to make of him. It's like, yeah, you're a great singer and you're a pretty good actor, but you're also this Vegas guy and you're, are you mopped up, you're a bully, you're a Democrat, but you're a friend with Ronald Reagan. I don't know what's going on. It's just exhausting. Okay. Have you, did you have a chance to meet the man? No, God no. I used to have you right in the nose exactly. I did have a nightmare where he beat me up in an elevator. No kidding. Nobody helped me. They were all cheering Frank on. I think that was a common occurrence, honestly. He didn't have men who would beat you up though he wouldn't do it himself. The detective is definitely red. It's an interesting art. In fact, popped in my twilight time, Blu-ray for this. As did I. 1968 bullet. So I didn't revisit bullet. I couldn't quite remember the context of DuVal's character. So fill me in. Is he, is this, is he the cab driver? He is the cab driver. Okay. He takes the mobster around and then later bullet finds him and asks him to retrace his steps. And he has a pretty good memory about where the mobster went and what the mobster did. It's really very functionary. A small part. And it's such an interesting thing that he could be, play a critical role into Killamockingbird. Five years later, he's got a leading role in a Warner Brothers astronaut drama. And then one year later, he's got a ninth build speaking part in bullet. So interesting. The way that he just chose parts and picked projects or hoped to get hired for things while we're doing all of this television. Yeah. I don't know. Maybe help me understand this as somebody, you know, you get offered a lot of things. You don't do everything. But sometimes there's something that you really want. Like the psychology. Sometimes you go, oh, I've got the time. And I like Peter Yates. And I'd like to be in a Steve McQueen movie. And I'll have scenes with McQueen. And oh, get me out to San Francisco for a week. Yeah. I've got the time. I can do that. You think that's what it was? You know, you've all married four times. No children. So as we get into some of the more workaholic ways, it's like the kids will put a real crimp in those plans. Ain't that the truth? It's funny that you say that too. He was pretty open about this in the later part of his life, said, I tried many times as a woman I was married to and women I was not married to. I guess I must be shooting blanks. But I think that that might contribute at least in part to the fact that, look, I mean, every single year through in the 1970s, he's got multiple projects. It's amazing how frequently he worked. And so bullet, while it is a legendary film, I don't think he's working it as legendary for the purposes of this exercise. No. Red 1969 true grid. Hold on. I've got to jump in here with CBS Playhouse, the mod squad and five episodes of the FBI. I pointed out because now it stops with true grid. It stops. So it's almost as if he is making a real career decision here. I've done enough of this TV. He had done 30 or some episodes of television. And he said, that's enough. And I want to make movies now. And his stock was starting to rise a bit in the movie world. And so he calls it quits. And yeah, makes true grid in 69. So he plays Ned Pepper, a very memorable part. Not a big part. Not a big part. Famously, infamously hated Henry Hathaway. They hated each other in this movie. He gets a good performance out of him. I think his movie is a little bit stiff. It's best known for being the film that got John Wayne, his best actor Oscar. After so many years, love the novel. I think the novel is one of the, the absolute classics of the 20th century. Well, in the screenplay by Marguerite Roberts, he was very closely to the Charles Portis book. As does the Cohen's adaptation. I mean, there are a lot of lines. Just, you know, why would you go in and screw with that unbelievable dialogue? I call that bold talk for a one-eyed fat man, right? That's Stuvall's line. It's just great. great stuff. I don't know that it's necessarily worthy of the haul, but he keeps finding himself in these movies, in these parts, like, you know, he's showing up in bullets, showing up in true grit. This is how you start to amass this, like, that quality of, if I don't know his name, I know that face. And then you start to situate yourself with common, common movie goers. And then every time you show up in something, you represent a standard of quality, I think, in addition to these reams and reams of TV that you just listed in. You said you watched all of it, right? You saw every single episode of television. I did not see every single episode. Okay. Good. Uh, true grit in. No. True grit's red. 1969, the rain people. This part was originally meant for rip torn and rip torn couldn't make it. He was cast in Francis Ford Coppola's film, um, opposite James Khan. He plays a remind me, what is he, what is he, is he, is he a man who's picked up on the side of the road? The devolker. Yeah, he's the father. He's a cop. He's a, he's the highway patrol. He's the highway patrol. That's what it is. He's the highway patrolman who picks them up and brings them back to his house. And by the way, it's a little more, there's a little more to the story than rip torn couldn't make it. Do you know this story? Share it. So rip torn, Shirley Knight and James Khan rehearse for weeks in New York with Francis Ford Coppola. And then Coppola takes Shirley Knight and James Khan out. They're going to go out on the road and they're going to shoot essentially, sequentially. The cop doesn't show up until the last third of the movie. So he, they're going out on the road and Coppola has decided, we're going to shoot and, and I'm going to remain somewhat improvisatory about this. If I see something interesting, we're going to go there or if we, if we, if we, we don't have a definitive calendar, but we'll see you in Ogolala down the road in a month. And they leave rip torn with the motorcycle because he's playing a motorcycle cop. So they leave the motorcycle with rip torn in New York. And they tell him to learn how to ride the motorcycle. Well, the motorcycle gets stolen from out in front of rip torn house. And rip torn says, it's in my deal. You have to provide me with a motorcycle to learn. And Coppola says, well, we can't, you know, it's a low budget movie. We can't actually get you another, we can get you like a, we can get you a second, you know, a secondhand motorcycle that you can learn on. And torn's mad about it and he says, that wasn't the deal. And then they reach out to him and they wanted him to, they wanted him to get his shoe and calf measured for the boots that he had to wear. And torn said, that's it and quit. So they're out on the road filming the movie. And suddenly the guy they've been rehearsing with for weeks can appear James Conn recommends Robert DeVal because they had worked together on countdown. And Shirley Knight had done an episode of Naked City with Robert DeVal. So they both had associations with them and they tell Coppola, you should hire Robert DeVal. Change the history of movies, really. I mean, that's the first time Coppola meets DeVal is working on this film. We will get to their reunion. The rain people is an interesting movie, his performances, I remember, what I remember most about the performances is the bad, dad quality that that character has, which is something he would return to in his time as a, as a film actor. And he's very effective and very menacing in this movie. I don't think it's one of his best performances or one of the most critical performances of all time. I would consider a yellow for this performance because it's becoming the first union with Coppola. We can yellow it. We're going to yellow it. 1970 mash, this is his second film with Altman and he plays Frank Burns, who is the detestable Frank Burns. I mean, immediately identified at the beginning of the film as the enemy to the two surgeons who come in in this movie. There's thing, I didn't play a lot of characters like this, like the unlikable kind of squirrely heel. It also gets the girl weirdly in hot lips, perfectly fine performance. I think we Frank Burns wouldn't mean anything to us, we're not for the TV show. I think the TV show kind of solidifies Frank Burns, Larry Lindville, who was great as Frank Burns, overtly comic performance on the TV show. But I think he's what cement Frank Burns in the public mind, in a way that the TV show never happened. I don't think Frank Burns, the name would have any meaning for us. And the performance, let's face it, it's not a big part of the film, it's very much a part of an ensemble. It's weird because the film itself is so full of ridiculousness and Duval very rarely played that note as an actor. It was hard for him to not be dignified. And so to me I say this is red. I agree. 1970, the Revolutionary, now I had never seen this movie, speaking of Long Island, this comes from Paul Williams, a filmmaker, only made a handful of films. And what an interesting movie this is, not entirely successful, I would say. I agree. But quite an interesting portrait of a revolutionary played by John Voight at the end of the 1960s, who goes on a kind of journey of exploration in terms of what kind of revolutionary he wants to be, what kind of action he wants to take, what kind of community he wants to be a part of. And it's kind of this like roving journey movie where he moves from place to place. And he does eventually make a connection with Duval's character, who is this sort of zealot, sort of like hard, seemingly far left figure attempting to, you know, incite true revolution. I found Duval's performance to be a little anonymous in this movie because it's very much in the psychology of John Voight, who's somewhere between hyper-intellectualized and also wishy washy at the same time movies. It's interesting comment on the vagueness of the movements in that time. Right. I'm glad I watched it. I am too. I was surprised that I didn't know anything about it. It's like, how does a movie with John Voight and Robert Duval, that's not terrible. How does it just have no footprint at all? It's not a terrible movie. It's kind of interesting. John Voight's very good in it. He is very good. Duval, playing this character of Dispard, yeah, he set up as a kind of, as a bit of a revolutionary guru, only to find that maybe he's also having to play the game to a certain extent. Yeah, it's not a, it's not a, it's not a green, but I'm glad I watched it. I am too. Well, I want to see the rest of Williams' movies. Tarantino and cinema speculation wrote a bit about Paul Williams and how his filmography is a bit overlooked or not really preserved in the way that it should be, but he made his previous movie out of it. It also features John Voight. One of his first film performances, I guess, the same year as Mennike Cowboy. And Dealing or the Berkeley to Boston 40 brick lost bag blues was his film that came out two years later, stars Michael Douglass, based on a Michael Crite novel. I'm not seeing those films. I'm like, check them out. I've seen Dealing, though, a long time ago. I should try to search that out again. The revolutionary probably read. Yeah. This is an interesting one. THX1138. I. Isn't Lawman first? Maybe I have the winner. I have THX here, but we can do what you want to talk to Lawman. Sure. It's terrible. Michael Winner's a terrible director. Yes. From the visionary who brought you Death Wish comes a bad western. He was terrible then. He was always terrible and apparently a terrible person to. Yeah. People say he was not a nice man. Written by Gerald Wilson, who wrote some pretty good thrillers from that period, as I recall, with Bert Landcaster and Lee J. Cobb, I got to tell you, I'm out on Lee J. Cobb. No kidding. I'm kind of out on Lee J. Cobb. It's pretty. Pretty hambo. Good lord. It's a terrible movie and it's just like Michael Winner didn't get the memo that something interesting was happening in Hollywood at the time because in a lot of ways it feels like a movie from 1958. It is old-fashioned, but you can see him trying to do things with the camera that. You can feel him performing the act of Autorism or all these insane zooms throughout the movie that feel very modern, but he doesn't know how to use them to psychologist the characters. He's just doing them because he thinks they look cool, which is the one kind of tactic in the film that makes it feel not like a Kirk Douglas movie from 1955. I agree. It's not very good. It's definitely not going in. Let's talk about THX. He's the titular THX. This is George Lucas' first movie. This is a. That's right. Critical movie and the history of science fiction. You go to science fiction. You see THX up on the screen. I don't guess you see that anymore, but you're used to for a while, CTHX on the screen. Robert DuVole was THX. He literally was. And he had met George Lucas because George Lucas was making a documentary about the making of the rain people. Oh, of course. So, again, if Rip Torne, wow, doesn't show up. It was DuVole's introduction to Coppola and Lucas. Is this Robert DuVole's only science fiction film? I think so. No. The sixth day with Arnold Schwarzenegger. That's right, of course. I also did not revisit that, but good shout on that one. Technically, he's in the invasion of the body snatchers, but. That's right. Well, you know, but this is real sci-fi. I mean, this is a hard-core sci-fi. Yes. I mean, a very interesting movie, a very important movie, I think, into the New Hollywood in a lot of ways. It's a bit dull now when I look. back at it. I didn't rewatch it in full for this. And I did. I did. I did rewatch it for this. Very different performance from him as I recall too, you know, because he also is a very internal, very quiet, very nice. Well, it's his first lead. Yeah. The first leading role he's played on film. And yeah, it's, I mean, I just admire its experimental nature. It's an experimental movie, right? He had made it originally. Lucas had made it as a, as his thesis project when he was at USC. And so then somebody gave him some money to turn it into a, into a feature. But there are, I mean, obviously borrowing liberally from 2001, some of the elliptical things that are happening in this film. And I had only ever seen it in like bad tube, you know, late night TV or VHS. So to see it now on the blue on the big screens, like, Oh, that's, it's really something. That's Lucas's best film. You think it's Lucas's best film? You can take. So not American graffiti, not in the conversation either. Despite, we know you're, we know your stance on Star Wars. And you can, you can leave that. I love Star Wars. Leave me alone. Okay. Have you got feedback on that? Yeah. What's it been like? I gotta say, you know, split. Oh, really? Oh, there's a real split. You've got, you've got trench run haters who've joined your side. I've got a lot of support for my take on the trench run. A lot of support. So are these prominent figures in the industry who are calling you up and saying Tracy, sir, thank you for your fearlessness, your courage in the face of big trench run? Let's say yes. Let's say yes, they are. T H X, screenplay by George Lucas and Walter Merch. Indeed, who was a soundman and the soundscape in T H X is wild. Yeah. You can just, I need to rewatch this. You should just listen to it. And the soundscape is really something. I'm waiting on the 4K for this, to be honest with you. Where is that? I don't know where the 4K is. I actually had to replace my, my disc was corrupted. I had to get a new disc. So I was wrong with it. That's T H X, Ian. There you go. Extras in T H X played by members of the cult synonon. Synonon was a very violent cult. Eventually got into a lot of trouble in San Francisco. A lot of people went to prison and they put a de rattled rattlesnake in the mailbox of the district attorney. And he actually got bit by the rattlesnake. I mean, synonon has an ugly history, but they're the extras in T H X. Yeah, there was a documentary about synonon, but a couple of years ago on HBX called the synonon fix upsetting stuff because no George Lucas got them paid. Is this yellow? Sure. Okay. 1972, the Godfather. Perhaps you've heard of it. It's one of the most critical American works of art of the last 200 years. And he plays Tom Hagen, who was my emotional entry point as a slightly taciturn emotionally inert Irish man. I'm German Irish, one of my favorite line readings in movie history. I love, I love Tom Hagen. I think Tom Hagen is such a necessary part of this story. Essential. And, you know, I think that for an actor who could be so explosive, the choice to play Tom in this way throughout both of these movies is very shrewd because he's up against so many powerhouses and not just, you know, Vito and Sunny, but Clemenza and Tessio and, you know, obviously Michael, he's like explosive performers, cute charisma machines. And for him to just withdraw in the way that he does is so great. And he's the really the metronome of the movie. But he's used so brilliantly by Coppola throughout the two films. The times that he steps forward, the times that suddenly the scene is about him. I mean, I was thinking of this. I rewatched both Godfather's for for this draft. I rewatched them with Carrie. And I was thinking about the horse's head. And I I actually paused the movie and I turned to Karen. I said, who whose idea was that? I mean, was it Tom's idea? Just Tom go to the dawn and say he's not going to budge. And the dawn says cut off the horse's head and put it in his bed. I don't think so. I think it's Tom. I've never scrapped that level of malevolence to Tom. Who's making that call? This is the kind of thing. That's a big move. To my my reading of that scene is always that scene that we never see is that Vito says, what does he care about? What matters to him? And Tom knows he can tell him, well, we had this encounter in the Stables. And I saw the affection that he showed to a cartoon. I think there's another way to read it, which is that Vito sends him out and says, take care of it. Could be. And Tom could be takes care of the best. When Sonny dies, the choice, this is a screenwriter's choice. That Tom is the one to tell the dawn, right? Brilliant. The choice that the dawn comforts Tom and not the other way around. Now, I don't know if that's screenwriting, or if that's directing, or if that's the actor, but it's brilliant. It's absolutely brilliant. Yeah, there's something. There's an unspoken vulnerability in Tom as a character who's brought into that world, who is adopted into it, and who is made to feel like he belongs to something, and yet is still on the outside in some way. It's a very very psychologically complicated character who never really gets to talk about that. And if this, if that character were in a movie today, you'd get the origin story, you'd get, well, we knew his mother and she was a drug addict or, you know, he was a good friend of his and we brought him in because he was good at book learning. There would have been more. There's not a lot there in the movie. I think there's more in the book. I've not read the book. It's not good. One of the reasons I haven't read it is I hear that over and over again. But I'm happy to not know about it. I think, obviously, Tom Hagen is going into the Hall of Fame in some former fashion. The question is once twice. I don't know. He's absolutely going, do you want to have a whole Godfather discussion now? There's a lot of work between two. So why don't we just talk to now? Okay. I'm a little out on two. Oh, I just said this on a show. I just said this on the on a recent Star Wars episode. I was like two has flaws. For one thing, so I watch both of these with Kerry. Can I tell you the story? This is a good place to do it. Yeah. I first saw the Godfather. The first time I saw it was when it was on TV as what was it called? The Godfather's saga, the entire novel on screen or something. Francis Ford Coppola put the two movies together. He put them in chronological order. So we start with De Niro in the old country. Then we moved to the Godfather film. Then we moved to the Michael section. The first time you saw it, you saw it. Oh, interesting. It was 1977. So I would have been 12 years old. Okay. He also added an hour's worth of footage. I mean, from the time the Godfather first appeared, they were like, how the hell are we going to put this on TV? The biggest movie in history and it was rated R. How the hell are we going to get it on TV without just hacking it up? Coppola wasn't going to let them go in and just hack it up. So he puts this together and played like a mini series over three nights. That's the first time I saw it. And I remember even then, I really enjoyed the Italian section with De Niro and Bruno Kirby and Gaston. What's the name of the guy who plays Fanucci? There's a great actor who's also in the conformist, great Italian actor. I really love that section of the movie. I've found that very compelling. And then the Godfather starts. Then we go to the wedding. And I believe in America and we watch the God. And when I believe in America starts, even then you had a sense of, oh, no, this is really special. It was good before, but now this is especially good. This is really special. And you get the Godfather. And then you go to Michael's story in the Godfather part two. And then when I watched with Carrie, first of all, Carrie and I had watched earlier, during the pandemic, we watched the Godfather movies. So I put on the Godfather here recently and she was like, we're watching the Godfather. And I said, well, I'm doing the Duval Draft. I want to revisit it. We watched the Godfather. And we got about maybe about where Johnny Fontaine arrives at the wedding. And Carrie said, I've never seen the Godfather before. And I said, you watched it with me during the pandemic. And she said, I remember absolutely nothing. I don't remember any of the characters. I don't remember the milieu. I don't remember the time. I don't remember nothing. Oh, man. So, you know, I need to get Carrie into get some testing. Well, but the pandemic did do that to us. That's right. There are things that happened in that time that I don't remember either. So we watched the Godfather. And the next night we watched the Godfather Part 2. And we were both a little look warm on Godfather Part 2. Can I, well, let me just say something. I think it's actually not helpful to watch them in close succession. I think it's nice to watch them as their own separate artifacts. and think about what it was like to see it in 72 and then to wait two years to see part two. And to be brought back into that feeling because I think narratively it just, it does not feel as strong as part one does. It does not feel as essential to understanding that world. It feels like a lot of the magnitude of Michael's crisis is a somewhat iterative to his crisis in one. It's just an elevation of that crisis. And I just, I have never really had the strongest affinity for the De Niro sections of part two. I acknowledge its total mastery from a filmmaking perspective and a performance perspective. I think it's a great film. I'm not saying that Godfather to his bad. But I definitely, if I had to choose, I would choose one over two any day the week. But I, I'm, I'm like the De Niro section more than the Michael section in part two because I just don't find following Michael's joyless churning through his job. Yeah. Well, it's a true descent into evil, though. That's, I mean, it is real. How much of a descent it is. It seems kind of there when the movie starts. That's fair. That's well, I mean, what he does to Frado is the. Frado is totalizing. Frado, and here's, here's something that'll piss off everybody I know. I don't think Leastrossberg's that good. Oh, really? I don't think he's that good. Oh, I know that I can't agree with it. I really like. Here's another thing. I gotta say, I'm watching with my wife. I can't help but watch a little bit through her eyes. Man, there's not much for the ladies in these movies. Well, that's a fact. You know, the truth is, do you know how many scenes involve a guy telling the ladies, please leave the room? Or you shut up? Or don't interrupt? Or it's not wrong, but I would argue that that's a key theme of the movie. I don't deny it. I recognize that it's part of the film. But still, when Michael shuts the door in case face, I felt like he was shutting the door and carries face. So just like, I'm sorry. You just don't get to be a part of this. You're not wrong. So you're saying we should delete the Godfather films. No one should see them. They're terrible. I love, first of all, I'm not submitting to your tyranny of these questions. I know all about this. This is second of all, I love the Godfather movies. I recognize how great Godfather part to us. I do recognize it's an absolute great movie. And there's a mastery of the film language there that's just undeniable. Yeah. John Cazal for me is MVP in that in part two. And if you want to green Duval for God, the Godfather's, can we do that? We just, we'll give him a green for Tom Hagen. Well, what does Tom say? I was always loyal to you, Michael. You know, and he, it's the best he has in two. For the most part, he's just sitting there telling Kate of, you know, chill out. Yeah, but that moment is so very powerful. And it's great. Yeah, I would, I would choose one over two. If I had to choose both because I love the movie more. And I think he has a little bit more to do. He has a little bit more complexity. You mentioned he gets that scene where he gets the talk to the dawn. So I'll, I'll say we'll do two as the green. But if you want to count it as the saga, and then, you know, we can also talk about the fact that he's not in three. See, that's the thing. I think we should also put three in his Hall of Fame because his absence, his absence, I agree. I mean, it's pure director hubris. I've seen it in storefront theater in Chicago when a director suddenly gets to a point. They go, it doesn't matter. You know, I'm gonna, I'm gonna make, this is gonna be great. It doesn't matter who it is. It's like, actually, it does matter. And you've killed off James, right? You've killed off so many of the energetic characters from the first two movies. Pay the money. Pay him the goddamn money and get Duval on. So famously Duval felt that he was not getting the quote he should have gotten to appear in Godfather's area, especially relative to his co-star Al Pacino. So he didn't take the part and he, the part was rewritten and recast with George Hamilton. And that is also one of the reasons why they're just two very different kinds of actors, two different kinds of, that's another part of my problem with two, by the way, the, the, the, Richard Castelano not coming back. I love, I love, I love, I love Pantangely though. That's one of my favorite characters. They're so clearly, when you see the writing of the, the, the De Niro section with Clemenza, it's, he's so clearly meant to be an echo of that. In the later scenes, it's real. I mean, I understand maybe that wasn't a couple of his hubris. Maybe that was Richard Castelano's hubris. Based on what we know about him. It does seem like he asked for the moon in the stars. I, I, I think that that's one of those rare blessing in disguise. I, I, I really think what a, what Frankie Five Angels does is really special in that movie anyhow. We'll put, put the, put the Godfather in as an experience, but it counts as one. Great. This episode is brought to you by Apple and AT&T. Scroll long enough and you'll hear it all. Miracle diets, fitness trends, you name it. But with iPhone and Apple Watch, you get meaningful insights from a very trusted source, your body. You can track sleep quality, cardio fitness and more, then unpack all the information and the health app on iPhone to get a picture of your overall health. These health insights are developed with clinical experts from start to finish. Find out more at apple.com/health. Apple Watch is not a medical device and should not be used as a substitute for professional medical advice. The great North Field Minnesota raid, which is the feature film debut of Philip Kaufman. San Francisco filmmaker again. We're in with the San Francisco guys. Yes. And this is an old West Heist movie starting due of all his Jesse James. Now, haven't seen this in a minute. I watched it. Was it the first time you're first time seeing it? It was. What do you think? One of those hippie westerns, you know. Just like we don't need to cut these guys here. That's how they would have worn it in the old West. He gets a lot of work in their revisionist westerns in the 70s. Yeah. It's all right. It's all right. Yeah. His take on Jesse James is. Well, he plays him like pretty ignorant, right? Pretty ignorant type, which is, you know, probably. I feel like that's the accurate. I think that's probably the critical rating of the character, even though he's sometimes as portrayed as much slicker and more debonair in a way. Yeah. I think the movie is kind of interesting. It's fascinating that he. That this run of movies that he makes in 1973. I don't know how much time we can spend on all of them, but I will say great North Field Minnesota raid is read. 1973, tomorrow, complete discovery for me had never heard of this movie. This is a Horton foot road and based on a William Faulkner's story, I had not, which I had not read. And DuVal plays a poor migrant farmer who comes to meet a pregnant woman. And they form a bond. And this is like a very complex, quiet, independent film. That clearly only exists because Horton foot and probably DuVal wanted it to seemingly. I think they had worked on a stage version of it in New York. I know that Horton foot had. I don't know that DuVal was part of it. He might have been. I watched this on Tubi. Tubi was a tube. Might have been canopy. Canopy. Canopy. And I was, it felt like him channeling Boo Radley in some ways. Even though he is, you know, extremely uneducated in this movie, the character that he plays. But I thought of very special performance in a very special kind of movie and unusual movie in terms of its pacing and what the story is. And very theatrical, like not terribly cinematic, given its scope, but I liked it. I think it's a great movie. I think it's a great performance. We talk sometimes that sometimes he takes a big swing. And this is a big swing in terms of the accent work that he's doing clearly, it's a, Billy Bob Thornton likes to tell the story of the character of Slingblade came to him while he was shaving in the mirror. Well, he was shaving in the mirror after watching the movie tomorrow because it's very clear that his character in Slingblade takes something from Jackson Fentry, the character that DuVal plays here. You know, this was DuVal's favorite of all movies. This was his favorite. I think it's superb. And I think more people should know it. Now, do you think this is, I'd like to put a discovery in. You know, I think it's great. I'm going to say yellow for the time being. Fair enough. I don't know how many truly legendary parts he has. Actually, and in my, I don't know why our timelines are a little different. What I had was Godfather 72, followed by tomorrow 72. And if his first act after the hit of the Godfather, and by the way, they knew they knew they had something with the Godfather while they were making it. He talked about that as well. For him to follow up the Godfather by going down South and playing this character in this black and white independent thing, by the way, Peter Masterson Hortonfoot's first cousin is in the movie. He plays the lawyer in the framing device of the court case. Yeah, he's the attorney. So this movie, it says was released April 9, 1972, but it only played 32 dates. It was not open very long. It did not play in very many movie theaters. Right. So it's a little bit hard to know, but it is, it says 72. It was pretty obscure. I had seen it before. I think maybe facets had a pretty hard to watch VHS, which is where I had seen it before, or maybe I'd just seen it on regular TV, but I revisited it on Canopy. It's a good quality trend. on Canterbie and if you guys haven't seen this, you should check it out. It's really good. 1973 Joe Kid. This is Clint Eastwood's first western after Dirty Harry and also a kind of sort of revisionist western directed by John Sturgis. Do Vaughan plays written by Elmore Leonard. That's right based on his novel, right? I don't know that it is. It's just an original story. Harlan, Frank Harlan, the character of the DuVal plays is a wealthy landowner who wants to get a native man off of his land and assassinated effectively so that he can pause the reclamation movement that he's trying to organize. Clint Eastwood plays a bounty hunter who's hired by Harlan. That sounds like a complex and interesting material, but I find the movie just turns in a little bit of a shoot him up and doesn't really have anything about it as a little surprising that it's not better than it is that you've got Eastwood as the hero and DuVal as the bad guy and written by Elmore Leonard and directed by John Sturgis who had certainly made a lot of great movies. Now, maybe he's at the end of his run here. I know that Sturgis and Eastwood fought terribly instead of perhaps drunk on set a lot. Yeah, I watched some of the extras. It's only a few years after, magnificent seven. I know. I know. I know. You know, I don't know. It's funny that it just felt real flabby to me. Don Stroud, who's in the movie. I saw an interview with him talking about the film and he said he said Clint should have directed the film. We would have all been better off if Clint had directed the film, but it certainly doesn't take off. Interesting. And this is in the aftermath of play Misty for me. He had started making film and he makes Breezy one year later. Well, and he was going to fire Philip Kaufman off of outlaw Josie Wales a couple of years after this. That's right. Clearly Eastwood had gotten the point where he was particular about the way these things were being put together. Yeah. So Joe kid is not going in. Let's let's talk about the outfit. A film that came up in a recent discussion we had on physical media episode because it's being reissued just on Blu-ray, right? Not on 4K. I think it's 4K. I hope from the director John Flynn written by Flynn, but with a polished by Walter Hill, who will come up again here and is based on a Richard Stark novel. It's a Parker movie. And is it the best Parker movie? No, it's maybe not the best use of point blank. I'm going to say point blank is okay. Well, look, they're in that park. They're all Maclin, but it is parks are two sides of the same coin, right? Point blanks after something very different in terms of its architecture and the right, the way it's shot, the kind of prismatic nature of the way that movie is put together. It's very different than the outfit, which is just kind of down and dirty, almost like a drive-in movie. Yes. It's a it's a it's a fussy exploitation movie, but it's really good. I was I was knocked out. I was knocked out by the outfit. I was really, really thrilled with the very engaging. I think he's extremely well cast in this part, Duval. And you know, it's a it's a movie star part. It's a tough guy part and he's he's very convincing. He's basically on a kind of like a revenge tour to get back the money that he feels he's owed in the aftermath of it. Is it a heist? Isn't that what parkers always do? What is what he's always doing? Karen Black, Joe Don Baker, Robert Ryan, Timothy Kerry, really great cast in the movie. I this is an interesting one where like I'll recommend this to anybody who likes this podcast and just be like this is a really good 70s crime movie. Yeah. Is it a Hall of Fame movie? I don't really know. I don't in terms of the the the act that we're doing here. I watched it with the nanny. I mentioned the nanny to you. She was just totally transported. She was thrilled by the movie. She's like, that's fantastic. Was this before or after in the realm of the census? It was before. Okay. Maybe maybe that has curtailed it primed her for what was coming next. I'll yell it just because I got affection for this movie. You think in green? I'm thinking green, but let's make it into this act thinking we're going to make the outfit green. I didn't know. No, no, no, no. I tried, you know, I tried to stay supple. Okay. Be sure to. Once again, 1973, badge 373. This is another crime movie from the perspective of a retired cop who is very clearly based on Eddie Egan, the same character who Gene Hackman wore or less portrays as Popeye Doyle in the French connection. And this is a nasty bit of business, this movie. And Eddie Egan's in both movies too. He is indeed legendary slash infamous New York City cop who had unkind words for everybody. I really wanted to like this more. I think it has all the pieces for things that I'm interested in and I think Duval is good. I think it's a good performance, but the movie is felt a bit uneven to me. Not to mention the racism. I mean, it had accusations of racism at the time. And then you watch it. You're like, oh, no, it's really racist. It sure is. You know, in terms of like authenticity, it seems like it's getting pretty close to what Eddie Egan represented in the world. Yeah, and maybe the way that he moved through it and the way that he saw it. I'm not sure that that does it any favors in the revisit. But it's also just not as, I mean, there's the set piece with Duval in the bus trying to escape the gang members who are coming after him. And that's a pretty good action set piece in a movie like this, especially for its period. But the movie itself, I don't know, give me the, the fact that it's also made so close to the outfit. I'm just like, give me the outfit 10 times out of 10. Well, that's how I, this is bread, by the way. This is how I feel about Lady Ice as well, which is a, no, they're very odd film. This starts his collaboration with Tom Grise. He worked with Tom Grise several times. I would argue they both did better work elsewhere. It says something about Lady Ice that I watched this not for this draft, but I watched it for the first time maybe two years ago. I'd picked up the Blu-ray from Kino. I mean, here's Donald Sutherland and, Jennifer O'Neil, and it was like, oh, a couple of my favorite actors in this movie. It says something that two years later, I can't tell you anything about Lady Ice. I don't even really remember DuVault in it or barely remember him in that movie. Very strange movie about like an insurance investigator/detective figure who gets roped in some sort of a jewel scam. And there's a, a femme fatal who finds her way into the story. I've been watching the movie trying to make sense of what the plot was. And you know, sometimes that happens. A movie just doesn't really connect in any way. Very dull for the, I mean, this period of time, this, these films, this is my favorite thing. In the known universe, crime movies in the 1970s, that's it. Yeah. This movie stinks. Tom Grise, the father by the way of John Grise, great actor who we know from the White Lotus and other things as well. So he starts a collaboration with DuVault that extends over a few movies. So clearly they were buddies. And like I say, I just think they both did better work elsewhere. In 1974, he has a very small part, but a critical part in the conversation where he plays quote, the director, a person who receives some critical information near the end of the film. Yeah. Quite chilling. Yeah. You know, a perfect movie. I'm not sure it's like necessary to the canon of DuVault. Oh no. It's a purely, purely a can. A favor. Yeah. Yeah. So we can, we can read the conversation. The godfather part two has a, has a a green of sorts. Yeah. An honorary green. 1970, you have killer elite. I haven't seen the killer elite in a minute. There's a Sam Peck and Paul movie in which he is reunited with James Khan. And as I recall, this is an extremely violent cynical mean movie about Mark Norman and Sterling Sullivan, Sterling Sullivan, who wrote in The Heat of the Night as well as creating a couple of great TV series. It's terrible. It's really not a good film at all. And I think we, I think we've talked about this before that I think it's really the demarcation point for Peck and Paul. It's like he kind of falls off a, but he was really struggling at this time in his life. Related, plotted drinking drugs at this time. It's not a, not a strong movie. No. It was remade in the 2010s and I similarly mean-spirited vehicle, which I think featured Jason Statham. So it's sound right. Uh, Clive Owen, Robert De Niro. It's Robert De Niro and the killer elite remake. I believe he is. Okay. Um, that's red. 1975 breakout. This is the first time I ever saw Robert Duval. Really? In a movie theater. Okay. I was 10 years old. Interesting, interesting way to be introduced. I went to see breakout. I went to see the Charles Bronson movie. I didn't know who Robert Duval was. Again, in the sort of that guy way, probably only did I know who he was a couple years later when the Godfather saga played on television. And I watched it. So this would have been the first time I saw it, uh, saw him, uh, kind of a notable movie in that it's the first film ever to use the saturation strategy of release that would be used later the same year for jaws. I did not know that. There was a big marketing campaign. We're going to put it in 1500 that we're just going to clobber them on the first weekend. And then we'll let him sort out the bodies after that. And apparently breakout was the first movie to ever do that. It seemed to do okay. I mean, it's $16 million in 1975. He was a big star. He's, um, of course, opposite his wife, Jill Ireland and always was. Yes. And Duval, I believe that was in every contract that he signed from henceforth. Uh, Duval directed by Tom Grise. That's right. Our union with Grise and Duval plays a wrongfully imprisoned man in Mexico. and a CIA operation that attempts to extract him from this and, um, kind of a weird movie. I totally like, Bronson is cracking a lot of jokes. Yeah, there's some weird, like, comic aside, it's just strange to try to put him in a little more comic. Yeah, that's not really his speed. But I have to say, it has a 10 year old. There's a moment where Duval is believes that he's being smuggled out of the prison in a coffin, only to then be put in a hole and have some dirt thrown on him. And as a 10 year old, it scared the hell out of me. I, I've often wondered if Tarantino was citing this in the kill bill sequence where the bride is buried, um, breakout is read. 1976, the eagle has landed. Robert Duval plays Colonel Rattle, who is a leader for the third break. Big swing. Here we go. Another big swing. Nazi doing a German accent. Yeah, German accent. I patch. I patch. That's right. I don't believe any other actors are attempting a German accent in the film. Yeah, it is a bit strange. Every other actor in the film was British using their natural accent. I get Brits are allowed to be Brits, I guess, but we have to do a German accent. I get a huge kick out of that. Uh, this one is a little disappointing. I hadn't seen this before and I fired it up. I think maybe the night that he passed, um, and wanted a little more from it, appreciated what he was doing. I felt like this is a real going for the gusto, kind of villainous part. And he's kind of an orchestrator of some of the actions in the movie. It's interesting, too, in that it's directed by John Sturges. And so if what Don Stroud had said was accurate, why does Duval want to go back and work with John Sturges again, uh, screenplay by Tom Manquitz, who was part of the Manquitz family based on the book by Jack Kiggins. Uh, it's a, it's a fun watch in a sense. Yeah. Uh, great cast. Great cast. And, uh, yeah, Duval's up for it. He, you know, the German accent is, he's not embarrassing himself with the accent. And it's, uh, he's, he's viable in the film. How do you feel about Donald Sutherland's Irish accent? Uh, less sure of myself, but God bless him. Nice to see Jenny Aguider here. Sure. Always nice to see her. That's red. The eagle is landed. The 7% solution. A movie I've always wanted to see. I had been, for years, one of those movies, I was like, one of these days, I'm going to, I'm going to pop this in and I'm going to love it. And I wish that I loved it and I didn't love it. No, it's not, it's not great. Um, it was such a big hit. I mean, it was a real, I mean, the, the, the book was such a big bestseller. It was really airport. Yeah, it was Nicholas Meyers book. And it was a big, like the one of the books you pick up in the airport. And it was a really successful book. And they rushed it in production. And like, we're going to capitalize off the success of this book, the casting of Robert Duval as Dr. Watson is unexpected. Uh, it's Nicole Williamson's movie. I mean, as it should be, it should be Holmes's movie. And Nicole Williamson is an interesting Holmes, I think he has. I think Duval is fine in the film. I do too. Um, to me, it's really more of a pacing and story issue. It, it looks gorgeous. Can Adam was a production designer and production decided all the stained glass and stuff in this movie. It's really great. Yeah. Um, it, it's an odd one. You know, Alan Arkin plays Sigmund Freud in the film. Vanessa Redgrave is in the movie. Olivier is in the movie is Moriarty. Yeah. And then Olivier is in there as Moriarty and Holmes is obsessed with Moriarty thinking he's up something bad. And they're all like, no, it's the cocaine. And so you assume no, Holmes is right. Something is up with Moriarty. And it's going to turn out that he's the big bad. And he's just, no, no. And he keeps protesting that he's not. And he's not, um, Samantha Egger, my, my beloved. Oh my god. I had such a crush on her. She plays, uh, um, Duval's wife, Mary. This should have been my favorite movie. It's, you know, sometimes it just doesn't fire up. Red for the 7% solution, 1976, the same year network. Duval plays Frank Hackett. Instant green, of course. Of course. Uh, just one of my single favorite performances in movie history as the hatchet man for the network corporate division. If you read Dave, it's Coffs book. Sure have. Uh, it's, uh, it's a really good read. Uh, it's funny how little Duval is in it, which just goes to show you, I think, something about, I mean, he, he could be famously grouchy, especially in later years. And there were some directors he really didn't like working with. But sometimes I think showed up. He knew the lines. He did the job. He got the hell out. Nothing notable about it. When you watch the special features and you hear Lumet's commentary, he has a kind of chuckling thing about Duval being in the movie. I'm like, can you believe this is a robbery? He loves him though. Yeah, he loves him. He's, so he, at least he loves that performance. Um, the book that you're referring to is called Matt is Hell the Making of Network and the fateful vision of the angriest man in movies. It's a wonderful book. If you like network, the, you know, Ruddy doesn't count any more scene. You know, the big sequence with William Holden and fate done away and Duval in Duval's office after we get the ratings for Howard Beale. I just, I could watch it a hundred times in a row. His, his performance, his glee and rage and energy and bewilderment, everything that he is doing in that. It's big, you know, and it is showy and it is, it is performative of the Chiafsky dialogue. You kind of have to, if you're going to be in one of these movies, one of this writer's movies, you need to chew on the scenes and he fucking eats that scene up. I love it so much. It's fantastic. It's, uh, it's fantastic. It's just great. It's just right in the pocket and he's playing a corporate head, right? He's got a facility with language. He's got a facility with, he's, he's got money. It's, again, it's just you consider the character he plays in tomorrow. It's just how is it the same guy or opposites? Totally. He's done some of the best paper acting I've ever seen where he's handed a piece of paper. He starts hitting the piece of paper, you know, only his little choices that he makes in that scene. I love so much network definitely a great, 1977, the greatest. I've been aware of this for a while. I only watched Robert De Niro, a Robert De Valle scenes in this movie. Well, then you didn't watch much. He's not this. He's not any very much. Um, this is Muhammad Ali making his very own biopic about his own life and so bizarre. It's such a bizarre artifact. It's really weird. Would you ever do this for yourself? Yeah. Yeah, looking exactly like this because one of the weird things about it is that, I mean, Ali's playing himself as a 20-year-old. Yeah. And he's 35 and he's already a little punchy, right? Yeah. And you could, it's not like he's, it's almost like right before the ill action. He says, that went something like this. It's not like he's really in it. So he's remembering a story that happened to him. Yeah. It's a very odd movie. Um, is this Tom Grise as well? It is. So screenplay by Ring Lardner, Jr., who wrote "Mash." That's right. Uh, he, I have to have always Bill McDonald, who was a promoter and he promoted, it was the first list in fight. Yeah. And there was some controversy around that because Ali in particular wanted to be able to speak publicly about his conversion to Islam and his faith and the nation of Islam. And Bill McDonald did not want that and they needed a man, I think, an actor of some gravitas. And so they brought in Duval for one scene, where he fights back against Ali. And then in one scene later, he decides, "Ah, actually, it'll be all right. Just do it, do it, do it this way." And there's something very untruthful to me about how all that part of the movie plays out. Um, that's red. Also notable because the song, the greatest love of all, uh, was written for this movie, sung a couple of times on the soundtrack by George Benson. Mm-hmm. And then it was only brought back by Whitney Houston, uh, for the bodyguard and where, of course, became a massive hit. You think Whitney Houston guy? Sure. We didn't like Whitney Houston. Appreciate it. 1978 invasion of the body snatchers, a reunion with Philip Kaufman. He shows up for one scene. Should we, where does we're not the jet set come in? Well, a good point. Let's talk about that. I haven't seen it. Um, you can't see it. I know. I assumed that. So we're not the jet set is the first film that do ball directs. It's a documentary about rodeo men. So when he and James Conn were in Ogolala making the rain people, they became friends with this family of rodeo folk. And he stayed friends with them and he went back over some years continuing to shoot them. He said, he claimed that he was shooting him in the style of a Ken Loach movie. So he was aware of Ken Loach. He has talked about Ken Loach over the years. I saw him cite him multiple times. Yeah. So that's, and it took him years to do. He was doing it with his wife at the time. They eventually put this movie together. Uh, and then he and his wife got divorced and she took the movie and it hasn't been seen since. Wow. Yeah. Well, that's too bad. I would really like to see it. Apparently it's pretty good. Yeah. And that's a shame. Hopefully they find a way to put that back out in the world. Um, that's not going to go in though, because we haven't seen it. In 78, he does make invasion of the body centers. He's in one scene. He has no lines of dialogue. He plays a priest swinging on a swing set. And it is one of the eerie-est moments in this very eerie movie. And what a cool little thing to have happened in the movies to have shown up to see invasion of the body centers and Robert Duval shows up for 30 seconds and then vanishes. They had decided Philip Kaufman had decided that he was the first that the character you're seeing is the first snatched body. Yes. Something so perfect to have had an actor who's known for his intensity and his explosiveness, playing a priest who has been turned into a plant alien. That's red though. 1978, the Betsy I'd never seen it before. Borteteers, Tracy. So terrible. Borteteers. I was really kind of looking forward to it. I thought it was going to be like camp, like a, like a, like a rustmire valley of the dolls. I think there was going to be kind of a camp. I kind of have some of those qualities. You know, it's directed by Daniel Petri who met our beloved life cards a few years earlier. And yeah, it's based on her Robins novel. You know, there's some beautiful games in this movie. There's some, there's some sexiness to it. And yet it's like really boring early, Tommy Lee Jones. Yeah. Lawrence Olivia. I don't miss cast. I think Tommy Lee Jones. Yeah. Lawrence Olivier and Devall chopping it up. Yeah. Jane Alexander, Catherine Ross. So boring. So hard to watch. Anyway, it's red. 1979 apocalypse now. Just a full load. We have jump in with Ike. The war years. He goes back to TV for the first time. Did you watch this? I did not watch it. You can't. It's not available. I couldn't find it either. I would like to see this. Yeah. Directed by Borsagall and Melville Shableson who also wrote the screenplay. And I guess she was about Eisenhower's relationship to the secretary. I'm talking about my ass. The character played by Lee Remick. Okay. But I don't know. I've seen it. A Remick reunion after the detective. Yeah. Right. God loved Lee Remick. I did. 1979 apocalypse now. He plays Lieutenant Colonel Bill Kilgore. So similarly electrifying scene. Fantastic. I've never understood what Devall had a problem with it. Right. The scene, he felt some stuff was cut out. Well, isn't that the story of apocalypse now? I mean, how much was cut out of that film? But he felt it was cut out for quote unquote political reasons that that he had tried to give a performance, a more nuanced character. And that Coppola had cut it and just left in kind of the cartoon stuff. So I don't read it that way at all. He admired the movie, but he was always a little angry about the cut. I think that character is fascinating about a person who has diluted himself into imagining that he is part of some mystical conquering story. But that last line of dialogue that he has in the film, someday this war is going to end. And then he just walks off screen. Yeah. I think is such a brilliant choice. I just saw it last, Chris and I saw it last year on 70 at the Egyptian. And we were, I was 14 all over again, man. I was blown away by it. And I think what that character does, the kind of delusional rock and roll energy that he brings to it with the surfing and taking his jacket and shirt off and he pulls the necker chiff off. Very, very grand and theatrical acting style too. And he doesn't usually do that and the pauses that he takes between those lines of dialogue. I love it, man. I mean, I think this goes in for one and a half scenes. Absolutely. So totally green green. Let's just do a quick green check here. How many grains we got? One, two, three, four, probably five. There's five. Now probably six actually given some of the yellows that you seem fond of. We only have 50 more movies to go. So we got to move a little quicker through this. All right. 1979, the great Santini. Directed and written by Louis John Carlino based on the book by the great Pat Conroy. I rewatched it for this. It's a great performance. Anybody who's ever had a father relates to this movie, the performances by the other members of the family, Blithe Daner, Michael O'Keefe, Lisa Jane Persky are great. The really important because the way they play against him is really important. He's not just a monster. He's not just a tyrant. He's a loving dad and they all seem to recognize that. And he has to do less to scare them, right? The way they portray that moment that they realize a line is being crossed with dad. They're great performances. I mean, it's always been true, though. The B story kind of kills it as a movie a little bit. Oddly bizarre. Yeah, where like Lo Keefe's character has a sort of, you know, a secondary experience of a friend played at what's the actor's name? Stan Shaw. Stan Shaw. Who's a good actor, but that character is a little oddly written. And even the way that that part of the film is shot, where it has this sort of like halo quality to it and everything else is so raw and intense with, with DuVall's character. Two sequences, the one-on-one game with Michael O'Keefe and the actual basketball game that O'Keefe plays in, where his father instructs him to take out one of his competitors as powerful today as the first time I saw it. Very real shit if you had a domineering father. I had a very domineering father. I really understand this movie. I think it's, I think it should go in. It's one of his legendary performances. Great. The great Santini is in the lexicon as like a, this is what tough dads do. 1981 True Confessions. He had another film I would love to love. Never totally found a place in my heart. Is it Ulugro's part? Is he the director? It is. It is. It's Robert O'Keefe. John Gregory Dunn and Joan Didian. That's right. He's done Dunn's book. Yes. Is it their first screenplay together? I don't know. Schrader was going to take a pass at this at one point and direct and kicked out. I don't know why. That version probably would have spoken to me a little bit more. I've always had a little, I've always had some affection for it. I think Duval's very good in the movie. I think Duval's kind of the, the best thing about the movie. I always think an anti-mystery is better the next time you watch it. You go in with a kind of expectation that, oh, this is going to be James L. Roy. This is going to be the Black Dalia. And then you find out, oh, it's not really even about that. That's kind of the backdrop against which the drama is playing out. I watched it again with Carrie. Yeah, it's a little dull. It's a little slow. It doesn't go in. But at the time, there was a real feature in like, I think, De Niro and Duval were held up as like, these are our two best work in these days. Yeah. I think it's a movie that I probably watched with a lot of anticipation and never revisited. I'll say it's a red. Yeah. The pursuit of DB Cooper, loosely based on the true story of DB Cooper, the airplane hijacker who vanished into the thin air, treat Williams plays DB Cooper, Robert Duval plays. Is he a police officer or an investigator, insurance investigator, seeking out DB Cooper, Catherine Harold, who my love. And it's very good in this, actually. And she and Duval are quite good together. I did. So let me tell you quickly some tortured history about this movie, Robert Mulligan, the original director who directed, of course, to kill him. It took him seven days to film a chase scene in the Rapids and he got fired off the offset. John Frankenheimer was brought in. He shot one sequence and then he was replaced by Buzz Culeck who finished the film that brought in Roger Spottiswood to edit the film and to shoot one stunt. And he said, this movie is doomed unless I can shoot new scenes written by Ron Shelton. And apparently the movie we're seeing is 70 percent Spottiswood and Shelton and 30 percent whatever that Mishmash was that goes before. So it's a real, it's you can kind of feel the jumble as you're watching it. Yes. The stunts are spectacular for them. Whatever Mulligan was doing, that Rapids scene is fantastic. It's really good. I agree. It's funny. We didn't mention this when we spoke of the gambler on yesterday's part of the Spottiswood also edited that movie. He had a pack art and Billy the kid. You know, he went on to be a very successful film director, but Ron Shelton has a very conspicuous associate producer credit in the opening of this film. And I saw that I was like, what's that? There are no other producers credited in that fashion. It came like right before the director credit. And so that's not surprising to hear that there was some stuff going on there. Oh, it's like Tree Williams. I always wanted a little bit more for Tree Williams. I think he's a very talented actor. I agree entirely. But this is read unfortunately. 1983 tender mercies. This is the film for which Duval won his only Academy Award, best actor portraying the aging country singer Max Sledge, who's on kind of the downside of his life. One of the quietest and most sensitive films and performances that Duval ever gave. And I think is one of two or three movies you probably show when you say who was this person as an actor. Would you agree with that? Absolutely. Totally green. Absolutely. And great movie. In fact, you guys did that episode recently where you played your Oscar Swapo game. Oh, yeah. I'm going to play one here. I'm going to give the Academy Award for best picture to tender mercies over terms of endearment. I can't argue with it. I just looked at it again this week. It's a very beautiful movie. I don't have a lot of time for Bruce Barisford's filmography to be honest with you, but this movie I like quite a bit. And you know, Duval insisted on singing all the songs himself and good that he did. It gives the movie a lot more texture and authenticity. It's a very good film. We got a lot of greens here. We got a lot of movies to go. Now, there's a couple here that I haven't seen. You're going to have to hold my hand through the 1980s. Okay, here we go. 1984, the stone boy. What's that? The stone boy is directed by Christopher Kane, who is Dean Kane's father. Dean Kane plays a teenager who is shot and killed accidentally by his younger brother. And the younger brother is, it goes into shock and is unable to process what he's done. And Duval and Glenn Close play the parents of these boys. And Duval's wife at the time, Gail Youngs, who was John Savage is John Savage's sister. And he, Duval had done American Buffalo on Broadway with John Savage. So there's a relationship there. Gail Youngs is also in the movie. Stoneboy is close to something really good. I don't think it gets there. It's got some thematic challenges. But it's close to something good. And really with Tinder, and now it starts earlier than that, of course, with tomorrow or something along those lines. But with Tinder Merces, you start to enter a period where the rural Duval starts to make really regular appearances. And movies like Tinder Merces and the stone boy, there was a kind of rural or country domestic drama that we used to make in this country a lot. And that we stopped making. And I don't know where they went. Did they go to Hallmark? Did they go to Netflix? Did they go, they're, they're playing. I think so. I mean, I think I think Taylor Sheridan is operating in that space. Very much operating in that space. I think it's a real shame. And I, I don't want to, as a good old, a hardy, lefty liberal, don't want to take the blame for the divide in this country. But I think that the fact that we stop telling those stories is hasn't been great. I think yeah, the movies for sure. And you're an Oklahoma. So you, you know, from what you speak. And Duval played Texans and men from Louisiana. And he was very well known for that. He kind of leaned in a lot in the, in the last 20 years of his career to the point of maybe a little bit of parity. I think at times. But and yet this family is Montana or Wyoming. And so he's a rural guy. He's wearing a gimmick app and he drives a tractor. But he's not doing that hardcore Texas accent. He's just a guy who lives and works in the country. Okay. Well, maybe I should check it out. I assume it's not going in here. Not going in. He's in the natural in 1984. I think we've skipped Angelo My Love. We have. He does. I'm only going through acting performances. But this is his first, Angelo My Love is the first film that he directed. That is a, that is a scripted feature. And it's about scripted. Yeah. Yeah. I guess largely improvised, largely improvised. But narrative. And it's about the, is it the Romani people? Yeah. And I'm fascinated by why he wanted to make this movie. He apparently overheard a conversation. He was working in New York and he overheard a conversation, a lover's quarrel. And then he looks over and he finds that the guy engaged in a lover's quarrel is an eight year old boy. And he became interested in this boy. He was working, it was while he was rehearsing American Buffalo. And he would see this boy regularly and he started engaging him in conversation. It's Angelo. He's the kid who's the lead in this movie and Devall got to know him and got to know his family and got to know the community and put all these people to work on this movie. Have you seen it? I haven't. It's worth seeing. It's just such an, I mean, every 10 years, he's like, I'm going to do something different. A really idiosyncratic choice. Yeah. But it is a very watchable movie. I don't know how the Romani community feels about Robert Devall being the one who's essentially telling their story. And there are some Romani directors of note who would probably like to have the kind of imprint that Robert Devall has. But it's not a bad movie. Where was it available? Where did you see it? It was a rewatch for me. Oh wow. I had actually seen it when it first came out back back then in '83. Where did I find it? Maybe YouTube. I found it on YouTube. Okay. I'll have to dig into that. I don't think it's going in. I agree with you. 1984 of the natural plays Max Mercy, the sports writer whose darn curious about Hobbes' past. Good performance. Good movie. I think I mentioned when we did the Redford draft about Devall going on Letterman and Letterman suggesting this was a great movie and Devall kind of shrugged and said cute at best. Yeah. I mean, we mentioned it then too. Never one of my personal favorites. Biggest box office hit he had had since apocalypse now. Right. Notable. But a very supporting part. Yeah. I'll say red to the natural. What do you say? I say red. Let's get Harry sounded good, but I didn't see it. Well, that's funny. It feels in some ways like a, like a ringer, a movie the ringer might like. When it starts with these guys and one of their, one of their people has been, one of their friends has been kidnapped in a South American country. And the friends are all kind of bemoaning it and then they've decided they're going to go get Harry. Those early scenes are so bad. You're like, what the hell is going on? And then Gary Busy shows up. He's a car dealer in the town who's going to finance their trip to get Harry and then he decides, he's a bit of a gun nut. He decides he wants to go along. Okay. And then they advertise for a mercenary who's going to help them and Devall shows up as the mercenary and he's the real deal. He's a badass. And then you realize, oh, this is a total drive-in movie. Yeah. Made a little after the days of the drive-in, but it's great fun. I mean, Busy and Devall are both great. This is about a year before Busy, you know, has his accident and scrambles his eggs, but he's still really good. And of course, the drive-ins were done in 1986. Well, it seems to be trying to play in that kind of missing in action zone. Very much. But I think a big hit in the video stores. Okay. I think it was a box office is $140,000, which ain't very good. But it's a Stewart Rosenberg movie. It's got to put you took his name off it. Rosenberg did took his name off it. It's directed by Alan Smithy. No kidding. Yeah. That's so interesting. You know, who worked the story of this movie? Sam Fuller. Yeah, that's right. Sam Fuller wrote the story. So notable that one of the guys going down to get Harry is Glenn Frye. Oh, sure. He goes famed. Also, Thomas F. Wilson from back to the future. Biff. And Rick Rossovich coming off of top gun. Yeah. I don't know. It's kind of an inch. Mark Harmon. Anyway, I haven't seen. Let's get Harry. It's not going in. Belezzare the Cajun. Yeah. Belezzare the Cajun. Belezzare. Belezzare. Yeah. Directed by a Cajun director, Glenn Petri. It was developed at Sundance. And in fact, the movie begins with a graphic saying this movie before any credits role. This movie would not be possible without the contributions of Robert Redford and Robert DuVol. They are both put up front and center. So DuVol helped develop this or helped get it to screen. Okay. He has one scene as a preacher. It's totally a cameo. His wife, Gail Youngs at the time, his wife at the time, Gail Youngs is the female lead in the movie. Belezzare is pretty good. It's a, you wish there was a bit more Cajun representation in front of the camera. Will Patton and Armando Santi doing some accents. But it's nice that Belezzare isn't an ass kicker. It's not like Armando Santi is like this ass kicking action hero. He's more like a braille rabbit character. He's the medicine man locally. It's not bad. I wish it looked better. I wish that had a little more budget. The way it shot it looks a little like an episode of Walker Texas Ranger. But it's not going in. It was a rewatch for me too. I watched that back in the day. Look at you. Yeah. And you, what were you famously not watch anything? You'll watch Belezzare the Cajun for a second time. We're going to get something I will not watch. Okay. Interesting. 1986, the light ship also missed out on this one. Also a rewatch. Sawton movie theaters in 1986. Directed by Yerzy Skolomowski, great Polish director, screenplay by William Mayan, David Taylor, based on a German novella by Sigmund Lins. The poster for this movie said, good versus evil, life versus death, Robert Duval versus Klaus Maria Brandauer. That's how they advertised the movie. And as you mentioned, one of your, one of your favorites. I mean, that's how esteemed he was, as an actor that that was going to be a feature. It was the last feature film made by CBS theatrical films. CBS had its own division of movie releases. So it was abandoned and picked up a year later by Castle Hill production. So it made absolutely no money. Duval is taking a big swing here. He's playing the Southern character. He's got this kind of sonorous tone that he speaks when he's doing it. It does not work. You doing some voice work. Thank you for that. Early performances from William Forsyth and Arles Howard playing Duval's character shows up on this light ship, which is a ship that doesn't sail. It's a stationary ship for mining purposes, I think. And they show up on a boat. They've lost their. their ship Duval and his two accomplices, and it turns out they're criminals, and their criminal things happen. It's, it's not a good film. - Can I tell you something? - Yeah, your sharp is ever. I don't know how the hell you remember all these details, and this is what I do for a living. The light ship is red. Hotel Colonial, I did dip my toes into this story. - Oh my God, what in God's name is this film? - Okay, directed by Sinsia T.H. Torini, screenplay by Enzo Montaleone, Sinsia T.H. Torini, Robert Katz and Ira Barmak is totally batshit movie. I'm actually gonna quote from my own letterboxed comments. - Please, please do. - John Savage, wearing white khakis, explores the slums, rivers, and jungles of Columbia, looking for his brother. Robert Duval is a Colombian drug lord, sporting a gorgeous George Hairpiece, an ascot, and a sleeveless shirt. He handles an alligator, two parrots, a falcon, and an anaconda. He massacres spider monkeys with a pump shotgun, set to a Pinot Denagio score. Totally batshit movie. I do not know what anybody was thinking when they made this film. - Well, as you mentioned, John Savage, obviously related to Duval's wife at the time, and giving a very bewildered performance, I'll say. He's got one emotion in the entire film. Duval having the time of his life. - I'm not sure I would have cast him as an Argentinian man. - Again, you maybe didn't see the twist at the end. - There's a twist. And when it happens, the only reason you didn't see it coming is because it's so stupid, you're like, they couldn't possibly expect me to swallow this. It's not good, not going in. - That's red, 1988's colors. Interesting movie. Directed by Dennis Hopper, and about two police officers working in South Central Los Angeles. Duval is the veteran opposite rookie Sean Penn. A movie that I like, don't love. I think Duval's performance is very good. There's a very famous scene in the movie, the Two Bulls story that he tells that is oft repeated. I wouldn't say it's among the most hallowed of the Duval performances, but it's good. I think Dennis Hopper directed several other better movies personally. - Shot by Haskell Wexler, which is notable. - Yeah, no, I don't think it's going in. I don't know, man, there's not a lot of accountability for the LAPD in this movie. And we've seen in the years since that LAPD could have used a little more scrutiny, perhaps. - I mean, think about the timing when this was released. I mean, I think there's some intentionality there. It's not like the film doesn't realize specifically what it's showing, but yeah, colors is a no. I did not see a show of force. - I did. - It's an excellent title for a film. - It is, it's not a very good movie. It's directed by Bruno Burretto, who was a Brazilian filmmaker who made, I think he made Dona Florent her two husbands. He was married to Amy Irving at the time, who lives in my little town where I live in New York. - Oh, nice. - And they made this movie together, Andy Garcia, Lou Diamond Phillips, early fat Kevin Spacey. - Careful. - What, what, what, man, Kevin Mance? It's a thriller based on a real life case in which undercover American agents framed Puerto Rican political activists as terrorists than murdered them. So it's based on a true story. She's a TV reporter and Duval is her TV news editor. Almost all of his scenes take place in the news office. It's not great. Duval is doing some pretty standard stuff here. - Got it, let's make that red. 1990 Days of Thunder. I think this will be the film that many people who listen to this podcast first saw Robert Duval in. - Have we skipped the handmaid's tale? - I had that coming right after Days of Thunder. Have we skipped Lonesome Dove? - We have. Let's talk about Lonesome Dove. - It's in, it's green. - I agree that it's green. This is the rare, is Lonesome Dove the greatest mini series in the history of television? - Yes. - Is there more you wanna say about Gus and what Duval does in that series? - He's spectacular. He elevates the art form of television acting. It's a remarkable performance. Sometimes the mini series itself does not transcend its TV-bound production style. - Production style. Certainly the casting of Frederick Forest is blue duck is just an embarrassment. And I think maybe only five years later would not have happened that way. So that's too bad. But the performance is. - There's still a lot of good performances in it, but Duval is really something. - Yeah, he and Tommy Lee together. There's Duval's final scene is one of the great scenes in the history of television. And his performance is just tremendously real. And if you've ever been with someone near the end of their life, it is bizarrely real, how sincere and great that is. Okay, Lonesome Dove is in. I work again, very low on greens here. My friend, we got one, two, three, four, five. - How much time do we have? - How are we on time? - Not very good. We have eight greens. We have like 50 movies. We're gonna go more quickly. Days of Thunder, you know, not one of my Tony Scott movies. I'm a Tony Scott aficionado. I'm a huge fan of his work. - Feels like a mascot movie for this. - Very much so cool. The Rimmer loves this film. I was not on the rewatchables episode of this movie. Also a Tom Cruise aficionado. I think it's perfectly fine. Cole Trickle, wonderful name from Eagle Rock, California. Not far from where I live right now. DuVal plays kind of the leader of the pit crew, the coach, the sage figure in Cole's life. He's good, is Harry? You know. - Paycheck. - Paycheck, okay, red. - I mean, right, I think it's maybe when you look over his filmography, I think maybe it's his first big paycheck. Big, big paycheck. - I mean, that makes sense, right? Simpson Brookheimer, they're doing top dollar for everything. They needed to confer a level of dignity. I watched it for the first time for this. - No kidding. - 'Cause it's not my. - Didn't like it. - It's fine, it's not my flavor. - Yeah, okay, 1990, the hand is tough. - F1 sure owes a lot to Days of Thunder. - Oh, no kidding. I mean, it knows, well, yeah. I mean, Jerry Brookheimer. - See Bracer. - 1990, the hand made it still. - It's a turkey. Carol Reese Rice was developing the script with Harold Pinter. Then they wouldn't allow Carol Reese to shoot the big crowd scenes he wanted to shoot, so he quit. And so Volker Schlondorf came on as director and wanted Harold Pinter to make some changes. And Pinter, by that point, had been working on it for a long time and got exhausted by it. It was like, go to Margaret Atwood and have her make the changes. - Oh, it's cool. - Anyway, it just wound up in a kind of script hell. It's a mess. It's just a mess. It's our shame. - It's fascinating 'cause no one will ever watch it now 'cause it has been adapted into an acclaimed and long-running television show. But it's the same hand made style that we know, but it's red. He just, like, commander, critical character in the- - And he's good at it, Phil. - Yeah, I mean, again, he's always good. It's a mess of a movie. - 1991, Worth Coolidge is Rambling Rose. - Really good. - I have seen it. - Slaura Dern's first true star part. - I was trying to think about that. - I think it's after Smooth Talk. - You're right. - It is after Smooth Talk. But one of her best performances, DuVal is also terrific in this movie, is a kind of patriarch. I think his character's name is Daddy. - And Diane Ladd, who was- - Real life mother. - Real life mother. And they were the first mother daughter nominated for Oscars in the same year for this. - It would probably go in the Laura Dern Hall of Fame. I don't know if it would go in the Robert DuVal Hall of Fame. I agree. Written by Calder William, who wrote the graduate. - Oh. - Yeah. - It did not know that. - Yeah, based on a novel of his. - I recommend this movie, but not for the DuVal Hall. - Right. - 91 convicts haven't seen it. - Horton foot, Horton foot joint. Robert DuVal, James Earl Jones, Lucas Haas. Really good. It doesn't, it's origins are in the theater. It's directed by Peter Masterson. And it feels like a theater piece. But DuVal, doing a cantankerous southern guy, find some new colors. It's like he's not just trotting out standard issue, cantankerous southern guy. He finds some colors in there that he doesn't normally. James Earl Jones, always great. It's worth a watch. - I'll be the last time they come together. - Yeah. - That's gonna be a red. 1992 newsies. You've finally hit on one I haven't seen. - No kidding. - Never seen newsies. - You know, I've been thinking about whether or not I should show this one to my kid. It's a Disney musical. - Right. - Perhaps best known for launching Christian Bale into the public wider consciousness after Empire of the Sun. It's about newspaper boys. And it's a very vivacious movie. A movie that much loved by many millennials and-- - A bomb at the time, right? - Not a hit, but a movie that got a lot of burn on VHS and video stores and on the Disney channel when I was a kid, for sure. He plays Pulitzer, the famed journalist, and it's not going in. I mean, maybe your kids would like it. - Okay. - It's got energy. It's got zest. 1992 to the plague. I haven't seen it. seen this film. Another Argentinian production. Yeah, uh, directed by Luis Quinzel, who just died yesterday day before, uh, director of the official story, which is a great movie. Uh, it just doesn't work. It's, it's such a watch this I did such a serious slog. Uh, there's a lot of like wailing on the soundtrack. Uh, it's a hyper serious, uh, William hurt, uh, Raul Julia, uh, reunited from, uh, Kista spider one, the Sandrine Bonair, who was William Hertz wife at the time, uh, Deval, uh, uh, it's, and a lot of like restatement of Camus philosophy, uh, it doesn't work. Right. 1993 falling down. You've, you're skipping Stalin 1992 TV movie. I watched it. TV miniseries. This was watched in my home when I was a child. Hmm. And it was on. I don't, I don't think I was paying direct attention to the entire thing, but I remember my parents watching this. It's not nothing. Yeah. It's directed by Ivan Passer. Mm hmm. It is written by Paul Monash, who wrote our beloved, uh, friends of Eddie Coyle, uh, it's shot by Vilmos Zigmund. Oh, uh, and co stars, uh, Julia Orman, Joan Plarright, Jerome Crab Bay. That's how you say his name made for HBO. First thing ever filmed in the Kremlin, uh, as part of Gorbachev's, uh, he, he decided that it, that would be allowed. So they filmed in the Kremlin. Important for America to tell us very proud of this performance. Now, the movie itself is, is a bit of Stalin for dummies or Russia for dummies. And I don't know that it always focuses on the thing it should be focused on some of the palace intrigue and shit. It's like, really, are we, we're really going to get bogged down in this stuff? It was really extraordinary. And unfortunately, he's been fitted with a, uh, kind of a mask, a cowl, which hides the, the upper half of his face. And it's really too bad because his, the accent sounds good. The, you know, the, he's, he's working his ass off. And he, and he was proud of it. And the Russians, uh, apparently found the whole movie laughable, but they loved Duval and it and Duval got asked to play a lot of Russian characters after he did it. He's, he's very good in it. I, you wish the whole enterprise were better. It's worth watch. I don't know when I'm going to watch that, but I'm going to think about it. Um, it's not going in. No, 1993 falling down. I watched this for the first time in preparation for this draft film. I've seen at least a dozen times in my life. Wow. It was on cable all the time when I was a kid. And to a young mind, very transgressive work of art, looking back, kind of a dumb movie. And a dumb, right? I mean, there's some interesting ideas, I think in the early part of the movie, but it just kind of descends into, I don't know why, just like a cop show by the end of it. It's Yeah, I mean, in no small part because of Duval's character, who play is kind of the most ordinary thing about the movie. Yeah. Um, he's great. He's very good. And as like a once again, playing a kind of weathered LAPD detective, the opening moments of the movie, I think are like fascinating and electrifying, where a man who is a middle class, you know, pocket protector grunt. It's fed up with traffic and just exits his car and leaves his car in the middle of the road and sets upon a journey across Los Angeles on one very hot and unpleasant day. And it kind of shows like a man at his breaking point, Michael Douglas doing something very off type for him. But a lot of the episodes that he experiences as he goes through the world, just feel like very stupid. It's one of one's like college or sociology about how communities operate. It's also like, why is this movie being seen through the eyes of like a middle age white guy? But I've seen him many times, not to mention, you've got Lois Smith. Are they forced Barbara Hershey, Amy Morton, Rachel T. Coutine, you've got these great actors, actresses in this thing, and they're given nothing to Barbara. She's given nothing to do. Yeah, didn't even remember she was in it. Uh, falling down the red wrestling Ernest Hemingway, never seen it. I've seen it starts in association with Randa Haynes, which she produced a couple of other things he's in. It's that again, it's an odd period of casting where he could play a Cuban man. That's right. And Platino for sure. It's Richard Harris's movie written. It's a shame too, because of the brown face, the movie won't won't be considered. And I understand that Richard Harris is doing some good work. He's gotten Richard Harris has a couple of really heartbreaking scenes in wrestling Ernest Hemingway. I didn't rewatch it for this. I remember from Rachel, but not going in. That's right. Geronimo, an American legend. Uh, he plays Al Sieber, a kind of unfortunate figure in American history. Um, I didn't rewatch this movie. I have seen it. Walter Hill's portrait of the Native American hero and resistor. Um, I don't, I don't, if for DuVal purposes, I don't, you know, I'm not sure. It's an interesting movie. It's a, it's not terrible. It's not terribly insensitive as I recall to the legend of Geronimo, but they, they sure make claims that it's somewhat the story of Geronimo seen from Geronimo's perspective. It's like, it's not really a lot of white guys. Yeah. There's a lot of Jason Patrick and Matt Damon talking about stuff. Yeah. And it was sold on that too. I mean, despite the poster, like they look at the trailer of the movie, you'll see they're, they want you to come see the white guys talk about the fighting the Native American hero. That's red, 1994's the paper. A lot of people are going to fight for this movie. A lot of people like this movie. I never got it. I never was interested in it. I always thought it was just absolute poppy cock. Um, but I know it's a comfort movie for a lot of people also a lot of people who work here who are very fond of it. Um, I do think DuVal is very good in it though. There are likeable things about this movie. Some likeable performances screenplay by the Keps David and Steven. Uh, but there's also like a physical fight between Michael Keaton and Glenn Close. It's like, this is stupid. The ending of the movie I find very silly. But he as the as the kind of worn down, but very, you know, world weary newspaper editor, Bernie White, he's like a very credible New York figure for a guy who's playing these rural southerners or, you know, folks from 300 years ago, you pretty much buy him as somebody running the New York Post or running the New York Daily News. There is so much in the paper that is lifted from the front page. Oh yeah, no credit is paid the front page. Yeah, it's a shame. It's too bad. Okay, that's red 95 something to talk about supporting part in this Julia Roberts dramedy, um, about a woman experiencing significant change in her life. It's a fine movie. Great theme song. Uh, based on read the, the, the, the, they wrote the movie after the song was a hit. Uh, I saw it at the time. I made no impression on me whatsoever. Red the stars fell in Henrietta. I haven't seen this one. I watched this one for the draft. Uh, it's a sweet movie. It's got a sweet disposition directed by James Keaton by Philip rails back. Maybe the first time that Billy Bob and, uh, doval work together that becomes an important collaboration. Uh, it's not bad. Doval is doing something again, he's finding a slightly different color. There's a, this character is a bit of a trickster. There's something a bit more whimsical going on with this guy. It's certainly red. 1995, the scarlet letter. I saw that you watched this for the first time just yesterday. This movie is directed by Roland Jaffey and stars at a very critical time in her career, Demi Moore. And it has the line, God, how I've wanted to poke you. Which is, I don't think in the book. Well, we've got Hawthorne here. Let's bring him in. Nathaniel, was that in the, was that in the original text? I've seen that, um, Gary Oldman has stepped out in some defense of this movie saying, yeah, I mean, I know it was a big bomb, but there's some, there's some good work in there. I watched it. I watched it when it was released. It's incredibly dull and overdrawn. You know, good people, good artists, great artists come together with the best of intentions. Yep. And sometimes it doesn't happen. It's hard to make a great movie. Just look at this episode, you know, we're doing our best. Exactly. Um, the scarletters read sling blade. Now, you mentioned the, the influence that tomorrow had on this movie. This, like a few other films here, pretty influential in me getting interested in films outside of the standard summer blockbusters that were easy for kids to get interested in. And this movie was a huge story at the time, the emergence of a new voice, a writer director star, um, Academy Award nominated. Duval plays a critical part. He had a kind of, I've seen like a godfather kind of relationship with Billy Bob. Yeah. Um, I didn't revisit for this episode, but I remember him having like a critical, but modest part in the movie, right? His car collection carls dad. I don't think it's going in the Hall of Fame. I don't either. 1996, a family thing. I watched that just the other night for this. I saw this when it came out. Uh, there's some intriguing ideas. Uh, it's fun to watch, uh, Duval again. when we talked about high status, low status, he's definitely the lower status character when he's with James Earl Jones. There's some good acting going on in here. James Earl Jones. - Richard Crayer's. - Herma P. Hall, yeah. And written by Billy Bob Thornton and Tom Averson. - Yes. - It gets a little impatient or something, midway through and plotty things start happening and characters don't always behave in a way that seems true to them. It's not a bad time, I enjoy it. There's not a Hall of Fame. - Family thing is red, 1996 phenomenon? - Didn't see it, haven't seen it. We're gonna start to patch here pretty soon, right? - Okay. - I mean, I didn't revisit this movie. I saw this movie in movie theaters and it was released. It was in the re-boom of John Travolta, where he plays a man who is touched with extraordinary intelligence and telekinesis in all of these extraordinary powers. Duval in the movie plays Doc, who was sort of like a father figure to him and kind of protects him and believes him through this big change that is happening in this small town. Kind of trading on some of his folks he appealed directed by John Turtletob, probably best known for the national treasure movies. 1997 The Apostle. I think there's a case for this one. - Before we give the Apostle, 1996, the man who captured Ikeman. - Yes, I watched that. - HBO film? - I think TNT. - Directed by William Graham, written by Lionel Chetwind. - We're yet on Ikeman, pro anti. - I'm not submitting the tyranny of your questions. Duval plays Ikeman and Arles Howard plays the Mossad agent who captures Ikeman and most of the movie, 70% of the movie is the two of them in a room. After Ikeman's been captured, as the Israelis are waiting to find a way to get him out of the country, most of it is a dialogue between the two of them. And it's very good. It's very good. It's very interesting dialogue. When Hannah Arrent wrote about the banality of evil, it's Ikeman that she's talking about. And so that idea is being explored. Is he just, he was trying to position himself as not only just following orders, but he's trying to say I was following the law, what I was doing was just following the laws of my country. And Arles Howard, who has lost a relative in the Holocaust is engaged. He's not even supposed to talk to him, but he's winds up engaging him in this discussion. And the movie sort of plays with the line. Is he just a civil servant or in fact, was he a virulent racist anti-Semite? Asks that question. It's a compelling watch and devolved great. He's great at it. Where did you watch this? Apple TV paid for it on Apple TV. That's nice. You patronize that fine company. Spotify will be getting my receipt. 1997 The Apostle, he was the writer, director, and producer of this movie about a preacher who loses control, does something terrible and then disappears and moves to a new community and effectively launches a new mission, a new church, where he is in the anonymous preacher, EF, the Apostle EF. I'm an amazing movie. I just looked at it again yesterday. Imperfect for sure. Long-time passion project of his. I think he wrote the screenplay first in 1983 and had been trying to get it off the ground for years and years. And he paid for it himself. He financed the movie. It sounds like he financed, at least in part, the other two previous films that he had worked on as well. And he really put his money where his mouth was on a lot of these things. But this one kind of rose to the surface a bit more and got a lot of attention. He was Oscar-nominated for his performance in it. I think it's a really fascinating and clearly very personal story about good people doing bad things and then how do you live with yourself. And I think it's interesting. It's great for me. Okay, well, that makes it pretty easy. 1998 The Gingerbread Man. I've seen this movie, Robert Altman directed it. It's an adaptation of a John Grisham novel. - It's so weird. - Cannot remember Robert Duval even being in it. - It's so weird. It just doesn't even feel like an Altman movie. I don't know. - No. - This is a paycheck movie. - It's very strange. And I did hear on the special features here when I watched it, Altman saying that he had been trying to get Duval back since they had made match. But Duval was just always booked. He wanted him to be a Nashville. But Duval was just always booked, couldn't get him. Now, who does he play in Nashville? That's interesting. - I don't know. - That's a game I'll play with myself tonight. The Gingerbread Man is not going in. 1998 A Civil Action also Oscar nominated for this performance. He plays opposing council in a case, a civil suit from a group of families who have been affected by what seems like the drinking water due to a corporation that has been polluting in their community. And Duval is like a practical evil. That's sort of like plaintive, plain spoken. Here's how things are kind of character opposite John Travolta again. They just worked together two years earlier. And John Travolta is a little bit miscast in this movie. Where he's supposed to be kind of like a slick personal injury lawyer. But there's a little bit too much inherent decency in John Travolta that like you never buy the first half of the movie. - There's a real lack of specificity about Travolta's character. It's an odd thing. An odd choice. - Especially what happens given what happens to him in the movie. - Yeah, it's an odd choice that Zellian has made to not have more information about just who that guy is. Because by the end of the movie, it was like, oh, we were supposed to be tracking the changes in him, but he doesn't seem like the thing. Duval does something really interesting here. I mean, this character of the opposing council, right? Oh, he's the angel of death. He's the one who's gonna, we know that character so well. James Mason, Billy Bob Thornton in the judge coming out, right? - That's right. - He's always a George C. Scott in. - In "Hair of the Wind"? - No, no, no, George C. Scott with Jimmy Stewart in. - Oh, anatomy of murder. - Anatomy of a murder, right? That, and yet Duval plays against all those types, right? He's this idiosyncratic guy who like steals a croissant from the breakfast tables, steals a pen. - That's why I say practical, there's like something small about what he's supposed to represent there. It's one of the few things about the movie that I think is unique, although the whole structure, the movie's very strange because of what happens to the Travolta character and the case itself that feels kind of brave in its way, but also makes the movie feel very small. It's just like huge Christmas movie produced by Scott Rudin. You know, it was a big old fancy thing that kind of has slipped away completely from the culture. - Yeah, it was hard to find. I had to buy it on Apple TV again, I couldn't find it. - Okay, it's red. Deep impact. - Watch that for the first time. - It's not my, it's not my, it's not my flavor. - Deep impact is best known as the other film that wasn't Armageddon for 1998, the other apocalyptic world ending saga. I've always found Deep Impact to be pretty solid honestly. - It's well done, yeah, it's well done. - It's very sincere. It's like, it takes the material seriously, I think, in a way that a lot of these movies didn't, and I liked Armageddon as a teenager, and now I watch Deep Impact maybe like 10 years ago with my wife, and we were like, we, 'cause we skipped it when we were kids, and I don't know, I think we both felt like it wasn't bad. - My favorite scene in the movie is Duval with our blind astronaut, the astronaut who's lost his sight. Oh, come on. See, we've gotten a little late enough, I haven't had enough protein. I'm starting to lose my proper nouns. And Duval sits with the blind astronaut and starts to read him Moby Dick. It's a very gentle scene between the two of them. - It's my favorite scene in the movie, it's really good. - Who's the lead? Who's the lead, is it Ron Eldard? - He's Ron Eldard, thank you. Sorry, Ron, couldn't think of your name. - Sorry, Ron. Deep Impact's not going in. I'll tell you what, got in 60 seconds is also not going in. - Never seen it. - I saw the original. - I haven't seen it. - Slick, stylish, kind of fun, heist action movie from Dominic Senna starring Nicholas Cage. Once again, Duval playing kind of like the old guy who hangs out in the, you know, he's like the mechanic who's, you know, they're part of the team, but not actually on the cases. It's not going in. The sixth day you watched it, I don't remember seeing this. I'm sure I saw it back in the day as an Arnold fan. - It's not good, you know, you take this high concept of there's a great scene where it's about cloning, right? The concept has to do with cloning. And Arnold shows up in his house, and it's his birthday, and he looks in the window and he sees himself celebrating his birthday with his family. And he realizes he's been cloned, and this guy is the guy who's replaced him. It's an intriguing concept. And then the chase is on. There's just, the concept kind of gets thrown out the window. And suddenly everybody's just chasing each other and shooting at each other. It's like, well, what did you even need the original concept for? - You know who made this movie? Roger Spotas. Roger Spotas would back in the saddle. Tony Goldwyn by the way, playing the exact same character he plays in one battle after another, except it's 25 years earlier, and he hasn't changed a bit. It's just like he walked from the set of the sixth day on the set of one battle after another. How's it possible? - Part of what is in Tony. - That's part of it makes him great. He's never, not never aging. Always sort of malevolent in a way. Six days not going in. I don't know what a shot of glory is. A shot at Glory is a story about Scottish football. And it was apparently a real pet project of DuValls for a long time. And he plays a Scottish football manager. And now I don't know anything about Scottish football. Apparently there are some football stars in this movie. I don't know who they are. I kind of enjoyed it. Okay. It's kind of. It's about as gentle as sports movie as you'll ever find. Michael is also in the movie. He plays the owner of the team. And I'm Brian Cox, Cole Hauser. How are you doing? Really good time. He looks good in that chef ho. And you know, on the letter box, some people were bitching about his accent. And I got to say go to hell. Okay. Because let's hear some of your Scottish accent. You're not only not going to hear it, I will tell you that it's hard to do. And it's certainly hard to do. When you have to do it in Scotland on a set with 200 Scottish people gathered around you. And you're going to make a speech in their dialect, an emotional speech in their dialect. Have you considered this? Don't take the part. Well, that's just it. Gene Hackman's not taken the part. There are a lot of actors of DuValls stature and time period who would not take on something like that. Or Stalin. Or a lot of the other things. It's a great point. He was pretty fearless in terms of the range that he was pursuing. Shadok Laurie's not going in 2002, another cop in another emotional drama, John Q. Never seen it. Denzel Washington movie. I think about a man who takes a hospital hostage because they can't get treatment for son as I recall. Haven't seen this in a while. Nick Casavetti's John Casavetti's son directed the movie. But I'm not a bad drama, but not going in the hall of fame. 2002, another film that he directed wrote and produced, Assassination Tango. You watch this? I did watch this last night. Curious film. Some interesting stuff. I didn't see this upon release. DuValls got married a fourth time to an Argentinian woman. It was Luciana Perazzo and Pedrazo and he fell in love with the Tango. Yeah. He wrote this movie about a hitman who finds himself in Argentina and kind of falls in love with the Tango. Very curious. He really followed his light. He did. You wish at some point the two stories intersected. They just sort of traveled down parallel channels. There's the Tango story and there's the Assassin story and they never, they never crossover which is, I think, maybe a just mistake. It's a, as opposed to the Apostle which is kind of expansive but not shaggy. This is a very shaggy movie. A lot of scenes where you're like, they're playing a very loose, even the camera is a little shaky when you're watching it, but anyway, I'm glad I saw it. 2000. I love that scene where the guy makes a comment, the cop makes a comment about his face about the. He goes back to him. Who do you say I'm old? Yeah. He's got wrinkles. That's a great stuff. Really good. 2003 Gods in Generals, now I did watch this when it came out. This is one I won't watch because you feel this is Ted Turner polishing Confederate history. Yeah. Understood. I don't have time for your revisionist trash. Mine? Not yours. Okay. Ted Turner's or the people who made these movies. Yeah. I don't want to watch these Confederate losers doing anything. This is kind of a sequel to Gettysburg and he plays Robert E. Lee. Get the hell out of it. Okay. It's red. 2003 Second Hand Lions. It was a movie about a 13 year old boy who goes to state it with two great uncles played by Robert DuVall and Michael Cain and Haley Jellosment plays the 14 year old boy coming off of an extraordinary run of the sixth sense in AI and I remember this movie being perfectly charming. It was perfectly charming. There's a scene at the end with Josh Lucas, who I believe is the little boy. The boy grown up. Right. He's the little boy grown up and he has an interaction with the sheriff played by Dennis Letz. No kidding. My dad is in the movie Second Hand Lions. There you go. Small part. Deep Player. Wow. Did he ever meet DuVall? He didn't. Okay. He was sad about that. 2003 Open Range. Now we're talking. What an ass kicker. Yeah. Love this movie. This is great. I know. If ever you doubted whether or not Kossner had some juice and just I won't do it for you here. But just go look at the IMDB or the letter box at the like two, three things he did before this or two or three things he did after this and this sits in the middle. I mean, it's just jam. It's just great. Terrific Western, you know, late period for both of them in many ways. But the final 40 minutes of this movie is just riveting Western action. Right. Really well staged. A good DuVall performance playing a similar kind of mode of like the older hand who's helping the younger hand through whatever the showdown is going to be. I don't know if it's going in, but it's a darn good movie. Yellow. Okay. Yellow. Good idea. 2005 Kicking and Screaming. Another movie. How much is it? That I think a lot of people who are listening are like is kicking and screaming going in. This is a soccer comedy, not a Scottish film starring Will Farrell. I think it's fine. To me, this is when the balloon comes off the rose with Farrell a little bit, you know, the little two like childlike and slap sticky for me. But I know people like it. I'm going to say red. Okay. 2005 Jason Reitman's Thank You for Smoking. I forget who does DuVall play in this. I've certainly seen this movie. You've seen it. I've seen it too. I don't remember Robert DuVall in the movie. Thank you for smoking. Can you play a key leader in one of the tobacco companies? I feel like he might. That sounds right. It's found. No, he plays the founder of the Academy for Tobacco Studies, a man named Captain, not going in the Hall of Fame. 2007 Lucky You on paper should be one of the most important movies in my life. Absolutely. It's set in the world of high stakes poker, Eric Banna plays a character named Huck, clearly somewhat modeled on Huck Seed, who is a, I think modeled on Huck Seed. I assume Huck Seed was playing poker at that time. Why also do you name this character Huck? Whose father is also a big time poker player, a legendary poker player played by Robert DuVall. It's like one part romantic drama with Drew Barrymore and one part kind of father, son, poker drama. It starts by Curtis Hanson and it's loosely based on, what's the Warren Bady Elizabeth Taylor film? It's the only game in town, so that's called George Stevens movie from 1970. And it's like a soft remake of that and it just doesn't work at all. It's a big disappointment. Don't know it. It's out. 2007. I think we've skipped Broken Trail. You're right we have. Made for TNT. Yes. The Western directed by Walter Hill, Robert DuVall, Thomas Hayden Church, really good, really good. Very, very good. Originally conceived as a movie, it's ultimately basically a three hour movie. You can watch it in that way. I have it on Blue Ray. I like it. It was the first movie ever made actually for AMC, the first like official project made and it was quite a big deal made of it and, you know, they all got Golden Globe nominations and it was pretty celebrated. But if we're giving a Western from this period, it's open range. That's the thing is broken. And what criticism it got was this feels like a little bit of rehashing some of the same territory as Lonesome Duff 2007. My pal James Gray's wheel in the night. I think it's my favorite James Gray movie. It's up there for me, too. It's once again playing a kind of patriarch of a family, it's a couple of cops. Yeah. Well, and he was a cop. And his son is a cop, but one of the sons is not a cop. Yes. It's the Godfather in reverse in reverse, um, you know, Solid Duval performance, good work. Really good. I really like this movie. I don't think it's going in the Hall of Fame 2008 for Christmases. You see it? Why? Why didn't you see it? I don't even know what the fuck it is. The level of detail that you spoke about so many of these other movies, no one will ever see. You had such depth on show of force for Christmas, I mean, the title is not a turn on for me. Are you in a war against Christmas? No, I just for Christmases, I think it means because they go, I tell you what, get one Christmas right. Then you can make four. I've been trying all my life. I, uh, I'm not a huge fan of the movie. It's a, it's a studio comedy starring Vince Fawn and Reese Witherspoon. Yeah. I don't need to see that. It's a, what you got something against Reese Witherspoon. I don't have anything against anybody. I just don't need to see it. You know who likes this movie? Chris Ryan. Great. It's red. Did Chris Ryan watch 50 plus Devon movies? I don't think so. Wow. Staking your claim once more for third chair, 2009 crazy heart. This is a movie that my just watched it on the, as I was coming here, just watched in a car. Well, basically. Okay. Uh, I don't know if this movie exists without Robert Teval, a coordinator, Scott Cooper, who was a working actor who met Duval on the set of Gods in Generals. and they struck up a friendship. Duval brought him under his wing, it sounds like a little bit, two Virginians. And. - Duval read all of his scripts, just really mentored Scott Cooper. - And crazy hard in a lot of ways, this is a soft remake of "Tendermercies". And so he comes on and apart to support him in this film, Jeff Bridges wins an Academy Award for his role as "Bad Blake", which is, you know, Scott Cooper seems like a nice guy whose movies I never totally click with, to be honest with you. Couple of them here and there, I enjoy, but I always feel like they're a little bit overrought, but he always gets good performances out of his actors, and he gets them involved, both terrific in this. - Yeah. - If it were Jeff Bridges' whole fame, it definitely would be going in, but it's not. 2009, the road didn't see it. - Really? - I'm saying. - Three of that on Cormac MacArthur, you care? - Yeah, he's not the top of my pyramid, but I care. - You wanna do the top of your pyramid, three hours into this episode? - I don't. The road, he plays the old man. So that's a, you know, - I mean, the truth is, we're starting now to get into old man territory. And he just, there's less he can physically do. He heard himself on a horse while they were shooting open range. He fell off a horse and didn't know himself. And he was mad and he was embarrassed, and he didn't wanna ride horses so much anymore. - And just what you come up, come across as aging, right? - It's a 72 year old man, like an open range. - Yeah, so Joe, but he really is with crazy art. You started to feel, right? I mean, he's, what is he? 80 years old when he makes crazy art? - Just about 78, maybe 79. Get low is an interesting movie though. Have you seen that one? - I saw it this morning. - Okay, pretty good. - I liked it. - Yeah, I liked it a lot. - I think if you were gonna make a case for a late period film, this might be the one you would pick. - I think it's good, I wish it had stuck to the stoic tone. It strikes at the beginning of the movie throughout the movie. It gets a little goofy. - It gets a little, and a little, and a little sacrient to the end. But, Adam, he's great. Bill Murray's great. Sissy Spasek, I always make the case on these podcasts that she's an underrated actress. She's great in the film. Yeah, I like to get low quite a bit. - Okay, I'll give you get lower, yellow. Seven days in Utopia, I haven't seen. - I haven't seen it. - Well, we're gonna skip right over that one. Jane Mansfield's car. - Didn't see it. - This is a Billy Bob Thornton film. Less acclaimed than some of his previous work. But, once again, Duval plays Patriarch. Jim Caldwell, I saw this in 2012. I don't have a strong memory of it. I do have a strong memory of seeing Jack Reacher in theaters. - Didn't see it. I haven't seen it. - It's certainly not going in the Robert Duval Hall of Fame. Kind of an entertaining movie though. - I think we skipped Hemingway and Gelhorn, which was made for HBO. - We did. - With the Clive Owen. - Who does he play? - Apparently, it's a very small part. Like, maybe. - Oh yes, totally. - He's listed as Russian General. - Yeah. - To your point about being asked by Russian characters. - Yeah. - Uh, 2014, a night in old Mexico. - Haven't seen it. - What is a night in old Mexico? Oh yes. - Okay. - He has a night in old Mexico. - He sure does. I financially strapped, but proud senior citizen and is a strained grandson. Find themselves targeted by drug dealers in search of a missing money bag. Hate when that happens. That's not going in. 2014, the judge, you watched this. - I did. I had not seen it. I watched it. There are good things about the judge. Movies, Hollywood movies, at some point, entered into a period where I got skeptical of a lot of Hollywood filmmaking. A lot of tropes of Hollywood filmmaking. But there's good stuff inside the judge. I think it's one of my favorite Robert Downey Jr. performances. I really do. - Okay. - I think Mr. DeVol brings out the best in Robert Downey Jr. There are a couple of scenes they have in this movie when it gets really specific what's happened between these two characters. And they're able to, they're not just archetypes. They're able to access real information, specific information about who these people are, where they've come from, what they wanted, how they were disappointed. They're really effective scenes. I like that DeVol was nominated for this movie because it doesn't feel like just, oh, let's give the old man another nomination. I mean, I think he's really doing something. I think he's giving a real performance here. - Yeah. - I wish the movie itself was a little bit better. - Well, the courtroom stuff is just, I was like, come on. Have you ever spent 30 minutes in a courtroom? If you have, you know, this is all bullshit. - Yeah. - It's very dopey. It a little bit of a let down too because this was the movie that Duke Downey basically got made. It was like a passion project in the aftermath of so much Marvel success. And it was like this, you know? Like he hasn't really made a lot of good movies, real movies, non-IP movies in the last 20 years. This is one of the precious few and it's okay. I love Vera Farminga. Vincent Denofrio, very good. But oh my God, Jeremy, strong, the playing the autistic characters, such a mistake, such a misfire. These things keep happening. - Narratively, it's real misfire. - Yeah. 2015, he brought and directed a film called Wild Horses, which I've not seen. - Haven't seen it. Mom, we can't speak to it. - That's a shame. - I haven't seen in dubious battle either. - I haven't seen it. - So that's not gonna go in. 2018 widows, you just saw it for the first time. - I did, my wife is in it. We watched it for the first time. - What'd you think of Duval? - I thought he was good. - Yeah. - Couple of scenes, powerful, power broker in Chicago, right? - Powerful old guy. - Not going in the hall of fame. - No. - 12 mighty orphans, have you seen this film? - I haven't. - I watch this. Pretty sure I watch this during COVID. It's about a football team, it is about a football team. Luke Wilson plays a football coach in Texas during the Great Depression who inspires and gets his team into shape. And they win exciting and inspiring fashion. - Great. - Not going in. 2022 hustle. - Didn't see it. - Another sports movie, an Adam Sandler drama that I kind of like about an NBA scout. - I would see it, I just ran out of time. - I saw a lot of the work. His last feature performance is in the pale blue eye, which is Scott Cooper's adaptation of. I don't know if it's an adaptation. It's a portrait of Edgar Allan Poe's life. I think it was based on a novel that is sort of a detective movie featuring Edgar Allan Poe, Christian Bale plays the part. Duval plays Jean Pepe. It's fine, it's nice to see him on screen at this stage of his life. He's giving him a very quiet, quirky performance. It's not going in the hall of fame. Let's do some revisiting where we're at, okay. - I can't wait. Are people still listening? - I'm listening to you. We have one, two, three, four, five, two, four, six, eight greens. Those greens are to kill a mockingbird, the godfather one and two, network, apocalypse now, the great Santini tender mercies, lonesome dove and the apostle. - Solid. - Here are the yellows. - The rain people, THX 1138, tomorrow, the outfit, open range and get low. I feel this could be very easily done by simply putting the outfit and tomorrow into the hall of fame. Read it to me if that's the case. To kill a mockingbird, the godfather, tomorrow, the outfit, network, apocalypse now, the great Santini tender mercies, lonesome dove and the apostle. Now, if you want to lean into get low or open range to get something from the 2000s in there, we can do that. - I'm very comfortable with that hall of fame and I'm going to take open range as my blue. - Wow. - Well, let me just take a quick look at what I want to do, blue wise. So there might be something here that I enjoy. This is when I'm not speaking, you have to vamp. This is something you have to learn as the third chair. - Let me tell you the traffic out there is really bad. - You could do better if there was a vaccine on the 101. - Fuck. - Can't believe you'd do this to me. - No, I can vamp. Absolute thing, you couldn't. Oh, Robert Duval, who was awfully good. I loved him. - I did love him. I wonder if I would have liked him personally. - Did have a, did have a, can't tank recite, I'm told. - I'll take THX 1138 as my blue. - If you would take an open range, I would have taken THX. I think that's a great. - What a healthy set of decisions. So we'll, guys, we'll, we'll green tomorrow in the outfit and we've completed after two and a half hours. - One more time, let's hear it. - The greens. - Let's, let's, what's the Robert Duval Hall of Fame? - From 1962 to Killamockingbird. From 72 and 74, the Godfather won in two and three. From 1973 tomorrow. From 1973, the outfit. From 1976 network. From 1979 apocalypse now. From 1979, the great Santini. From 1983, tender mercies. From 1989, Lonesome Dub, even though it's TV. From 1997, the Apostle. The blue, for me, is THX 1138 and for you. Open range, we've done it. We've. done it by God. By God, we've done it. That was that was a big one. That was a really large. That was a lot of work. I'm not going to be the guy that gets called whenever the old guy dies because there's a thing that does happen. The 70s movies are better than the 80s movies and the 80s movies are better than the 90s movies and 90s movies are better than the 21st century, 22st century, what century is it? Let's go back to the 80s movies are better than the 90s movies. Pretty much across the board. Okay. Well, on that, we shall part. Tracy, let's thank you. What are you in fantasy? A incredible amount of work you put into this. That's, you know, this is my job, man. This is my job. I take my responsibilities as professional podcaster and third chair of the big pick podcast very seriously. Uh-huh. You think you'll write another play. Why would I do that? I'd like to read it. That's hard. You know, writing is hard. It is hard. It is really hard. Yeah. Well, I'd like to say thanks to Jack Sanders for his work as producer on this show. Thanks to Lucas Kavanaugh and Sarah Ready for being in here today, helping us get this episode off the ground. You know, I think what's going to happen is later this week. Chris Ryan and I are going to talk about Mortal Kombat 2 obsession, Hoke him in the future of horror. Do you know what any of those things are? Uh, I know that Mortal Kombat 2 is a sequel to a movie based on a video game. Oh, sounds like you've been boning up. You want to join us? And you're going to talk about what was the second part of obsession, not the Brian De Palma film, starring Cliff Robertson, Hoke him. Hoke him is Adam Scott. That's right. I've seen it. Obsession is, oh, obsession is about the guy who makes the, the horror movie about the guy who makes the deal with the devil that the girl's going to fall in love with him. See, he's been practicing. He's been thinking hard. All you got to do is move to LA and quit all your other stuff and probably leave your family. What do you think? I love it. We'll talk. See you soon.