The Incomparable

I'm Smart, Not Like Everybody Says

 

  we've been talking for web 15-20 minutes

  it's two hours oh we're just getting out

  of the opening statements though so

  don't worry

  the incomparable number 356 June 2017

  welcome once again everybody to the

  incomparable I am your host Jason Snell

  this is part 2 of my conversation with

  Merlin Mann John Gruber Moises Chuang

  and John siracusa about the Godfather

  Part 2 let's go back to the other time

  frame because we should talk about the

  scene during the the parade thing where

  there's the is it is it a saint or Jesus

  and like there's a cross and then

  there's money all over it that's the

  thing that they do though then

  italian-american yeah yeah no no but

  like having it having a Jesus with a

  floating crown covered with money

  yeah I mean in the first movie or the

  first popular movie where people have

  seen that this thing there there

  cultural things that are like wait what

  that is not in any way tied to anything

  that I understand from my background but

  you know it's like the the first time

  people see a luchador match and at the

  end of the match a bunch of you know

  Mexican Americans are throwing money in

  the ring and people are like what the

  hell's going on that's it's it's a sign

  of respect it's a custom it's a thing

  you know it's just a thing I grew up

  Roman Catholic and it's you just you

  don't know that other denomination

  sahrin is centered on making money until

  you get older and you gained some

  perspective but even as a kid and not in

  a any way an Italian parish you know I'm

  sure there it was probably more Irish

  than than Italian backgrounds where I

  grew up um but they it was always about

  the money that we did you know just

  think about the Vatican like you just I

  grew up going that are like yeah talking

  about palaces covered in gold right it's

  it's one of the most luxurious palaces

  ever built in the history of humankind

  for a church it's it's comical in a way

  but that sort of bald-faced dollar bills

  tacked to a religious icon was very

  young I know Sam if you grew up Catholic

  that it's not weird at all it is it's

  you know copal is obviously aware of it

  and it's obviously used for symbolic

  purposes but it's not an exaggeration in

  any way shape or form might sure

  Tryg revista have a summer bazaar it was

  like three night thing and there's

  little little games a chance for the

  kids and stuff like that but they had

  like actual blackjack tables in the gym

  for the adults okay you could go it and

  play cash bar blackjack and I thought I

  mean and you know you guys know me I was

  I I wanted to play I was desperately

  hurt that I was not allowed to play

  poker night at the rectory with Virgin

  Mary dealer they say the house always

  wins but if God is the house how bad can

  it be the way that they got away with it

  somehow I don't know if if it was I

  don't know but somehow the story I had

  heard was that the reason that they were

  allowed to do it was a their a charity

  and be there in a charity blackjack game

  run by a church it was if you tied the

  dealer you lost the hand so you had no

  chance to God right the church for you

  right I was really frustrating growing

  up in the late in the late 70s out of

  time this is before the moral majority

  stuff really caught on but there was a

  lot of sensation about video games and

  how basically at least in my church and

  in a lot of Protestant communities they

  were basically seen as gambling they

  work like if you spent money on this

  thing and there was no like clear world

  war and you did have to work hard like

  that is gambling that definitely sounds

  way more Protestant than the Catholic so

  we're talking about video games as

  gambling

  well so I was gonna say it oh it seems

  so like frustrating to me that like the

  Catholics were allowed to bingo the crap

  out of everything and like you want to

  play defender speaking of bingo I'm not

  to go too far off the track but when I

  was in college there was a thing at my

  parents parish where the one of the

  priests of the parish literally got

  arrested because the cops figured out

  that he was running crooked bingo the

  big the bingo game was crooked

  crooked bingo have the fix was in on the

  bingo right good good bingo

  there's like eight men out but with

  bingo right he he was running the thing

  where he was like icing some of the

  balls he's got a blue haired lady on the

  inside she's shoeless joe O'Malley well

  and that tie that ties back to Hyman

  Roth I love

  loved it ever since Arnold Rothstein

  fixed the 1918 World Series he says of

  course he does of course he loves with

  such genuine relish yeah like he's yes

  yeah like the best thing ever and get

  back to Hyman Roth and I were just

  bringing up tangentially here but like

  but I really do love the fact that he

  you know he goes back to Marlon Brando's

  Godfather right that they were they were

  running molasses when they're you know

  yeah they go back way back your dad see

  trucks obviously got a tremendous amount

  of money but he's and he has been

  successful but a his appetite for

  continued success and money continues

  despite the fact that surely he has more

  than enough money less than the rest of

  his life and B he lives like a suburban

  New Yorker who moved down to look to

  Florida to retire like he's in this tiny

  little house with his you know way to

  young wife making him tuna sandwiches

  he's not in a giant castle he doesn't

  need any this money it's all about like

  the game it's all about success and

  winning and and he's happy to just go

  back and watch the ball game in his

  surely sweltering Florida you know ranch

  house bungalow whatever as his wife

  brings him sandwiches I just love I love

  him I love that character love the

  brokenness of his the way he chooses to

  live his life and what he chooses to do

  with this time because it is so so

  bonkers so we should talk about the

  scene so what happens in the in during

  the this this Festa that happens is is

  that is that Vito is going to take out

  fanucci so he watches fanucci he knows

  where he is you can't miss him out in

  the street and he then he paces him on

  the rooftops and follows him basically

  follows him home and like goes around

  the back of some of the chimneys and

  jumps down to a lower building and he's

  he's doing like parkour and Little Italy

  doing what he needs to do to get around

  to follow him with unscrews the light

  bulb

  he's got the towel around the collar on

  the gun silencer well before we get to

  that though I like the just I first saw

  this scene when I was doesn't matter why

  but I was in I was visiting with this

  friend of mine who taught a film class

  and he showed that entire sequence and I

  think Godfather one I don't think it's

  in Godfather two at that point and I was

  just I was completely struck by that

  scene and just the there's so much to

  that there's there's the the panning

  shot of DeNiro going across the roofs

  there's a panning shots down on the

  ground

  and then there's the shots down or

  fanucci is like this big white like a

  big white bird he wants to wet his beak

  honey so clearly visible amidst like all

  of this crowd and I I just I I could

  just watch the scene over drinking it up

  all the things he does we're we're

  carefully studying him as he's doing any

  puts the money that's trapped in that

  arm thing that arm move is good I won't

  stop doing okay hey what's that called

  John siracusa what do you call that

  no I but you know the movie you should

  start doing is the thing where someone

  put some money in front of you

  immediately throw your drying hat down

  on top of it and says I think there's

  $100 under that what a move like they

  such a such a character I want to cop

  every move I love the way he stirs his

  espresso he wears his jacket over his

  jacket okay yeah jackets upon jackets on

  jackets his jackets all the way down and

  he's in the white everyone else in this

  New York Street scene is like covered

  with fill yes everybody everybody's

  wearing Brandon Dickens characters

  everybody's cover the filth he's wearing

  a white suit white three-piece suit

  head-to-toe and a white hat every day

  every single day and it's it speaks to

  his level of power that he can just have

  the biggest all white linen target

  painted on him and just walk through the

  streets with not a care not an

  assumption that anybody is going to try

  to do anything to it this is too violent

  for me

  they just kiss his hands he puts out his

  hands and they kiss him but then then

  you know Vito takes out finally does

  take action about this guy like he's got

  a hole he's got his hole I love it I

  love it all I want to drink in every bit

  that the way that he unscrews the

  lightbulb the way he slips into that

  every single bit of it just off so

  perfect yeah it's it's a duck hunt out

  in the woods but you know in in the

  middle of Little Italy and he waits to

  write like he hears concepts you know

  waits and then he's he's stealing

  himself like he waits part of it because

  you have to wait right so he's not

  impatient but when when we as the

  audience realize now is the time Vito he

  still waits because then he's got to be

  like am I really doing this is this

  happening and eventually he does go

  through it and then and then the cooler

  head of Vito prevails where he's like

  I've gone through with it but you know

  what one of the mouth to make sure like

  you already got him in the chest I got a

  so well not down away bend down and just

  make sure like look you're here to do a

  thing do the thing I love the cut I love

  the Edit where they it's like a cut

  right to where you get to Manette in the

  cheek

  so they don't have to you know you don't

  have to have a squib explode because the

  cut is the squib the actual edit of the

  film is the impact of the bullet hitting

  his face so it just starts with the hole

  in his face it is yeah

  it's the classic trick that we do with

  arrows going into people make the sound

  effect cut to the guy with the arrow

  already in his chest I also like every

  like terrace is close open to see like

  what is going on here the buttons

  popping yeah good some good Foley work

  there if I'm gonna die I'm gonna die

  half naked and then he takes then he

  takes a gun apart and puts the pieces

  down the different chimneys yeah yeah

  right mark perfect well I actually had a

  thought about that I'm not sure how

  smart it was in so far surgeon stoves of

  the building in which the guy was killed

  you might have seemed smart they're all

  in the same bill yeah I mean look the

  point is like how are you gonna find

  these things those things are all I go

  down into the into the furnace did you

  get a bit of a firearm in your chimney

  tool it's a piece of one down it

  assuming those aren't just vent pipes

  and I actually go down to furnaces as

  well like but but I'm what I was

  thinking watching it is that video is

  being very thorough he's he's you know

  look if you're gonna kill this guy if

  you come at the King best not miss right

  and he doesn't and he's put getting rid

  of the evidence and I'm like no cop is

  gonna investigate this nobody cares what

  goes on a little italy they don't care

  that you killed this guy this will never

  be investigated in any way whatsoever

  but but he's you know he's dot in his

  eyes and Grasso dusty's and that that

  that attention to detail is what is is

  you know what what helps him become so

  you know effectively bulletproof for the

  longest time is he he crosses all the

  eyes there he crosses all the t's dots

  all the eyes and and and is careful he

  he comes back behind himself I mean even

  the gunshot happening at the time when

  the fireworks are going out which he

  knows they're gonna happen at the end of

  the festival it's good plan yeah it's

  even the case that uh he it more likely

  than the cops investigating would be

  Lucchese men yeah

  investigate right and there's a pink

  about it there's absolutely positively

  only two people on the planet who who

  know that Vito did this and that's

  Clemenza and yeah with Tesio right I see

  yeah yeah young testee oh by the way

  looks like Tony Danza and the same he

  knows he knows those guys he knows he

  can trust those guys you know he knows

  that there get you know there he doesn't

  worry about them but there's no reason

  like like falou cheese guys like who the

  hell would do this they don't even know

  who

  Corleone's that's so great the next part

  is Washington DC Senate Committee on

  organized crime this is the the

  interview with Michael and from the

  various senators and they asked him all

  the questions about if you're a member

  of an organized crime family favorite

  favorite cameos in The Godfather saga

  among among two of my very favorite are

  Harry Dean Stanton as FBI guy number one

  he's so young I'm so young and it's

  gotta be like only 70 or so in them I

  know I had no idea that was him no idea

  you know he's the guy who eventually

  finds finds Frankie in the bathtub and I

  you know I want to call him vice chair

  of the committee because he's like

  senator number two or something is Roger

  Corman who has one line in the movie and

  is mostly just sitting there listening

  the entire time during all the

  proceedings but I love that all of these

  guys who came up doing movies with Roger

  ended up casting him almost exclusively

  as a senator who kind of Jonathan Demi

  made him a senator from The Manchurian

  Candidate remake like he's always like a

  senator on a committee investigating

  something not saying much

  and then he says like one line and then

  he's done there's a lot of smoking in

  this scene yeah John I don't know if you

  notice that I did a lot of smoke in the

  movie in general like I always think

  back to the first movie where where you

  know Michael is saying about Kay she's

  hysterical and he he's palming the

  cigarette in this weird way where he

  reaches around and grips the there's a

  lot of good a lot of good cigarette work

  I also think this the Senate scene is

  the the prototypical I mean it's

  probably just crib from TV news but like

  the lenses in the angle they get on

  Michael as he sits at that table we'd

  like the press sound effects around him

  like it feels like by choosing the

  staging in the camera angles it feels

  like he is in in the Senate talking and

  they make it feel so so like intimate

  and crowded when in reality it's like

  you're on this table way over here and

  these these people off over there and

  people whispering in people's ears and

  the senators with their agenda and him

  with Tom next to him in more great

  character actors you've got the the guy

  who plays what's his name's attorney the

  guy with the glasses like he's he's

  exactly perfect I love the guy who runs

  the committee that guy is such a great

  character actor

  Emolga yeah how allow it I will produce

  someone who is spoken directly to my

  he's such a little like he's got a plan

  he's executing slowly and carefully but

  he's he's getting outplayed on the

  brother the brother

  well we skipped over the case not the

  case that happen also in the same thing

  like this is one thing I noted in my 900

  viewing of this movie is that the the

  dissolution of his marriage I mean it

  works from from the perspective that

  Michael doesn't realize it's happening

  and therefore we as the viewers are also

  supposed to perhaps not realize it's

  happening because we're so caught up in

  Michael's game and then it comes you

  know then he gets blindsided by it we

  you know with the later-later scene

  where that comes to a head but there's

  not much in the movie to really show

  that that things are falling apart of

  the marriage because the few lines the

  Kay has early on there's like oh you

  know you told me the family would be

  legitimate in five years and it's been

  seven years but even they actually

  doesn't sound too pissed about it and

  it's really just we don't see her again

  for a long period of time and so it's

  like she says that one thing and then he

  doesn't talk to her for a while and then

  she aborts his baby and is out of there

  like it is it is there's there's not a

  lot of text for that and the only way I

  can really excuse it is to say because

  Michael doesn't realize it's happening

  he's caught up with all the stuff going

  on too and he's literally not paying

  enough attention to his family when he

  comes home and seizes his proxy gifted

  electric car in the snow he feels bad

  about it but he doesn't realize how and

  he comes in and Kay doesn't get up from

  her sewing machine to welcome him like

  he knows things are bad but he still

  feels right up to the very end he feels

  like I can fix this I can chain change

  I'll handle it this is you know this

  this is just it's an impossibility for

  this to go badly so in that way it works

  but I do I do feel like K should have

  had a few more scenes to to flesh out

  her side of the arc so we're aware that

  it's simmering instead of us getting so

  caught up in these other stories and

  then just having oh by the way Kay's

  here and their marriage is a mess it's a

  little bit let it's it's less of a role

  than then absolutely than she had in the

  first one yeah I totally agree it's it's

  a bummer cause she she was such an

  important presence in the first film in

  some ways she was us you know she was

  the one who was the proxy she was the

  companion and

  yeah I was bummed that she had less to

  do in this one although she was great in

  what she had she gets the door closed on

  her again again yeah there is that

  there's also the bit where he's

  obviously suspicious there he starts to

  sense any that they might be losing

  Ernie asked his mom you know can it yeah

  can it lose your family can lose your

  family this mom gives us some pretty bad

  advice based on her dated worldview of

  well she's right but he misinterprets it

  you can't ever lose your family your

  family isn't like but he makes that

  Heath interprets that is saying oh then

  pretty much anything I do everything's

  okay because they'll always be my family

  cuz it's a constant and she's trying to

  say you can't ever lose your family

  because like you shouldn't you should

  never let go that it should it should

  always be your number one priority and

  he you know takes the wrong thing from

  it closing the door on her was cold it

  was pretty cold yeah you gotta wonder

  what he's gonna do cuz Connie's like

  he's coming you gotta go like oh my god

  we can't even let you be near him right

  and and this is what it is is he's not

  going to be violent to her he's going to

  be what Michael other than that one time

  I suppose Michael what Michael is is to

  most people which is cold and and but

  but domineering and demands demands that

  things go his way demands respect when

  he wants to be there you not to be that

  you have to get out like he commands

  this entire you know the the power that

  he has over everybody intentional or

  otherwise he essentially has leverage on

  everybody in his family his leverage on

  Fredo because he supports him his

  leverage on Connie because he he knows

  like she's lashing out at him by blowing

  up her own life because he knows that

  you know she says like this is a wage

  that she could hurt him but he she comes

  running back so now he's got leverage

  over her everybody in his life owes him

  something or relies on him for something

  and to be caught in that system k is the

  only kind of independent actor and is

  just overwhelmed by the mass of people

  who maybe her friends but because

  they're caught up in Michael's world

  carry out his will to the point where

  you know Connie Connie seems like

  genuinely fearful likey God you gotta

  leave gives her huggy gotta get out

  light as if he's gonna come like the big

  bad wolf and kill everybody but he's not

  but he's just gonna things have to go

  his way uh if it's just fearful that

  he's going to do the Al Pacino screaming

  thing get out right you know even if

  it's just fearful of that I think that's

  probably the worst-case scenario that

  she

  imagining but even so what he did in a

  way he acted without saying a word and

  should end or honor in front of his kids

  yeah yeah messing up his kids something

  awful movie if Connie had taken the kids

  away and it was just a scene between

  Mike and Kay and he did that it's so

  cold and I think he wants them to see

  that yes he wants her to see them seeing

  that that's part of the power play why

  the Sun doesn't kiss her and at that

  moment and that's if if that's not that

  might be the moment where you know

  really me watching a movie it that's

  where I go from I'm on the fence about

  what I think about Michael Corleone - I

  don't like this guy this guy's a monster

  you're ok with the prostitute killing

  them but it's not the closures are

  business business well she's not in the

  game though I feel like it's the salt

  thing who's who's in the a man is night

  yeah it was just a prostitute this is

  Diane Keaton we're talking about I hate

  to say it but yes I was still I mean a

  prostitute was the prostitute I'm sure

  I'm sure that she had friends but I mean

  I do not know what she'd done maybe she

  deserved it you know yeah whole other

  movie about that prostitute that we're

  not going to see right let's move back

  to the first time frame just to talk

  about the this is the thing we talked

  about of the bit which is now we see

  Vito and now he is the respected figure

  in the community he is the now he takes

  the art he takes the orange he this is

  where we get the the lady who's been

  evicted because you had the dog and she

  wouldn't get rid of the dog and the guy

  is like what do you want me to do about

  it and then and then finally like comes

  back to the to the olive oil business

  storefront and is like oh I'm so sorry I

  didn't know it was you and and starts

  like discounting her rent and give him a

  background in his first run at it and

  his first run on it when he's not

  recognized like the guy doesn't know who

  you are is like what you bother am a

  lady Columbo like whatever I like why

  why are you even talking to me about

  this tries to give him money just like I

  already rented it like and you know he

  tries to get him to do it and put like

  he's getting as far as he can by

  throwing money at this guy now just like

  he does matter who you are if you guys

  throw money and that's a good way to get

  at it and then and they seem to agree

  when he goes but the dog stays right

  however you can't

  but grant you're the one last grab and

  the guys like now the dog doesn't stay

  get out of here right and then he comes

  he goes you know running back that's

  such a great move right this is like you

  think we got a deal but we don't yet I'm

  going to I need a little bit more from

  you now it's amazing the the bit where

  you know Vito is you know going around

  and he's fully taken on the you know the

  full powers of of the of the Godfather

  Phoenix or whatever there there's so

  many pop culture lifts and references

  and satires and that kind of thing but

  but this sequence is the source of one

  of my favorites which is on The Simpsons

  where you know Homer is decked out like

  Vito and people are giving him donuts

  and stuff and and that that for me you

  know that that that that bit of the Vito

  narrative especially coming at the I

  guess you would say the the

  cross-cutting point that it does is

  again this this really great look at how

  different from his father a Michael is

  where Vito has risen to this level of

  power and he he he treats women well

  with us with a with a certain amount of

  reverence and we have that juxtaposed

  with Michael treating his wife like the

  piece of window dressing that he's

  effectively treated her as since the

  first movie where you know he runs off

  to Sicily to hide and goes oh yeah that

  curly was dating who cares this the

  Sicilian woman this will be a good match

  for me as I rise into my role and so on

  you know and it you know it would have

  been a better match than because he

  wanted he wanted a woman who was willing

  to be subservient and K exactly

  independent but when he came back if I

  like it was in the first movie it's like

  now I need this except he like went

  shopping for a wife accessory like I've

  come back I have to fulfill this role as

  an American thing she'll do is my wife

  accessory huh and she's not having that

  he's got a shopping list okay I take the

  garlic to fry I get the meat to brown I

  getting the sauce I got the tomatoes can

  we just talk about these things I've

  know I've talked about this in I think

  Marilyn and I did when we talked about

  the The Godfather on my show a couple

  months ago or a year ago or whatever but

  the the art direction of the New York of

  what was around 1920 or so yeah

  I don't understand how they did it's the

  great it the this the set dressing

  there's III posited a couple times

  looking at it and like the shots were

  you're looking down these streets and

  the right you know it just disappears

  into the horizon and I guess that you

  know it's matte paintings and no not a

  single matte painting in the movie they

  shot a lot of this stuff on location

  movie - locations calm which would never

  be wrong yeah

  says that it was a redress of Sixth

  Street in the East Village between

  Avenue a and B in period dress again

  it's actually just a dressed up part in

  New York City it is amazing

  John III found myself stopping at

  several points me like oh my god this

  looks so great how is this not real how

  in the world did they make 1974 because

  it was nineteen it was 1972 nineteen

  nineteen seventy three New York yeah it

  did it did help that New York was pretty

  gross then it's just an amazing I like

  the mixture of it to where it's the this

  is the period where you could

  legitimately have like there's some cars

  going through but there's also some

  animals going through it's that that

  time where it's like it's a little late

  for the animal traffic but not too late

  there's still some in poorer parts of

  town and then and the street is kind of

  paved kind of but not very well and

  they're all the little storefronts and

  everything and all of these scenes look

  great there they are

  yeah a lot a lot of coats of paints on

  everything I enjoy like most of the

  doors and doorways and these buildings

  that even though they're there's no

  they're not that old at that point

  they're painted over and the paint is

  all chipped off and it just like good

  especially the scene where where the

  senior Roberta rubber is struggling to

  get out like that comment that comedy

  scene where he's he's oh yeah hate his

  respect and he realized he can't he

  can't work his or him all the way in and

  the way out that's so great that's a

  surprising moment of a gag in the movie

  where it's like he really wants to be

  out of there and he just he can't he

  can't get in he can't get out and Vito

  Vito just motions to his friend I really

  loved get a lot of mosque a lot a mascot

  Fredo gets put out of the family gets

  gets you know I know it was you Fredo

  you're nothing to me now again cold Mike

  won't even be in the same room with it

  with with him and his dead mother at the

  same time and that's this big scene that

  like you know there's the heart of this

  movie I feel like that scene

  I love this Tahoe set I love this house

  I love everything about issued it and I

  there with the the snow on the

  windowsill and the lake behind them and

  and there was that whole every frame of

  painting thing about chairs that talked

  a lot about the chair Fredo was in and

  how it's like broken spine of the chair

  yeah we're freighters like reclined back

  yeah flopped on the thing exactly in a

  chair looks like it has collapsed than

  he is it doesn't it's it's a recliner

  and he's barely staying it looks like it

  fell down and he doesn't know how to put

  it back it will looks like he collapsed

  and the chair said all right I'm going

  to accommodate this right and he and he

  is like lurching out of it and twitching

  from side to side and such an amazing

  performance and like and vocally like

  I'm asking to move email anytime soon

  seem to us sometimes and still like I

  get like pulled up in my seat and

  stiffen up like because the whole scene

  is like you know he's he's depressed

  telling Mike about it and know it's

  gonna be a hit but blah blah blah and

  they start getting into it eventually

  and then you get like it's very low-key

  and Fredo is the first one to bring it

  up but you got the taken care of me like

  that that line the delivering of that

  line is so amazing and so ever think

  about that yeah and then he goes off on

  that whole whole rant after but I can

  handle things I'm smart not like

  everybody says yeah and like a menace

  that has got to be like the way he

  delivers that I mean that's gotta be

  ad-lib to the point of like look here's

  roughly what you're gonna say but the

  way he stumbles over he's not even able

  to articulate his inarticulate anger at

  being passed over and being the dimwit

  person that he knows he's cap she's

  capturing this thing we're like you know

  that he is simmered for a long time but

  I as somebody who missed speaks and

  thinks off the top of their head I'm

  telling you this is the feeling of a man

  who's realizing how he feels as he's

  describing how he feels and he nails

  that perfectly for me you know the the

  instinct is this feels like parts of

  this were ad-lib you know because over

  the years actors have made a big point

  of oh yeah you know I I love that our

  writers are fine with us going a little

  bit off script and championing

  themselves for being improvisational

  geniuses writing dialogue but Jung

  Casals background as a stage actor and

  especially in the Strasburg school is

  such that they're actors who do a

  terrible job of they do what I call the

  Disney Channel School of Acting when it

  comes to stuttering over words or

  stumbling over words where it's at

  I I you know over pronouncing things and

  it doesn't come off as authentic it

  doesn't come off as off-the-cuff but

  because all's training was such that you

  know I this this for me is a master

  class of this is the dialogue deliver

  the dialogue is written we can rewrite

  it to you know accommodate you know

  natural beats and that kind of a thing

  but this was him being off-book

  you know par excellence at the peak of a

  theater actors training and energy you

  know it insults me as a retired theater

  actor when people are like oh this

  acting was too theatrical because it

  brands theater acting as something that

  is always over the top always over

  exaggerated and I get that instinct but

  for me the beauty of a classically

  trained or brilliantly trained you know

  whatever adjective you want to attach to

  it theater actor is their ability to

  take something like this and make it

  feel improvised when it is scripted down

  to a tee where you know you have a

  cinematographer on this movie where you

  know same cinematographer is the first

  movie Gordon Willis where you you step

  just a hair out of frame and the way

  that he has things so darkly or over lit

  it just blows the whole shot there's an

  amazing amount of precision on display

  here for for people who are especially

  in this case playing something that is

  supposed to feel shaggy and rough around

  the edges and and imprecise and this

  scene to me is among a lot of really

  great stuff in this movie for me the

  master class in acting we're just watch

  what these guys do and then really watch

  what these guys do and you get a really

  appreciate for how incredibly hard this

  is I feel like you can't even repeat his

  is like his signature lines because you

  know what he's trying to cite like what

  you are along for his inner monologue

  what comes out of his mouth is like if

  you try to that you know from memory

  without looking at the script or even

  with looking the script which is usually

  inaccurate you know like what it would

  like you know I can handle things uh I'm

  smart not not like people say not like

  dumb smart like he's he's trying to get

  that thought out and it interleaves

  three sentences with each other all

  abbreviated and if you write down

  literally what he says like if you were

  to turn on the subtitles or like

  literally transcribe it it is incoherent

  word salad but because of the way he

  puts it out you see the two sentences he

  was trying to say and how they have

  mishmash says he came out of his mouth

  and he's he's flailing in that chair

  that's too soft and his hands are flying

  all over the place and it's like it's

  just it is so pathetic and Michael's

  sitting there stone-faced and you know

  waiting to deliver his big thing and as

  Michael leaves the room like another one

  of his killer

  lines like I don't want anything to

  happen to him as long as his mother is

  live as long as her mother is alive it's

  like oh oh oh yeah the moment the moment

  you see mama in the casket you see that

  mama has died but you were also you

  should be noticing in the same moment Oh

  this means Fredo is going to die soon

  they do such a heartbreaking thing with

  the reconciliation and as he's hugging

  them he looks up to his guy and the guy

  that like the Hitman is like is shamed

  the Hitman it cast his eyes downwards

  once he realized what this means the

  Hitman is finally like I can't even

  I killed the prostitute for you I this

  is this is beyond the pale like you're

  making up with him you're giving them

  the big hug finally we have reconciled

  he's hugging you lovingly and you look

  up at me and it's great you know it's

  not like he gives them a nod or a wink

  he just looks at them and the guy goes

  oh it's days like that that it's hard to

  go into the offices yeah it's hard you

  know sometimes you wake up and you're

  like you enjoy your job but other days

  you're like I don't want to be a hitman

  today you know what's a great scene

  great scene with Fredo is the scene

  where he and Mike Mikey jr. that the

  kids name we're going on the boat in the

  morning and his little story about at

  the time that he and you know it's true

  you know it's true that there was a time

  where he went out with his brothers in

  his pop and he was the one who caught a

  fish and you know as a kid is insecure

  right ly insecure because he is the

  dim-witted brother but to have your day

  where you were the one who caught a fish

  and you know he believes that shit about

  the Hail Marys you know yeah he'd be

  he's not snowing the kid he's letting

  him in he's you know a little secret in

  the uncle yeah he's the he's the uncle

  who doesn't have any kids of his own and

  here here's one of the things that he's

  always you know he's probably kept

  inside for what like thirty five years

  when finally finally maybe there's

  somebody in the family who could really

  admire him

  like that he's the perfect uncle for the

  kids because he's at your level and you

  don't realize that until you get old he

  takes you out position right they like

  he's to everybody's disappointed when

  when at the end at the end of the film

  they say oh you know uh Michael wants

  him in the house now cuz he's gonna go

  to Reno and and you know the kids

  disappointed he was going out on the on

  the lake to go fishing with his uncle

  and now his uncle's gonna get shot in

  the head

  you know disappointing I mean that's

  what Fredo has been in the sand for so

  long and like even uh you know going

  back to Goodfellas even what's-her-name

  Karen knows not to go down for coats

  down the alley but afraid I was like oh

  you got to be pulled away well let's go

  out fishin anyway it'll be fine it's

  like I'll free fishing with the bag man

  it'll be fine

  look a real wrong and that's the thing

  like it always it always seems like a

  cruel and sort of like a weird trope

  that it's not enough to kill the person

  it's like the most important it's like

  they're kind of like a weird Greek

  mythology like demon who can only kill

  you when you're at the peak of believing

  that they are your best friend so you

  have to put that you have to like it's

  not if you can just go and shoot them in

  the head it'll be fine but it's like

  actually come with us and we're going to

  take you to the airport and here's your

  tickets Carlo and everything's fine you

  have to go through that dance because

  like you know according to the laws of

  the Elder Gods this is this is the only

  way to kill somebody you can't make them

  feel as close as possible and then kill

  the business makes for dramatic movies

  and it makes you feel like you can't

  trust anybody because at the moment when

  you when you feel that you have

  reconciled that things are finally fine

  with Michael that you know that

  everybody's going to get paid that it's

  all all well and good that I'm gonna get

  made today that is the point when they

  kill you which so so crushed when Don

  Vito Don Vito even lays that out in the

  first movie you know he understands you

  know he sees into the matrix of the way

  that this mythology works she's like

  alright so if they're going to kill you

  it's going to happen when this happens

  and the person who brings a prisoner

  comes yeah exactly yeah you know he gets

  it he understands all that stuff he has

  that sit back be quiet and listen kind

  of perspective where he's able to soak

  it in and he he it's really difficult

  for me to think of another character in

  any of these mob movies who who sees the

  progression of of the threads of fate

  the way that Don Vito did and certainly

  Michael has Michael has not

  I fully learned all of those lessons

  that he needs to know you know which we

  if there were a third movie you know in

  theory you know we would probably see

  more of that kind of stuff play out if

  there were third movie would probably be

  really unfairly compared to you know two

  movies that preceded I think Michael is

  better the game than his father in many

  many ways but his his flaws his

  character flaws eventually are as

  undoing like video is more of a

  naturalistic one but like Michael

  Michael had the mind to you know to

  bring to bear in a situation that even

  Vito might have had trouble getting out

  of in the first movie like to bring it

  all together especially as a new thing

  right and and in this movie I feel like

  Michael does a really good job of

  navigating some dangerous waters that he

  almost goes into some day like his his

  business success of this movie is only

  undercut by his total by the total wreck

  of his life that the rest of his you

  know his insecurities and his anger and

  as his flaws

  tear down around him but he like this

  movie he does he does best time in Roth

  he does vanquish his enemies and it's

  it's all for nothing which is the whole

  you know sale of this movie so he is

  actually very good at it but he can't

  he's not as self-aware as Vito or if not

  a self-aware he's not a self-assured as

  we know and that it drives him to do

  things that are self-destructive

  we haven't once mentioned to my

  recollection Robert Duvall Tom Tommy no

  we haven't

  House house that we're on the cassis

  he's just that damn smooth John he's

  just that damn she also I love him I

  love him I feel great I think I think

  he's at his best as I think is he's so

  great I want him as my lawyer when he

  when he interrupts the Senators to say

  hey he's a couple of your questions he

  wants to read a statement well by the

  way he also has stock in ITT like he's

  always got these always got the the

  additional information you may not be

  aware of that's yes doc in this company

  but also in these other legitimate

  companies what do you think of that I

  also feel though that much like Diane

  Keaton it's it's not as good a role as

  in the first movie yeah we might do in

  the first time yeah and any any he is

  also part of the destruction of the

  family went like Tom we thought of as

  our guy and so you know how do we feel

  about him in the first movie it's like

  it's all great in this movie Michael in

  one of his fits of you

  external izing his internal issues

  lashes out at him and says I thought you

  and your wife and your kid and your

  mistress we're going to leave me and

  take that job it's like why do you hurt

  me Michael like and so tom is revealed

  as a person with his own flaws and his

  situation isn't as great as you think it

  is either and and like once Michael is

  questioning Tom's loyalty like then

  everything has fallen apart well in the

  first movie he's the he's the

  consigliere in this movie he's the he's

  the enable area

  he's just an enabler for Michael and all

  of his regardless of what his instincts

  are he is there to facilitate just

  facilitate A to B I love that scene what

  I love about it when when Michael is

  mean to Tom is Tom Hagen shows who we

  know he is which is absolutely loyal

  like the whole time he takes it why are

  you doing this to me Mike you know he

  says again and again of course I'm with

  you I'm not taking that job I'm not

  going to work for someone else every job

  I turn down he's like you know there's

  no question that I'm with you and I'm

  with the family and and I think it shows

  just how lost Michael is that he's

  questioning the loyalty of the only

  loyal man that just how lost and

  confused he must be a bit but I think it

  also reveals Tom as his own flawed

  pursuer like he's not the perfect person

  we always thought he was - that

  everything is falling apart that the

  thing that used to hold us all together

  they could have their private lives of

  whatever things are going on but it was

  always you know we're in this together

  and once that falls apart now you're

  just a bunch of people with crappy home

  lives and also the bonds that used to

  tie the family daily to its decaying

  Empire right I mean this is the rise and

  fall of the Corleone he pulls out you

  know like the Roman Empire Tom says it

  was once yeah I want to ask about

  Patanjali because this is an interesting

  scene that happens where like we don't

  know how to get to him it's impossible

  how we going to get to him I don't know

  and then and then we don't see again we

  don't see what happens and the next

  thing that happens is that Mike comes

  into the Senate hearing with this guy

  there's older Italian gentleman perfect

  who perfectly nails what a fish out of

  water he is some

  wrong outfit for this little time we

  have not given a shout out for costume

  and design and production designing this

  but like so perfectly Neely it's this

  guy who looks like he just landed on

  Venus yeah oh he just wants to go home

  he just wants to go home hello I am here

  eat your human foods that the Senators

  asked about it who is that guy he keeps

  looking back at them can you intersted

  Thomas kind of at I speak a word of

  English he's just visiting then and

  there's the thing they never explain it

  like is that in the one time I was asked

  about it's between the brother all right

  well that's it then

  I mean you could surmise many theories

  about like I don't want to do something

  shameful in front of my brother who I

  respect or without like but who knows

  what the backstory is that but you don't

  need though it's between the brothers

  but we do know that his brother is could

  have been a come over and been and run

  one of the families that is also

  presumably he maybe is in this business

  back in Sicily and that and therefore

  knows the code and his brother would be

  completely shamed in doing this in front

  of him but whatever the reason I don't

  think so I I didn't I I thought used to

  think that but now I don't think so I

  think this guy is probably I think this

  guy is probably like a like a real

  citizen and it's just a matter of seeing

  his brother breaking I don't know omerta

  like breaking the code is just just

  whether or not you're involved in the

  system you know that it is not okay to

  break it's a it's a family it's like you

  can't bear to do this in front of in

  front of your family like it's hard

  enough he knows he's shaming himself but

  he's under the thumb and if you're in

  the environment just playing cards with

  the FBI guys you can convince yourself

  this is the thing to do right but you

  know there there is the egg noodles and

  ketchup factor which does come in when

  he's realizing not gonna spend a whole

  life in these rooms with these suckers

  and you know all you'll be protected

  Bubba blah you'll live great out here

  like what kind of life is that and then

  to see the brother it's like I can't I

  can't go through with this and who knows

  if you would even be able to go through

  with it with Michael there because he

  doesn't he doesn't want to turn in

  Michael he hates these guys he hates the

  government this is some sort of an

  intercession by Michael to make a make a

  statement or make a threat or me or in

  some way just induce the behavior that

  he wants out of Frankie at this point

  which I you know it's difficult to say

  because again especially by this point

  in the movie Michael you know we we do

  learn a lot about him and the way that

  he operates and who he is on the inside

  and everything

  but the reason that I think the the

  moment is difficult to read is that we

  can't tell if it's meant as a threat or

  if it's meant as just a a memory jog or

  a you know you you should know better

  that you know that that that you would

  think that it would be you know me that

  would come at you the way that you did

  if you you know he's already sworn the

  affidavit he's already on the train and

  and it's running and it's a matter of

  you know whatever whatever Michael's

  direct intent was what he wanted was the

  the end result which was getting him to

  recant and say oh I don't know you know

  these guys make me write all kinds of

  crazy things yeah I think the brothers

  conception of what's going on it's

  different than Michaels and pant Angele

  understands that difference he

  understands the brother is here and is

  concerned and he'd be shamed in front

  but I think he also understands shame or

  no shame Michael is kind of saying I

  could also kill your brother if you go

  through with this yeah and the brother

  probably doesn't know her that but yeah

  I think that's that's subtle but it's

  there yeah I love a Frank Pentangeli

  she's the way when he realized when he

  changes his mind and realize you know I

  don't know nothing about he is he's

  already established as as a sort of uh

  you know a bon vivant you know he's he's

  a guy who's you know he lives life large

  like he's not just gonna clam up and say

  nothing like he skis if he's gonna if

  he's gonna switch sides he's gonna do it

  big yeah it's great any any reaction

  shots of these various senators and

  things are like looking at paper like

  when I have this Rafa David here and

  he's like I don't even where the folders

  bring a good result you know what you

  thinking of I was in the olive oil

  business is amazing Oh years ago my wife

  pointed out and my wife was an attorney

  and and when we watched the oj movies

  this year there's the the fake one that

  they're fiction one and the documentary

  from ESPN and they're both great but you

  know clearly one of the huge turning

  points and that was that Chris Darden

  did the glove thing and she said the

  thing that makes it so ridiculous is

  that you learn one of the things you

  learn in law school didn't matter what

  type of law you do if you're doing

  criminal or anything you never put any

  witness on the stand unless you know

  actly what exactly right it's it and it

  doesn't matter it's you already know

  exactly what they're going to say and

  the senators are all lawyers you know

  they know and these this it's not really

  a legal proceeding it's a Senate you

  know but that it that's the shock that

  they have and the go get the papers in

  the turmoil is if is completely legit

  and if you ever watch real you know even

  today like on c-span it everybody knows

  exactly what they're gonna say you know

  it's so somebody who actually says

  something completely opposite it really

  would just make the whole proceeding

  crawl like the scaffolding the

  scaffolding just all comes down those

  Senate hearings they're they're all

  about you know the game of theater and

  stage stage craft and it really it just

  comes down like a literal house of cards

  but I wanted to bring back to you know

  hey I love seeing Roger Corman but at

  the same time while all these other guys

  are like freaked out and panicked and

  everything Roger Corman is just staring

  straight ahead just kind of sitting

  there just everyday everything's just

  tumbling down around all the other guys

  are like oh we need to look at these

  folders hey where'd the folders go are

  good give me the folder that has the the

  thing at all look that was also

  mentioning that so this was shot I think

  it started in toward the end of 73 that

  that would be you know basically that

  that spring and summer of 73 was

  Watergate so I think that this is an

  image that is you know the Watergate

  hearings I think this was very resonant

  probably with the feeling at the time

  let's talk about our last major block

  with Robert De Niro which is return to

  Sicily uh uh guess what he remembers

  remembered after they get off the train

  wasn't he wasn't worried about the words

  what was your name yeah they're met by

  an older man and woman who I assume are

  the people who put him in the bag and

  wrote him out on the donkey oh wow I

  never thought about that never thought

  ID not but I just guessed I mean it was

  a husband and a wife who squirreled him

  out right then maybe and maybe it's

  meant to be them but I don't know I yeah

  I don't know if it's the same actors are

  just meant to be the same characters or

  what but you know but they're it's an

  older pair and they meet him at the

  train station there's people there and

  they and they they take them around and

  and and he's in Sicily and it's great

  and then they go to don don t Gio's

  place which we remember from the

  beginning of the movie is still sitting

  in the same chair it was very old at

  this point and I like that the again the

  movie makes you wonder what the details

  are like I am convinced that Robert De

  Niro right the Vito is there to exact

  his revenge on Don ciccio's

  but I do have a question of like is this

  a pretense that he's put everybody onto

  into to get him close to Don TG oh yeah

  the whole thing we're gonna coming back

  to pay our respects and maybe we'll deal

  with you we brought the olive oil that's

  one of my favorite little things along

  with along with Hyman Roth berry sticks

  when he hands me one is it his assistant

  handsome the big jug of olive oil

  and the eye looks at it and he goes yeah

  yeah we want me yeah like you can play

  that back of the old man looking to be

  olive oil for a second and going yeah

  yeah and gives it back to him yeah it's

  olive oil but that's that's all to be

  like yeah I'm ingratiating myself to you

  come come closer I can't see you I do

  like them there's a shot of them like

  checking out the guards as they're

  walking up like they know we're just you

  know yeah yeah they got a skate plan

  Tommasino doesn't come out too well this

  is why he ends up in a wheelchair in the

  other movies that's a nice little pretty

  cool you know oh I didn't know that cuz

  he gets shot he gets shot right to get

  away and then as they seen him back off

  to America on the trainings in the

  wheelchair and Linda got father Mun when

  he goes to Thomas you know guy meets um

  yeah Wow see we're revealing all the

  secrets of the Godfather expanded

  universe like all the little bits of

  Canon that otherwise you missed there's

  so many characters it's hard to keep

  track of the players you know like it's

  it's not as if there is so many other

  movies do this in a in a sort of on the

  nose why even even I think the more you

  know more subtle but still uh more

  blatant the things in this movies like

  Indiana Jones getting the scar on his

  chin right with the way down right

  you're like oh that's why I Harrison

  Ford slashed Indiana noses scar because

  they kind of put a pin in it but Thomas

  you know getting shot and carried to the

  car and then being in the wheelchair

  they don't they don't dwell Matt it just

  happens to be there and if you don't

  notice it right yeah the the scar on

  Vito's neck

  there was a deleted scene in a version

  of movie that Coppola has said

  originally the intercutting was like it

  went back and forth like 20 times and

  now it goes back and forth you know I

  think they're like twelve segments of

  the movie now but he said it was much

  more intercut there was a bunch more

  stuff in there it was closer to four

  hours it was a mess but you know there

  there are those bits of you know

  additional detail and everything and

  bringing up this kind of oh so that

  links to this and oh I didn't never

  notice that that kind of thing one of my

  favorite things about the the series of

  The Sopranos we shouldn't go on a

  Sopranos tangent but you know for me the

  the thing that I think made that show

  work so well right out of the gate is

  that it was about the first generations

  of these guys after these types of

  movies existed being able to comment on

  them and constantly refer to them and

  misquote them and do bad impressions of

  characters from them and and look at and

  look at look at this from their own lens

  and and it's you know it's it's like

  them arguing about Star Wars minutiae

  it's it's incredibly dorky within the

  context of you know meatheads who kill

  each other for a living

  the other thing about this this going

  back to the homeland sequence that that

  I wanted to mention was him closing

  these different loops you know whether

  you look at these flashbacks as

  something that is within Michael's

  consciousness or him having a version of

  all these different events that have

  been told to him there's definitely got

  to be a chunk of this stuff that he was

  told about very specifically because I

  feel like I feel like his dad telling

  him about the events of the return to

  the homeland and exacting justice and

  that kind of thing that Michael learned

  exactly the wrong lessons about it in

  terms of you know closing loops and and

  that sort of thing and and Michael just

  going a bit overboard in closing loops

  that you don't necessarily even have to

  close that it's it's not even a matter

  of honor it's it's a matter of you know

  him being reactionary or just you know

  feeling feeling like he's he's going to

  he's going to show people who's boss and

  the infrastructure Vito built up the

  infrastructure that is there for Michael

  later when he has to be sent off to

  Italy like that that these people he has

  relationships and how

  they've helped him like the whole

  Godfather cliche thing if you do me a

  favor I do you a favor seems like oh

  that's a way that I get leverage on you

  know it's legitimate way that he builds

  relationships sometimes it's you know

  with leverage but other times it is we

  are in this together Thomas you know

  helps me out later I send my son to them

  that takes care of it and like the

  people who help me out of the village

  I'm going to the people here I'm going

  to see them again like it's it's a

  network of relationships that he builds

  that support his empire more so than

  ruling through fear which is ends up

  being Michaels thing some day and that

  day may never come this film ends with a

  couple of intercut things right boy

  as we talked we talked a little bit

  about the funeral and about Fredo and

  all of that and about Michael and Kay

  having their falling-out but one thing

  that we haven't really gotten to at the

  end here is not only do we have Fredo

  who is going fishing son the son is

  called away Fredo goes out on the lake

  with a guy but we also have our friend

  Fant Anjali who is visited by Tom Hagen

  who reminds him that in the Roman Empire

  often what would happen to the people

  who tried to commit treason against the

  Emperor was that they would kill

  themselves they'd sit in a bath pent

  Angele remembers and cut their wrists

  open and bleed out but and they would

  die sometimes they'd even have a big

  party beforehand but what would what

  that would mean is that the family of

  the of the dead person would be taking

  care of the family wouldn't be destroyed

  it would just be the sacrifice made by

  the leader of the family and we get that

  intercut which of course leads to Fredo

  being killed out on Lake Tahoe and

  potentially being found by his FBI

  guards in the bathtub having killed

  himself in order to take care of the

  press we got poor Hyman Roth he just

  wants to vote yeah yes killed me Airport

  this is a mirror of the first movie with

  the five families getting killed all

  once it's fewer people getting killed

  but it's the orchestrated final murder

  sequence this is your Endicott right

  right behind Roth who can't be reached

  oh well maybe we can reach him and he

  basically it's like Jack Ruby style

  where he gets off a plane he's

  interviewed oh I'm just a penchant you

  know a pensioner it got consistent

  someone got a gun into an airport and

  met him and literally exude walks up to

  him and just shoots him

  Point Blank and rhinos lion doesn't make

  it out but first he let he laughs he

  laughs a little bit and then he leans

  into it that expressions like haha

  that's funny cuz he's a reporter mr.

  Roth mr. Roth yeah has a bullet yeah and

  so that's all in a cut so this is yeah

  this is the big explosion of violence at

  the end of this although again it's a

  little a little quieter compared to what

  happens and yeah it's sadder because we

  know this is not triumphant it is

  Saturday the first one is so op this

  first one is so big and so operatic and

  so necessary and in this one it's you

  know excluding I guess Hyman Roth I mean

  even Hyman Roth like Haim Roth is more a

  more sympathetic character than Michael

  he's got six months to live at most and

  Michael doesn't care I'm still

  descending just to shoot him and

  probably die in the process which he

  does he does he does die yeah this one

  it feels more like you want to turn away

  a little bit more cuz all three of them

  are like ah gee yeah like you don't

  really want the all three you know it

  says it's one thing to like take out Moe

  green and also bring in The Sopranos

  back into this for a second this movie

  even with the the deal that's offered to

  pant Angele like that you know but also

  number looking back at their own empire

  they both done reading about they know

  the deal that you do this it's the

  honorable thing to do would take care of

  your family

  this still even in the downfall of the

  Corleone family in this movie and the

  downfall of Michael and and just how

  everything is falling apart and it's not

  like it used to be still you come away

  believing that they will take care of

  pantangeles family in The Sopranos era

  they will say that but your family is

  like what once you Sopranos and in the

  Goodfellas thing the whole thing is like

  it is post this this era and it's like

  we'll pretend that we're gonna take care

  of your family but as soon as you're

  gone forget it they don't get another

  dime from us like the the honor is

  completely out yeah I I really I really

  caught that this this viewing that the

  amount of coded speaking is it's very

  straightforward the the the the the

  coated speaking while the smoking cigars

  they're in the chain-link area it's like

  there doesn't even have to be like a

  huge amount of like mmm like leaning

  into it like Frankie just gets it he

  knows that this is the thing to do and

  he on the strength he just knows they'll

  he'll be taken care of it was been and

  they real and they really will it is not

  a BS thing like it is in every

  occurrence of this in the Sopranos and

  most

  them in Goodfellas that it's like every

  man for himself and there is you know

  there is no honor among thieves right

  like the way that when when Henry was in

  the joint doing his time the right way

  you know even with and crewed up with a

  bunch of his guys you know and they're

  making that the meals and everything and

  but nobody gets home he takes one look

  around the place for Karen and the kids

  aren't he's like pack your stuff we're

  moving you know like they're living it I

  got a one-bedroom you know a house you

  know it's and they were more or less

  supporting or was he was still alive and

  he was still on the in in the in with

  them but it's not in no way was she

  being taken care of in the right and if

  he if he betrayed them it's not like

  they're gonna take care of his family

  because he killed himself that was an

  impossibility and the sopranos well you

  know which I watch so many years ago

  that I remember this specific detail but

  with so many times someone does anything

  against the family everyone you know

  your entire extended family you're lucky

  a if it all get killed be they're not

  getting another dime hey I got a I got a

  super dumb guy question and I'm just

  probably spacing this why did he have to

  die is so he wouldn't testify further or

  was a purely an honor thing oh no it's

  been biggest because Michael why do you

  had yet to wipe out everybody no just my

  enemies he had died because Michael

  wanted us he don't trade him yeah you

  can he considered betraying him just to

  be clear that the reason for that just

  dicks I think it changes the movie it

  wasn't that I mean he was already in

  he's he's been convicted yes he would

  have just been in jail like that's it he

  was he was off the board it was an honor

  thing yeah my well it was it that

  Michael could not allow to stand that

  you even considered betraying me even

  though you eventually didn't because I

  brought your brother in the unite to die

  yeah even even even if it was because he

  got fooled and got played like a fool

  it's his fault for being played played

  like a fool yeah I mean he killed Fredo

  for crying about like his system is like

  you you know you betray me even if there

  is a reason even if you had good

  intentions even if you're my dim-witted

  brother you gotta go yep and that's

  that's the sickness that infects him

  that you know it puts him in that

  charity in the movie there's a deep dark

  vindictive streak to Michael yes that it

  that isn't there at all in Vito

  well he compensates he V he compensates

  for anything where he's also he

  compensates for a lot of things with his

  coolness his distance

  his measured attitude toward things and

  and I think fan

  at having the world view that Vito had

  this is how he reacts to things uh you

  just go back like with Vito even with

  just the silly little thing with the

  landlord and the dog he goes the first

  time and he it doesn't say hey you know

  who I am he doesn't threaten him he just

  says hey I'm a guy I'm a friend of this

  lady I want to give you more money so

  you get more money you'll get something

  and all you do is leave her there and

  she gets to keep her dog but when the

  guy comes back and he meets him in the

  office and he's groveling there's not a

  single bit of Vito's reaction to now he

  accepts it he's not like he's not trying

  to make the guy feel felt comfortable

  per se but he's not vindictive he's not

  like there's nothing intimate and he's

  more amused like he's laughing with his

  friend like but not laughing at the guy

  just laughing like that it's a funny

  situation the same reason we're laughing

  at he's not like haha finally I I have

  achieved triumph over the evil landlord

  and not but like they could think about

  uhm think about Michael in Italy when he

  has the meeting as like the parlay with

  up lo Nia's father and you could see

  that he's kind of just jumping through

  you know formal hoops but the very you

  know gracious kind of you know the way

  that he says like you know the big ways

  introducing the idea that basically he

  wants to marry Apollonia he does it you

  can see him and he's you know he's kind

  of by rote walking through what will be

  the the civil way to do this but at

  least he was still doing that at that

  point he understood that there were

  hoops to jump through to make this look

  good

  well that is that gets us to the end

  which we already kind of talked about

  which is we get the flashback that's so

  really the the end of the Robert De Niro

  story is this story that takes us right

  up to the beginning of the first

  Godfather movie it's you know it's Oh

  before that before Michael even goes off

  to war - you know - like I said I I love

  despite that you know you forget who it

  was was saying that this this scene

  seems clunky and the people ended

  reprising I was Mary prising their roles

  from the first movie in a clunky way and

  look at all these people and and and Don

  Corleone is not there because they

  couldn't get Marlon Brando and stuff

  like that but like it works so much for

  me because they you're on such a down

  after seeing Fredo get shot and all

  those people get murdered and Michael in

  the chair by himself contrast to his

  father's end which was so different and

  then they bring it back one more time

  and like I said you know they're

  revealing that this was Michael all

  along but also like the

  the bitter sweetness of seeing like

  despite the dysfunction despite sunny

  trying to set up his sister like

  basically with this arranged marriage

  but this guy who ends up being the jerk

  anyway it's kind of like Sunny's your

  own stupid fault you hate her husband

  you introduced her to her husband you

  know everybody's flaws are on full

  display but they are through the magic

  of makeup and technology this is how

  they were young and vibrant and look at

  Michael's collar and look at his

  idealism but look at he was he was that

  same person you will see later under the

  covers you know like it totally works

  right I would like a chance to respond

  this response I don't think it's I don't

  think it's conceptually a bad idea this

  scene I think it's not well implemented

  I think it shows that it was hastily

  done I think James Caan's like shucky

  jivey slap him everybody around that

  does not have the same subtlety as the

  scenes with like but it was like it was

  sunny like for the whole first movie he

  doesn't have any subtlety he's a big if

  it's a real stat it's a weirdly static

  shot and it just feels it feels a little

  bit like I don't know it feels like a

  reunion episode yeah I mean the staging

  the staging could be better it feels

  like they didn't have a lot of room in

  the set but I do kind of like yeah the

  sitcom kind of thing where it's just

  everyone sitting at the table I don't

  mind that I didn't get to mention that

  before but like watching old movies

  which I will categorize this one as an

  oldish movie it's not remarkable for

  this movie because the way things were

  shot and framed in those days basically

  the style of the times as I say but the

  the fact that this is like one camera

  showing the whole table the whole time

  with a couple of intercuts with

  close-ups and stuff but a lot of it is

  just pulled back and they just let the

  scene play out kind of like you put a

  camera in front of a stage a theater

  stage and just let it play out

  there's that scene with where they're

  stealing the rug where the policeman

  comes to the door and Clemenza is back

  against the wall with the gun pointed to

  where the guy's going to come through in

  a modern movie the modern sensibility is

  never to frame that by pulling back and

  getting the entire wall the door in the

  middle of the wall and the guy

  silhouetted there Clemenza with the gun

  pointed sideways at the thing to get

  that all in the shot and that be the

  entire shot for the entire time it works

  so well and today would always be a

  close-up from like chest level looking

  up under the guy's chin seeing the sweat

  on his brow

  glistening off the gunner series of like

  9 points in extreme close-ups yeah right

  and like the guy outside the door let's

  see the view from the outside it's it

  from the inside let's see let's see him

  sweating by the gun

  the tip of the gun let's see the guy

  looking over there and this one they're

  just like camera back and just let this

  thing play out and I think this this has

  that essence especially Michael sipping

  his drink at the end with this pinky up

  all alone at the table with the camera

  that has not moved for the entire scene

  it's not as artful as the other things

  but I mean I disagree it feels well I'm

  saying like it's not as like as

  willfully like avant-garde artful it is

  more like literally like I didn't plan

  it that way like that it is it and it

  plays out like a theater scene because

  what kind of stage again you have you

  put the table that you put everyone

  front of the table they all bounce off

  each other and all the again the clumsy

  stage mechanics of Sonny Raphael

  stage mechanics of Sonny Raphael

  think people but actually not rough

  handling them and you just see it all

  there there's no editing to hide the

  fact that his shaking of his brother is

  not really that severe of a shaking and

  all that other stuff I'll say that I'll

  say that James Caan was was exactly

  consistent with how he was with physical

  work in the first movie in not selling

  it terribly well

  yes lobbying his strength which is kind

  of bad for a character he's always

  supposed to be you know punching people

  the thing about this scene I part of

  this when we when we first talked about

  it seven hours ago the the original plan

  was that they were gonna have marlon

  brando and i'm curious to know what the

  original scripting for this scene was

  supposed to be because I you know I I

  would say that I fall more on the

  siracusa side of things on the scene but

  I I completely identify with I think

  part of what Merlin was trying to say

  which is that it feels rough around the

  edges it feels hastily thrown together

  it doesn't feel as incredibly precise as

  the entire rest of the movie that

  precedes it which is which is why I you

  know I I feel a little bit like a

  cutscene and a lot yeah it it's an ill

  fit alongside all of the stuff that

  preceded it you know the the the the

  whole first movie was Coppola making a

  movie that he was being actively

  countermanded at every step and he was

  getting put into it progressively more

  and more of a tiny box and then it was a

  massive success and then they let him do

  whatever he wanted to for this one and

  he had to deal with Cohn going yeah I'm

  gonna get paid a ton of money and I'm

  gonna show up and say lines leave and

  contending with all of the schedules of

  the people that they suddenly had to put

  together for this movie that was a

  follow-up to the surprise mega massive

  hit that the first movie was and they

  set literally everything up expecting

  they're going to do a version of the

  scene which I assume that the majority

  of the dialogue is the exact same as

  what they expected to do the day before

  when they were pretty sure that they had

  marlon brando but then on the day when i

  you know i would presume he was supposed

  to be brought into the scene it was

  probably going to be staged the exact

  same way but there was there was

  probably some redial logging that had to

  have

  and to fill in bits of character stuff

  that we're going to come from

  Don Corleone coming back into the room

  and that just kind of got shoved into

  people's mouths and it was it was like

  back-loaded expository dialogue and

  that's why it feels kind of perfunctory

  and kind of alright now we're checking

  this off the list and we're checking

  this off the list and now we're hanging

  this lantern on this and I'm going to

  call the twins Luke and Leia as I die

  Tom's thing the more he says to Micah

  that your father has plans for you like

  that's probably was courtly out you know

  dot veto was gonna say Michael I have

  plans for you now that's what I would

  yeah yeah and I think Michael's

  performance not seen is better than

  almost everybody else's like I do feel

  oh yes he's in a way better movie than

  everybody else yeah cuz like he's doing

  that thing we're like there's so much

  about I mean and this has been talked

  about I've million things I'm not

  mentioning that everybody knows about

  the Godfather movies but like you know

  if you go and watch this I think I

  dropped it into Skype you can put it in

  show notes that documentary on the

  making of or the basically the

  restoration process that brought this

  movie back from the dead and how in that

  one scene that the John circus and I

  like to talk about in the Italian

  restaurant in number one you can see

  Pacino's like there's so many there's so

  many levels to Pacino's performance

  because there's the basic stone enos but

  there's also like just the tiniest

  little like tick like a little bit like

  his face just like just like moving just

  a little bit and you know that's yeah

  God how do you I don't know I I feel

  like in that scene he is in a different

  movie he's fidgeting in his seat he's

  got the crazy collar like you mentioned

  I'm not I'm not down on the scene it's

  just like after after making the

  Godfather - I just wouldn't have ended

  it with that I would I would have left

  that off III think the scene is

  essential I can get on board with it

  being executed better but if it just

  ended with him in the chair that's not

  the ending like I need it to go back to

  this I need it to because I think the

  audience needs it to go back to that to

  give you the final contrast like the tie

  back in just Hanks the sense of the past

  now ties right and also to show you that

  this was Michael all along maybe you

  didn't you know that I think it is a

  it's kind of like the movie showing it's

  work right and and this is one of the

  few scenes that I think does have some

  pigs Michaelson

  Sharyn he's thinking and what is he

  thinking about and maybe he's not

  thinking about this exact thing but he

  would have a memory of this because he

  was an adult at this time because things

  have stuff on so far apart and maybe

  he's twisting the knife to say remember

  what it used to be like and it wasn't

  all roses right but they were together

  they were all eating together they were

  fighting over the things they fight with

  their all their personality traits were

  there

  they're the downfalls written on the

  forehead of every single person in the

  scene to a degree where it's a little

  bit on the nose like Oh file your files

  got plans with you and I'm gonna arrange

  you with this thing and Sonny is a

  blowhard and like you know it's but I I

  need this to be there when they do that

  fade every time I'm like oh yeah it

  doesn't end in the chair and I'm I'm

  happy for it because I feel like it it

  seals this movie in a package that is

  it's not an entire downward slope it's a

  downward slope that wraps back around on

  itself and that somehow makes me feel

  better than just leaving him in that

  chair with the leaves blown by I I agree

  with you on that and from you know I

  think I'm allowed to you know make some

  Star Wars references and I'm not doing

  it because to do is move a fourth

  because it's not a holiday to me it's

  just a day but because you know we

  talked about sequels and prequels and

  and the way that this really earns all

  of the prequel least stuff is is that it

  is you know this the this guy was going

  to be Darth Corleone all along and if

  it's the movie itself was not made in a

  time when you could jump onto iTunes or

  go down to your local record shop and

  get a used copy of the blu-ray and go

  back and immediately watch the first one

  but it does have that effect you know

  the the reason that this movie was so

  beloved and so besotted with Oscar

  nominations and everything and has

  become so legendary is one of the if not

  the greatest sequel of all time is that

  it really adds another layer to the

  movie that preceded it it adds

  additional text and subtext to all of

  that stuff and the the reason that you

  can put on the Godfather just watch it

  and you know put on Godfather to just

  watch it is that is that it is such a

  thoroughly detailed tapestry all around

  and you know the this scene shaggy

  though it may be I you know I I also

  would not leave it off for me it is this

  it is an essential part of earning all

  of that stuff that the second movies dug

  in that last moment of when you see

  James Caan right it is the connection

  that takes you back to how you felt in

  the first movie like it's the world as

  we saw it so it is the connection right

  we've been watching what happened before

  that movie and what happened after that

  movie and this is sort of the moment

  it's a special scene shot for this film

  but it is the moment where you're

  touching the that first movie we've come

  into contact with it from both sides

  it's not you know it's not going to have

  Robert De Niro in it right it's going to

  have Marlon Brando if you were there and

  so he's implied off screen minute but

  and you see James Caan you have that

  moment like oh my god this is I've made

  that connection to the depth at other

  movie so it's very important to have it

  there even though I agree it's kind of a

  weird I feel like almost dreamlike scene

  where it's like what am I seeing here

  what am i watching the wrong movie now

  John though as a point of order the way

  that the movie ends is we see Michael in

  The Boathouse and then we do a slow

  dissolved this scene and then we do a

  slow dissolve to Michael sitting in the

  chair with the leaves in the background

  and then we go to the credits so that is

  the last thing we see is him in the

  chair yeah it does go back to the chair

  well you also you also get him leaving

  on the train in Italy too yes one more

  loop back all the way back with him to

  him that's right doubles right in on

  this because dissolves yeah it does it

  does end with but like the Sun you see

  him in the chase Sun and and zoom in you

  know for a few seconds then they're out

  yeah as if you go back to him on the

  chair for five minutes I think it's a

  tendency to the air it's a testament to

  the the kind of collective bleed

  together of this whole movie that it's

  you know a lot of movies you're like oh

  yeah that was the last shot of that now

  oh that's how that movie ends and we

  even even freshly watching within the

  last week I find myself trying to

  convince myself no wait no that's not

  what happened

  they do three time periods and within

  like a second and I yes yeah in a

  separate 20 years now we're at the end

  anything more that people have

  shockingly have not gotten out that

  they'd like to get out we will we have

  to go for about another 40 minutes to

  meet the running time of the movie so

  we're still gonna come up a little short

  we are doing so much better than I

  expected

  I could if I had done a Goodfella style

  where I did the scene at a time no

  problem yeah I know I have I've quit I

  have quick notes regarding accolades

  according to Wikipedia which is never

  real good Godfather to I have three

  things Godfather to one Best Picture and

  Best Director pretty cool I think

  perhaps most dramatically three of the

  actors in this movie were nominated for

  Best Supporting Actor

  De Niro Michael V Gazzo who and at least

  Rosberg all three Lee Strasberg his

  first like actual real movie despite

  training everybody how amazing is that

  three three Best Supporting Actor

  nominations and third I would just like

  to mention shout out to the thirty

  second Golden Globe Awards most

  promising newcomer male least rosco the

  one thing the Golden Globes have done

  well and Pacino was nominated for Best

  Leading yeah uh and he was he was real

  sore about lost the armor supporting in

  the first movie yeah where Brando was

  nominated for lead he was nominated for

  supporting he was really sore he lost to

  Ed Norton in a cat yeah yeah it's not

  not so good actually the the funny thing

  about Michael Vick as oh so that's a

  that's pant Angela but he that was

  supposed to be um Clemenza right yeah

  that he's discount store Clemenza

  because you couldn't get Clemente his

  commends didn't want to do again to

  write his own dialogue or something and

  then in the end that part basically gets

  uh guess that Supporting Actor

  nomination so career career mistake

  I'm just saying well and Coppola Coppola

  even brings brings up the the deal with

  with trying to get Castellano to to like

  you know close his deal on the Godfather

  to commentary track where he says that

  yeah you know we wanted him in the movie

  and he basically says yeah so here's

  what we did where we you know this guy

  is basically supposed to be Clemenza and

  you know I really wish it we could have

  had him in the movie but no so too bad

  but also like yet what's surprising to

  me like I'm sure that excludes Brando

  and maybe a couple of other top-tier

  characters but as salaried actors went

  Clemenza

  was the highest-paid actor in god

  other one huh that's crazy what it's

  crazy that that movie even got made in

  the first place and and you put a link

  to the to the restoration documentary

  but there's a there's an archival you

  know behind-the-scenes thing that was on

  the DVD collection of all three movies

  back in 2001 that's like on the you know

  on the archived extras part of the

  blu-rays and I would assume is in the

  iTunes extras but it's a it does a it

  does a you know you've even got Robert

  Evans in there toejam but oh well I was

  just trying to get this movie made and I

  was you know taking a bath and a bathtub

  full of applesauce and you know being

  crazy Robert tells a story about how

  Evans called Coppola and said I take a

  yeah and you know I need to get I needed

  to our cut and so he comes down with a

  two-hour cut he says this route this is

  like a trailer we're gonna cut it down

  here and Coppola realized oh this was a

  game they were gonna not let me no

  matter what I answer you will take this

  to LA and edit it yourself yeah he knew

  that I i yeah i'll throw in that that

  story presumably true about James Caan

  getting paid the same as he got paid in

  the first film I imagined he didn't get

  paid that much and for the first film

  and it was sort of like alright but the

  best part of it is also part of his deal

  he's not credited like all the other

  actors he's actually credited with a

  thank you there's a special appreciation

  special special appreciation for James

  Caan good he's got a good agent he got a

  days like Daisy Ridley numbered agent

  man good good job I mean there's another

  thing that goes without saying we talked

  about a lot in The Godfather one but the

  way they maintained the look the the the

  super inky blacks the the staging of

  everything that the dark the contrast of

  darkness and light is a direct

  continuation of the first movie and if

  anything executed even more skillfully

  but by this point we just take it for

  granted but just go through this movie

  and look at some of the frames and they

  are they're just spectacular you can

  chew the film grain in this movie like a

  meat oh yeah like we got brother wine

  matricies watching the Coppola rest

  elation but we get to see every single

  grain in the restoration and HD it's not

  like especially the outdoor scenes were

  like limp in the end the thing of like

  they're there on the roof in

  Cuba and the ocean is in the background

  and it's like it's like it's made of

  felt it's like that's so incredible

  different film stocks have different

  greens consistencies even within eras

  like the things the things that were

  shooting at around the same time as

  Godfather Part 2 might not look as

  grainy as noisy just because this is a

  particular 35 millimeter stock that that

  Gordon Willis wanted to use I like the

  distinct fields of the settings here too

  I mean the way it's shot the color

  palette does change without the film

  grade when you're in Cuba when you're in

  Washington DC when you're in Lake Tahoe

  like they all feel distinct and I and I

  really like that about it that there's a

  sense of place in all of these scenes

  just down to the look of them that's

  that's a quite pleasing

  I like how DC's look is just sort of

  boring yeah it's almost natural but it

  looks like it shot through TV cameras

  because that's the thing they do with

  the angle the the long lens the the so

  much the only the only the limited

  number of angles that you have on

  anybody that just repeatedly gets shown

  like a TV news program it's just beige

  all right I'm gonna wrap it up here but

  I feel like we've done this movie

  justice you know what I got to tell you

  Jason Snell bright and tight yeah I was

  expecting a minimum of four and a half

  hours done easy gonna done less than

  three look at us three I think we're all

  heroes all right I'd like to thank my

  guests for for sticking through this

  epic complete epic no edition of the

  incomparable John siracusa thank you

  Jason we're bigger than us steel

  it's true longer to Marlon man thank you

  thank you

  mois├ęs chu-young thank you I want all

  of you to enjoy your cake so enjoy and

  John Gruber this is the business that

  we've chosen I'm smart but like I can

  say thanks to everybody out there for

  listening we will see you next time

  you

  [Music]

  I'm just kidding I know I've said this

  on a podcast before too but I'm not

  entirely convinced that if if Karen had

  gone to get the coats or the dresses

  that anything was going to happen to

  that's why you'd be dead

  I feel that what makes that seem so

  masterful is it I feel like it's good

  but because it's when paranoid or is

  this well-founded paranoia and I almost

  and I think it's very decks perfectly

  delivered but the thing that makes me I

  thought about this a lot but the thing

  that makes me convinced that nothing was

  actually going to happen to her is that

  there were a couple of spooky guys in

  silhouette doing work where she was

  supposed to go and if it was if if she

  was gonna get like garroted or something

  there wouldn't be anybody she could see

  huh that's just yeah anything in a movie

  yeah good you know that they feel like

  they're they're interconnected

  tapestries even outside for the father

  franchise as it were I do feel like

  sometimes the Goodfellas is very

  specifically like here's all the work

  that was going on underneath while you

  were watching The Godfather right is the

  really dirty stuff down here in the

  bottom but the bet the best the best

  thing about any hit scene the best thing

  about any hit scene is how they get the

  target to rule you know like right Pesci

  going to his get made it don't God every

  one of them every hits you know the best

  part is you know mo green get a massage

  what's happening before I'm looking at

  the Oscar nominees for that year and the

  other the other best supporting actors

  in addition to the three from the

  Godfather Part two was Jeff Bridges from

  thunderbolt and Lightfoot and amazingly

  Fred Astaire for the towering inferno

  contemporaries now in the Best Actor

  Pacino lost out to Art Carney for a

  movie I've never even heard of called

  Harry and Tom Cary and Tonto I'm telling

  you it's Ed Norton and a cat yeah and an

  Albert Finney was nominated Dustin

  Hoffman for Lenny and Jack Nicholson

  Chinatown of town

  Janet Nguyen Chinatown got Godfather -

  neither one Chinatown and Godfather -

  part of the big comeback of Paramount

  which you know at the time of the first

  movie they got the the big conglomerate

  Gulf Western that had bought Paramount

  was just ready to strip-mine the place

  and get rid of it and and Robert Evans

  is like well we have this book that we

  have the rights to and it's it's the

  most successful book out there other

  than

  and the story all right talking about

  love story love story I argue that your

  ass carnie and a catcher instead one our

  carny is cat this is making me so angry

  I get so angry at the academy yeah you

  know you guys dances the bull this was

  like we're we love the Godfather so much

  we're gonna do exactly the same and

  close the oxr inexplicably to it's not

  as fair they lost a skier to dance

  evolved which is not a bad movie the

  best Oscar for cinematography went to

  the towering and the towering burger

  special towering inferno over Chinatown

  and and the Godfather Part 2 wasn't even

  nominated oh my god it was rough I was

  just Oso I've been I've been watching

  this on the iPad while we've been

  talking in the scene with Mama uh I

  think never actually officially got a

  name that scene with night shift on is

  rough I'm just super you doing to your

  life don't do it

  don't do it oh all right yeah anytime

  you get mad about the Academy Awards

  John just remember that Roger Deakins

  has never 1% of mythography yeah that's

  I mean like it's you know these things

  like even like a Jacqueline but

  Chinatown and stuff like the Oscars

  thing is like a unrecognized genius and

  you get the apology Oscar later I mean

  like Scorsese is a great example you

  don't get the Oscar for your best work

  you get fee Oscar after your best work

  is recognized and I don't know it's not

  happening with Deacons like why did I

  not had what the system broke down there

  what did he lose to for did it's a No

  Country for Old Men that's the one word

  that wouldn't even been like a make up

  that was a beautiful movie I don't know

  what he lost to Hill Country for Old Men

  2007 Moises I knew you were the one

  who's going to answer while you're

  looking it up can I just say how we're

  gonna hear from he lost a Robert Ellis

  Whitford there will be blood oh yeah

  good yeah it was a good movie alright

  also up in that same year for Best

  Director was Francois Truffaut four day

  for night which is a remarkably well

  directed movie so it what a year for

  movies that yeah day for night is

  phenomenal yeah but look at

  cinematography guys you got inferno you

  got Chinatown you got

  quake earthquake sir Murder on the

  Orient Express just yeah give it up for

  Jeffrey Unsworth America just tuning in

  brother it's the seventies Wikipedia

  page Oscar cast ticka ticka ticka ticka

  dee wait a minute wait a minute

  they had a category for best on-screen

  moustache hold on people were mad people

  were super mad when that came out on

  blu-ray out like everybody else I gave

  your other idiot I bought the two

  Godfather movies and the restoration box

  set and people were super mad about the

  noise people yeah yeah people just a

  demonstration online of like this

  digital camera aficionado showing you

  know he do this thing where it's like

  I'm gonna show you a bunch of things

  that were shot one of them was on film

  and one of them was on digital made to

  look like filming you won't be able to

  tell the difference and just threw that

  in people's faces and like to use it as

  an aesthetic like oh the film grain was

  a real thing then but you can get the

  same look now and like this movie I

  think argues for artistically using

  digital tools to not to recreate the old

  thing in a skeuomorphic kind of way but

  just to have that in your bag kind of

  like you know when people start going

  crazy with film with color grading like

  in traffic and everything back in the

  day and now every movie like yeah right

  oh yeah everything's like luhan's old

  yeah to to to not bring back but to have

  that as a tool in your toolbox and

  you're in your semi tigress toolbox to

  decide the look of the movie to have

  noise essentially be part of the toolbox

  and today it almost seems like we only

  use it to make old people feel

  comfortable but I think this movie shows

  that it can it can provide an aesthetic

  that is beautiful on its own with no

  reference to the past like you don't

  need to know that this was filmed in in

  the in the world of HD restorations I am

  so glad that the trend of of scrubbing

  out as much green from the picture as

  possible the works the way of the dodo I

  mean it there's a version of Sunset

  Boulevard on DVD that is absolutely

  atrocious to look at also a version of

  Spartacus that that got put on the first

  version of Spartacus on blu-ray looks I

  mean it looks like moving wax figures

  and it's the great restorers now know

  that even if they have a denoise portion

  of the movie they they actually will

  will like clone the film green from

  another part of the renoise and renoise

  it so it's the not Jay

  to grain but the grain from the movie so

  that it's all of a kind and that's the

  way to do it yeah Marlon no I'm good no

  all right well well you know all's gonna

  mention was did like oh uh put me there

  hi I'm not sure just one more thing I

  just you means like you want to keep a

  dog in your apartment okay it's a that's

  high that time of confusion peak junkie

  um no this is a year when two really

  amazing directors had arguably two of

  their best films I'm just just crossing

  through the awards page on Wikipedia

  which is never wrong so this is also

  like technically the same cycle for

  Godfather 2 and the conversation both up

  for Best Picture this is also the same

  year of Blazing Saddles and Young

  Frankenstein 1974 is a tremendously

  underrated year of movies a lot of

  people like to go oh yeah there were

  like four or five really great movies in

  the 70s 74 in particular is there

  they're these that everybody knows

  really well and then I you know I could

  do what's uh what's taking a Pelham one

  two three

  that's 1975 when was I born

  Oh No no an earthquake what year was

  earthquake the towering inferno

  oh god what are you around you guys

  Airport 75 strangely enough 74 I'm not

  kidding I have no way right I don't I

  don't understand how the conversation

  and this movie could come out in the

  same year

  yeah I like that way about no books

  movies were like this okay to such

  accomplished like canonical and

  completely different like like just

  mastery of modern comedy in the same

  year

  unbelieva but same your Sugarland

  Express Lenny Wow um that's good death

  wish

  yeah head of Alfredo Garcia airport 75

  I'm telling you parallax mutant parallax

  view oh that's a good one and with a

  paradise phantom of the paradise Oh NYX

  Phoenix