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What The De Niro Papers Reveal About Great Acting · Critique-Opolis

• 0:28
  SPEAKER_00: So, first time that Robert De Niro and Marlon Brando appeared on screen was in this movie.
• 0:36
  SPEAKER_00: Did you know that?
• 0:39
  SPEAKER_00: They had appeared appeared together in The Godfather, but I don't believe they were ever in a scene together.
• 0:46
  SPEAKER_00: Well, that's no, that's not true.
• 0:50
  SPEAKER_04: I think you might be right.
• 0:52
  SPEAKER_00: No, but you never saw The Godfather.
• 0:54
  SPEAKER_04: But I heard that in my research today.
• 0:56
  SPEAKER_00: They were in a few scenes together in The Godfather, but I think it's been a long time since anyone has seen these two together.
• 1:06
  SPEAKER_00: For those of you who are just tuning in, and for those of you who have just started listening since I hit record, we're talking about 19.
• 1:16
  SPEAKER_00: What year was this?
• 1:17
  SPEAKER_00: 2001?
• 1:18
  SPEAKER_00: Mm-hmm.
• 1:18
  SPEAKER_00: 2001's The Score.
• 1:22
  SPEAKER_00: Which pairs Robert De Niro, Marlon Brando, Edward Norton, and Angela Bassett together for this.
• 1:34
  SPEAKER_00: It's a heist movie, but you know what it felt like to it felt like not like a TV movie, but like it felt like something you would see on Friday night, if that makes sense.
• 1:50
  SPEAKER_00: Because it wasn't really it wasn't overly violent, which was good.
• 1:56
  SPEAKER_00: And it had there were Edward Norton definitely brought some elements of he was kind of a shyster, but he would he brought some comedic elements to it.
• 2:07
  SPEAKER_00: And then what is this thing you pulled up about Robert De Niro papers?
• 2:12
  SPEAKER_00: Is that what the slide deck is?
• 2:15
  SPEAKER_04: Yep, I think so.
• 2:18
  SPEAKER_04: You made it.
• 2:19
  SPEAKER_04: Well, I just pulled up the slide deck a couple of minutes ago, but um at the University of Texas um at the Harry Ransom Center, there is a huge um display or collection exhibit of um it includes annotated annotated scripts, production notes, and over 8,000 costumes and props spanning several decades of Robert De Niro's work.
• 2:55
  SPEAKER_00: So we're gonna dive super cool.
• 2:58
  SPEAKER_00: We're gonna dive into that because he's an actor for I feel like and I know I've talked about this before, but young folks today, the youngins, I think they are they they know what a movie star is, but they didn't grow up with it.
• 3:16
  SPEAKER_00: Yeah, I think it's a different vibe.
• 3:18
  SPEAKER_03: Yeah, I would agree.
• 3:20
  SPEAKER_00: Being an actor is such a that's a tough job because most of your life is just being rejected.
• 3:26
  SPEAKER_00: Um if you're going out for like really commercial stuff, and Robert De Niro just worked constantly.
• 3:33
  SPEAKER_04: Yeah, and I think, and with that, I would say I would add that I always forget how long he's been acting in movies because there was something that we saw recently, and I say this like when we see I'm like a young Robert De Niro, like I just forget again that he's been in movies for so long, and that he started when he was really young.
• 3:59
  SPEAKER_04: Because I in my brain I think of like, well, Robert De Niro's in this movie, he's gonna be like an older person for the movie.
• 4:05
  SPEAKER_00: Oh, you know, yeah, that's true.
• 4:07
  SPEAKER_00: You know what?
• 4:07
  SPEAKER_00: I'm I'm thinking of in The Godfather in part two.
• 4:13
  SPEAKER_00: De Niro played a young Vito Corleone and Robert and what's his name?
• 4:23
  SPEAKER_00: Marlon Brando played the old.
• 4:26
  SPEAKER_00: So you didn't see them together, you saw Al Pacino and Marlon Brando together in the first one.
• 4:32
  SPEAKER_00: That's what I'm screwing up here.
• 4:34
  SPEAKER_04: Yep, I couldn't tell you that for those details, but that's what I've heard today.
• 4:38
  SPEAKER_00: At some point, we're gonna watch both of them.
• 4:40
  SPEAKER_00: And like that movie's been analyzed to death, but it's fun for somebody who's never seen it before to get into it because there's a lot of moving parts to it, and it it kind of sets the stage for a lot of their movies going forward.
• 4:55
  SPEAKER_00: Just whenever anyone ever casts back to Robert De Niro, that's like a touchstone.
• 5:04
  SPEAKER_00: So let's see what you got here.
• 5:07
  SPEAKER_00: What do I want to look at?
• 5:09
  SPEAKER_00: You want to talk, let's talk about the movies.
• 5:11
  SPEAKER_00: So 2001, I told you who's in it.
• 5:16
  SPEAKER_00: Plot summary.
• 5:19
  SPEAKER_00: So De Niro is Nick Wells.
• 5:26
  SPEAKER_00: He's a safe cracker.
• 5:27
  SPEAKER_00: Uh he owns a Montreal Jazz Club.
• 5:32
  SPEAKER_00: And he's trying to build a life with his girlfriend, Diane, Angela Bassett.
• 5:38
  SPEAKER_00: Now his longtime partner, Max, played by Brando, uh, who is deeply in debt to a crime boss, convinces Nick to take on one last score.
• 5:52
  SPEAKER_00: And Max gets wind of this score through Brian.
• 5:59
  SPEAKER_00: Um well, actually, Brian is a character played by Edward Norton, but Edward Norton's real name is do you have it in there?
• 6:12
  SPEAKER_00: Jack.
• 6:14
  SPEAKER_00: But he plays a character in the movie called Brian, who is a he he pretends to be mentally deficient assistant to a janitor who works in the customs house, and he discovers this several hundred-year-old sceptre that was smuggled over here in the leg of a piano, or over into the uh into Canada in a piano, and the French customs get a hold of it, and so and they so they lock it up.
• 6:55
  SPEAKER_00: It was originally good to destroy it, but they they lock it up.
• 6:58
  SPEAKER_00: Now, Max is in debt to Crime Boss.
• 7:04
  SPEAKER_00: That's gonna come up later in the movie, but oh, 1661 Royal, a French Royal Scepter.
• 7:12
  SPEAKER_00: It was smuggled into Canada, hidden in an antique piano leg, and it's now being placed in the high security basement of the Montreal Customs House.
• 7:23
  SPEAKER_00: Nick is introduced to Jack Teller, who's an ambitious young thief, and he's infiltrated the Customs House as Brian, and through some back and forth, Nick doesn't want to take Jack on as a partner, but I guess what you would say Jack convinces him to take a look at it.
• 7:56
  SPEAKER_00: Nick doesn't want to do it because this is a job that's in his backyard that's in the town that he lives in, which is really unsafe.
• 8:02
  SPEAKER_00: Usually he'll do these things across the border in the U.S.
• 8:06
  SPEAKER_00: He can jump on over to the remote part of Canada that he comes through and then make his way over to Quebec, or d excuse me, to Montreal.
• 8:19
  SPEAKER_00: And I think that's safer for him just because you know he's removed from the the setting of from the scene of the crime.
• 8:29
  SPEAKER_00: But now doing this job here, it's it's it's right in his backyard.
• 8:36
  SPEAKER_00: And uh Nick's profession is that of a he owns a jazz club.
• 8:43
  SPEAKER_00: And I think that kind of complicates his his desire to take this job on.
• 8:51
  SPEAKER_00: So you're gonna have to help me out here because there's a tiny window, and I want to cover as much as I can.
• 9:02
  SPEAKER_00: Um so executing the score, a big chunk of the movie is they lay out how they're going to penetrate this basement customs house vault and the safe that the scepter is housed in.
• 9:26
  SPEAKER_00: And the method that Nick comes up with to crack the safe is really kind of for the movie it works.
• 9:35
  SPEAKER_00: I don't know if this would work in real life.
• 9:37
  SPEAKER_04: I did wonder about that when we were watching it.
• 9:40
  SPEAKER_00: And I don't want to get that's really kind of the clincher scene.
• 9:46
  SPEAKER_00: Just from the pressure that was exuded to open the uh the doors, if you know what I mean, you would think everything else would be obliterated.
• 9:54
  SPEAKER_00: You know what I'm saying?
• 9:56
  SPEAKER_04: Yep.
• 9:56
  SPEAKER_04: And the other thing to add too is um this scepter is housed in, what did you say, a vault in the basement of this customs house.
• 10:07
  SPEAKER_04: And it's not housed or uh it's not kept in the way that the other artifacts are kept.
• 10:13
  SPEAKER_04: Like you see um animals and bones like kind of lying around, not lying around, but like out in the open.
• 10:20
  SPEAKER_04: And um this is in a cage, and it's in a box in a cage.
• 10:26
  SPEAKER_04: It's like if you didn't know that that's where it was, you would just think like honestly, I thought that was a it was a blue refrigerator.
• 10:34
  SPEAKER_00: And this has been they have used this safe in another movie, and I can't remember which one, because they talk about that there's a safety mechanism in this, I don't know if it's in just in this particular safe, but a lot of them use this so they can't be drilled.
• 10:53
  SPEAKER_00: They have glass packs where you can if a safe cracker is going to drill a safe to get access to the wheel, there are glass packs in in between the frame of the door and where the wheel would be, the wheel gears are.
• 11:13
  SPEAKER_00: And if you shatter those glass packs, there are pistons, they're like pistons, they're spring steel bolts, and they they push out against the door and against the interior of the of the vault.
• 11:30
  SPEAKER_00: And then it become because they they shoot out at an angle, they become impossible, it becomes impossible to open the door.
• 11:37
  SPEAKER_00: Like you could have a bulldozer and you couldn't open it.
• 11:41
  SPEAKER_00: And I've seen that that seen that description of those safe doors in another movie, and at some point we'll it'll come up and I'll I'll let you know.
• 11:52
  SPEAKER_00: But Jack, you get the vibe, did you get the vibe that he was an untrustworthy character?
• 12:02
  SPEAKER_04: Yeah.
• 12:03
  SPEAKER_04: Pretty immediately, I would say.
• 12:04
  SPEAKER_00: Yeah.
• 12:06
  SPEAKER_00: Nick sends somebody over to, or Jack kind of tips his hand and engages him on the street, and then comes to his office to push the idea of setting up this job, and Nick sends someone over to kind of rough him up a little, and Jack makes quick work of him.
• 12:31
  SPEAKER_00: And that there's there's this hostility that gets kind of pseudo-smoothed over.
• 12:38
  SPEAKER_00: But Nick agrees to take on the job, and it's only later that you find out.
• 12:46
  SPEAKER_00: I think doesn't Nick tell Max he wants six million for the scepter?
• 12:52
  SPEAKER_04: Yeah.
• 12:54
  SPEAKER_00: And I believe that Nick thought Max was gonna get like ten or twelve for it, but it turns out he's selling it for 30 million bucks.
• 13:07
  SPEAKER_04: Yeah, mm-hmm.
• 13:08
  SPEAKER_00: Which triggers Nick.
• 13:10
  SPEAKER_00: He's like, this is way too much exposure.
• 13:12
  SPEAKER_00: This is this thing is way, way, way too hot.
• 13:14
  SPEAKER_04: Yeah.
• 13:16
  SPEAKER_04: And isn't that Max trying to settle some other debts too?
• 13:20
  SPEAKER_04: So he's hoping that he makes a lot of money.
• 13:23
  SPEAKER_00: He's in debt, he's in hoc to that guy Teddy, who is a Montreal crime boss or mafioso.
• 13:33
  SPEAKER_00: And this is why you only see him in his house because he's hiding out from those guys who are outside of his house.
• 13:41
  SPEAKER_03: Yeah.
• 13:41
  SPEAKER_00: Who were just sitting against the car, those were the thugs of uh Teddy.
• 13:46
  SPEAKER_00: Uh-huh.
• 13:47
  SPEAKER_00: Okay.
• 13:47
  SPEAKER_00: That's who that was.
• 13:48
  SPEAKER_04: Gotcha.
• 13:49
  SPEAKER_04: Yeah, he uh is hiding out of his house in the basement in the pool at the pool in the corner.
• 13:56
  SPEAKER_00: So we have the conclusion here of what happens.
• 14:01
  SPEAKER_00: Like the buildup to them casing the bulk of this movie is really them casing the vault and the basement of the customs house and figuring out how they're going to penetrate it.
• 14:16
  SPEAKER_00: They have to, there is a security network in place that they have to, they can't bypass without an outside hacker.
• 14:27
  SPEAKER_00: And the I can't remember, or not that I can't remember, I don't know who the actor is who plays this kid, but he's a hopped-up uh what do you call that?
• 14:42
  SPEAKER_00: ADHD medicated nutball who's plays a bunch of video games, and Nick uses him on the regular to infiltrate security.
• 14:58
  SPEAKER_00: There's a back and forth between the people who run the security company who kind of figure out they're being hacked, and I would say probably 45 minutes of this movie pushing an hour is just the prep and the work up to get into the customs house.
• 15:21
  SPEAKER_04: I would agree.
• 15:21
  SPEAKER_00: And to figure out because Nick has to go through the tunnels and not burrow up, but use a a plasma torch to cut through the the grating underneath where the the vault is or where the the box is housed.
• 15:47
  SPEAKER_00: I I I love this movie.
• 15:51
  SPEAKER_00: Just be I like heist movies.
• 15:53
  SPEAKER_04: You do.
• 15:54
  SPEAKER_04: You love them.
• 15:56
  SPEAKER_00: There's another movie called Heist with Did we talk about this movie?
• 16:00
  SPEAKER_04: Very good.
• 16:00
  SPEAKER_04: We've watched that.
• 16:02
  SPEAKER_00: We didn't watch Heist.
• 16:04
  SPEAKER_04: We didn't?
• 16:05
  SPEAKER_00: I'm talking about, yeah, this has Sam Rockwell.
• 16:14
  SPEAKER_00: Danny.
• 16:16
  SPEAKER_00: Is it yeah, Danny DeVito, Gene Hackman, Delroy Lindo.
• 16:24
  SPEAKER_00: We didn't see this?
• 16:26
  SPEAKER_00: You'd remember this.
• 16:28
  SPEAKER_04: Are you sure?
• 16:29
  SPEAKER_04: Maybe we've just talked about it and we haven't seen it.
• 16:31
  SPEAKER_04: But I feel like we yeah, maybe you're right.
• 16:33
  SPEAKER_00: Maybe we did just Yeah, look it up there, but it's Gene Hackman.
• 16:37
  SPEAKER_00: It's one of it's a Gene Hackman.
• 16:39
  SPEAKER_04: Oh yeah, you're right.
• 16:40
  SPEAKER_04: I think we did just talk about it and not what we're gonna do.
• 16:41
  SPEAKER_00: It's a that's a great movie.
• 16:45
  SPEAKER_00: Let me see what else here you've got in the studio about Anatomy of a what is this?
• 16:53
  SPEAKER_00: Anatomy of a what?
• 16:57
  SPEAKER_04: Where are you looking?
• 16:59
  SPEAKER_00: Of a cinematic legacy.
• 17:01
  SPEAKER_00: This is pretty interesting.
• 17:04
  SPEAKER_04: Yeah, the um exhibit about him.
• 17:08
  SPEAKER_04: Tell me a little bit about, because my phone's not behaving here, what's the uh Oh just a moment, let me um I have to go back and wasn't prepared because I was looking up the other information.
• 17:26
  SPEAKER_00: So I think what this is is just a breakdown of Robert De Niro's roles.
• 17:33
  unknown: Yeah.
• 17:34
  SPEAKER_00: So series one films, apparently he's done some television from the 70s soap operas to the HBO's Wizard of Lies.
• 17:50
  SPEAKER_00: Series five Early Career Resumes, Stellar Adler, studio notes.
• 17:56
  SPEAKER_00: Wow.
• 17:57
  SPEAKER_04: So it says here the Rapid De Niro papers housed at the Harry Ransom Center at the University of Texas at Austin represent a massive archival collection documenting the actor's professional career from 1968 through 2003.
• 18:14
  SPEAKER_04: Which is pretty awesome because that's like a long time.
• 18:17
  SPEAKER_04: Um with the lot what does it say?
• 18:21
  SPEAKER_04: With the larger context of the 2001 film The Score, these papers identify it as one of the well documented productions in the collection, offering deep insight into the film's development and De Niro's meticulous preparation.
• 18:36
  SPEAKER_04: It just sounds really cool.
• 18:38
  SPEAKER_00: Like I would like to see the hallmark heavy ink dialogue changes and character notes are left exactly as De Niro used them.
• 18:48
  SPEAKER_00: Preservation notes, the archive retains his specific lengthwise page folds, paper paper clips and sticky notes were carefully replaced with archived with archival white paper and sleeves to preserve original order.
• 19:04
  SPEAKER_00: The evolution, the box tail, contains dozens of drafts tracing the script from a 1989 103-page draft to the final shooting script.
• 19:17
  SPEAKER_00: Wow, I didn't realize this was that old.
• 19:18
  SPEAKER_00: That's over a decade.
• 19:21
  SPEAKER_00: Filled the handwritten margin dates, mapping his exact reading schedule.
• 19:27
  SPEAKER_00: For those of you who are giant godfather and Robert De Niro fans, and those people are out there.
• 19:34
  SPEAKER_00: I'm sure this archive is on your radar, and if it's not, it really should be.
• 19:41
  SPEAKER_00: They have a whole breakdown of his continuity look.
• 19:47
  SPEAKER_00: It's a whole frame up detailing his goatee.
• 19:52
  SPEAKER_02: Oh wow.
• 20:11
  SPEAKER_00: The Irishman maintained a comprehensive wardrobe continuity book spanning over 200 pages.
• 20:18
  SPEAKER_04: I read that.
• 20:19
  SPEAKER_04: That's so cool.
• 20:20
  SPEAKER_04: I love costumes.
• 20:21
  SPEAKER_00: For Awakenings, which he did with Robin Williams, he played um, and I don't remember the disease, but it was a, I believe, a neurogener degenerative disease where Robin Williams played a doctor who found some kind of medication or a experimental drug that brought this patient who was Robert De Niro out of out of his mental uh collapse, but it was short-lived.
• 20:55
  SPEAKER_00: So apparently in Awakenings it generated they generate 135 Polaroids on a single metal ring mapping exact hair and beard length for a scene-by-scene continuity.
• 21:09
  SPEAKER_00: Wow.
• 21:10
  SPEAKER_00: This is a they just and they have buckets of scripts that he went through.
• 21:15
  SPEAKER_00: Series four and five, the past, and the past- oh, all the scripts he passed on.
• 21:23
  SPEAKER_00: Glengarry, Glenn Ross, Godfather Part 3, Apocalypse Now.
• 21:30
  SPEAKER_00: Wow.
• 21:33
  SPEAKER_00: Oh, this is neat.
• 21:34
  SPEAKER_00: These are pictures of him.
• 21:35
  SPEAKER_00: Wow, he was so young.
• 21:37
  SPEAKER_00: You see that in series four and five?
• 21:42
  SPEAKER_00: These look like pictures from when he was in high school or college.
• 21:46
  SPEAKER_04: Wow, really?
• 21:48
  SPEAKER_00: Well, they're they're it looks like that, but they're really from his what do you call that?
• 21:59
  SPEAKER_00: They're not headshots, but right around the time that he was doing theater.
• 22:04
  SPEAKER_00: Like in a portfolio or something.
• 22:07
  SPEAKER_00: Yeah.
• 22:08
  SPEAKER_04: Um.
• 22:09
  SPEAKER_00: So if you get case study for the score in 2001.
• 22:16
  SPEAKER_00: Sixty eight million dollar heist thriller directed by Frank Oz that grossed 113.5 million worldwide.
• 22:23
  SPEAKER_00: The hook.
• 22:25
  SPEAKER_00: It makes this it marks a cinematic milestone the first and only time Brando and De Niro, the two men won Oscars for playing Vito Corleone shared the screen.
• 22:37
  SPEAKER_00: It represents the ultimate testing ground for De Niro's meticulous preparation and set life process.
• 22:48
  SPEAKER_00: Super entertaining.
• 23:00
  SPEAKER_00: Opened at number two.
• 23:03
  SPEAKER_00: I remember this doing pretty well, but then it kind of I don't want to say it fell off right away, but it didn't have the impact that he did.
• 23:15
  SPEAKER_00: Which was I want to say six years earlier.
• 23:21
  SPEAKER_00: I mean, not even closed.
• 23:24
  SPEAKER_00: Gross number two in the U.S., grossing 113.3 with a tightly managed$68 million budget.
• 23:32
  SPEAKER_00: And apparently, Frank Oz agreed to a lower budget and then it ballooned.
• 23:38
  SPEAKER_02: Mm-hmm.
• 23:40
  SPEAKER_00: For those of you wondering, Frank Oz also uh contributed to the Muppets.
• 23:49
  SPEAKER_00: And he was in he's Frank Oz has directed and written a ton of a ton of movies, but oddly enough, a number of comedies.
• 23:58
  SPEAKER_00: He was did you ever see Spies Like Us?
• 24:02
  SPEAKER_04: Nope, I've never heard of that movie.
• 24:04
  SPEAKER_00: Dan Aykroyd and Chevy Chase, they play low-level government clerical types who want to be secret agents, and they get quote unquote made into agents, but just to add as decoys, and they drop them in Russia and hilarity ensues.
• 24:22
  SPEAKER_00: That'd be worth us watching at some point.
• 24:26
  SPEAKER_04: Okay.
• 24:27
  SPEAKER_04: I've never heard of it before.
• 24:28
  SPEAKER_00: Well, it's before your time.
• 24:30
  SPEAKER_00: The magic of the new Hollywood acting style is often mistaken for spontaneous, untethered emotion.
• 24:37
  SPEAKER_00: The 439 boxes of the De Niro papers proves otherwise.
• 24:42
  SPEAKER_00: True cinematic realty is constructed not through magic but through thousands of heavily inked script pages, hundreds of sociological research texts, metal rings of continuity, Polaroids, and a gritty disciplined labor of collaborating on set.
• 25:02
  SPEAKER_00: The archive is the architecture of the art.
• 25:06
  SPEAKER_00: What is this is called the De Niro Archives or Um, I don't know.
• 25:13
  SPEAKER_04: The Robert De Niro Honestly, I don't know.
• 25:21
  SPEAKER_04: Um But he I'm reading more about it like while you've been talking.
• 25:26
  SPEAKER_04: Yep.
• 25:27
  SPEAKER_04: Um he donated all of this stuff.
• 25:31
  SPEAKER_00: So like he had Oh, from like being on sets having his scripts, all the pictures and I didn't realize it was quite as old as his as it is.
• 25:39
  SPEAKER_04: He donated it all in 2000 in 2006.
• 25:44
  SPEAKER_04: So it's been there for a long time.
• 25:47
  SPEAKER_04: Which why which makes sense as to why you were saying like you have to like call ahead and like get permission and like blah blah blah to look at it.
• 25:55
  SPEAKER_04: What I thought it was before was that like it was something that was currently like out and visible right now and like you could go.
• 26:02
  SPEAKER_00: Oh, yeah, it's not like a museum piece.
• 26:04
  SPEAKER_04: It's uh you have to Yeah, it's yeah like apply to it.
• 26:08
  SPEAKER_04: Yeah.
• 26:09
  SPEAKER_04: That's that's really cool though.
• 26:11
  SPEAKER_04: I kind of think now I kind of think that I heard about it.
• 26:18
  SPEAKER_00: You know, we gotta figure out if there is a way for us to put up our notebook or at least this slide deck so people can see it, because there's one piece of the slide deck, The Anatomy of a Heist, gives you a blueprint and post-its detailing the build-out of this heist from like the infiltration via the underground sewer, yeah, tunnels, hacker accomplice bypasses, infrared closed circuit uh alarms.
• 26:56
  SPEAKER_00: I don't want to tell this part of the out of of the the thing with the vault.
• 27:01
  SPEAKER_00: That's that's it's worth it because like when you you remember this when he tapped in and like was all rigged up right over the top of the the safe, and you were like, what is he doing?
• 27:17
  SPEAKER_00: Remember that?
• 27:19
  SPEAKER_00: Yes, and once he went through everything to get into the safe, just remember the look on your face, like, oh my god, is that even possible?
• 27:31
  SPEAKER_00: I'm like, well, it's a movie, maybe, maybe not.
• 27:36
  SPEAKER_00: And what happens with Jack and this is where I feel like sometimes our podcast is a little weak, in that it's a fun movie, and I don't want to tell what happens between Jack and Nick, but also right on the heels of how Nick accesses the safe.
• 28:04
  SPEAKER_00: Remember the scene at the end when he's trying to get to the the bus and he calls him?
• 28:10
  SPEAKER_04: Mm-hmm.
• 28:11
  SPEAKER_00: How blown away were you with that with that switch up?
• 28:14
  SPEAKER_04: Super blown away.
• 28:15
  SPEAKER_04: I did not, yeah.
• 28:17
  SPEAKER_04: It's too bad I can't just watch this movie like whenever I want because um I would definitely watch it again.
• 28:25
  SPEAKER_00: It would surprise me.
• 28:27
  SPEAKER_04: That's it's so good.
• 28:29
  SPEAKER_04: The De Niro Papers, that's what it's called.
• 28:32
  SPEAKER_00: The idea of or the concept of a a switch up or a hook or a a double cross or a it's just so it's great when you see a movie that has like a real twist and a real surprise.
• 28:50
  SPEAKER_00: And you you want it to happen, but you're not sure it's gonna.
• 28:55
  SPEAKER_00: This definitely right at the tail end of the movie, you're like, this is how how it was supposed to go.
• 29:05
  SPEAKER_04: And I know that doesn't that doesn't mean anything to someone if they haven't seen it.
• 29:10
  SPEAKER_00: So see it.
• 29:11
  SPEAKER_04: But if yeah.
• 29:13
  SPEAKER_00: What is this bit down here about the reality of set life, chaos, and control?
• 29:18
  SPEAKER_04: Where?
• 29:19
  SPEAKER_00: At the in the slide deck?
• 29:21
  SPEAKER_00: In the slide deck, yeah.
• 29:24
  SPEAKER_00: I wonder if there's a we gotta look at that tonight when we're uploading this, if there's a way to upload the slide deck.
• 29:33
  SPEAKER_00: Something, yeah.
• 29:34
  SPEAKER_00: Oh, I think what this is referring to is how the actors receive a daily a production daily schedule.
• 29:44
  SPEAKER_00: And you know, they get their pages for the day.
• 29:50
  SPEAKER_00: And then the reality is through changes and switch-ups and reshoots, the conflict, like their their papers at the end of the day are filled with omissions and things crossed out and little notes put in.
• 30:08
  SPEAKER_00: Apparently, so I'll just read this bit here.
• 30:11
  SPEAKER_00: Daniel's meticulous archival preparation allowed him to pivot.
• 30:16
  SPEAKER_00: He stepped in as a crucial set life mediator, literally directing his co-star scenes, while the actual director watched from the outside on the monitor, saving the troubled product.
• 30:32
  SPEAKER_00: That would have been Frank Oz.
• 30:35
  SPEAKER_00: The set was notoriously tense.
• 30:37
  SPEAKER_00: This co-star exhibited erratic behavior.
• 30:41
  SPEAKER_00: You know that was Edward Norton.
• 30:43
  SPEAKER_00: You th uh I was thinking it was it was Norton.
• 30:46
  SPEAKER_04: I think it was Marlon Brando.
• 30:48
  SPEAKER_04: I heard this.
• 30:49
  SPEAKER_00: Um he's no yeah, in his later years, he was a super duper handful.
• 30:55
  SPEAKER_04: I heard this on the AI podcast that Notebook LM generates.
• 30:59
  SPEAKER_00: Yeah.
• 31:00
  SPEAKER_04: Um, but I only listened to it once and I didn't quite understand it because what was being explained sounded so off the wall to me that I almost couldn't believe it.
• 31:10
  SPEAKER_04: And it's I mean it is, it's just what you said.
• 31:13
  SPEAKER_04: But like he would like be sitting around like in his underwear, and he would like I'm not saying these things are all linked necessarily, but like, you know, like I I don't know if it's like refusing to do scenes or like he wanted to do things his way.
• 31:28
  SPEAKER_04: Um this was the last movie that he made and I looked it up when we were watching this movie or before we watched it, because you you said Marlon Brando was in this, and I was like, Marlon Brando's in this movie, like I just couldn't wrap my young head around it.
• 31:43
  SPEAKER_00: He was huge, wasn't he?
• 31:45
  SPEAKER_04: Yeah.
• 31:47
  SPEAKER_04: So big and like even after we saw the movie, and I went back and looked at like the cast list, I was like, oh, that's who he was.
• 31:55
  SPEAKER_04: Like it didn't um register to me that that was who it was.
• 31:59
  SPEAKER_04: But yeah, the directors, there was a lot of this movie that it sounded like that the director sat outside the set, and Robert De Niro was acting as the director to like, I don't know what you say, leader conduct these scenes.
• 32:16
  SPEAKER_04: Um, and there's something else you just said.
• 32:18
  SPEAKER_04: Oh, I was gonna say he died three years later.
• 32:21
  SPEAKER_00: Mm-hmm.
• 32:21
  SPEAKER_00: Well, so he Once you see the movie, like you'll you you'll understand why.
• 32:26
  SPEAKER_04: I was like I just it like it still blows my mind just to think about it.
• 32:30
  SPEAKER_04: Like I did not again, you said he was in this movie and I was like, really?
• 32:35
  SPEAKER_04: And then we watched it and the whole thing happened, and then I was I still went back and I just couldn't.
• 32:41
  SPEAKER_00: It's so much fun to hear about the production of films that are an absolute catastrophic mess.
• 32:48
  SPEAKER_00: Yeah.
• 32:48
  SPEAKER_00: You know what another one involving him, which a lot of people have heard I do you ever assume that since because you know about something, everybody else knows about it?
• 32:57
  SPEAKER_04: Yeah, yes.
• 32:58
  SPEAKER_00: So kind of all the time all the time.
• 33:01
  SPEAKER_04: About really insignificant things, yes.
• 33:04
  SPEAKER_00: The island of Dr.
• 33:05
  SPEAKER_00: Moreau, he was in this, and so was Val Kilmer.
• 33:10
  SPEAKER_02: Mm-hmm.
• 33:11
  SPEAKER_00: And Val was nuts, and Marlon Brando was nuts, and we should I would say we should review that, but it wasn't.
• 33:26
  SPEAKER_00: I didn't really enjoy the movie.
• 33:28
  SPEAKER_00: I went to it with Mark, and like I think I had just gotten out of maybe it was my freshman or or sophomore year of college.
• 33:42
  SPEAKER_00: Spring or summer break had rolled around, and we went to his parents or to his dad at a cabin out in uh Wolverine or Adrian.
• 33:53
  SPEAKER_00: Okay, and we saw this, and I was really anticipating it being really enter entertaining.
• 34:00
  SPEAKER_00: This is Island of Dr.
• 34:02
  SPEAKER_00: Moreau, and it was just a letdown, and the whole movie looked the movie was crazy, so much so that the director got fired halfway through it and thrown off the island, and he smuggled his way back onto the island, hid in the jungle, and then dressed up that in the movie.
• 34:23
  SPEAKER_00: The doc is not breeding, but he's like crossing the genes of animals and people and making like these man beasts, and he dressed up like one and made himself part of the extras cast, having smuggled himself back on the this movie was bananas.
• 34:47
  SPEAKER_00: Bananas.
• 34:48
  SPEAKER_04: Oh my gosh.
• 34:51
  SPEAKER_00: Then if we watch the movie, just we'd we'd probably almost have to do this in two parts because Kilmer's behavior and Brando's behavior is it's just legendarily bad.
• 35:05
  SPEAKER_00: This is this is the movie that gave Val Kilmer the bad rap about being real tough to work with.
• 35:12
  SPEAKER_00: And he did movies after this, but it his star power definitely suffered from it.
• 35:25
  SPEAKER_00: So what else do we got here?
• 35:27
  SPEAKER_00: The set was no the the ooh, here we go.
• 35:31
  SPEAKER_00: Including performing scenes in his underwear, his co- okay, so that is Brando.
• 35:39
  SPEAKER_00: Aggressively clashing with the director, calling him Mr.
• 35:43
  SPEAKER_00: calling him Miss Piggy because it was Frank Oz and he he played Miss Piggy.
• 35:48
  SPEAKER_00: And refusing to take direction.
• 35:50
  SPEAKER_00: Yeah, that that definitely sounds like Brando.
• 35:54
  SPEAKER_00: Which is you know what's crazy that you get so famous.
• 35:58
  SPEAKER_04: Yeah.
• 36:00
  SPEAKER_00: Like iconic.
• 36:02
  SPEAKER_00: And then nobody's immune from you don't get that famous without it messing with your mind and then b behaving like a jerk.
• 36:16
  SPEAKER_00: Let's see, what else do we have?
• 36:18
  SPEAKER_00: Production notes, because I have to get to my recipe recipe.
• 36:23
  SPEAKER_00: But I want to see what it because you built a if there's any other part of the production that's worth pointing out here.
• 36:33
  SPEAKER_00: It's so fun as a heistman.
• 36:35
  SPEAKER_00: Like a Friday evening movie, this is perfect.
• 36:40
  SPEAKER_04: And the thing is, a personal side note, we watched this movie as we do with all our movies.
• 36:46
  SPEAKER_04: We started it really late at night.
• 36:49
  SPEAKER_04: And we had like a half- Yeah, it did.
• 36:53
  SPEAKER_04: A half an hour to go.
• 36:55
  SPEAKER_04: And had it not been a work day the following morning, I would have been like, okay, let's keep watching it and just sleep in the morning.
• 37:01
  SPEAKER_04: But um, like the time warranted that we should turn it off.
• 37:08
  SPEAKER_04: And again, did I just say we had like 25 more minutes to go?
• 37:11
  SPEAKER_04: And it was like a horrible time to turn it off.
• 37:15
  SPEAKER_04: But I was like, I have to go to bed.
• 37:17
  SPEAKER_00: Yeah, you turned it off the worst possible time.
• 37:20
  SPEAKER_04: And I like the lat and so then when we picked it back up the next time, it was like I was like on the edge of my seat.
• 37:26
  SPEAKER_04: Like, yeah, it was just it was really good.
• 37:30
  SPEAKER_00: So key locations, the Montreal Customs House, the Wellington Tunnel, Old Montreal, and you gotta admit that Montreal had had its own character in this movie.
• 37:42
  SPEAKER_00: Montreal just looks like an awesome place to visit in the summer.
• 37:45
  SPEAKER_00: Westmont Avenue.
• 37:49
  SPEAKER_00: And we talked about the De Niro Papers.
• 37:55
  SPEAKER_00: What else am I missing here?
• 38:00
  SPEAKER_00: You know, I don't know what this is, but whenever I am looking at Notebook LM, I can't back out of it.
• 38:05
  SPEAKER_00: It like closes the whole thing down.
• 38:07
  SPEAKER_03: Oh yeah, you said yeah.
• 38:10
  SPEAKER_00: What is this you generated here?
• 38:12
  SPEAKER_00: Did you do two slide decks?
• 38:14
  SPEAKER_04: I might have, yeah.
• 38:15
  SPEAKER_00: Anatomy of a Cinematic Legacy.
• 38:19
  SPEAKER_00: Oh.
• 38:20
  SPEAKER_04: Yeah, I don't know exactly what happened.
• 38:22
  SPEAKER_00: I'm not gonna get to all of that.
• 38:26
  SPEAKER_00: But regarding production, I'll just make one more note here and I gotta get to the recipe because it's kind of delectable.
• 38:36
  SPEAKER_00: So Edward Norton, Brando, De Niro, the score.
• 38:43
  SPEAKER_00: Directed by Frank Oz, takes place in Montreal.
• 38:48
  SPEAKER_00: Ooh, this is interesting.
• 38:50
  SPEAKER_00: Archival document documentation.
• 38:53
  SPEAKER_00: Scale and complexity of the production are reflected in the De Niro papers at the Harry Ransom Center.
• 39:02
  SPEAKER_00: Oh, you read this.
• 39:04
  SPEAKER_00: Also includes extensive binders with call sheets, set designs, location photography, and wardrobe continuity sheets.
• 39:14
  SPEAKER_00: I loved it.
• 39:15
  SPEAKER_00: I love a good heist.
• 39:17
  SPEAKER_00: When you get the opportunity, check it out.
• 39:19
  SPEAKER_00: I'm gonna jump into the recipe real quick.
• 39:23
  SPEAKER_00: If I can find it, God help me that I can do this quick, because we only got six minutes.
• 39:31
  SPEAKER_04: Well, you can do it in that time.
• 39:33
  SPEAKER_00: You think?
• 39:34
  SPEAKER_00: It's kind of that's not that big.
• 39:37
  SPEAKER_00: Alright.
• 39:38
  SPEAKER_00: So this is more of a breakfast item since we started my full-time market Saturday.
• 39:49
  SPEAKER_00: So we're back at markets about four or five days a week now.
• 39:55
  SPEAKER_00: This is definitely gonna get made at home.
• 39:58
  SPEAKER_00: This is hot honey and sesame feta toast, which you can make it with any kind of honey, but because I know I've been doing a lot of hot honey recipes.
• 40:09
  SPEAKER_00: If you have an air fryer, this is perfect.
• 40:12
  SPEAKER_00: Listen up.
• 40:17
  SPEAKER_00: So I'll just I'll start at the top here.
• 40:22
  SPEAKER_00: Simply mix together crumbled feta cheese with eggs, chopped spring onions, sesame seeds, spoon over two slices of bread, and air fry.
• 40:30
  SPEAKER_00: Or oven bake, but air fry, it's a lot faster.
• 40:33
  SPEAKER_00: And then drizzle with hot honey.
• 40:35
  SPEAKER_00: The recipe 30 gram feta cheese crumbled up in a bowl, crack two eggs, mix until combined, stir in two chopped spring onions and a teaspoon of sesame seeds with any herbs, spices, and seasoning.
• 40:50
  SPEAKER_00: Spoon in the feta mixture on top of your slices of bread and air fry.
• 40:55
  SPEAKER_00: It says at 180 degrees Celsius, do the conversion and figure out what that is.
• 40:59
  SPEAKER_00: I don't know.
• 41:02
  SPEAKER_00: 412 to 14 minutes.
• 41:04
  SPEAKER_00: I think that's a bit excessive unless it's like 300 degrees.
• 41:09
  SPEAKER_00: Yeah.
• 41:09
  SPEAKER_00: Why not just turn it up a little?
• 41:11
  SPEAKER_00: Yeah.
• 41:11
  SPEAKER_00: I would say turn it to around 360 and maybe do it for four minutes.
• 41:16
  SPEAKER_04: I mean ish.
• 41:18
  SPEAKER_04: Yeah.
• 41:19
  SPEAKER_00: I mean you can try it, like play around with it, follow the recipe, but it's a bit go ahead.
• 41:24
  SPEAKER_04: I would just say I would I would just say to check it.
• 41:27
  SPEAKER_04: If you were gonna put it in for as long as the recipe tells you to, just keep an eye on it.
• 41:32
  SPEAKER_04: Because I feel like a lot of the times when we use the air fryer for anything, um, you know what says put it in for this long, and we're like, that just seems like too long for us.
• 41:40
  SPEAKER_00: So play around with it.
• 41:42
  SPEAKER_04: Yeah, just don't like take it for what it says on the paper.
• 41:46
  SPEAKER_00: Let's see.
• 41:48
  SPEAKER_00: Serve with a generous drizzle of hot honey, which you can get from hay honey.
• 41:52
  SPEAKER_00: As always, these recipes are bought brought to you by heyhoney.biz.
• 42:05
  SPEAKER_00: Devour it.
• 42:06
  SPEAKER_00: Enjoy it.
• 42:07
  SPEAKER_00: You'll love the it I wish there was a way with the podcast to.
• 42:12
  SPEAKER_00: I suppose I could put this.
• 42:14
  SPEAKER_00: We do the audio on YouTube, but it looks delicious.
• 42:18
  SPEAKER_00: It's almost like a I don't want to call it like a discount French toast.
• 42:25
  SPEAKER_00: And it's not.
• 42:27
  SPEAKER_00: It's I think the re it looks a little more hardy, but I think the reason it looks hardy is because they used multi-grain bread.
• 42:34
  SPEAKER_04: Mm-hmm.
• 42:36
  SPEAKER_04: But I just love sweet potatoes, so I know it'll be delicious.
• 42:39
  SPEAKER_00: This is not the sweet potato recipe.
• 42:43
  SPEAKER_00: What are you talking about next week's recipe?
• 42:46
  SPEAKER_04: Oh, sorry.
• 42:46
  SPEAKER_00: Oh my I gave it away.
• 42:48
  SPEAKER_00: You're very you're you're you're you're dropping hints.
• 42:52
  SPEAKER_00: I'm not gonna be able to surprise the people.
• 42:54
  SPEAKER_04: Let me just say, listeners, that we have two movies that we're doing podcasts for back to back, as well as two delicious recipes sold.
• 43:03
  SPEAKER_00: I'm gonna light her up about next week's.
• 43:08
  SPEAKER_00: Definitely tune in because this was her pick.
• 43:12
  SPEAKER_00: And ooh, I'm gonna lambaste you.
• 43:14
  SPEAKER_00: What?
• 43:15
  SPEAKER_00: Too loud?
• 43:16
  SPEAKER_04: Okay, bring it down a notch.
• 43:17
  SPEAKER_00: I can't help it.
• 43:18
  SPEAKER_00: I'm so looking forward to this.
• 43:21
  SPEAKER_00: Halfway through this movie, I'm like, do you know what we were in for here?
• 43:26
  SPEAKER_00: Trust me, I I know you think I'm over the top, but the listeners are loving this.
• 43:31
  SPEAKER_00: Guess what?
• 43:32
  SPEAKER_04: Well, I know you're over the top.
• 43:33
  SPEAKER_04: I'm just playing along.
• 43:34
  SPEAKER_00: That's that's that's why we're hanging out.
• 43:38
  SPEAKER_00: What else do we have?
• 43:39
  SPEAKER_00: Do we have any other I might as well give everyone who's I've got maybe a minute here.
• 43:44
  SPEAKER_00: So Ann Arbor is back on Wednesdays now and Saturdays starting this coming.
• 43:51
  SPEAKER_00: What is today?
• 43:52
  SPEAKER_00: The third?
• 43:53
  SPEAKER_00: Yeah.
• 43:54
  SPEAKER_00: Fourth, so the sixth we're back there, and then Saturday, of course.
• 43:58
  SPEAKER_00: I'm in Howell, Michigan for the next three Sundays, and then Sterling Heights doesn't start till next month.
• 44:08
  SPEAKER_00: But as always, I'll be in Flint on Tuesdays at the Flint Farmers Market from eleven to three o'clock.
• 44:15
  SPEAKER_00: Do you have any announcements?
• 44:18
  SPEAKER_03: Nope, that's it.
• 44:19
  SPEAKER_00: Nothing, that's it.
• 44:20
  SPEAKER_03: Nope, that's it.
• 44:21
  SPEAKER_00: All right, suckers.
• 44:22
  SPEAKER_00: Hugs and kisses.
• 44:24
  SPEAKER_00: We'll talk soon.
• 44:26
  SPEAKER_00: Next week.
• 44:28
  SPEAKER_00: French lover or my French lover?
• 44:30
  SPEAKER_04: French lover.
• 44:31
  SPEAKER_00: French lover.
• 44:33
  SPEAKER_00: You know, you were gonna like you were gonna love this.
• 44:36
  SPEAKER_00: Building it up pretty heavy, aren't I?
• 44:39
  SPEAKER_04: Better not let me down.
• 44:41
  SPEAKER_00: Talk to you soon.
• 44:42
  SPEAKER_00: Tootles.
• 44:43
  SPEAKER_04: Bye.