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448 Robert Redford Tribute- His Films, His Sundance Institute and HIs Legacy · The Cine-Files

• 0:12
  [SPEAKER_00]: Hello, everyone.
• 0:14
  [SPEAKER_00]: And welcome to a brand new episode of The Truth Here on the John Roker Channel.
• 0:18
  [SPEAKER_00]: Now, normally, the truth is a show where we dive into some hot button topics and really get into them.
• 0:23
  [SPEAKER_00]: And I tell you, the truth, which is really my truth, all these subjects.
• 0:28
  [SPEAKER_00]: But today, we're doing something really different.
• 0:30
  [SPEAKER_00]: And it's because we are celebrating the life and the movies and the work and the legacy of the great Robert
• 0:40
  [SPEAKER_00]: As we're recording this yesterday at the age of 89 in his sleep, they're surrounded by family and friends in his home.
• 0:47
  [SPEAKER_00]: And I thought, who else could I bring on to be my co-host for this conversation?
• 0:53
  [SPEAKER_00]: Then my very learned.
• 0:55
  [SPEAKER_00]: friend who is a director, writer, producer and my co-host on the cinephiles, a podcast that we have done for almost 10 years breaking down a great film or film that we love every week on the show.
• 1:09
  [SPEAKER_00]: And that is my brother in life and the great Steve Morris.
• 1:12
  [SPEAKER_00]: How are you Steve?
• 1:12
  [SPEAKER_00]: How are you feeling, brother?
• 1:14
  [SPEAKER_01]: I'm very good.
• 1:15
  [SPEAKER_01]: And while the reason we're getting together is sad, I'm really happy to celebrate a person who I have adored since I was a little kid.
• 1:23
  [SPEAKER_01]: So it's a pretty important guy in the film world, I think.
• 1:27
  [SPEAKER_00]: Yeah, for so many reasons Steve Robert Redford, of course, acting wise, that's where I think most people get to know him first, and then of course, he becomes a director later on in life wins an Academy Award for his debut directorial debut in ordinary people, and then goes on to create the Sundance Institute and by extension the Sundance Film Festival, which launches the careers of so many.
• 1:50
  [SPEAKER_00]: phenomenal directors and actors and movies that we still talk about today that we still consider classics, a man who has involved in many classics himself leading to the creation of more classics to be distributed throughout the world and continue the love of this medium and the power of this medium to change people's perceptions about so many issues and so many things in the world.
• 2:11
  [SPEAKER_00]: So see, when you think about Robert Redford now and you think about the years, you know, he lived a
• 2:18
  [SPEAKER_00]: Went through numerous phases in his career, as I said, from young actor working with actresses like Jane Fonda, and then moving into his powerhouse phases, where he's working with actors like Paul Newman, doing great stuff in book casting in Sundance Kid, or when you look at the stuff that he does later on with all the presidents men, then the natural into the 1980s.
• 2:41
  [SPEAKER_00]: And then, you know, the end of his life doing stuff like all his lost old man and the gun
• 2:48
  [SPEAKER_00]: And as we said, ends up directing films, like it does with ordinary people, and then Quiz Show is another really notable exceptional film of his.
• 2:58
  [SPEAKER_00]: So when you think about Robert Redford, man, what do you think now, as he's passed on of his legacy, what stands out to you, what really comes to mind when you think of Robert Redford as an entity, you know, as funny as you're showing those images and we're going to thinking about his life, and you know what hit me, the thing I think his legacy is,
• 3:18
  [SPEAKER_01]: Like, I'm going, when you think about like, well, a movie star, someone wants to be a movie star.
• 3:24
  [SPEAKER_01]: They want to fame.
• 3:25
  [SPEAKER_01]: They want adoration.
• 3:27
  [SPEAKER_01]: They want to be in the biggest movie there is.
• 3:30
  [SPEAKER_01]: And that's such a driving force.
• 3:33
  [SPEAKER_01]: And honestly, that was funny.
• 3:34
  [SPEAKER_01]: I was just listening to a conversation.
• 3:36
  [SPEAKER_01]: I think it was a recent Mark Meron one where they were talking about there used to be this term called Selling Out.
• 3:42
  [SPEAKER_01]: Like, I don't want to sell out.
• 3:44
  [SPEAKER_01]: And the idea of selling out is so ridiculously antiquated now, because, you know, the, you know, Beatles songs are being used in advertisements, like there is no, the immediacy of being an influencer who now has brands attached to them, happens right away.
• 4:02
  [SPEAKER_01]: And so this idea of fame with being a marketable, profitable thing is how we mostly think of start them.
• 4:10
  [SPEAKER_01]: Yeah.
• 4:10
  [SPEAKER_01]: And that's not who Robert Redford wanted to be from the very beginning of his career.
• 4:14
  [SPEAKER_01]: I mean, for the very beginning, I even though, yeah, he's doing barefoot in the park.
• 4:17
  [SPEAKER_01]: He's been TV shows, but right away, we get to films like the candidate.
• 4:22
  [SPEAKER_01]: We get to all the president's men really quickly.
• 4:25
  [SPEAKER_01]: And then you look at the entirety of his career, the films that he directed and Sundance and go, oh,
• 4:32
  [SPEAKER_01]: He felt that his job was not to be the most famous person, not to be the person that had just the adoration of millions.
• 4:39
  [SPEAKER_01]: He felt that he had a responsibility to use his work, to do things that were good.
• 4:44
  [SPEAKER_01]: So like the biggest thing that really strikes me is his values.
• 4:48
  [SPEAKER_00]: Well, I think in that way, he has so much in common with Paul Newman, right, both of these gentlemen were had movie star good looks, but always,
• 4:59
  [SPEAKER_00]: like use their platforms to fight for causes, whether overtly in front of the scenes or behind the scenes, you know, with Red Bird, it was environmentalism.
• 5:09
  [SPEAKER_00]: That was a very big thing Native American rights, and of course, the Sundance Institute, and more.
• 5:13
  [SPEAKER_00]: I mean, he was a
• 5:14
  [SPEAKER_00]: uh... produce executive producer on dark winds which is very strong and fantastic native american real uh... based show uh... that's been on amc plus for the last four years or there is a real like put your money where your mouth is and both of those guys in redford and newman with these guys who did not just want to trade on their good looks they wanted to use their platform to do good
• 5:33
  [SPEAKER_00]: And they wanted to make changes in the world.
• 5:35
  [SPEAKER_00]: You know, Redford even back in the 1970s was trying to shuffle in documentaries to these places so that they would be shown.
• 5:43
  [SPEAKER_00]: And people could see and change their perceptions of things that are happening.
• 5:46
  [SPEAKER_00]: So both of them, along with their start-up, had a real understanding of their power in the world and their power to affect change in the world.
• 5:56
  [SPEAKER_00]: And I thought that to be, and I think that's an incredible legacy to leave as an artist, as a creative.
• 6:03
  [SPEAKER_00]: You know, I'm not saying the creatives nowadays don't have causes.
• 6:06
  [SPEAKER_00]: They clearly do.
• 6:07
  [SPEAKER_00]: They show up to share and what have you, but it seems to me that this is still, this is seems to be a dying breed of the celebrity that steps forward to push for certain causes because there's a fear of like, well, is that second effect your brand, as you said earlier, is that kind of effective people want to come see your stuff with studios, be a little more paranoid, you know, I think
• 6:29
  [SPEAKER_00]: James Gunn recently coming out and speaking about immigration in the promotion of Superman and the backlash of the hoopla of that guy.
• 6:36
  [SPEAKER_00]: And so you see that he's a legacy in that way as you were saying earlier, Steve, that he's a guy who steps forward and understand that he's more than just an actor in the world, you know.
• 6:50
  [SPEAKER_01]: I think there's an important distinction between the celebrity who stands up for a cause, which I totally respect and I believe that people when they have a platform, if they feel strongly, they should use their platform.
• 7:02
  [SPEAKER_01]: I'm totally fine with that.
• 7:03
  [SPEAKER_01]: Yeah.
• 7:04
  [SPEAKER_01]: There's a difference between that and someone who says, I'm going to go make this movie.
• 7:08
  [SPEAKER_01]: Yes, I'm going to spend the next year of my life.
• 7:11
  [SPEAKER_01]: Devoted to telling this particular kind of story, you know, that's a different it's there's a way more putting your money where your mouth is and going and it's also I think readford I mean it's kind of obvious to say this, but I think that he saw film as a medium that could be important.
• 7:31
  [SPEAKER_01]: Yeah, I know, you know, and obviously that's what Sundance is.
• 7:34
  [SPEAKER_01]: He didn't see, it's not that he was opposed to making entertaining movies.
• 7:38
  [SPEAKER_01]: He did make some really entertaining movies.
• 7:40
  [SPEAKER_01]: But he saw film is like, oh, this is how we can speak important messages about the human condition and who we are, you know.
• 7:49
  [SPEAKER_00]: And I also think he was drawn, and it's great point to bring up Steve, I think the films he was drawn to be a part of or to make, or films that explored the darker edges of our humanity, even something like the natural which is considered this like iconic Americana film on baseball.
• 8:06
  [SPEAKER_00]: There is a commentary about the danger of celebrity, the danger of being popular, the corruption inherent in sports that still goes on today from owners on down and accusations of match fixing or game fixing and what have you.
• 8:21
  [SPEAKER_00]: And so you see that, even recently Pete Rose getting finally
• 8:25
  [SPEAKER_00]: the door open to go back to go into the Hall of Fame, rather there was corruption around all that with the bedding and what have you.
• 8:30
  [SPEAKER_00]: So you see that even these things that he's drawn to do that would seem to be mainstream populist filmmaking or characters that are mainstream and populist because the comeback story and all of that, they're still the darker edges of it all that's a commentary.
• 8:44
  [SPEAKER_00]: As you've mentioned, the candidate,
• 8:46
  [SPEAKER_00]: all the president's men, downhill racer even, the one with him in Gene Hackman is a commentary about sports and the desire to achieve certain things in sports and what they can do to you.
• 8:56
  [SPEAKER_00]: You know, all of that coursing through in his direction, you're right.
• 8:59
  [SPEAKER_00]: Quiz show was a commentary on corruption within game shows and how that was a reflection of America and that America was lied to so much in the 1950s and 60s of what was actually going on.
• 9:09
  [SPEAKER_00]: Oh, what was being presented versus what was actually going on.
• 9:13
  [SPEAKER_00]: or the Milagro Beanfield War, which I know wasn't a film that did well, success.
• 9:17
  [SPEAKER_00]: There wasn't that successful the box office was, but was a commentary with a social point of view.
• 9:22
  [SPEAKER_00]: And I think that's, those are essential to understanding Robert Redford is that he's drawn to these kinds of projects.
• 9:28
  [SPEAKER_00]: And they really brought out the best of him as an actor.
• 9:33
  [SPEAKER_01]: I'm just thinking about how often he played characters that were put in a position of moral choice.
• 9:38
  [SPEAKER_01]: The character who you generally think is a good person, but then they're put in a place and they don't know exactly where they're going to go.
• 9:47
  [SPEAKER_01]: And it's interesting because we think of like Redford is the hero, and the hero is going to do the heroic thing.
• 9:52
  [SPEAKER_01]: But when you think about three days of the condor,
• 10:01
  [SPEAKER_01]: Yep, you know, it's like, oh, here's this guy who just seems like this nice nerdy guy who reads a lot of books and now he's put in this position and what is he going to do and the same what you're watching the sting there's like, yeah, he's the young guy, but we don't always know if he if he's going to make the right choices, you know, like the the, you know, the same is true and like Jeremiah Johnson, you don't quite know and then the candidate, which is just an incredible I just so the two so it's always a funny choice or we're going to do one of these shows as I go.
• 10:31
  [SPEAKER_01]: What am I going to watch it in this case?
• 10:33
  [SPEAKER_01]: We decided to do the show yesterday.
• 10:35
  [SPEAKER_01]: So I didn't have a lot of time and I was going through like I didn't need to I don't need to watch the natural I don't need to watch the sting.
• 10:41
  [SPEAKER_01]: I remember those movies.
• 10:42
  [SPEAKER_01]: We just did them a year ago.
• 10:43
  [SPEAKER_01]: I remember them perfectly well.
• 10:44
  [SPEAKER_01]: So the two that I chose to watch I wanted to get to quiz a quiz show.
• 10:49
  [SPEAKER_01]: I didn't make it.
• 10:50
  [SPEAKER_01]: Okay.
• 10:50
  [SPEAKER_01]: I was the other one I wanted to watch was Jeremiah Johnson and the candidate.
• 10:54
  [SPEAKER_01]: Those are the two movies I watched yesterday because I hadn't seen it a long time and they're both morally ambiguous films
• 11:00
  [SPEAKER_01]: The both were like, this is a character who wants to do the right thing, but the candidate is, I mean, that is a hell of a movie, which by the way, I should say the candidate, the guy who edited it Bob Estrin is my editing teacher in full school.
• 11:14
  [SPEAKER_01]: Oh, yeah, not a great teacher, but unbelievably great editor.
• 11:19
  [SPEAKER_00]: Yeah, that's 1970 to the predates watergate.
• 11:24
  [SPEAKER_00]: And it's a commentary on, even back in 1972, I know we think corruption and politics is like something that just happened 10 minutes ago.
• 11:32
  [SPEAKER_00]: But like when you look at that to film back in 1980, it is a heartbreaking film.
• 11:37
  [SPEAKER_00]: How you see the political neophyte was a liberal taking on
• 11:41
  [SPEAKER_00]: this incumbent, powerful candidate, and you see the progression of our politics ends up changing him.
• 11:49
  [SPEAKER_00]: It's it's a tragedy, a lot of ways, even though it's a like it's a black comedy, but that ending is like a punch in the face of what happens sometimes to people who enter into politics with all the right instincts to do good.
• 12:02
  [SPEAKER_00]: and how the machine is so corrupt that in order to operate within the machine, you're going to have to make, as you said, Steve, decisions, moral decisions about what you're going to do to stay in that machine and what that can lead to.
• 12:15
  [SPEAKER_00]: And you know what's so funny is that readford in the 1990s, I think early 2000s was working on a sequel to the candidate.
• 12:23
  [SPEAKER_00]: And I would have been amazed to see the same character all these terms later, what he would be like.
• 12:30
  [SPEAKER_00]: Would it be like Mr. Smith goes to Washington?
• 12:32
  [SPEAKER_00]: Would it be the Claude Reigns for the young guys coming up?
• 12:35
  [SPEAKER_00]: That would have been a fascinating turn of Mr. Smith.
• 12:37
  [SPEAKER_00]: Yeah, all people for sure.
• 12:39
  [SPEAKER_01]: because he's now he's the chair of the Ways and Means Committee and he's in French didn't know well, well, I'll tell you the saddest thing about watching the candidate last night because it's everything you say it's all about the real real politics cynicism and that what is required to get to this place to at the difference between
• 12:58
  [SPEAKER_01]: what you want to do in governance and what is required by politics and it's a really good movie and it's very cynical and a black comedy and I'm looking at it and I'm going just wistfully going oh for those innocent days because it's actually quite lovely and awesome
• 13:20
  [SPEAKER_00]: We should talk a little bit about his upbringing because I think people have to understand like what he came from where he came from.
• 13:26
  [SPEAKER_00]: How he became the robber read for it.
• 13:28
  [SPEAKER_00]: We come to know and he was born in 1936 on August 18th and in Santa Monica, California.
• 13:36
  [SPEAKER_00]: According to NPR, his working class family was the only white one on their mostly Mexican block of families and as a kid, Redford often misbehaved at school.
• 13:46
  [SPEAKER_00]: He recounts that he spent a lot of time at the Blackboard either writing things over and over again, figuring out a math problem or writing
• 13:54
  [SPEAKER_00]: writing a creative story on the Blackboard.
• 13:56
  [SPEAKER_00]: So he was certainly a part of that.
• 13:57
  [SPEAKER_00]: And through his early years growing up there, because his family lived in Van Nies and his father worked in El Segundo, which is like a really L.A.
• 14:04
  [SPEAKER_00]: story, this of beginnings of him, his family often traveled to Austin, because they had relatives in Austin of his maternal grandfather.
• 14:11
  [SPEAKER_00]: And that's where he developed, he says, he developed his environmentalism and love of nature was his childhood in Texas.
• 14:18
  [SPEAKER_00]: He ends up going to Van Nye's high school, he describes himself quote as a bad student who found inspiration outside the classroom in art and sports and when he was younger, he even went through about a mild case of polio when he was 11, which I didn't know I didn't know that.
• 14:32
  [SPEAKER_00]: Yeah, doing the research, I didn't know about that either.
• 14:35
  [SPEAKER_00]: When he graduates high school, he goes to the University of Colorado and Boulder, but he's only there for a year and a half for those of your big sports fans, you know, that's it.
• 14:42
  [SPEAKER_00]: University now that Dion Sanders is the coach of the football team there.
• 14:45
  [SPEAKER_00]: But yeah, he went there for a year and a half.
• 14:47
  [SPEAKER_00]: He was drinking heavily while he was there.
• 14:49
  [SPEAKER_00]: And as a result, he lost his scholarship and was expelled from school.
• 14:53
  [SPEAKER_00]: And so because of that, he went on to travel in Europe and he lived in France and Spain and Italy and in order to save up enough money to study painting in Europe.
• 15:02
  [SPEAKER_00]: This is a hardscrabble kid getting in trouble in LA.
• 15:06
  [SPEAKER_00]: who is now traveling Europe after flunking out of college because of his drinking issues, he works on an oil rig to save up enough money to study painting in Europe.
• 15:14
  [SPEAKER_00]: Now, how many people are working on an oil rig who want to become a painter in Europe?
• 15:20
  [SPEAKER_00]: And he comes back to the US after he that to enroll in art school at the Pride Institute in New York.
• 15:25
  [SPEAKER_00]: He later studied the painting there and took classes at the American Academy of dramatic arts.
• 15:30
  [SPEAKER_00]: class of 1959 in Manhattan, but the way he finds himself interacting is because he was interested in sex design.
• 15:37
  [SPEAKER_00]: And that's how he got into theater, and then by consequence got into acting, and that's where we start to see the process of Robert Redford.
• 15:45
  [SPEAKER_00]: So what an interesting path that he walked here, Steve.
• 15:48
  [SPEAKER_00]: This is when someone who was born and then from a young age was doing plays and his family supported him and he went into acting school that went ground and was getting roles.
• 15:56
  [SPEAKER_00]: He's a guy who lived a myriad of different lives before he ended up an actor.
• 16:00
  [SPEAKER_00]: And I think that's why he's such a different actor in the when he finally becomes one, you know?
• 16:07
  [SPEAKER_01]: Now I want to see the small startup business is 1969, 1971 company started up by Robert Redford and Harrison Ford.
• 16:16
  [SPEAKER_01]: Harrison Ford did the carpentry.
• 16:18
  [SPEAKER_01]: Robert Redford was doing the paint work.
• 16:20
  [SPEAKER_01]: I'm sure we could find a young plumber around the same time.
• 16:23
  [SPEAKER_01]: The thing listening to your story, I don't know.
• 16:26
  [SPEAKER_01]: I mean, look.
• 16:27
  [SPEAKER_01]: I'm just going to say it exactly the way I feel it.
• 16:30
  [SPEAKER_01]: I picture Robert Redford at 20 whatever years old, showing up to paint the set at some theater company and everybody looking over going, well, who is that guy?
• 16:43
  [SPEAKER_01]: Like, I mean, this is one of the most seemingly beautiful men in the history of Hollywood in my opinion, like looking at such a young age.
• 16:51
  [SPEAKER_01]: Look at that.
• 16:52
  [SPEAKER_01]: I mean, that's incredible.
• 16:53
  [SPEAKER_00]: Incredible stuff.
• 16:54
  [SPEAKER_00]: Yeah.
• 16:55
  [SPEAKER_01]: And by the way, that movie that's barefoot in the park, which is where he started on Broadway.
• 16:59
  [SPEAKER_01]: And it is, if all you've ever seen are the classic redford romantic lead things, go back and watch barefoot in the park.
• 17:08
  [SPEAKER_01]: Yeah, because he's real it.
• 17:09
  [SPEAKER_01]: First of all, I love Neil Simon.
• 17:11
  [SPEAKER_01]: Neil Simon writes great dialogue, great comedy.
• 17:14
  [SPEAKER_01]: He's really good at it.
• 17:15
  [SPEAKER_01]: You know.
• 17:17
  [SPEAKER_00]: I mean, also barefoot in the park, that is another film where he is like this rigid guy who's got a way of doing things and Jane Fonda is the one that is kind of trying to break him out of this idea of how this essentially sticking them on and trying to break him out of this approach to the world and how that how he navigates that with invest relationship at that time because it mirrored.
• 17:42
  [SPEAKER_00]: what was going on in all world right there was the clash of the younger with the older the the silent majority is next to called it versus the young people who were abelling against everything in the free spirit movement you know so you saw that he was reflecting society even in a film like even a film like that which course is based on the Neil Simon play but Neil Simon writing it but this is a character he was drawn to play and you think about the process of what he went through I think it's I think you're absolutely right Steve I think and I think I read some
• 18:10
  [SPEAKER_00]: Tributes to him where people were quoted as saying when he walked into the cafeteria, it took your breath away, seeing him in the cafeteria.
• 18:17
  [SPEAKER_00]: So clearly, people knew he was a driver and maybe he was one of these guys again from the beginning who knew he was attractive.
• 18:23
  [SPEAKER_00]: Probably knew he got attention all the time, but did not was not comfortable trading in on it until he could use it for what he wanted to use it for, which you said, maybe from the beginning, he knew that
• 18:36
  [SPEAKER_00]: could be a place for him to do something more than just be a pretty face.
• 18:42
  [SPEAKER_00]: And I think that's maybe why he stayed in the background a little bit until he was ready to come to the foreground with his act.
• 18:49
  [SPEAKER_01]: I have a crazy theory, this is based on nothing, but I'm just going to throw it out there, which is the so there's the nerd who can't get girls to check them out and so they devote themselves to their guitar playing their comedy, their, oh yes, coding their and that's how they find their way to success.
• 19:07
  [SPEAKER_01]: Maybe Redford's the opposite, which is that getting girls to pay attention to him was no problem whatsoever.
• 19:14
  [SPEAKER_01]: So he wasn't interested in it.
• 19:17
  [SPEAKER_01]: So he was interested in.
• 19:18
  [SPEAKER_01]: I want to do this other stuff.
• 19:19
  [SPEAKER_01]: That's more important.
• 19:21
  [SPEAKER_01]: I mean, I know I know I probably told this story as many times as any story in the cinephiles, but I still love.
• 19:27
  [SPEAKER_01]: So readford when he did barefoot in the park on Broadway was directed by Mike Nichols.
• 19:32
  [SPEAKER_01]: So when Mike Nichols is going to cast the graduate.
• 19:35
  [SPEAKER_01]: He's looking at the character in the character description of Benjamin is a blonde haired blue-eyed California surfer type.
• 19:43
  [SPEAKER_01]: So the first person he thinks of is Robert Redford to play Benjamin because that's how it's written in the book.
• 19:49
  [SPEAKER_01]: And he's talking to Redford and he's pretty much decided to cast him and says, so Bobby, tell me, have you ever not scored with a girl?
• 20:02
  [SPEAKER_01]: And it was that moment that he realized that Robert Redford could not play this part.
• 20:08
  [SPEAKER_00]: Yeah, you know, in doing research for him, there were articles that stated that he also felt that the part would have tied cast him and he was, he didn't want to be tied cast at that time as well.
• 20:17
  [SPEAKER_00]: So maybe it was like a mutual understanding of the right situation for him, because he also turned down the role in the George Siegel role in what happened to Richard.
• 20:28
  [SPEAKER_00]: Yeah, who's afraid of a gender one?
• 20:30
  [SPEAKER_00]: Who's afraid of a gender one?
• 20:31
  [SPEAKER_00]: Who's afraid of a gender one?
• 20:33
  [SPEAKER_00]: Who's coming to dinner locked in with something else?
• 20:35
  [SPEAKER_00]: Who's afraid of a gender one?
• 20:38
  [SPEAKER_01]: That's a good combo.
• 20:39
  [SPEAKER_01]: Is there somehow combining guests who's coming to dinner with Who's afraid of a gender one?
• 20:43
  [SPEAKER_01]: We've got Spencer, Tracy, Catherine, Hepburn, Elizabeth, Taylor, Richard Burton.
• 20:47
  [SPEAKER_01]: It's my city-body aide.
• 20:48
  [SPEAKER_01]: This is gonna be a hell, a hell of a show.
• 20:54
  [SPEAKER_00]: But yeah, so you see that.
• 20:55
  [SPEAKER_00]: And so he has that, um, uh, open the door into acting.
• 21:01
  [SPEAKER_00]: And he gets into, he gets in train that the American Academy of Germanics and his arts, as I said, and Steve alluded to his Broadway, his big Broadway show was Barefoot in the Park, but he made his Broadway debut in a small role in tall story in 1959, then parts in the highest tree in 1989.
• 21:17
  [SPEAKER_00]: Sunday in New York, which is, so those you hold them to remember, the classic play that that was in 1961,
• 21:23
  [SPEAKER_00]: And yes, Barefoot of the Park comes in 1963.
• 21:27
  [SPEAKER_00]: He made a screen debut ironically with an adaptation of Tall Story.
• 21:31
  [SPEAKER_00]: So both Tall Story and Barefoot in the park, leading to Seminole moments in his life as an actor, both on stage and on screen.
• 21:39
  [SPEAKER_00]: He also earned a nomin and eminomination as best supporting actor for his performance in the voice of Charlie Punt in 1962.
• 21:46
  [SPEAKER_00]: He did a lot of TV before he got,
• 21:50
  [SPEAKER_00]: on to the stage and onto the screen.
• 21:53
  [SPEAKER_00]: He was in the average of Chuck presents the Twilight Zone, Naked City, Maverick, the Untouchables, the Americans, Harry Mason, Root 66, Dr. Kildair, the Twilight Zone, the Virginia Tate, and Playhouse 90, among other shows as well.
• 22:08
  [SPEAKER_00]: So, you know, this is the thing sometimes we forget, oh, we showed up on on screen, but like there's all this work of
• 22:15
  [SPEAKER_00]: working on these TV shows, working on his craft building up his resume, figuring out what he wants to do as an actor.
• 22:21
  [SPEAKER_00]: Paul Newman has this on his resume as well.
• 22:23
  [SPEAKER_00]: And for me, when I get on the Pluto TV sometimes and watch the old shows, it's so amazing to see these actors who go on to become massive stars involved in these smaller parts on these shows.
• 22:34
  [SPEAKER_00]: Same thing happens as a massive lawn odor fan when I see Pedro Pascal or Idris Elba or
• 22:39
  [SPEAKER_00]: you know, a number of other actors that are involved in as small parts and low and a driver who go on to become these massive stars.
• 22:47
  [SPEAKER_00]: So you see this with Robert Ripper that I think is fascinating Steve.
• 22:50
  [SPEAKER_00]: He did all this TV work as well before he got really established on screen.
• 22:55
  [SPEAKER_01]: that you you took the words right out of my mouth that I was going to say it's like this people this idea today is well obviously if you're an actor who lives in New York you will be on a CSI and one of these and one of the guys you're just going to and at that time you were going to be on a playhouse 90 and an outer limits in a root 66 and you know that's just that's the way you made your bones yeah I mean like the the interesting thing to me is the navigation between
• 23:23
  [SPEAKER_01]: sub-Broadway acting in a comedy and then all this TV work to when you get to push-casseting the Sundance Kid where he's just because you know we did it last year obviously when it did and it was great because you led this one so you got to as the Outlaw lead this lead us through this western which was an absolute ball and to just think about you know
• 23:45
  [SPEAKER_01]: Redford who is a new movie star when new movie stars go in toe to toe with one of the biggest movie stars of all time and it is seamless.
• 23:55
  [SPEAKER_01]: They are a hundred percent equals and it feels as if they've been just on screen together.
• 24:00
  [SPEAKER_01]: It's crazy to me that we don't have the the the the newman redford thing so a couple movies you know yeah only couple movies and but I think that's what makes it magic
• 24:12
  [SPEAKER_00]: You know, I mean, the the patino de Nero thing is already outstate.
• 24:15
  [SPEAKER_00]: It's welcome.
• 24:17
  [SPEAKER_00]: There are quite a few people who stay a gene wilder and Richard prior doing, you know, we will hear no evil.
• 24:22
  [SPEAKER_00]: There's always that chance that you do that one film too many in the pairing that undercuts the power.
• 24:29
  [SPEAKER_00]: You know, and I think the fact that we have
• 24:32
  [SPEAKER_00]: the sting and which casting a sun dance kid to exceptional films to iconic films and then at the top of their game in their prime, feeding off each other, you know, Pauline Kale said it was great to see him with an actress finally after flirting with Paul Newman for so long, you know, you see these things that people felt that there was a genuine
• 24:54
  [SPEAKER_00]: not obviously not a physical romance, but a romance of bromances as people might say now between these two guys.
• 25:01
  [SPEAKER_00]: And if you had done that one extra movie that didn't quite get there, I think we would have undercut it a little bit.
• 25:05
  [SPEAKER_00]: So like James Dean, like we can still love James Dean's work because he did those four films and then tragically died.
• 25:12
  [SPEAKER_00]: Because he didn't do like the island of Dr. Moro, three decades later like Brando, like he does, he stays in our mind in a certain way.
• 25:19
  [SPEAKER_00]: And I think this pairing stays as a magical pairing or for Stephen I,
• 25:23
  [SPEAKER_00]: like, yes, it would have been great to see the Beatles get together in the 70s or 80s or 90s, but nothing says it would have made the same music, the same kind of music that they did in the 60s, you know, and so that you have that element to it, which I thoroughly enjoy.
• 25:38
  [SPEAKER_00]: But let's get into this.
• 25:38
  [SPEAKER_01]: I was just going to say there's something satisfying about having the box set.
• 25:43
  [SPEAKER_01]: like this is the complete collection of that thing that there are no dang of you know there's no Muhammad Ali fighting Larry Holmes to worry about.
• 25:53
  [SPEAKER_01]: Oh yeah like this is it this is where it is great it is perfect and that and enjoy it you know there's no Marvel's phases four and five dumb shook.
• 26:02
  [SPEAKER_00]: I'm just joking don't get mad it don't get mad at me
• 26:04
  [SPEAKER_00]: Um, but let's move on to the seventies.
• 26:06
  [SPEAKER_00]: Let's move on.
• 26:07
  [SPEAKER_00]: Well, actually, do you want to say anything on Barefoot and Park?
• 26:09
  [SPEAKER_00]: Do you want to say anything about these earlier movies?
• 26:10
  [SPEAKER_00]: Like, do you grow up on these?
• 26:12
  [SPEAKER_00]: Did your parents show you these?
• 26:13
  [SPEAKER_00]: Like, what was your experience with the early Redford stuff?
• 26:16
  [SPEAKER_00]: Or did you go barefoot on the podcast?
• 26:17
  [SPEAKER_01]: Yeah, barefoot in the park.
• 26:18
  [SPEAKER_01]: I discovered later.
• 26:19
  [SPEAKER_01]: I think it's about mine.
• 26:20
  [SPEAKER_01]: I think my first Redford, I'm not really sure because he was ubiquitous.
• 26:25
  [SPEAKER_01]: But I have no memory of not knowing but casting in the Saturday at Skid.
• 26:29
  [SPEAKER_02]: Oh wow.
• 26:30
  [SPEAKER_01]: So that's really where it starts.
• 26:31
  [SPEAKER_01]: So it's much later on, probably when I was in college, that I barefoot the parker and I was like, well, who is this young bunny uptight, you know, New York guy?
• 26:40
  [SPEAKER_01]: Like, it's just a totally, totally different thing.
• 26:42
  [SPEAKER_01]: But no, it's the 70's, it's the 70's readford that is like the formative stuff for me.
• 26:47
  [SPEAKER_00]: Well, what do you want to start?
• 26:48
  [SPEAKER_00]: Do you want to start with the bookcassies, Sundance Kid?
• 26:50
  [SPEAKER_00]: Do you want to start here and explore this relationship, explore his work in this movie?
• 26:57
  [SPEAKER_00]: I mean, this is the one that Paul Newman and the director had to convince the studio, the cast robber read for it in this role, because according to one recollection, the studio executives said that he was too generic, too bland to play the role, which I find to be just insane, because the chemistry and what you've got from this guy was amazing.
• 27:17
  [SPEAKER_01]: Well, this is why I'm not going to say executives don't know anything, there are plenty of brilliant executives out there who are awesome, but you know, the William Goldman quote, nobody knows anything is is a pretty good one in terms, I mean, you could hear all sorts of stories, you know, like pops up in my feet all the time, Matt Damon turning down avatar.
• 27:36
  [SPEAKER_01]: Yeah, I mean, like, all sorts of smart people miss the cool thing.
• 27:40
  [SPEAKER_01]: Yeah, I think the most brilliant thing for me about put you casting the Sundance kid is the choice in casting because in my memory of it is we did this a year ago, but initially they were like, well, Paul Newman should play butch or simply Sundance because that's the cooler character.
• 27:56
  [SPEAKER_01]: And Newman wanted to not be cool, like that was like the comedy, it's Newman putting himself in that position of being really smart and funny and goofy and continuing to bake mistakes and continuing to be frustrated and Sundance playing the straight man essentially.
• 28:15
  [SPEAKER_01]: Like the, the, the, the, the, it's that energy and in particular, therefore when Sundance loses it when they're in the garden spot of Bolivia, and they were ready just goes off.
• 28:26
  [SPEAKER_01]: And to me, I know I said it when we did it, it's like you can hear the Neil Simon training.
• 28:30
  [SPEAKER_01]: You could hear it's a comedic rant and and getting to that point is just perfect with the two of them.
• 28:36
  [SPEAKER_00]: It's such a confident performance, you know?
• 28:39
  [SPEAKER_00]: And again, this is a guy who's still making his bones.
• 28:43
  [SPEAKER_00]: They had a fight for him to be in this movie.
• 28:44
  [SPEAKER_00]: I mean, I like in this to but you know, in the Godfather.
• 28:47
  [SPEAKER_00]: They had a fight to put, but you know in the Godfather.
• 28:50
  [SPEAKER_00]: And they both deliver these confident iconic powerful performances, you know, and you can be diluted into seeing the chemistry and it's a fun movie, but there are moments where you see that kid who got in trouble as a young man, that kid who had to go to Europe because he flunked out of school because he was drinking and out, you know, became too much of a drunk to stay in
• 29:18
  [SPEAKER_00]: inner anger, this inner rage that could come out in certain moments.
• 29:21
  [SPEAKER_00]: And certainly in the ways that he treats Catherine Ross in certain moments, you see that come through, or they, that what he explodes at, you know, at a bunch about not being able to swim, you know, not knowing how to swim, these these moments of rage from him, that I think are great layers to the character that he builds in the move, you know?
• 29:39
  [SPEAKER_00]: So by the end, we're so in love with them, because we've seen,
• 29:44
  [SPEAKER_00]: they're all of them as who they are in these various situations that we feel that moment when they run out.
• 29:52
  [SPEAKER_00]: And very smartly, they don't show them getting like, it isn't a sand pack-up or ending of the wild bunch.
• 29:58
  [SPEAKER_00]: We don't need to see it.
• 30:01
  [SPEAKER_00]: because they've done so much to establish them and that we have it in our mind.
• 30:04
  [SPEAKER_00]: We get to keep them as these heroes in our minds without seeing them cut up in the way there, but there's so much throughout the movie that he's just so powerful as an actor man.
• 30:15
  [SPEAKER_00]: And you feel for him.
• 30:16
  [SPEAKER_00]: Even when you see him in these bad moments, you still feel sympathy for him because you know he's just a frustrated guy who's trying to just get his head above water and aren't so many of us like that in life.
• 30:26
  [SPEAKER_00]: Well, we don't turn to crime, but so many of us, we try to keep our head above water,
• 30:31
  [SPEAKER_01]: You know, it's just a Kurt to me is how many movies, how many of Robert Redford movies?
• 30:38
  [SPEAKER_01]: Not that he had control of these and with an ambiguous moment.
• 30:41
  [SPEAKER_01]: And with a sudden moment.
• 30:43
  [SPEAKER_01]: So obviously, which in Sundance, the ending is like one of the most iconic endings in all of film.
• 30:47
  [SPEAKER_01]: But I just watched the candidate and the candidate definitely has an ending that's just sort of okay.
• 30:52
  [SPEAKER_01]: It's what we do now.
• 30:54
  [SPEAKER_01]: The end of all the president's men is a very like.
• 30:58
  [SPEAKER_01]: here's okay, you know, like he's, and you think about too, like the ending of ordinary people.
• 31:03
  [SPEAKER_01]: You know, I would say to the end of your quiz show, doesn't just go like, and here's what's good, and here's what's bad.
• 31:10
  [SPEAKER_01]: He like goes, takes you through a thing, and goes, all right, there you go, deal with that.
• 31:15
  [SPEAKER_00]: And then the family now has to deal with this, and we don't see what happens to the family afterwards, but now we know the family is forever changed because of what happened.
• 31:24
  [SPEAKER_02]: Yeah.
• 31:24
  [SPEAKER_02]: Yeah.
• 31:26
  [SPEAKER_00]: Even the ending of downhill racer, that exchange, I don't know if you've seen it, but the exchange is long time ago.
• 31:35
  [SPEAKER_01]: I have almost no memory of it.
• 31:37
  [SPEAKER_00]: Yeah.
• 31:37
  [SPEAKER_00]: Yeah.
• 31:37
  [SPEAKER_00]: The exchange he has with the other racer, I think he's German at the end, says, it's been a while since I've seen it.
• 31:42
  [SPEAKER_00]: There's something in his eyes before he's carried off.
• 31:45
  [SPEAKER_00]: In victory, like there's something else that's there, as you say, ambiguous ending, there's it's not spoken, but there's something else and it's up to the audience of this side, what was in his eyes in that moment, you know, and I appreciate that again, it's just he's drawn to these kinds of roles or he.
• 32:01
  [SPEAKER_00]: brings that interpretation of these kinds of rules that keep you in that place.
• 32:06
  [SPEAKER_00]: And after I mentioned a downhill race, so that's it.
• 32:09
  [SPEAKER_00]: If you guys haven't seen that, I think it's a criterion.
• 32:11
  [SPEAKER_00]: You guys can watch that.
• 32:11
  [SPEAKER_00]: I highly recommend it.
• 32:13
  [SPEAKER_00]: The hot rock, a lot of people like the hot rock as a fun.
• 32:16
  [SPEAKER_01]: Never seen it.
• 32:17
  [SPEAKER_01]: Yeah.
• 32:17
  [SPEAKER_00]: We have one heist film with him in George Seagull, Ron Leebman, one of the great character actors who passed away as well, and we did his movie in Zoro the Gay Blade, as the old Calde, and Charlotte Ray is in this one, Moses gun is in this one, so I highly recommend it as a heist film if you guys haven't seen that one as well.
• 32:36
  [SPEAKER_01]: Now, okay, I think I have seen it.
• 32:38
  [SPEAKER_01]: Yeah, I think I have, you know, those those movies where it's like Sunday afternoon and it's like your swath channels.
• 32:45
  [SPEAKER_01]: Perfect.
• 32:46
  [SPEAKER_01]: There's another one because you said George Seagull and I just all these images of him like when you can Jane or there's something like the killing of the great French, who's killing the French chefs of Europe?
• 32:56
  [SPEAKER_01]: Yes.
• 32:57
  [SPEAKER_01]: Like there's, I think I have seen the hot rock, I have like images in it in my head, but I'm not 100%.
• 33:03
  [SPEAKER_00]: I mean, high spells were big in the 70s.
• 33:05
  [SPEAKER_00]: We know that all the way up until thief in the Michael Manfield, the 1980.
• 33:09
  [SPEAKER_00]: But then he moves on to do Jeremiah Johnson.
• 33:12
  [SPEAKER_00]: As you said, Steve, this is yet another character here.
• 33:15
  [SPEAKER_00]: He's a soldier who is disillusioned with society.
• 33:19
  [SPEAKER_00]: So he goes out into the wilderness to kind of reconnect with America, reconnect with himself, reconnect with
• 33:25
  [SPEAKER_00]: nature and maybe find his path as you were saying some of these characters who are kind of lost or disconnected and need to find their way back, this is all throughout Jeremiah Johnson.
• 33:35
  [SPEAKER_00]: We haven't done this one yet on the cinephiles, I can't wait till we do it, but one of your thoughts on this is one of my favorite westerns.
• 33:41
  [SPEAKER_00]: It's an unusual western in many ways.
• 33:44
  [SPEAKER_01]: Um, so I, this is when I chose to rewatch last night, not just because it has, uh, you know, one of the great memes of all the, it's a weird thing that movies are now famous because they contain a famous meme.
• 33:57
  [SPEAKER_01]: It's a strange, strange world that we live in, but it's true.
• 34:01
  [SPEAKER_01]: But I wanted to watch it because it was one that I didn't remember well and it's seen a lot and I was like, okay, let's say, and I'll tell you the experience I had watching it.
• 34:09
  [SPEAKER_01]: which is, and I've really only had this experience twice, and the other ones strangely enough, you remember Spirit Stallion of the Simmeron?
• 34:17
  [SPEAKER_01]: Of course, yes.
• 34:19
  [SPEAKER_01]: I remember the experience I had watching that movie was just the, oh, this is the world before humans came along.
• 34:27
  [SPEAKER_01]: you know like the wide open spaces of our world that was the normal world a couple hundred years ago and I think Jeremiah Johnson more than any other movie I can think of as the feeling of oh this is what it's like to be alone this is what it's like to be far away from other humans or this is the only other human you've seen it what point he says you're the first human I've seen
• 34:53
  [SPEAKER_01]: Yeah, you know, like that.
• 34:55
  [SPEAKER_01]: So that is really, and the other thing that's really cool, because I think in general read for it's obviously a very intelligent dude and tends to play very intelligent dudes.
• 35:04
  [SPEAKER_01]: Jeremiah Johnson, not a variant.
• 35:06
  [SPEAKER_01]: I mean, he's it's not that he's done, but he's sort of.
• 35:09
  [SPEAKER_01]: muddling through this world and through these impossible impossible situations.
• 35:15
  [SPEAKER_01]: Yeah, it's good.
• 35:16
  [SPEAKER_01]: I mean, it's like what I was thinking is we're having this conversation of what films would I recommend to someone who's never seen Bradford and doesn't really know him.
• 35:24
  [SPEAKER_01]: And Jeremiah Johnson wouldn't be that high on the list.
• 35:27
  [SPEAKER_00]: But.
• 35:28
  [SPEAKER_01]: if you're a big redford fan and haven't seen Jeremiah Johnson yet, then you need to go check that out.
• 35:33
  [SPEAKER_00]: Yeah.
• 35:34
  [SPEAKER_00]: I thought there analysis of the Rolling Stone did a fantastic article on the 20 best rubber edford films.
• 35:41
  [SPEAKER_00]: If you want to dive into rubber edford, Jeremiah was on that list.
• 35:44
  [SPEAKER_00]: And one thing they said, which I hadn't even put
• 35:47
  [SPEAKER_00]: To gather in my mind was this was like a precursor for what he does in all his lost, which is one of his most recent.
• 35:53
  [SPEAKER_00]: Oh, sure.
• 35:54
  [SPEAKER_00]: Right, because he's because all his loss, he says maybe six words in the whole movie.
• 36:00
  [SPEAKER_00]: Jason Chandler, I think, directed that one and he just is there with him, man versus nature in the boat.
• 36:06
  [SPEAKER_00]: Uh, how do I live?
• 36:07
  [SPEAKER_00]: How do I survive?
• 36:07
  [SPEAKER_00]: What happens if I don't?
• 36:09
  [SPEAKER_00]: And Jeremiah's that is kind of in that way as well.
• 36:12
  [SPEAKER_00]: He is the war happens and he wants to go off and figure out where he fits now and reconnecting with the land is his attempt to try to figure out it's almost like a theater or Roosevelt Western right because he already did that after his mom and his wife died on the same night.
• 36:27
  [SPEAKER_00]: He went off.
• 36:28
  [SPEAKER_00]: to go live in the West, even though he was a congressman currently in New York at the time, he went off to live in the West to deal with his grief and his trauma to reconnect with America.
• 36:39
  [SPEAKER_00]: And I think this is also showing his proclivity for environmentalism, because I think nature is shown as a beautiful thing, scary thing at times as well, but a beautiful thing to experience.
• 36:49
  [SPEAKER_00]: And it's crazy to think that Eastwood was the original choice and he turned it down.
• 36:54
  [SPEAKER_00]: And they turned to Redford.
• 36:56
  [SPEAKER_00]: to do it, because I mean, an Eastwood Jeremiah Johnson would be fascinating as well.
• 36:59
  [SPEAKER_00]: So I think Redford did an incredible job with that one for not, you know, for only having done a different kind of Western and butch Cassidy to jump into that one.
• 37:08
  [SPEAKER_00]: I wonder if Eastwood could have had the growth.
• 37:11
  [SPEAKER_01]: Because George Johnson, but he shows up, he's not ready.
• 37:15
  [SPEAKER_01]: Like he needs to find, I think it's Uncle Jesse from the, you know, from the dukes of hazard in order to learn kind of the ropes.
• 37:22
  [SPEAKER_01]: And I don't know that Eastwood would be as good at that.
• 37:25
  [SPEAKER_00]: You know, we do see the growth and unforgiving, but you might be right.
• 37:29
  [SPEAKER_00]: You might maybe he wasn't there at the time to deliver that kind of growth.
• 37:32
  [SPEAKER_00]: Like Redford was a boat will, you know, it's a great what if for sure.
• 37:37
  [SPEAKER_00]: We talked about the Canada already.
• 37:38
  [SPEAKER_00]: Anything more you want to add about the Canada as we move through his movies.
• 37:40
  [SPEAKER_00]: Anything more you want to say about that.
• 37:42
  [SPEAKER_00]: Okay.
• 37:43
  [SPEAKER_00]: Have you seen the way we were?
• 37:45
  [SPEAKER_00]: This is my mother's favorite.
• 37:46
  [SPEAKER_00]: Oh, my God.
• 37:47
  [SPEAKER_00]: Oh, my God.
• 37:47
  [SPEAKER_00]: Can we talk about that one?
• 37:49
  [SPEAKER_01]: I mean, I think you should talk about it like I have I have seen it.
• 37:52
  [SPEAKER_01]: Yes, I've seen it.
• 37:53
  [SPEAKER_01]: I and it's good.
• 37:55
  [SPEAKER_01]: It is a lovely romantic thing.
• 37:57
  [SPEAKER_01]: I don't think I've watched it since I was 14 and I certainly haven't didn't rush back to watch it.
• 38:03
  [SPEAKER_01]: But I totally, it's a lot of moms favorite movies.
• 38:05
  [SPEAKER_01]: So what's your experience with it?
• 38:07
  [SPEAKER_00]: First of all, my experience is my mom making me watch it with her and this is probably the first Robert Redford movie I ever watched, but natural was the first one that I remember.
• 38:17
  [SPEAKER_00]: like putting the hook in me, right.
• 38:19
  [SPEAKER_00]: But the way we were is because my mom used to sing the song all the time.
• 38:22
  [SPEAKER_00]: She's a big barber striersan fan of my mom.
• 38:24
  [SPEAKER_00]: And by so I was inundated with barber striersan music growing up for sure.
• 38:29
  [SPEAKER_00]: But this was a fascinating.
• 38:30
  [SPEAKER_00]: And you know it's barber striersan also at her peak.
• 38:33
  [SPEAKER_00]: She is in her power here as this New York person versus you know the Santa Monica person and Robert Redford how they make this
• 38:41
  [SPEAKER_00]: relationship, work the ins and outs, the back and forth, and they, on paper, you wouldn't put these two together.
• 38:48
  [SPEAKER_00]: Yeah, when you watch them on screen, they truly have an amazing chemistry.
• 38:52
  [SPEAKER_00]: Is the film one that I personally go back and watch all the time?
• 38:55
  [SPEAKER_00]: No, but I know that there's a lot of people who do and who love the magic of this movie because of the chemistry between
• 39:01
  [SPEAKER_00]: Robert Redford and and Barbara Streisand and you talk about this too.
• 39:04
  [SPEAKER_00]: I think it's really important to know it is like as good as he was with his male co-stars It's not always true that Those men can branch out and be just as powerful in their chemistry with female co-stars, especially female co-stars who are in their priming in their power Like Jane Fonda Barbara Streisand these are wallflowers, right?
• 39:25
  [SPEAKER_00]: And he is going
• 39:31
  [SPEAKER_00]: on screen and it's a good, it's a, I'm not going to say this, it's a male actor who's not caught up in the whole.
• 39:38
  [SPEAKER_00]: I need to be front and center who can work with women like that and and accept the equality of the situation rather than trying to come out ahead and fade through and fade done away as well in three days of the condor like he rolls with these really powerful women throughout his movies and I think that speaks volumes about how he
• 39:58
  [SPEAKER_00]: is not intimidated by that stuff and welcomes the the challenge, you know?
• 40:02
  [SPEAKER_01]: Oh, absolutely, and I think, you know, the thing about Robert Redford, Robert Redford isn't shy.
• 40:10
  [SPEAKER_01]: He doesn't cry.
• 40:11
  [SPEAKER_01]: He's not insecure.
• 40:13
  [SPEAKER_01]: Maybe he, I'm sure he has insecurities inside.
• 40:16
  [SPEAKER_01]: I'm sure sometimes he wakes up and goes, nobody likes me.
• 40:19
  [SPEAKER_01]: Everybody has those feelings, but it certainly doesn't show on screen.
• 40:23
  [SPEAKER_01]: And I think the thing that you're pointing out
• 40:29
  [SPEAKER_01]: a powerful actress is it's that insecurity, which is Robert Redford doesn't have, right?
• 40:36
  [SPEAKER_01]: Just, and well, and the thing too, he frequently would rather tear himself down a little bit.
• 40:41
  [SPEAKER_01]: Yeah, I mean, like a movie that I watched over and over again, and it's so, this is, the people don't understand today is it's not that I chose to watch this movie over and over again.
• 40:52
  [SPEAKER_01]: It's that this movie was on.
• 40:54
  [SPEAKER_01]: Yeah, so you're switching channels, if I saw the electric horseman, I watched the electric horseman.
• 41:01
  [SPEAKER_01]: I watched it many, many, many times, and him and Jane Fonda go, and of course, in that case, he is playing the person that has all the information.
• 41:10
  [SPEAKER_01]: You know what I mean?
• 41:11
  [SPEAKER_01]: But like that, the chemistry, and I don't, I haven't watched it in a long time.
• 41:16
  [SPEAKER_01]: I'm not going to say it's, I think it's a great movie, but their chemistry is great together, and that's a big public as well, right?
• 41:24
  [SPEAKER_01]: Yeah.
• 41:24
  [SPEAKER_00]: And once again, it's a commentary film, isn't it?
• 41:26
  [SPEAKER_00]: Because he's a guy of lower financial means and lower status in society who steals this horse from this rich guy and as an active rebellion with lights on and all of that draws attention themselves to write it down the center of the, I think it's time square that he writes down the center of.
• 41:45
  [SPEAKER_00]: That's a Vegas casino right he doesn't own purpose to get the attention there and so again a role he's drawn to that as darker edges to it Because of the commentary that it's making you know, and yeah, I agree him and Jane Von and that is is fantastic as well Because it's that classic, you know, a reporter falling in love with their subject type of thing, but it works so well because those two have such great chemistry throughout that movie
• 42:12
  [SPEAKER_00]: to go back to the state.
• 42:14
  [SPEAKER_00]: We go to the state after the way we were in 1973.
• 42:17
  [SPEAKER_00]: Thoughts on the state, the anything more that we haven't said already here on the show or on our breakdown on the cinephiles, which was I think a three part of the state.
• 42:27
  [SPEAKER_01]: This thing's okay, it's not a no big deal, but you know what we should say actually what we really should say is as you know, this is on this is on John Roca channel, but we're also going to be re releasing almost all of our Robert Redford films on the center files and that means we're going to be re releasing three days of the condor.
• 42:47
  [SPEAKER_01]: Put your casting in the Sundance kid, the sting, the natural as well as ordinary people and all the presidents men.
• 42:56
  [SPEAKER_01]: So all of those.
• 42:57
  [SPEAKER_01]: So this is going to be a whole week in some of these some of these are a two hour episode, but some of the later ones.
• 43:03
  [SPEAKER_01]: These are going to be four or five hour long deep dives that you're going to get all coming every single day coming up this week.
• 43:11
  [SPEAKER_00]: Yeah.
• 43:12
  [SPEAKER_00]: and you can download the cinephiles, podcasts, wherever you download podcasts, or you can, if you're a YouTube person, you can listen to them on YouTube.
• 43:20
  [SPEAKER_00]: You won't see our faces unless, when we, unless we're doing the live shows, but you can listen to our episodes on our YouTube channel as well.
• 43:27
  [SPEAKER_00]: Good, good plug their Steve.
• 43:28
  [SPEAKER_00]: Faps will agree with you.
• 43:31
  [SPEAKER_00]: for doing that at this point in the show.
• 43:33
  [SPEAKER_00]: But yeah, the sting, I think is an amazing, I think it's amazing performance.
• 43:36
  [SPEAKER_00]: It's one that I don't watch all the times, so getting to do it with you, I thought was such a fun time.
• 43:42
  [SPEAKER_00]: And if my friend listened to our show, loved our show and he sent me the 4K.
• 43:47
  [SPEAKER_00]: of the sting because he is one of his favorite movies and he never understood why I didn't love it as much as he did because we traded stories about films all through the 90s and 2000s.
• 43:55
  [SPEAKER_00]: So he sent it to me as a thank you for finally agreeing how great the film was when we watched it.
• 44:00
  [SPEAKER_00]: So yeah fantastic performance there from Robert Redford as well.
• 44:04
  [SPEAKER_00]: Um, then you get into the great Gatsby, the great Waldo pepper.
• 44:07
  [SPEAKER_00]: Those are interesting films to watch.
• 44:09
  [SPEAKER_00]: I don't think his Gatsby is the best interpretation.
• 44:12
  [SPEAKER_00]: Uh, I don't think the capitals is either.
• 44:14
  [SPEAKER_00]: I don't think we've seen a really good interpretation of great Gatsby yet.
• 44:16
  [SPEAKER_00]: But I think he does a good job in that Waldo peppers is one of those ones, as you mentioned earlier, Steve.
• 44:21
  [SPEAKER_00]: When you're of a certain age growing up at a certain time, there are certain films that are constantly on your local channel.
• 44:27
  [SPEAKER_00]: And on growing up in Virginia,
• 44:32
  [SPEAKER_00]: show the great Waldo pepper all the time on Saturday afternoons.
• 44:36
  [SPEAKER_00]: It was almost like the TBS for that time.
• 44:38
  [SPEAKER_00]: What do you remember about Waldo pepper or great gatsby?
• 44:41
  [SPEAKER_00]: Anything there to say on them?
• 44:43
  [SPEAKER_01]: So I don't care.
• 44:44
  [SPEAKER_01]: This is such a horrible admission to make.
• 44:48
  [SPEAKER_01]: Yeah, I've read the great gatsby many times.
• 44:50
  [SPEAKER_01]: I read it in high school.
• 44:51
  [SPEAKER_01]: I read it sometime in college.
• 44:53
  [SPEAKER_01]: I read it again recently maybe three years ago.
• 44:56
  [SPEAKER_01]: of all the great books.
• 44:58
  [SPEAKER_01]: I don't love the great Gatsby.
• 45:00
  [SPEAKER_01]: I'm really sorry.
• 45:01
  [SPEAKER_01]: And I listen to people who I respect who are some of the great thinkers, and they're like, this is the greatest book of American literature.
• 45:08
  [SPEAKER_01]: I've listened to lectures on the great Gatsby.
• 45:10
  [SPEAKER_01]: I just don't love it.
• 45:11
  [SPEAKER_01]: And so, and I didn't love the red for one, and I don't love the Becappreal one.
• 45:15
  [SPEAKER_01]: And so, I don't know.
• 45:17
  [SPEAKER_01]: Waldo Pepper, again, a movie that is ambiguous and difficult.
• 45:21
  [SPEAKER_01]: You know, like it is not, there are parts of it that are very fun.
• 45:25
  [SPEAKER_01]: Yeah, but it's a dark messed up weird movie.
• 45:28
  [SPEAKER_01]: It's another one I thought about rewatching because I haven't seen it a while and another one where I go, look, if you've done all the big redford ones go check out the great Waldo pepper see what you think that.
• 45:39
  [SPEAKER_00]: 100% agree with you man, 100% agree with you got to you got to be completed on this stuff because he rarely does a bad move.
• 45:46
  [SPEAKER_00]: He always delivers a great performance even in a bad movie.
• 45:49
  [SPEAKER_00]: Now we get to the later films and you can argue quality, but like he's bringing it during this time here in the 1970s then we get into three days of the condor.
• 45:57
  [SPEAKER_00]: We've we've touched on that as well Steve.
• 45:59
  [SPEAKER_00]: This is a
• 46:00
  [SPEAKER_00]: powerhouse of a performance, and you know, you could even make this movie now.
• 46:03
  [SPEAKER_00]: Like this is topical now, a guy who's part of an intelligence agency, something, a certain operation happens, people are killed, and he's got the information to out what's really going on here, and has to rely on his wits and rely on the help of Jane Fonda, or sorry, not Jane Fonda, if they don't away, in order to achieve what he needs to achieve.
• 46:26
  [SPEAKER_00]: And we see like, I think we see the full
• 46:29
  [SPEAKER_00]: of Robert Redford as an actor, we see him charming, we see him roguish, we also see him angry, we see that streak of his, that strong streak of his when he gets into his angry moments and then we see him in the end, you know, becoming the hero that turns things around because of his obstinate belief that there's a difference between good and evil, you know?
• 46:50
  [SPEAKER_01]: Well, maybe turns things around again.
• 46:52
  [SPEAKER_00]: It's another ambiguous ending.
• 46:53
  [SPEAKER_01]: It's a way, you know, we don't quite know where that goes.
• 46:55
  [SPEAKER_01]: And I agree to you.
• 46:57
  [SPEAKER_01]: I think whether whatever your politics are, there have been times in the last seven years that you did not trust the government.
• 47:06
  [SPEAKER_01]: Yeah, and you worried about what would happen if the government was weaponized against us and what would you do?
• 47:12
  [SPEAKER_01]: And that is three days of the condor.
• 47:14
  [SPEAKER_01]: Can and not know and the great thing about it, it's not.
• 47:18
  [SPEAKER_01]: But three days with Condor, you go 100% these people are evil, it's that you don't know, it's that you know some things of the things are going on, but you don't know all of them and so you never are a hundred percent sure on who you can trust or what yeah great great great movie and it was a great conversation we had with our guest Steve Jones.
• 47:36
  [SPEAKER_00]: Yes, absolutely on that movie.
• 47:38
  [SPEAKER_00]: And let's move on to the big movie, man, all the presidents, man.
• 47:41
  [SPEAKER_00]: This is, I feel like, you know, in an actor's career, there are films that they're leading to.
• 47:48
  [SPEAKER_00]: And this is one that they absolutely led to.
• 47:50
  [SPEAKER_00]: And this is one that Robert Redford, as you said in our breakdown Steve, was instrumental in making this happen, getting the rights to the book, wanting to do this thing.
• 47:59
  [SPEAKER_00]: And
• 48:01
  [SPEAKER_00]: In the end, he had all the right instincts because it's an incredible film and incredible performance.
• 48:05
  [SPEAKER_00]: Just Dustin Huffin has the more show-year performance as Dustin Hoffman is as an actor, but Redford's quiet movement through all of this as they're putting these pieces together.
• 48:14
  [SPEAKER_00]: As a guy who can't believe what's happening and then as more of it comes in, is just shocked at how much of this is being covered up.
• 48:22
  [SPEAKER_00]: It's a great performance, man.
• 48:24
  [SPEAKER_01]: So this is really, it just proves the thing we've been talking about this whole time.
• 48:29
  [SPEAKER_01]: This is readford at the peak of his power.
• 48:31
  [SPEAKER_01]: And what does he choose to do at the peak of his power?
• 48:35
  [SPEAKER_01]: But go right into the most controversial political event of their times.
• 48:39
  [SPEAKER_01]: And what's really, and I remember it from when we had our discussion with Karen, my ex, who's a great guest on the show, and we talked about that, is I remember that it's not just that he's instrumental in getting the movie made.
• 48:51
  [SPEAKER_01]: He's instrumental in telling the story of Watergate, because the book hasn't come out yet.
• 48:57
  [SPEAKER_01]: Rise the one that convinces Woodward and Bernstein to tell the story from their perspective.
• 49:03
  [SPEAKER_01]: They were gonna tell the whole story from the perspective of the Watergate break-in.
• 49:07
  [SPEAKER_01]: That's where reporters, reporters are not supposed to be characters in their own story.
• 49:11
  [SPEAKER_01]: It's Robert Redford that convinces them to tell the story that way.
• 49:14
  [SPEAKER_01]: And this is why it's like he's not just an important
• 49:18
  [SPEAKER_01]: a figure in film history, he's an important figure in history history, and the tenaciousness of what they tried to do with that movie, the accuracy.
• 49:27
  [SPEAKER_01]: I mean, that's an intense film, and people don't understand.
• 49:30
  [SPEAKER_01]: It is literally being made while these events are happening.
• 49:35
  [SPEAKER_01]: You know, that's crazy.
• 49:37
  [SPEAKER_00]: It's so great.
• 49:40
  [SPEAKER_00]: How topical and the timing of that film,
• 49:42
  [SPEAKER_00]: and what was going on.
• 49:43
  [SPEAKER_00]: So excellent point Steve.
• 49:45
  [SPEAKER_00]: After all the president's man, and that's that, I mean, if I'm gonna tell you to start anywhere with Robert Rettford, if you're not gonna go a bunch of Cassidy and the sting, maybe you're not into highster westerns, all the president's man, man, that's a great entry point into Robert Rettford.
• 49:59
  [SPEAKER_00]: Then he does a small part in the bridge too far, which everyone was in that damn movie.
• 50:03
  [SPEAKER_00]: Then he does the electric coursemen, as we spoke about just a few minutes ago,
• 50:07
  [SPEAKER_00]: But now we go into the 80s, which I think is a bit more, we start to see a little bit more of the spotiness and decision making and the choices he makes for the films that he's in.
• 50:18
  [SPEAKER_00]: I've never seen Broubaker as a young man.
• 50:20
  [SPEAKER_00]: That one doesn't get enough credit as a damn good Robert Redford movie.
• 50:24
  [SPEAKER_00]: He's a warden who, it's, it's essentially undercover boss before there was undercover boss.
• 50:29
  [SPEAKER_00]: He's a warden who.
• 50:31
  [SPEAKER_00]: a masquerades is a prisoner in order to fix the prison system and for those you don't remember in the 1970s that was a massive massive deal.
• 50:40
  [SPEAKER_00]: It doesn't mean a prisoner form isn't still talked about nowadays but in the 1970s it was very controversial that all these practices were being revealed about how horribly prisoners were being treated in this prison and so this film
• 50:57
  [SPEAKER_00]: That had gotten a lot of attention over the last few years in the 1970s before this film came out late 1980.
• 51:03
  [SPEAKER_01]: It freaked me out as a kid.
• 51:04
  [SPEAKER_01]: I think I saw it relatively young.
• 51:07
  [SPEAKER_01]: I probably saw it on Showtime in 1980 or 81.
• 51:11
  [SPEAKER_01]: It was intense.
• 51:14
  [SPEAKER_01]: Honestly, I don't think I've seen it in 25 years.
• 51:18
  [SPEAKER_01]: I don't have a strong memory of it except it was really intense.
• 51:23
  [SPEAKER_00]: Yeah, him and Yafet Kodo have such an interesting relationship throughout the whole movie.
• 51:27
  [SPEAKER_00]: And you have a young Morgan Freeman in this film as well, a young Jane Alexander, who of course, I love from Great White Hope, a young David Keith, our friend Murray Hamilton from JAWS is in this movie.
• 51:38
  [SPEAKER_00]: Oh, there you go.
• 51:39
  [SPEAKER_00]: a lot of great actors, but yeah, exploring the corruption within the penal system.
• 51:44
  [SPEAKER_00]: And it is a depressing film, you know, this isn't Birdman of Alcatraz, this isn't a skate from Alcatraz, this isn't actual honest exploration of how prisoners are being treated, and how much people didn't want to listen to their complaints because their prisoners, they're no longer human to a lot of society, you know, and I thought that was,
• 52:03
  [SPEAKER_00]: an incredible job you did in that film as well.
• 52:06
  [SPEAKER_00]: Now we move in from Broubecker into our three years later, takes a break for a long time and what a way to come back, brother, it comes back with a natural in 1984.
• 52:15
  [SPEAKER_00]: I mean, one of my favorite episodes, breaking down this movie with you recently and revisiting this movie, I'll never need an excuse to do it.
• 52:26
  [SPEAKER_00]: It is my number one Robert Redford film.
• 52:29
  [SPEAKER_00]: What are your thoughts about this performance now as we look back
• 52:33
  [SPEAKER_01]: Well, I said how much I loved it and it was my favorite baseball movie and among my favorite sports movies when we did it the first time I said the same thing when we did it the second time this movie this is such a this is Americana comfort film food it is so beautiful it's lyrical and pastoral and Robert Redford timed it so perfectly with his age because if I bet if he did this six months later he's too old.
• 53:01
  [SPEAKER_01]: He's right at the edge where he could pull this off.
• 53:04
  [SPEAKER_01]: And it is, it gives me all the fields.
• 53:07
  [SPEAKER_01]: It has the incredible score and incredible cinematography, great supporting class, cast with Glenn Close, and Wilford Brimley.
• 53:14
  [SPEAKER_01]: It's just, and it is the apotheosis of the baseball movie.
• 53:18
  [SPEAKER_01]: It is the perfection.
• 53:19
  [SPEAKER_01]: It is the, this is exactly why baseball is America's pastime and why in my opinion, along with boxing, it is the two greatest sports to make films about.
• 53:30
  [SPEAKER_00]: Yeah, no, agree with you 100% and you know people sometimes I think people disregard it is acting because he was only nominated I think once for an Oscar he won numerous golden globes he won awards from other places he did get an honorary Academy award but he was rarely nominated or recognized by the main body the Academy therefore his work and you look at his transition in this film you look at his journey and this he is so believable as this young
• 53:56
  [SPEAKER_00]: Kid, I wide-eyed, idealistic, and yes, they're shooting him in self-lighting.
• 54:00
  [SPEAKER_00]: They're making him look young.
• 54:01
  [SPEAKER_00]: But it's believable.
• 54:02
  [SPEAKER_00]: You're in it.
• 54:03
  [SPEAKER_00]: You're buying the innocence of him.
• 54:05
  [SPEAKER_00]: And so that what happened then the scene with him and Joe Don Baker who was playing the whammer and when he strikes him out,
• 54:11
  [SPEAKER_00]: You see that there's this youthful excitement of what's to come and that's so important to make us believe in that because when that's seeing with Barbara Hershey happens and we see this older guy come through the darkness onto the into the dugout back into baseball he's haggard he is he's lived this years there's more wear and talent and there's a real
• 54:31
  [SPEAKER_00]: of having carried the guilt of what happened that day and how it's changed him as a person.
• 54:36
  [SPEAKER_00]: And so we go on a second journey of him coming back to that kid.
• 54:40
  [SPEAKER_00]: And it's great performances, a great performance from him throughout, as he's playing off of the people who are trying to help him and the people who are beholden to him like the team and the people who are trying to destroy him.
• 54:51
  [SPEAKER_00]: You know, you mentioned great act, Robert Praske, get Jeremy Gavin.
• 54:54
  [SPEAKER_00]: I mean, it's incredible to watch him go toe to toe with each of these actors.
• 54:58
  [SPEAKER_00]: who get nice fleshed out portrayals by the actors themselves.
• 55:03
  [SPEAKER_00]: So it's great, great stuff there in the natural.
• 55:06
  [SPEAKER_00]: From the natural, we move on to out of Africa.
• 55:08
  [SPEAKER_00]: I still have not seen this one, Steve.
• 55:09
  [SPEAKER_00]: It's still a blind spot on my rubber run for resume.
• 55:13
  [SPEAKER_00]: What are your thoughts on out of Africa?
• 55:14
  [SPEAKER_00]: I don't even have a picture.
• 55:15
  [SPEAKER_01]: It was always when a Karen's favorite films, I haven't seen it in a really long time.
• 55:20
  [SPEAKER_01]: It's good.
• 55:21
  [SPEAKER_01]: It's totally, it's it.
• 55:22
  [SPEAKER_01]: It won the best picture of that.
• 55:24
  [SPEAKER_01]: It did, is it, do I think my guess is it's probably pretty dated, you know, there's certain movies that win best picture, where you don't go, this is not a bad film, you know, like you don't like, it's, it's not an offense that it wins best picture, but just over the years you start to go, oh, there were more interesting movies going on, but like the whole street, yeah, yeah, totally purple, I think it's a much more interesting movie.
• 55:48
  [SPEAKER_01]: Male street is great, red for it's great, like it's beautifully filmed, it's good.
• 55:53
  [SPEAKER_00]: Yeah, then we go into some interesting choices.
• 55:55
  [SPEAKER_00]: He does legal eagles, which I think is an interesting choice.
• 56:00
  [SPEAKER_00]: Him and Deborah Winger, Daryl Hanna's supposed at Pyramaniac and the only reason, the only thing I remember about this movie is the song from Robert Redford Love Touch and then the pairing of Debra Winger, Robert Redford, do you have any memories of legal eagles?
• 56:16
  [SPEAKER_01]: No, I really don't.
• 56:18
  [SPEAKER_01]: I know that I've seen it, but I really have no memory of it at all.
• 56:22
  [SPEAKER_00]: Yeah, it's such an odd choice, and then Havana comes in, which I think he had a personal interest in trying to talk about what was going on there in Cuba at the time, again, a connection to a social con, but it didn't come off as a great film.
• 56:34
  [SPEAKER_00]: I think him and Lena Olon have nice chemistry in the movie, but it just isn't, you know, what are those ones that you go back and need to watch in my opinion?
• 56:41
  [SPEAKER_01]: I remember I remember going to see this one and it was a huge redford fan at this point like this time at this point I really was you know a movie person and being so excited and going to see in the theater And you know what you walk out of a movie and you're trying to kind of convince yourself that the movie was better than it was like that That was my experience with a van and I was I was good Voice goes up an octave
• 57:09
  [SPEAKER_00]: And then we've wanted to sneakers, which I think was it was a really fun film, a lot of great actors involved in sneakers and this is people don't seem to remember how great this was, but when you're when when you're reminded of it, you just have a smile on your face because it's a fantastic film and he doesn't have to carry the weight of the movie right now like a van and we had to be the lead this film there's so many good actors bouncing off Robert Redford that he doesn't have to carry the load.
• 57:34
  [SPEAKER_00]: I enjoyed it.
• 57:34
  [SPEAKER_00]: What about you, man?
• 57:35
  [SPEAKER_00]: Have you seen this one?
• 57:36
  [SPEAKER_01]: Love it, love stinkers, totally, totally love it.
• 57:39
  [SPEAKER_01]: And this is exactly the kind of movie that really just doesn't get made, which is a mid-budget, star-studded, fun film.
• 57:47
  [SPEAKER_01]: You know what I mean?
• 57:48
  [SPEAKER_01]: Like that, and by the way, still about important themes of privacy and security and all of that stuff.
• 57:57
  [SPEAKER_01]: And yes, the ensemble in this movie is spectacular and every one of them is great.
• 58:03
  [SPEAKER_00]: And yeah, and he's moved into that place where like he has to reckon with his sins of the past, right?
• 58:08
  [SPEAKER_00]: He's now moved into this area as an actor where he's no longer going against the system and fighting against the system.
• 58:15
  [SPEAKER_00]: Now he's the guy who is made, made mistakes in the past and now the past has caught up to him.
• 58:19
  [SPEAKER_00]: How does he deal with that, you know?
• 58:21
  [SPEAKER_00]: I like that element of it.
• 58:22
  [SPEAKER_00]: It is a fun film for sure, but there is that element of it, too.
• 58:25
  [SPEAKER_00]: But I mean, listen to the cast, Ben Kingsley, Mary McDonnell, who recently has just cast the Vision series, River Phoenix, Sydney, Portie, David, Stray, Thorn, Dan Acroyd, or all part of this movie here.
• 58:39
  [SPEAKER_00]: So it's a fun one.
• 58:40
  [SPEAKER_00]: If you guys haven't seen sneakers, highly recommend that as a fun, like Saturday afternoon movie that you can watch when you get a chance to watch it.
• 58:51
  [SPEAKER_00]: This was a massive film.
• 58:52
  [SPEAKER_00]: I think this is the highest grossing film ever in decent proposal.
• 58:56
  [SPEAKER_00]: I think it made like $350 million back then, which I think is $600 million nowadays, something like that.
• 59:01
  [SPEAKER_00]: But amazing this film and really controversial.
• 59:06
  [SPEAKER_00]: Is it a feminist film or is it not a feminist film?
• 59:08
  [SPEAKER_00]: And for those you don't know, this is a film where Robert Redford plays this billionaire, I think, who offers, or who offers to have a night with Demi Moore, and she's married to Woody Harrelson,
• 59:21
  [SPEAKER_00]: she makes the decision to do it because they need the money because of I think for a million dollars yeah yeah for a million dollars would he's gambling or whatever causes them to be in financial debt so she agrees to do it so it's it's a more serious take on honeymoon and Vegas in a way so what are your thoughts and indecent proposals
• 59:38
  [SPEAKER_01]: It's so funny because this was so, the zeitgeist of this moment, oh, yeah, because this was this was sexy and scandalous and you have this hot young actress and this older hot sexy actress and money and moral questions and there was so much talk about this movie before it came out and debates on the talk shows about what you do it, would you not do it and how much money and all this stuff and then the movie comes out and it's you know whatever.
• 1:00:09
  [SPEAKER_02]: That's what I've ever felt.
• 1:00:12
  [SPEAKER_00]: I didn't think much of this movie at all.
• 1:00:14
  [SPEAKER_00]: But damn I liked this movie.
• 1:00:17
  [SPEAKER_00]: Hit me at the right time, as you said, the sexiness of it all, the conflict within it, directed by Adrian Lynn, who did fatal attraction.
• 1:00:25
  [SPEAKER_00]: which I recently watched again and just like that film is so good, but it leaves you with a lot of questions by the end.
• 1:00:33
  [SPEAKER_00]: So I mean, this may have been what attracted him to the movie.
• 1:00:36
  [SPEAKER_00]: You know, after having done sneakers, we're here's a film that I actually asked some tough questions of the audience.
• 1:00:42
  [SPEAKER_00]: You know, he has that moment where he, that's very reminiscent of Bernstein and Citizen Kane where he talks about this young woman that he
• 1:00:51
  [SPEAKER_00]: remembers in his life and never made the move or never got a chance to talk to her and thinks that she could have changed his life.
• 1:00:58
  [SPEAKER_00]: So you see him as this rich guy who for all his money and all his stuff and all his power or whatever, he's still painfully lonely and he is not the success that you think he is.
• 1:01:09
  [SPEAKER_00]: So a little bit of exposing what's really going on behind the scenes with something like that.
• 1:01:15
  [SPEAKER_00]: Then you go into up close and personal, the horse whisper, last castle, spy game, an unfinished life, the clearing, lions for lambs, the company you keep, anything about those movies, any of those movies stand.
• 1:01:27
  [SPEAKER_00]: I kind of put them all together because I think they're just kind of a run of things where he, I think gets into some financial trouble in his real life and so he's having to make some movies here.
• 1:01:35
  [SPEAKER_00]: What are your thoughts on these films, Steve, any of them stand out
• 1:01:41
  [SPEAKER_01]: Well, the horse whisperer, I mean, we haven't talked much about him as a director yet.
• 1:01:44
  [SPEAKER_00]: No, that's what that's.
• 1:01:46
  [SPEAKER_00]: Yeah.
• 1:01:47
  [SPEAKER_01]: So, I mean, obviously the horse whisperer gives us Scarlett Johansson, you know, like that's that's where she comes from.
• 1:01:53
  [SPEAKER_01]: I think some of these are funds by spy game is fun.
• 1:01:55
  [SPEAKER_01]: The last castles and okay movie, you know, there's some good things.
• 1:01:58
  [SPEAKER_01]: I also say, which I haven't, I don't know if I've ever mentioned, have I ever told you that I have written for Robert Redford?
• 1:02:05
  [SPEAKER_01]: Well, no, please, regalist with us.
• 1:02:07
  [SPEAKER_01]: Yes.
• 1:02:08
  [SPEAKER_01]: when I was working for the custos doing one of their underwater documentaries and I was one of the editors and Robert Redford was the narrator and I had written a whole bunch of temp because when I'm editing, I'm doing the narration and writing narration for myself and they end up using basically all of the narration I had written so Robert Redford when he's narrating America's underwater treasures is actually saying words that I wrote.
• 1:02:36
  [SPEAKER_00]: Wow, that's a great thing to have on your resume.
• 1:02:38
  [SPEAKER_00]: That's amazing.
• 1:02:39
  [SPEAKER_00]: Yeah, I know spy game is when I haven't seen, but I don't know a lot of people like spy game.
• 1:02:43
  [SPEAKER_00]: I tried watching about 30 minutes of the last castle last night, Eddie, my jam.
• 1:02:47
  [SPEAKER_00]: It's a young Mark Ruffalo, and it's just does it.
• 1:02:51
  [SPEAKER_00]: And unfinished life, I know some people like unfinished life, but
• 1:02:55
  [SPEAKER_00]: I barely made it through that movie.
• 1:02:57
  [SPEAKER_00]: I didn't think it was that strong.
• 1:02:58
  [SPEAKER_00]: Lions for lambs is one of those where they go too far left and you're just like, okay, there's no ambiguity here.
• 1:03:04
  [SPEAKER_00]: I don't know why you'd make a film like this.
• 1:03:06
  [SPEAKER_00]: The company you keep is fine.
• 1:03:09
  [SPEAKER_00]: I thought again, I thought it's a good instinct to do it, but I think it quite hit the mark.
• 1:03:14
  [SPEAKER_00]: But then we get into all this loss.
• 1:03:15
  [SPEAKER_00]: And I think that's where
• 1:03:17
  [SPEAKER_00]: We see a little bit of a mini renaissance before Rob Redford passes on.
• 1:03:21
  [SPEAKER_00]: This is a fantastic film as I mentioned earlier, where he is, he is a essentially caught on a boat because I think one of those, well, it can shipping containers hits his boat and he's got to figure out how to survive on the sea before it sinks and he dies.
• 1:03:38
  [SPEAKER_00]: This is directed by J.C.
• 1:03:39
  [SPEAKER_00]: Chandor and I think this is a fantastic movie.
• 1:03:42
  [SPEAKER_00]: A lot of people thought he was going to get nominated for this one and he wasn't.
• 1:03:45
  [SPEAKER_00]: He didn't speak.
• 1:03:46
  [SPEAKER_00]: I think as I said six words.
• 1:03:47
  [SPEAKER_00]: So what do you remember about this movie and did you like this movie?
• 1:03:51
  [SPEAKER_01]: I didn't see it, John.
• 1:03:51
  [SPEAKER_01]: I'm sorry.
• 1:03:52
  [SPEAKER_00]: Oh, man.
• 1:03:53
  [SPEAKER_01]: I know I should have it's when I meant to and I have not seen this film.
• 1:03:56
  [UNKNOWN]: Yeah.
• 1:03:57
  [SPEAKER_00]: All right.
• 1:03:57
  [SPEAKER_00]: Well, there you go.
• 1:03:58
  [SPEAKER_01]: Are you kicking me off the cinephiles?
• 1:04:00
  [SPEAKER_00]: No, no, no, no.
• 1:04:03
  [SPEAKER_00]: No, I just look forward to the day you do see it.
• 1:04:04
  [SPEAKER_00]: I hope you do see it in the future because I think it's a good one for you to check out as well.
• 1:04:10
  [SPEAKER_00]: Then from all as lost, we move on to, of course, Captain America, Winter Soldier, Steve, I mean, this is an incredible performance he delivers here as the Aleksander Pierce.
• 1:04:21
  [SPEAKER_00]: And who better to bring on from the 70s than this icon of anti-establishment and political thrillers like Robert Redford to play this head of hydro, right?
• 1:04:31
  [SPEAKER_00]: Oh, this fantastic.
• 1:04:32
  [SPEAKER_01]: It's great.
• 1:04:33
  [SPEAKER_01]: It's perfect casting and this is when we also have done on the cinephiles.
• 1:04:35
  [SPEAKER_01]: I think we decided we're not going to re-release this one as part of the Robert Redford tribute because it's not his movie.
• 1:04:41
  [SPEAKER_01]: But when he's on screen, it is fantastic.
• 1:04:44
  [SPEAKER_01]: What's really great about watching and play a bad guy is that Robert Redford intelligence and confidence and clarity that makes him such a great performer makes him a great antagonist.
• 1:04:57
  [SPEAKER_01]: Right.
• 1:04:58
  [SPEAKER_00]: Yeah.
• 1:04:58
  [SPEAKER_01]: Good point, man.
• 1:05:00
  [SPEAKER_00]: Uh, and I'll just, and there are other movies, but I'll just highlight one last one for Susan's weird.
• 1:05:03
  [SPEAKER_00]: You know, we don't want to make this go too.
• 1:05:05
  [SPEAKER_00]: Oh, she's over an hour.
• 1:05:06
  [SPEAKER_00]: We need to get into the directing and other stuff here.
• 1:05:08
  [SPEAKER_00]: Uh, but yeah, you look at old man of the gun.
• 1:05:10
  [SPEAKER_00]: If you haven't seen old man of the gun, I think this is his final last performance.
• 1:05:14
  [SPEAKER_00]: And again,
• 1:05:15
  [SPEAKER_00]: evoking the greatness of his 1970s performance.
• 1:05:19
  [SPEAKER_00]: You can absolutely see elements of butch Cassian Sundance kid, or even the sting in this movie.
• 1:05:26
  [SPEAKER_00]: And it is great to see both Sissy Spasik and Robert Redford, these iconic 70s actors.
• 1:05:31
  [SPEAKER_00]: deliver two beautiful performances in their golden age and it's actually it's it's a very well directed from David Lauri and it I think it's one last final goodbye from Robert Ritter for it as an actor without intending it to be that and if you enjoy him in the 70s this is the best thing that evokes that time and his in his work from that time for you to enjoy have you seen this one yet Steve?
• 1:05:54
  [SPEAKER_01]: I'm sorry, John, get to it a row.
• 1:05:56
  [SPEAKER_01]: I hope we don't get a third strike on this episode.
• 1:05:59
  [SPEAKER_01]: It's going to be terrible.
• 1:06:00
  [SPEAKER_00]: I hope not either man, but I highly recommend them do.
• 1:06:03
  [SPEAKER_00]: But you can watch these two back-to-back, all this lost and old man on the gun and join afternoon of Robert Redford for sure.
• 1:06:09
  [SPEAKER_00]: Well, let's get into his directing, Steven.
• 1:06:10
  [SPEAKER_00]: I know we got to get close to wrapping up this tribute because I know we have a limited time together on this, but what do your thoughts about his work as a director?
• 1:06:19
  [SPEAKER_00]: Are you being a director yourself?
• 1:06:21
  [SPEAKER_00]: What do you love about his work and things like ordinary people, Malagro, being field war, river runs through a quiz show, which we spoke about, horse for spur, which you mentioned.
• 1:06:30
  [SPEAKER_00]: landed in a bag of lands, lands for lambs, the conspirator, the company you keep, and his cathedrals of culture, which is the last thing you did in 2014, your thoughts about him as a director, and his work as a director?
• 1:06:41
  [SPEAKER_01]: So, Redford's not the, doesn't go on the Mount Rushmore list of directors, he doesn't go on the list of top 10 great directors.
• 1:06:49
  [SPEAKER_01]: He's a really good director and I think in particular ordinary people is a true masterpiece and it's really the emotional honesty and the power and the sensitivity and the willing to explore difficult areas that's really really unique.
• 1:07:04
  [SPEAKER_01]: I think
• 1:07:05
  [SPEAKER_01]: which shows probably his best crafted movie.
• 1:07:08
  [SPEAKER_01]: I mean, it's complicated.
• 1:07:11
  [SPEAKER_01]: There's a lot of threads to keep straight.
• 1:07:13
  [SPEAKER_01]: It's a period piece.
• 1:07:14
  [SPEAKER_01]: And I think he absolutely nails it.
• 1:07:16
  [SPEAKER_01]: And then I think it's kind of like I like my log role being field awards.
• 1:07:20
  [SPEAKER_01]: And it's an interesting film.
• 1:07:22
  [SPEAKER_01]: Legend of Bagger Vance.
• 1:07:23
  [SPEAKER_01]: Again, we were just talking about when we just talked about Green Mile.
• 1:07:26
  [SPEAKER_01]: But here we have another magical Negro figure.
• 1:07:29
  [SPEAKER_01]: I mean, yeah.
• 1:07:30
  [SPEAKER_01]: Yeah, I mean, it's it's right there.
• 1:07:32
  [SPEAKER_01]: I mean, it's it's okay.
• 1:07:34
  [SPEAKER_01]: Like, you know, like these are there.
• 1:07:37
  [SPEAKER_01]: He's a good director.
• 1:07:38
  [SPEAKER_01]: He knows how to do it.
• 1:07:40
  [SPEAKER_01]: But I don't think he's goes on the list of great directors.
• 1:07:43
  [SPEAKER_00]: Yeah, I agree.
• 1:07:43
  [SPEAKER_00]: I think he was called to do ordinary people.
• 1:07:46
  [SPEAKER_00]: It was called to do quisho at those times in 1980 and 1994.
• 1:07:50
  [SPEAKER_00]: I think a river runs through it.
• 1:07:53
  [SPEAKER_00]: I mean, that legends of the fall to me.
• 1:07:55
  [SPEAKER_00]: I put them both together in the same pile of like, yeah.
• 1:07:58
  [SPEAKER_00]: Good efforts but not great movies and some of you may enjoy those films and I totally respect that but like for me They're good efforts, but they're not great movies.
• 1:08:07
  [SPEAKER_00]: I agree with you with Malagro.
• 1:08:09
  [SPEAKER_00]: I mean, that's one as a latino in 1988 I was like excited for that film and it didn't quite a hundred percent get there But you know, it's not unwatchable.
• 1:08:16
  [SPEAKER_00]: It's certainly a decent film Not what you hoped it would be for the horse whisper.
• 1:08:21
  [SPEAKER_00]: I think it become it's a little too How can I say this?
• 1:08:25
  [SPEAKER_00]: It's a little too
• 1:08:29
  [SPEAKER_00]: Soft filtering as a movie, it's just a little too romantic and you would hope that the guy who was in the natural would take that approach to something like the horse whisper.
• 1:08:43
  [SPEAKER_00]: But it felt a little too like the rainmaker from Copeland, like I get what you doing, but I don't see the artistry here as strongly as I would like to see.
• 1:08:51
  [SPEAKER_00]: Um, but you'd write this, Carla Johansson, that is the film that put her on the map.
• 1:08:54
  [SPEAKER_00]: And of course, this is Kristen Scott Thomas, uh, just right after the couple years right after, uh, English patient.
• 1:09:00
  [SPEAKER_00]: So make sense to put her in the movie and they have nice chemistry all three of them.
• 1:09:05
  [SPEAKER_00]: I just don't know if that was a good interpretation of that novel, but I agree through then it's, it's a really not that great going forward with the rest of his movies.
• 1:09:12
  [SPEAKER_00]: So let's wrap up by talking about his activism Steve.
• 1:09:15
  [SPEAKER_00]: Like what, when you see, and we mentioned earlier in our conversation,
• 1:09:20
  [SPEAKER_00]: Supporting so many causes here, certainly no GPTQ plus advocate as well, but environmentalism, Native American rights, and of course the Sundance Film Institute and what he did in promoting independent film, what your thoughts on is the legacy on that end of things.
• 1:09:37
  [SPEAKER_01]: Well, I mean, obviously my politics and Robert Redford's politics aligned pretty well.
• 1:09:41
  [SPEAKER_01]: And so I'm proud of and support all the causes that he went after.
• 1:09:46
  [SPEAKER_01]: But I think when you think about influence, there's all of the causes he supports and then there's Sundance.
• 1:09:53
  [SPEAKER_01]: Yeah, right.
• 1:09:54
  [SPEAKER_01]: It is, you know, like I think there is an argument to be made that while I didn't put him on my Mount Rushmore of directors, he might be among the most important people for the evolution of the art of film of anyone who has existed.
• 1:10:08
  [SPEAKER_01]: I was just looking at so here here are some of the movies that came out of Sundance.
• 1:10:14
  [SPEAKER_01]: Yeah, sex lies in video tape, reservoir dogs, clerks, little masonry, Blair Witch, Napoleon Dynamite, whiplash, boyhood, American psychofruitfale station, and these, and who are these people?
• 1:10:25
  [SPEAKER_01]: Sotterberg, Tarantino, Paul Thomas Anderson, Richard Linkletter, Kevin Smith, Ryan Kugler, Damien Chisel, Greta Gerwig, all these people came through Sundance, Jordan Peel, Sean Baker,
• 1:10:39
  [SPEAKER_01]: art of film was totally transformed by that film festival and its morals and priorities.
• 1:10:47
  [SPEAKER_00]: Yeah, and it was, it came along again.
• 1:10:50
  [SPEAKER_00]: He has incredible timing in his career as an artist as a creative, as human being.
• 1:10:56
  [SPEAKER_00]: It came along just at the time when independent film was going to explode.
• 1:11:02
  [SPEAKER_00]: And you could argue that either took advantage of that in terms of the timing, or it was a massive reason for independent film becoming a powerful force in the world of films during the 90s and and on and even now, because I mean you look at the documentary, you mentioned, all the all the theatrical fictional films, but also the documentaries here Americans really when we were kings a show that was like second show or first show that we did here on the cinephiles.
• 1:11:29
  [SPEAKER_00]: Summer of Seoul, which is the Quest Love recently, which is a incredible documentary in Hulu, highly recommended citizen for and Crip Camp.
• 1:11:36
  [SPEAKER_00]: Those are just some of the documentaries that came out of Sundan.
• 1:11:38
  [SPEAKER_00]: So not only just the actors and directors and writers and producers of fictional film, there's also documentaries that came through, which is something, as I said earlier, was in his heart from the 1970s on.
• 1:11:50
  [SPEAKER_00]: They saw the power of documentaries.
• 1:11:52
  [SPEAKER_00]: And as you and I are both lovers of documentaries,
• 1:11:55
  [SPEAKER_00]: I think it's an essential thing to mention with his legacy as well.
• 1:11:57
  [SPEAKER_00]: So, yeah, I mean, just being, and it's still indoors, even though I think he sold the stake there, the power, the state that he has in it, and it's kind of, again, the timing of this.
• 1:12:07
  [SPEAKER_00]: He passes on right before the last Sundance that's going to happen, they're in Park City, Utah, before it moves, I think, to Colorado.
• 1:12:16
  [SPEAKER_00]: So,
• 1:12:18
  [SPEAKER_00]: That is just so interesting to see it going that direction, but yeah, he was also an instrumental on the Sundance channel and other things that connected with the Sundance Institute as well.
• 1:12:28
  [SPEAKER_00]: So again, as we said at the beginning of this tribute, it was a wrapping up a man who has a legacy, has a very powerful legacy, not only on screen and behind the camera, but also out in the
• 1:12:44
  [SPEAKER_00]: They called him the grandfather of independent cinema.
• 1:12:47
  [SPEAKER_00]: And I think that's a great characterization for the power he had, as you said, Steve earlier, of his effect on the world of film and how he has changed the world of film.
• 1:12:56
  [SPEAKER_00]: And arguably, it could be long on the Mount Rushmore of great people who've changed film and kept the medium going and introduced us to an amazing array of voices diverse voices that we would have maybe never normally gotten a chance to hear and listen to and watch and enjoy.
• 1:13:14
  [SPEAKER_01]: That to me is his real legacy.
• 1:13:16
  [SPEAKER_01]: I just am thinking as we've been talking and going back to where we started, which is that even from the beginning of his career, he believed that film could say something and he believed in ambiguity in like not actually giving clear, rigid, right, and wrong answers, but exploring some of these gray areas.
• 1:13:36
  [SPEAKER_01]: And then you go to Sundance, arguably his life's work.
• 1:13:40
  [SPEAKER_01]: And Sundance is saying, no, this is an art form.
• 1:13:44
  [SPEAKER_01]: film is an art form that can say something and in particular it's an art form that can say something when you find unique voices and voices who's not haven't been heard before.
• 1:13:55
  [SPEAKER_01]: And so he goes like there's gold here.
• 1:13:58
  [SPEAKER_01]: There's gold to be mined with Robert Rodriguez and Quentin Tarantino and with African American filmmakers and LGBTQ filmmakers and native filmmakers and voices that we haven't heard in international filmmakers.
• 1:14:11
  [SPEAKER_01]: And that it's OK, and this is really, if there's one Sundance aesthetic to me, it's that Sundance is OK with having a movie that you walk out of and go, I don't know how I felt about that.
• 1:14:23
  [SPEAKER_01]: And then you have a discussion.
• 1:14:25
  [SPEAKER_01]: And that's, look at all of Redford's work.
• 1:14:27
  [SPEAKER_01]: I mean, that's really fits into it.
• 1:14:29
  [SPEAKER_01]: And that is a powerful legacy and in a world where film is frequently trying to tell you exactly how you're supposed to feel when you get to the end of the movie.
• 1:14:40
  [SPEAKER_01]: You know?
• 1:14:40
  [SPEAKER_00]: Yeah.
• 1:14:41
  [SPEAKER_00]: It's a great point, man.
• 1:14:42
  [SPEAKER_00]: And I'll wrap up our tribute with two quotes from Robert Ever that I think people should think about and having their lives now because of everything that's going on in our world.
• 1:14:51
  [SPEAKER_00]: And you speak about the ambiguity.
• 1:14:52
  [SPEAKER_00]: This is a quote he gave NPR back in 2013.
• 1:14:55
  [SPEAKER_00]: He said, all the films I've made are about the country I live in and grew up in.
• 1:14:59
  [SPEAKER_00]: I am not interested in America as black a white or bluer red.
• 1:15:04
  [SPEAKER_00]: I was interested in the
• 1:15:08
  [SPEAKER_00]: And it feels like we've lost that Steve in a lot of ways.
• 1:15:10
  [SPEAKER_00]: Maybe amongst us here who don't, well, I don't want to say that, because I do kind of have to deal with how much I live on Twitter.
• 1:15:18
  [SPEAKER_00]: But for a majority of people who don't live on Twitter, the complexity is still there, the conversations are still there.
• 1:15:24
  [SPEAKER_00]: He's a guy that supported Republican candidates, Democratic candidates.
• 1:15:27
  [SPEAKER_00]: He was, you know, it's always what was right for what he thought, who he thought was right.
• 1:15:31
  [SPEAKER_00]: for the time and the situation, you know, and he received tributes from political people all up and down the spectrum from Republican and Democrats independent and from numerous artists who also have strong political views in all the different areas there that exist.
• 1:15:47
  [SPEAKER_00]: And I think that's powerful as well.
• 1:15:49
  [SPEAKER_00]: And when talking about his movies and his life, he said there have been so many hits on our family and talking about the trials and tribulations of his family with which I'm not going to get into because that's stuff you can explore for yourself.
• 1:16:01
  [SPEAKER_00]: He said that no one knows about and I don't want them to for my family sake I've made some interesting movies and I've been very satisfied with the work.
• 1:16:07
  [SPEAKER_00]: But if someone wrapped it all up and said to me, what's your greatest achievement?
• 1:16:11
  [SPEAKER_00]: I'd say my children, they're the best thing in my life.
• 1:16:14
  [SPEAKER_00]: And so I think that's an incredibly powerful thing to end on to understand because as great as he was as an artist, he understood what was important in life.
• 1:16:22
  [SPEAKER_00]: And I think that's a window into Robert Redford as a human being, you know?
• 1:16:29
  [SPEAKER_01]: Absolutely.
• 1:16:30
  [SPEAKER_01]: No, I think that's, it was the very first thing I said is this is a man who had values, you know.
• 1:16:36
  [SPEAKER_00]: Yeah, absolutely.
• 1:16:37
  [SPEAKER_00]: Stephen, he was a father.
• 1:16:38
  [SPEAKER_00]: I'm sure can absolutely grasp that and understand that well, thank you all so much for joining us for this tribute.
• 1:16:43
  [SPEAKER_00]: Thank you to the cinephiles fans who are listening to this because we are going to put this up on the cinephiles feed as well.
• 1:16:49
  [SPEAKER_00]: In lieu of us doing an episode, we're going to do an episode next week.
• 1:16:52
  [SPEAKER_00]: We're going to start 40 year old virgin next week, but as Steve said earlier, we are going to re-release.
• 1:16:58
  [SPEAKER_00]: all of the films we've done except for Captain America Winter Soldier with new intros where we've discussed these films a little bit more.
• 1:17:04
  [SPEAKER_00]: And so if you interested in the cinephiles, you can download that and subscribe to it wherever you download podcasts.
• 1:17:10
  [SPEAKER_00]: Just look for the cinnusciene-files.
• 1:17:13
  [SPEAKER_00]: We've been doing that show for almost 10 years now.
• 1:17:16
  [SPEAKER_00]: We average anywhere from 150 to 250,000 downloads a month.
• 1:17:20
  [SPEAKER_00]: I guess people enjoy our show so much and there's no doubt I've no doubt if you've never tried it that you can look through our list of movies and find an episode that covers the film that you love and we will do it just so we encourage you to do that.
• 1:17:33
  [SPEAKER_00]: Steve, any final words and where can people find you and everything you're going on?
• 1:17:37
  [SPEAKER_01]: No, but I'm thrilled if people want to check out the cinephiles.
• 1:17:40
  [SPEAKER_01]: My guess is there's some movie you've always wanted to know more about and it's on our list.
• 1:17:44
  [SPEAKER_01]: I'm pretty ten now that we've been doing this this long.
• 1:17:46
  [SPEAKER_01]: I am confident that at least a few of your favorite movies are there.
• 1:17:50
  [SPEAKER_01]: So would love you to come check all that out.
• 1:17:52
  [SPEAKER_01]: You can find me at SR Morris on Twitter.
• 1:17:53
  [SPEAKER_01]: SR Morris went on Instagram and that's it.
• 1:17:56
  [SPEAKER_01]: I'd just like tune it into the truth here.
• 1:17:59
  [SPEAKER_00]: Thank you Steve that this is our truth on Robert Redford, and please let us know what you thought about everything We talked about here his work on screen is work behind the camera his activist work His his his just his legacy overall in the world of film and in the world of of of life and the Sundance film Institute Let us know maybe some of you are watching who went to Sundance or been to Sundance film I'd never been let us know what your friends would like to know if you were Robert Redford go ahead.
• 1:18:24
  [SPEAKER_00]: Yes, do
• 1:18:25
  [SPEAKER_01]: We have been to Sundance.
• 1:18:26
  [SPEAKER_01]: Oh, oh, oh, this operation siren went to Sundance that you acted in in 2003.
• 1:18:31
  [SPEAKER_01]: Yes, sure.
• 1:18:32
  [SPEAKER_00]: I was in a show, but I was never physically there.
• 1:18:36
  [SPEAKER_00]: And I've always wanted to go.
• 1:18:37
  [SPEAKER_00]: But you know, film festivals in my age now it kind of give me the a little bit of the HVGVs, but I need to get over that just to go see.
• 1:18:45
  [SPEAKER_00]: experience festival for the first time.
• 1:18:46
  [SPEAKER_00]: But yeah, it's an incredible thing.
• 1:18:48
  [SPEAKER_00]: So let us know what you thought about it.
• 1:18:49
  [SPEAKER_00]: And if you had any experiences with Robert Redford, because a lot of people were posting their experiences with him, our friends, sorry, you blew talked about her first role.
• 1:18:56
  [SPEAKER_00]: One of her first roles was working on a Robert Redford film.
• 1:18:58
  [SPEAKER_00]: I think it was lunch for lambs.
• 1:19:00
  [SPEAKER_00]: And he talked about how well he treated her on the set.
• 1:19:03
  [SPEAKER_00]: So if you have any stories, let us know down in the comment section below.
• 1:19:06
  [SPEAKER_00]: Or let us know on the cinephiles as well.
• 1:19:08
  [SPEAKER_00]: All right, thank you so much.
• 1:19:09
  [SPEAKER_00]: Take care of yourselves.
• 1:19:10
  [SPEAKER_00]: Be well, subscribe to the channel down below.
• 1:19:12
  [SPEAKER_00]: Hit that bell button, follow me and at the Roca says on all social media and we'll talk to you next time for a with a brand new episode of the truth.
• 1:19:19
  [SPEAKER_00]: Take care yourselves and rest in peace, Robert Brent, for our best to his family and everyone.
• 1:19:25
  [SPEAKER_00]: Connected to him and we'll love to.
• 1:19:26
  [SPEAKER_00]: Take care, everyone.