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The Incomparable

I'm Smart, Not Like Everybody Says

 

00:00:00   we've been talking for web 15-20 minutes

00:00:01   it's two hours oh we're just getting out

00:00:03   of the opening statements though so

00:00:05   don't worry

00:00:11   the incomparable number 356 June 2017

00:00:19   welcome once again everybody to the

00:00:21   incomparable I am your host Jason Snell

00:00:23   this is part 2 of my conversation with

00:00:26   Merlin Mann John Gruber Moises Chuang

00:00:29   and John siracusa about the Godfather

00:00:32   Part 2 let's go back to the other time

00:00:35   frame because we should talk about the

00:00:36   scene during the the parade thing where

00:00:39   there's the is it is it a saint or Jesus

00:00:42   and like there's a cross and then

00:00:43   there's money all over it that's the

00:00:45   thing that they do though then

00:00:46   italian-american yeah yeah no no but

00:00:48   like having it having a Jesus with a

00:00:49   floating crown covered with money

00:00:51   yeah I mean in the first movie or the

00:00:53   first popular movie where people have

00:00:55   seen that this thing there there

00:00:57   cultural things that are like wait what

00:00:58   that is not in any way tied to anything

00:01:00   that I understand from my background but

00:01:02   you know it's like the the first time

00:01:04   people see a luchador match and at the

00:01:06   end of the match a bunch of you know

00:01:08   Mexican Americans are throwing money in

00:01:09   the ring and people are like what the

00:01:10   hell's going on that's it's it's a sign

00:01:13   of respect it's a custom it's a thing

00:01:15   you know it's just a thing I grew up

00:01:17   Roman Catholic and it's you just you

00:01:20   don't know that other denomination

00:01:23   sahrin is centered on making money until

00:01:27   you get older and you gained some

00:01:28   perspective but even as a kid and not in

00:01:31   a any way an Italian parish you know I'm

00:01:35   sure there it was probably more Irish

00:01:37   than than Italian backgrounds where I

00:01:39   grew up um but they it was always about

00:01:43   the money that we did you know just

00:01:46   think about the Vatican like you just I

00:01:48   grew up going that are like yeah talking

00:01:51   about palaces covered in gold right it's

00:01:53   it's one of the most luxurious palaces

00:01:56   ever built in the history of humankind

00:01:58   for a church it's it's comical in a way

00:02:02   but that sort of bald-faced dollar bills

00:02:06   tacked to a religious icon was very

00:02:11   young I know Sam if you grew up Catholic

00:02:14   that it's not weird at all it is it's

00:02:17   you know copal is obviously aware of it

00:02:19   and it's obviously used for symbolic

00:02:20   purposes but it's not an exaggeration in

00:02:23   any way shape or form might sure

00:02:24   Tryg revista have a summer bazaar it was

00:02:26   like three night thing and there's

00:02:27   little little games a chance for the

00:02:29   kids and stuff like that but they had

00:02:30   like actual blackjack tables in the gym

00:02:32   for the adults okay you could go it and

00:02:36   play cash bar blackjack and I thought I

00:02:39   mean and you know you guys know me I was

00:02:41   I I wanted to play I was desperately

00:02:44   hurt that I was not allowed to play

00:02:45   poker night at the rectory with Virgin

00:02:48   Mary dealer they say the house always

00:02:49   wins but if God is the house how bad can

00:02:52   it be the way that they got away with it

00:02:54   somehow I don't know if if it was I

00:02:56   don't know but somehow the story I had

00:02:58   heard was that the reason that they were

00:02:59   allowed to do it was a their a charity

00:03:01   and be there in a charity blackjack game

00:03:05   run by a church it was if you tied the

00:03:08   dealer you lost the hand so you had no

00:03:10   chance to God right the church for you

00:03:13   right I was really frustrating growing

00:03:15   up in the late in the late 70s out of

00:03:17   time this is before the moral majority

00:03:19   stuff really caught on but there was a

00:03:21   lot of sensation about video games and

00:03:24   how basically at least in my church and

00:03:26   in a lot of Protestant communities they

00:03:29   were basically seen as gambling they

00:03:31   work like if you spent money on this

00:03:32   thing and there was no like clear world

00:03:34   war and you did have to work hard like

00:03:36   that is gambling that definitely sounds

00:03:38   way more Protestant than the Catholic so

00:03:39   we're talking about video games as

00:03:41   gambling

00:03:41   well so I was gonna say it oh it seems

00:03:43   so like frustrating to me that like the

00:03:44   Catholics were allowed to bingo the crap

00:03:46   out of everything and like you want to

00:03:47   play defender speaking of bingo I'm not

00:03:49   to go too far off the track but when I

00:03:51   was in college there was a thing at my

00:03:52   parents parish where the one of the

00:03:55   priests of the parish literally got

00:03:57   arrested because the cops figured out

00:03:59   that he was running crooked bingo the

00:04:01   big the bingo game was crooked

00:04:02   crooked bingo have the fix was in on the

00:04:05   bingo right good good bingo

00:04:07   there's like eight men out but with

00:04:09   bingo right he he was running the thing

00:04:13   where he was like icing some of the

00:04:15   balls he's got a blue haired lady on the

00:04:17   inside she's shoeless joe O'Malley well

00:04:20   and that tie that ties back to Hyman

00:04:22   Roth I love

00:04:24   loved it ever since Arnold Rothstein

00:04:25   fixed the 1918 World Series he says of

00:04:28   course he does of course he loves with

00:04:30   such genuine relish yeah like he's yes

00:04:32   yeah like the best thing ever and get

00:04:35   back to Hyman Roth and I were just

00:04:36   bringing up tangentially here but like

00:04:37   but I really do love the fact that he

00:04:39   you know he goes back to Marlon Brando's

00:04:41   Godfather right that they were they were

00:04:43   running molasses when they're you know

00:04:44   yeah they go back way back your dad see

00:04:47   trucks obviously got a tremendous amount

00:04:48   of money but he's and he has been

00:04:51   successful but a his appetite for

00:04:53   continued success and money continues

00:04:55   despite the fact that surely he has more

00:04:58   than enough money less than the rest of

00:04:59   his life and B he lives like a suburban

00:05:03   New Yorker who moved down to look to

00:05:05   Florida to retire like he's in this tiny

00:05:07   little house with his you know way to

00:05:09   young wife making him tuna sandwiches

00:05:11   he's not in a giant castle he doesn't

00:05:13   need any this money it's all about like

00:05:15   the game it's all about success and

00:05:17   winning and and he's happy to just go

00:05:19   back and watch the ball game in his

00:05:22   surely sweltering Florida you know ranch

00:05:25   house bungalow whatever as his wife

00:05:27   brings him sandwiches I just love I love

00:05:29   him I love that character love the

00:05:30   brokenness of his the way he chooses to

00:05:33   live his life and what he chooses to do

00:05:35   with this time because it is so so

00:05:37   bonkers so we should talk about the

00:05:38   scene so what happens in the in during

00:05:40   the this this Festa that happens is is

00:05:42   that is that Vito is going to take out

00:05:47   fanucci so he watches fanucci he knows

00:05:50   where he is you can't miss him out in

00:05:51   the street and he then he paces him on

00:05:54   the rooftops and follows him basically

00:05:57   follows him home and like goes around

00:06:00   the back of some of the chimneys and

00:06:01   jumps down to a lower building and he's

00:06:04   he's doing like parkour and Little Italy

00:06:06   doing what he needs to do to get around

00:06:08   to follow him with unscrews the light

00:06:10   bulb

00:06:11   he's got the towel around the collar on

00:06:12   the gun silencer well before we get to

00:06:14   that though I like the just I first saw

00:06:16   this scene when I was doesn't matter why

00:06:19   but I was in I was visiting with this

00:06:20   friend of mine who taught a film class

00:06:21   and he showed that entire sequence and I

00:06:24   think Godfather one I don't think it's

00:06:25   in Godfather two at that point and I was

00:06:27   just I was completely struck by that

00:06:29   scene and just the there's so much to

00:06:31   that there's there's the the panning

00:06:33   shot of DeNiro going across the roofs

00:06:35   there's a panning shots down on the

00:06:36   ground

00:06:37   and then there's the shots down or

00:06:38   fanucci is like this big white like a

00:06:41   big white bird he wants to wet his beak

00:06:43   honey so clearly visible amidst like all

00:06:45   of this crowd and I I just I I could

00:06:48   just watch the scene over drinking it up

00:06:49   all the things he does we're we're

00:06:51   carefully studying him as he's doing any

00:06:52   puts the money that's trapped in that

00:06:54   arm thing that arm move is good I won't

00:06:56   stop doing okay hey what's that called

00:06:58   John siracusa what do you call that

00:06:59   no I but you know the movie you should

00:07:01   start doing is the thing where someone

00:07:03   put some money in front of you

00:07:04   immediately throw your drying hat down

00:07:05   on top of it and says I think there's

00:07:07   $100 under that what a move like they

00:07:09   such a such a character I want to cop

00:07:11   every move I love the way he stirs his

00:07:13   espresso he wears his jacket over his

00:07:15   jacket okay yeah jackets upon jackets on

00:07:18   jackets his jackets all the way down and

00:07:20   he's in the white everyone else in this

00:07:23   New York Street scene is like covered

00:07:24   with fill yes everybody everybody's

00:07:27   wearing Brandon Dickens characters

00:07:28   everybody's cover the filth he's wearing

00:07:30   a white suit white three-piece suit

00:07:32   head-to-toe and a white hat every day

00:07:34   every single day and it's it speaks to

00:07:36   his level of power that he can just have

00:07:38   the biggest all white linen target

00:07:42   painted on him and just walk through the

00:07:44   streets with not a care not an

00:07:46   assumption that anybody is going to try

00:07:47   to do anything to it this is too violent

00:07:48   for me

00:07:49   they just kiss his hands he puts out his

00:07:50   hands and they kiss him but then then

00:07:52   you know Vito takes out finally does

00:07:54   take action about this guy like he's got

00:07:56   a hole he's got his hole I love it I

00:07:58   love it all I want to drink in every bit

00:08:00   that the way that he unscrews the

00:08:01   lightbulb the way he slips into that

00:08:03   every single bit of it just off so

00:08:05   perfect yeah it's it's a duck hunt out

00:08:07   in the woods but you know in in the

00:08:09   middle of Little Italy and he waits to

00:08:10   write like he hears concepts you know

00:08:13   waits and then he's he's stealing

00:08:16   himself like he waits part of it because

00:08:17   you have to wait right so he's not

00:08:18   impatient but when when we as the

00:08:20   audience realize now is the time Vito he

00:08:23   still waits because then he's got to be

00:08:24   like am I really doing this is this

00:08:26   happening and eventually he does go

00:08:27   through it and then and then the cooler

00:08:29   head of Vito prevails where he's like

00:08:30   I've gone through with it but you know

00:08:32   what one of the mouth to make sure like

00:08:34   you already got him in the chest I got a

00:08:35   so well not down away bend down and just

00:08:39   make sure like look you're here to do a

00:08:41   thing do the thing I love the cut I love

00:08:44   the Edit where they it's like a cut

00:08:46   right to where you get to Manette in the

00:08:49   cheek

00:08:50   so they don't have to you know you don't

00:08:52   have to have a squib explode because the

00:08:54   cut is the squib the actual edit of the

00:08:56   film is the impact of the bullet hitting

00:08:59   his face so it just starts with the hole

00:09:01   in his face it is yeah

00:09:03   it's the classic trick that we do with

00:09:04   arrows going into people make the sound

00:09:06   effect cut to the guy with the arrow

00:09:07   already in his chest I also like every

00:09:09   like terrace is close open to see like

00:09:11   what is going on here the buttons

00:09:12   popping yeah good some good Foley work

00:09:15   there if I'm gonna die I'm gonna die

00:09:17   half naked and then he takes then he

00:09:19   takes a gun apart and puts the pieces

00:09:20   down the different chimneys yeah yeah

00:09:22   right mark perfect well I actually had a

00:09:24   thought about that I'm not sure how

00:09:25   smart it was in so far surgeon stoves of

00:09:28   the building in which the guy was killed

00:09:29   you might have seemed smart they're all

00:09:31   in the same bill yeah I mean look the

00:09:33   point is like how are you gonna find

00:09:35   these things those things are all I go

00:09:36   down into the into the furnace did you

00:09:37   get a bit of a firearm in your chimney

00:09:39   tool it's a piece of one down it

00:09:41   assuming those aren't just vent pipes

00:09:43   and I actually go down to furnaces as

00:09:44   well like but but I'm what I was

00:09:46   thinking watching it is that video is

00:09:48   being very thorough he's he's you know

00:09:50   look if you're gonna kill this guy if

00:09:51   you come at the King best not miss right

00:09:53   and he doesn't and he's put getting rid

00:09:56   of the evidence and I'm like no cop is

00:09:58   gonna investigate this nobody cares what

00:10:00   goes on a little italy they don't care

00:10:02   that you killed this guy this will never

00:10:03   be investigated in any way whatsoever

00:10:05   but but he's you know he's dot in his

00:10:07   eyes and Grasso dusty's and that that

00:10:09   that attention to detail is what is is

00:10:11   you know what what helps him become so

00:10:14   you know effectively bulletproof for the

00:10:16   longest time is he he crosses all the

00:10:18   eyes there he crosses all the t's dots

00:10:20   all the eyes and and and is careful he

00:10:22   he comes back behind himself I mean even

00:10:25   the gunshot happening at the time when

00:10:26   the fireworks are going out which he

00:10:27   knows they're gonna happen at the end of

00:10:28   the festival it's good plan yeah it's

00:10:32   even the case that uh he it more likely

00:10:35   than the cops investigating would be

00:10:36   Lucchese men yeah

00:10:39   investigate right and there's a pink

00:10:41   about it there's absolutely positively

00:10:42   only two people on the planet who who

00:10:45   know that Vito did this and that's

00:10:46   Clemenza and yeah with Tesio right I see

00:10:49   yeah yeah young testee oh by the way

00:10:51   looks like Tony Danza and the same he

00:10:53   knows he knows those guys he knows he

00:10:54   can trust those guys you know he knows

00:10:56   that there get you know there he doesn't

00:10:58   worry about them but there's no reason

00:10:59   like like falou cheese guys like who the

00:11:01   hell would do this they don't even know

00:11:02   who

00:11:02   Corleone's that's so great the next part

00:11:05   is Washington DC Senate Committee on

00:11:09   organized crime this is the the

00:11:12   interview with Michael and from the

00:11:15   various senators and they asked him all

00:11:17   the questions about if you're a member

00:11:19   of an organized crime family favorite

00:11:23   favorite cameos in The Godfather saga

00:11:26   among among two of my very favorite are

00:11:28   Harry Dean Stanton as FBI guy number one

00:11:31   he's so young I'm so young and it's

00:11:34   gotta be like only 70 or so in them I

00:11:35   know I had no idea that was him no idea

00:11:38   you know he's the guy who eventually

00:11:41   finds finds Frankie in the bathtub and I

00:11:45   you know I want to call him vice chair

00:11:47   of the committee because he's like

00:11:48   senator number two or something is Roger

00:11:51   Corman who has one line in the movie and

00:11:53   is mostly just sitting there listening

00:11:55   the entire time during all the

00:11:56   proceedings but I love that all of these

00:11:58   guys who came up doing movies with Roger

00:12:00   ended up casting him almost exclusively

00:12:03   as a senator who kind of Jonathan Demi

00:12:05   made him a senator from The Manchurian

00:12:06   Candidate remake like he's always like a

00:12:08   senator on a committee investigating

00:12:10   something not saying much

00:12:12   and then he says like one line and then

00:12:13   he's done there's a lot of smoking in

00:12:14   this scene yeah John I don't know if you

00:12:16   notice that I did a lot of smoke in the

00:12:18   movie in general like I always think

00:12:21   back to the first movie where where you

00:12:23   know Michael is saying about Kay she's

00:12:25   hysterical and he he's palming the

00:12:26   cigarette in this weird way where he

00:12:28   reaches around and grips the there's a

00:12:29   lot of good a lot of good cigarette work

00:12:32   I also think this the Senate scene is

00:12:34   the the prototypical I mean it's

00:12:37   probably just crib from TV news but like

00:12:39   the lenses in the angle they get on

00:12:41   Michael as he sits at that table we'd

00:12:43   like the press sound effects around him

00:12:44   like it feels like by choosing the

00:12:47   staging in the camera angles it feels

00:12:49   like he is in in the Senate talking and

00:12:51   they make it feel so so like intimate

00:12:53   and crowded when in reality it's like

00:12:55   you're on this table way over here and

00:12:57   these these people off over there and

00:12:58   people whispering in people's ears and

00:13:00   the senators with their agenda and him

00:13:02   with Tom next to him in more great

00:13:03   character actors you've got the the guy

00:13:05   who plays what's his name's attorney the

00:13:08   guy with the glasses like he's he's

00:13:09   exactly perfect I love the guy who runs

00:13:11   the committee that guy is such a great

00:13:13   character actor

00:13:14   Emolga yeah how allow it I will produce

00:13:18   someone who is spoken directly to my

00:13:19   he's such a little like he's got a plan

00:13:21   he's executing slowly and carefully but

00:13:24   he's he's getting outplayed on the

00:13:26   brother the brother

00:13:27   well we skipped over the case not the

00:13:29   case that happen also in the same thing

00:13:30   like this is one thing I noted in my 900

00:13:33   viewing of this movie is that the the

00:13:36   dissolution of his marriage I mean it

00:13:38   works from from the perspective that

00:13:40   Michael doesn't realize it's happening

00:13:42   and therefore we as the viewers are also

00:13:44   supposed to perhaps not realize it's

00:13:46   happening because we're so caught up in

00:13:47   Michael's game and then it comes you

00:13:49   know then he gets blindsided by it we

00:13:51   you know with the later-later scene

00:13:52   where that comes to a head but there's

00:13:55   not much in the movie to really show

00:13:58   that that things are falling apart of

00:14:01   the marriage because the few lines the

00:14:02   Kay has early on there's like oh you

00:14:04   know you told me the family would be

00:14:05   legitimate in five years and it's been

00:14:07   seven years but even they actually

00:14:08   doesn't sound too pissed about it and

00:14:10   it's really just we don't see her again

00:14:12   for a long period of time and so it's

00:14:13   like she says that one thing and then he

00:14:16   doesn't talk to her for a while and then

00:14:17   she aborts his baby and is out of there

00:14:20   like it is it is there's there's not a

00:14:22   lot of text for that and the only way I

00:14:24   can really excuse it is to say because

00:14:26   Michael doesn't realize it's happening

00:14:27   he's caught up with all the stuff going

00:14:28   on too and he's literally not paying

00:14:30   enough attention to his family when he

00:14:31   comes home and seizes his proxy gifted

00:14:34   electric car in the snow he feels bad

00:14:36   about it but he doesn't realize how and

00:14:38   he comes in and Kay doesn't get up from

00:14:40   her sewing machine to welcome him like

00:14:41   he knows things are bad but he still

00:14:43   feels right up to the very end he feels

00:14:45   like I can fix this I can chain change

00:14:47   I'll handle it this is you know this

00:14:50   this is just it's an impossibility for

00:14:51   this to go badly so in that way it works

00:14:54   but I do I do feel like K should have

00:14:57   had a few more scenes to to flesh out

00:14:59   her side of the arc so we're aware that

00:15:02   it's simmering instead of us getting so

00:15:03   caught up in these other stories and

00:15:04   then just having oh by the way Kay's

00:15:05   here and their marriage is a mess it's a

00:15:08   little bit let it's it's less of a role

00:15:10   than then absolutely than she had in the

00:15:12   first one yeah I totally agree it's it's

00:15:14   a bummer cause she she was such an

00:15:15   important presence in the first film in

00:15:17   some ways she was us you know she was

00:15:19   the one who was the proxy she was the

00:15:20   companion and

00:15:22   yeah I was bummed that she had less to

00:15:24   do in this one although she was great in

00:15:25   what she had she gets the door closed on

00:15:26   her again again yeah there is that

00:15:29   there's also the bit where he's

00:15:30   obviously suspicious there he starts to

00:15:32   sense any that they might be losing

00:15:34   Ernie asked his mom you know can it yeah

00:15:36   can it lose your family can lose your

00:15:38   family this mom gives us some pretty bad

00:15:39   advice based on her dated worldview of

00:15:43   well she's right but he misinterprets it

00:15:46   you can't ever lose your family your

00:15:47   family isn't like but he makes that

00:15:49   Heath interprets that is saying oh then

00:15:51   pretty much anything I do everything's

00:15:52   okay because they'll always be my family

00:15:54   cuz it's a constant and she's trying to

00:15:55   say you can't ever lose your family

00:15:57   because like you shouldn't you should

00:16:00   never let go that it should it should

00:16:02   always be your number one priority and

00:16:03   he you know takes the wrong thing from

00:16:05   it closing the door on her was cold it

00:16:07   was pretty cold yeah you gotta wonder

00:16:09   what he's gonna do cuz Connie's like

00:16:11   he's coming you gotta go like oh my god

00:16:14   we can't even let you be near him right

00:16:16   and and this is what it is is he's not

00:16:19   going to be violent to her he's going to

00:16:21   be what Michael other than that one time

00:16:23   I suppose Michael what Michael is is to

00:16:26   most people which is cold and and but

00:16:29   but domineering and demands demands that

00:16:31   things go his way demands respect when

00:16:33   he wants to be there you not to be that

00:16:34   you have to get out like he commands

00:16:36   this entire you know the the power that

00:16:38   he has over everybody intentional or

00:16:40   otherwise he essentially has leverage on

00:16:42   everybody in his family his leverage on

00:16:43   Fredo because he supports him his

00:16:45   leverage on Connie because he he knows

00:16:47   like she's lashing out at him by blowing

00:16:49   up her own life because he knows that

00:16:51   you know she says like this is a wage

00:16:52   that she could hurt him but he she comes

00:16:54   running back so now he's got leverage

00:16:56   over her everybody in his life owes him

00:16:58   something or relies on him for something

00:17:00   and to be caught in that system k is the

00:17:03   only kind of independent actor and is

00:17:04   just overwhelmed by the mass of people

00:17:06   who maybe her friends but because

00:17:10   they're caught up in Michael's world

00:17:12   carry out his will to the point where

00:17:15   you know Connie Connie seems like

00:17:16   genuinely fearful likey God you gotta

00:17:18   leave gives her huggy gotta get out

00:17:20   light as if he's gonna come like the big

00:17:21   bad wolf and kill everybody but he's not

00:17:23   but he's just gonna things have to go

00:17:25   his way uh if it's just fearful that

00:17:27   he's going to do the Al Pacino screaming

00:17:29   thing get out right you know even if

00:17:32   it's just fearful of that I think that's

00:17:33   probably the worst-case scenario that

00:17:34   she

00:17:35   imagining but even so what he did in a

00:17:37   way he acted without saying a word and

00:17:38   should end or honor in front of his kids

00:17:41   yeah yeah messing up his kids something

00:17:43   awful movie if Connie had taken the kids

00:17:46   away and it was just a scene between

00:17:47   Mike and Kay and he did that it's so

00:17:51   cold and I think he wants them to see

00:17:53   that yes he wants her to see them seeing

00:17:55   that that's part of the power play why

00:17:56   the Sun doesn't kiss her and at that

00:17:58   moment and that's if if that's not that

00:18:01   might be the moment where you know

00:18:02   really me watching a movie it that's

00:18:05   where I go from I'm on the fence about

00:18:07   what I think about Michael Corleone - I

00:18:09   don't like this guy this guy's a monster

00:18:11   you're ok with the prostitute killing

00:18:13   them but it's not the closures are

00:18:14   business business well she's not in the

00:18:17   game though I feel like it's the salt

00:18:19   thing who's who's in the a man is night

00:18:21   yeah it was just a prostitute this is

00:18:22   Diane Keaton we're talking about I hate

00:18:24   to say it but yes I was still I mean a

00:18:28   prostitute was the prostitute I'm sure

00:18:30   I'm sure that she had friends but I mean

00:18:33   I do not know what she'd done maybe she

00:18:35   deserved it you know yeah whole other

00:18:37   movie about that prostitute that we're

00:18:38   not going to see right let's move back

00:18:40   to the first time frame just to talk

00:18:43   about the this is the thing we talked

00:18:45   about of the bit which is now we see

00:18:46   Vito and now he is the respected figure

00:18:49   in the community he is the now he takes

00:18:50   the art he takes the orange he this is

00:18:53   where we get the the lady who's been

00:18:54   evicted because you had the dog and she

00:18:56   wouldn't get rid of the dog and the guy

00:18:57   is like what do you want me to do about

00:18:59   it and then and then finally like comes

00:19:01   back to the to the olive oil business

00:19:04   storefront and is like oh I'm so sorry I

00:19:06   didn't know it was you and and starts

00:19:08   like discounting her rent and give him a

00:19:10   background in his first run at it and

00:19:13   his first run on it when he's not

00:19:14   recognized like the guy doesn't know who

00:19:15   you are is like what you bother am a

00:19:16   lady Columbo like whatever I like why

00:19:19   why are you even talking to me about

00:19:20   this tries to give him money just like I

00:19:21   already rented it like and you know he

00:19:24   tries to get him to do it and put like

00:19:26   he's getting as far as he can by

00:19:27   throwing money at this guy now just like

00:19:29   he does matter who you are if you guys

00:19:30   throw money and that's a good way to get

00:19:31   at it and then and they seem to agree

00:19:33   when he goes but the dog stays right

00:19:35   however you can't

00:19:37   but grant you're the one last grab and

00:19:40   the guys like now the dog doesn't stay

00:19:41   get out of here right and then he comes

00:19:43   he goes you know running back that's

00:19:45   such a great move right this is like you

00:19:47   think we got a deal but we don't yet I'm

00:19:49   going to I need a little bit more from

00:19:50   you now it's amazing the the bit where

00:19:53   you know Vito is you know going around

00:19:55   and he's fully taken on the you know the

00:19:57   full powers of of the of the Godfather

00:20:00   Phoenix or whatever there there's so

00:20:03   many pop culture lifts and references

00:20:06   and satires and that kind of thing but

00:20:08   but this sequence is the source of one

00:20:10   of my favorites which is on The Simpsons

00:20:11   where you know Homer is decked out like

00:20:14   Vito and people are giving him donuts

00:20:15   and stuff and and that that for me you

00:20:19   know that that that that bit of the Vito

00:20:22   narrative especially coming at the I

00:20:25   guess you would say the the

00:20:26   cross-cutting point that it does is

00:20:28   again this this really great look at how

00:20:31   different from his father a Michael is

00:20:35   where Vito has risen to this level of

00:20:38   power and he he he treats women well

00:20:43   with us with a with a certain amount of

00:20:45   reverence and we have that juxtaposed

00:20:47   with Michael treating his wife like the

00:20:49   piece of window dressing that he's

00:20:52   effectively treated her as since the

00:20:53   first movie where you know he runs off

00:20:55   to Sicily to hide and goes oh yeah that

00:20:57   curly was dating who cares this the

00:21:00   Sicilian woman this will be a good match

00:21:02   for me as I rise into my role and so on

00:21:04   you know and it you know it would have

00:21:06   been a better match than because he

00:21:07   wanted he wanted a woman who was willing

00:21:09   to be subservient and K exactly

00:21:11   independent but when he came back if I

00:21:13   like it was in the first movie it's like

00:21:15   now I need this except he like went

00:21:16   shopping for a wife accessory like I've

00:21:18   come back I have to fulfill this role as

00:21:20   an American thing she'll do is my wife

00:21:22   accessory huh and she's not having that

00:21:24   he's got a shopping list okay I take the

00:21:26   garlic to fry I get the meat to brown I

00:21:28   getting the sauce I got the tomatoes can

00:21:30   we just talk about these things I've

00:21:32   know I've talked about this in I think

00:21:35   Marilyn and I did when we talked about

00:21:37   the The Godfather on my show a couple

00:21:40   months ago or a year ago or whatever but

00:21:42   the the art direction of the New York of

00:21:46   what was around 1920 or so yeah

00:21:48   I don't understand how they did it's the

00:21:52   great it the this the set dressing

00:21:54   there's III posited a couple times

00:21:57   looking at it and like the shots were

00:21:58   you're looking down these streets and

00:22:00   the right you know it just disappears

00:22:02   into the horizon and I guess that you

00:22:04   know it's matte paintings and no not a

00:22:07   single matte painting in the movie they

00:22:09   shot a lot of this stuff on location

00:22:11   movie - locations calm which would never

00:22:13   be wrong yeah

00:22:14   says that it was a redress of Sixth

00:22:16   Street in the East Village between

00:22:18   Avenue a and B in period dress again

00:22:20   it's actually just a dressed up part in

00:22:22   New York City it is amazing

00:22:24   John III found myself stopping at

00:22:27   several points me like oh my god this

00:22:29   looks so great how is this not real how

00:22:32   in the world did they make 1974 because

00:22:34   it was nineteen it was 1972 nineteen

00:22:36   nineteen seventy three New York yeah it

00:22:38   did it did help that New York was pretty

00:22:40   gross then it's just an amazing I like

00:22:42   the mixture of it to where it's the this

00:22:44   is the period where you could

00:22:45   legitimately have like there's some cars

00:22:47   going through but there's also some

00:22:49   animals going through it's that that

00:22:51   time where it's like it's a little late

00:22:53   for the animal traffic but not too late

00:22:54   there's still some in poorer parts of

00:22:56   town and then and the street is kind of

00:22:59   paved kind of but not very well and

00:23:02   they're all the little storefronts and

00:23:04   everything and all of these scenes look

00:23:06   great there they are

00:23:08   yeah a lot a lot of coats of paints on

00:23:09   everything I enjoy like most of the

00:23:11   doors and doorways and these buildings

00:23:12   that even though they're there's no

00:23:13   they're not that old at that point

00:23:14   they're painted over and the paint is

00:23:16   all chipped off and it just like good

00:23:18   especially the scene where where the

00:23:20   senior Roberta rubber is struggling to

00:23:22   get out like that comment that comedy

00:23:23   scene where he's he's oh yeah hate his

00:23:25   respect and he realized he can't he

00:23:26   can't work his or him all the way in and

00:23:28   the way out that's so great that's a

00:23:31   surprising moment of a gag in the movie

00:23:33   where it's like he really wants to be

00:23:35   out of there and he just he can't he

00:23:37   can't get in he can't get out and Vito

00:23:39   Vito just motions to his friend I really

00:23:41   loved get a lot of mosque a lot a mascot

00:23:44   Fredo gets put out of the family gets

00:23:46   gets you know I know it was you Fredo

00:23:48   you're nothing to me now again cold Mike

00:23:50   won't even be in the same room with it

00:23:52   with with him and his dead mother at the

00:23:54   same time and that's this big scene that

00:23:57   like you know there's the heart of this

00:23:58   movie I feel like that scene

00:24:00   I love this Tahoe set I love this house

00:24:02   I love everything about issued it and I

00:24:03   there with the the snow on the

00:24:05   windowsill and the lake behind them and

00:24:07   and there was that whole every frame of

00:24:09   painting thing about chairs that talked

00:24:11   a lot about the chair Fredo was in and

00:24:12   how it's like broken spine of the chair

00:24:14   yeah we're freighters like reclined back

00:24:16   yeah flopped on the thing exactly in a

00:24:19   chair looks like it has collapsed than

00:24:20   he is it doesn't it's it's a recliner

00:24:22   and he's barely staying it looks like it

00:24:24   fell down and he doesn't know how to put

00:24:26   it back it will looks like he collapsed

00:24:28   and the chair said all right I'm going

00:24:30   to accommodate this right and he and he

00:24:31   is like lurching out of it and twitching

00:24:33   from side to side and such an amazing

00:24:35   performance and like and vocally like

00:24:37   I'm asking to move email anytime soon

00:24:39   seem to us sometimes and still like I

00:24:41   get like pulled up in my seat and

00:24:43   stiffen up like because the whole scene

00:24:45   is like you know he's he's depressed

00:24:46   telling Mike about it and know it's

00:24:48   gonna be a hit but blah blah blah and

00:24:50   they start getting into it eventually

00:24:51   and then you get like it's very low-key

00:24:54   and Fredo is the first one to bring it

00:24:55   up but you got the taken care of me like

00:24:58   that that line the delivering of that

00:25:00   line is so amazing and so ever think

00:25:02   about that yeah and then he goes off on

00:25:04   that whole whole rant after but I can

00:25:05   handle things I'm smart not like

00:25:08   everybody says yeah and like a menace

00:25:10   that has got to be like the way he

00:25:12   delivers that I mean that's gotta be

00:25:13   ad-lib to the point of like look here's

00:25:15   roughly what you're gonna say but the

00:25:16   way he stumbles over he's not even able

00:25:18   to articulate his inarticulate anger at

00:25:21   being passed over and being the dimwit

00:25:23   person that he knows he's cap she's

00:25:25   capturing this thing we're like you know

00:25:26   that he is simmered for a long time but

00:25:29   I as somebody who missed speaks and

00:25:30   thinks off the top of their head I'm

00:25:31   telling you this is the feeling of a man

00:25:33   who's realizing how he feels as he's

00:25:36   describing how he feels and he nails

00:25:38   that perfectly for me you know the the

00:25:41   instinct is this feels like parts of

00:25:44   this were ad-lib you know because over

00:25:46   the years actors have made a big point

00:25:47   of oh yeah you know I I love that our

00:25:49   writers are fine with us going a little

00:25:51   bit off script and championing

00:25:52   themselves for being improvisational

00:25:54   geniuses writing dialogue but Jung

00:25:56   Casals background as a stage actor and

00:25:58   especially in the Strasburg school is

00:26:00   such that they're actors who do a

00:26:02   terrible job of they do what I call the

00:26:06   Disney Channel School of Acting when it

00:26:07   comes to stuttering over words or

00:26:09   stumbling over words where it's at

00:26:12   I I you know over pronouncing things and

00:26:15   it doesn't come off as authentic it

00:26:17   doesn't come off as off-the-cuff but

00:26:19   because all's training was such that you

00:26:22   know I this this for me is a master

00:26:24   class of this is the dialogue deliver

00:26:28   the dialogue is written we can rewrite

00:26:30   it to you know accommodate you know

00:26:32   natural beats and that kind of a thing

00:26:34   but this was him being off-book

00:26:37   you know par excellence at the peak of a

00:26:39   theater actors training and energy you

00:26:42   know it insults me as a retired theater

00:26:44   actor when people are like oh this

00:26:46   acting was too theatrical because it

00:26:48   brands theater acting as something that

00:26:50   is always over the top always over

00:26:52   exaggerated and I get that instinct but

00:26:54   for me the beauty of a classically

00:26:58   trained or brilliantly trained you know

00:27:00   whatever adjective you want to attach to

00:27:02   it theater actor is their ability to

00:27:04   take something like this and make it

00:27:06   feel improvised when it is scripted down

00:27:09   to a tee where you know you have a

00:27:11   cinematographer on this movie where you

00:27:14   know same cinematographer is the first

00:27:16   movie Gordon Willis where you you step

00:27:21   just a hair out of frame and the way

00:27:23   that he has things so darkly or over lit

00:27:25   it just blows the whole shot there's an

00:27:28   amazing amount of precision on display

00:27:30   here for for people who are especially

00:27:33   in this case playing something that is

00:27:35   supposed to feel shaggy and rough around

00:27:37   the edges and and imprecise and this

00:27:42   scene to me is among a lot of really

00:27:44   great stuff in this movie for me the

00:27:46   master class in acting we're just watch

00:27:49   what these guys do and then really watch

00:27:52   what these guys do and you get a really

00:27:54   appreciate for how incredibly hard this

00:27:56   is I feel like you can't even repeat his

00:27:58   is like his signature lines because you

00:28:00   know what he's trying to cite like what

00:28:02   you are along for his inner monologue

00:28:04   what comes out of his mouth is like if

00:28:05   you try to that you know from memory

00:28:07   without looking at the script or even

00:28:08   with looking the script which is usually

00:28:09   inaccurate you know like what it would

00:28:11   like you know I can handle things uh I'm

00:28:14   smart not not like people say not like

00:28:16   dumb smart like he's he's trying to get

00:28:19   that thought out and it interleaves

00:28:22   three sentences with each other all

00:28:24   abbreviated and if you write down

00:28:26   literally what he says like if you were

00:28:27   to turn on the subtitles or like

00:28:28   literally transcribe it it is incoherent

00:28:30   word salad but because of the way he

00:28:32   puts it out you see the two sentences he

00:28:34   was trying to say and how they have

00:28:36   mishmash says he came out of his mouth

00:28:38   and he's he's flailing in that chair

00:28:39   that's too soft and his hands are flying

00:28:41   all over the place and it's like it's

00:28:43   just it is so pathetic and Michael's

00:28:45   sitting there stone-faced and you know

00:28:47   waiting to deliver his big thing and as

00:28:49   Michael leaves the room like another one

00:28:51   of his killer

00:28:52   lines like I don't want anything to

00:28:54   happen to him as long as his mother is

00:28:56   live as long as her mother is alive it's

00:28:58   like oh oh oh yeah the moment the moment

00:29:02   you see mama in the casket you see that

00:29:04   mama has died but you were also you

00:29:06   should be noticing in the same moment Oh

00:29:08   this means Fredo is going to die soon

00:29:10   they do such a heartbreaking thing with

00:29:12   the reconciliation and as he's hugging

00:29:14   them he looks up to his guy and the guy

00:29:15   that like the Hitman is like is shamed

00:29:18   the Hitman it cast his eyes downwards

00:29:21   once he realized what this means the

00:29:23   Hitman is finally like I can't even

00:29:26   I killed the prostitute for you I this

00:29:28   is this is beyond the pale like you're

00:29:29   making up with him you're giving them

00:29:31   the big hug finally we have reconciled

00:29:33   he's hugging you lovingly and you look

00:29:35   up at me and it's great you know it's

00:29:37   not like he gives them a nod or a wink

00:29:39   he just looks at them and the guy goes

00:29:41   oh it's days like that that it's hard to

00:29:44   go into the offices yeah it's hard you

00:29:46   know sometimes you wake up and you're

00:29:48   like you enjoy your job but other days

00:29:49   you're like I don't want to be a hitman

00:29:51   today you know what's a great scene

00:29:53   great scene with Fredo is the scene

00:29:55   where he and Mike Mikey jr. that the

00:29:57   kids name we're going on the boat in the

00:29:59   morning and his little story about at

00:30:01   the time that he and you know it's true

00:30:03   you know it's true that there was a time

00:30:04   where he went out with his brothers in

00:30:06   his pop and he was the one who caught a

00:30:07   fish and you know as a kid is insecure

00:30:10   right ly insecure because he is the

00:30:12   dim-witted brother but to have your day

00:30:15   where you were the one who caught a fish

00:30:16   and you know he believes that shit about

00:30:18   the Hail Marys you know yeah he'd be

00:30:20   he's not snowing the kid he's letting

00:30:23   him in he's you know a little secret in

00:30:25   the uncle yeah he's the he's the uncle

00:30:27   who doesn't have any kids of his own and

00:30:28   here here's one of the things that he's

00:30:30   always you know he's probably kept

00:30:32   inside for what like thirty five years

00:30:34   when finally finally maybe there's

00:30:35   somebody in the family who could really

00:30:36   admire him

00:30:37   like that he's the perfect uncle for the

00:30:40   kids because he's at your level and you

00:30:41   don't realize that until you get old he

00:30:43   takes you out position right they like

00:30:44   he's to everybody's disappointed when

00:30:46   when at the end at the end of the film

00:30:48   they say oh you know uh Michael wants

00:30:51   him in the house now cuz he's gonna go

00:30:53   to Reno and and you know the kids

00:30:55   disappointed he was going out on the on

00:30:57   the lake to go fishing with his uncle

00:30:58   and now his uncle's gonna get shot in

00:31:00   the head

00:31:01   you know disappointing I mean that's

00:31:03   what Fredo has been in the sand for so

00:31:05   long and like even uh you know going

00:31:06   back to Goodfellas even what's-her-name

00:31:09   Karen knows not to go down for coats

00:31:11   down the alley but afraid I was like oh

00:31:12   you got to be pulled away well let's go

00:31:14   out fishin anyway it'll be fine it's

00:31:15   like I'll free fishing with the bag man

00:31:17   it'll be fine

00:31:18   look a real wrong and that's the thing

00:31:20   like it always it always seems like a

00:31:21   cruel and sort of like a weird trope

00:31:23   that it's not enough to kill the person

00:31:25   it's like the most important it's like

00:31:28   they're kind of like a weird Greek

00:31:29   mythology like demon who can only kill

00:31:31   you when you're at the peak of believing

00:31:34   that they are your best friend so you

00:31:35   have to put that you have to like it's

00:31:37   not if you can just go and shoot them in

00:31:38   the head it'll be fine but it's like

00:31:39   actually come with us and we're going to

00:31:41   take you to the airport and here's your

00:31:42   tickets Carlo and everything's fine you

00:31:44   have to go through that dance because

00:31:46   like you know according to the laws of

00:31:47   the Elder Gods this is this is the only

00:31:50   way to kill somebody you can't make them

00:31:52   feel as close as possible and then kill

00:31:54   the business makes for dramatic movies

00:31:55   and it makes you feel like you can't

00:31:57   trust anybody because at the moment when

00:31:58   you when you feel that you have

00:32:00   reconciled that things are finally fine

00:32:02   with Michael that you know that

00:32:04   everybody's going to get paid that it's

00:32:06   all all well and good that I'm gonna get

00:32:08   made today that is the point when they

00:32:09   kill you which so so crushed when Don

00:32:11   Vito Don Vito even lays that out in the

00:32:13   first movie you know he understands you

00:32:16   know he sees into the matrix of the way

00:32:18   that this mythology works she's like

00:32:19   alright so if they're going to kill you

00:32:21   it's going to happen when this happens

00:32:23   and the person who brings a prisoner

00:32:25   comes yeah exactly yeah you know he gets

00:32:28   it he understands all that stuff he has

00:32:30   that sit back be quiet and listen kind

00:32:34   of perspective where he's able to soak

00:32:36   it in and he he it's really difficult

00:32:38   for me to think of another character in

00:32:40   any of these mob movies who who sees the

00:32:44   progression of of the threads of fate

00:32:45   the way that Don Vito did and certainly

00:32:48   Michael has Michael has not

00:32:50   I fully learned all of those lessons

00:32:54   that he needs to know you know which we

00:32:57   if there were a third movie you know in

00:33:00   theory you know we would probably see

00:33:02   more of that kind of stuff play out if

00:33:05   there were third movie would probably be

00:33:06   really unfairly compared to you know two

00:33:09   movies that preceded I think Michael is

00:33:11   better the game than his father in many

00:33:13   many ways but his his flaws his

00:33:15   character flaws eventually are as

00:33:17   undoing like video is more of a

00:33:19   naturalistic one but like Michael

00:33:20   Michael had the mind to you know to

00:33:24   bring to bear in a situation that even

00:33:26   Vito might have had trouble getting out

00:33:27   of in the first movie like to bring it

00:33:28   all together especially as a new thing

00:33:31   right and and in this movie I feel like

00:33:33   Michael does a really good job of

00:33:34   navigating some dangerous waters that he

00:33:36   almost goes into some day like his his

00:33:39   business success of this movie is only

00:33:41   undercut by his total by the total wreck

00:33:44   of his life that the rest of his you

00:33:46   know his insecurities and his anger and

00:33:49   as his flaws

00:33:51   tear down around him but he like this

00:33:53   movie he does he does best time in Roth

00:33:55   he does vanquish his enemies and it's

00:33:57   it's all for nothing which is the whole

00:33:58   you know sale of this movie so he is

00:34:00   actually very good at it but he can't

00:34:01   he's not as self-aware as Vito or if not

00:34:04   a self-aware he's not a self-assured as

00:34:05   we know and that it drives him to do

00:34:07   things that are self-destructive

00:34:09   we haven't once mentioned to my

00:34:11   recollection Robert Duvall Tom Tommy no

00:34:15   we haven't

00:34:16   House house that we're on the cassis

00:34:18   he's just that damn smooth John he's

00:34:21   just that damn she also I love him I

00:34:23   love him I feel great I think I think

00:34:26   he's at his best as I think is he's so

00:34:29   great I want him as my lawyer when he

00:34:30   when he interrupts the Senators to say

00:34:32   hey he's a couple of your questions he

00:34:34   wants to read a statement well by the

00:34:36   way he also has stock in ITT like he's

00:34:38   always got these always got the the

00:34:39   additional information you may not be

00:34:40   aware of that's yes doc in this company

00:34:42   but also in these other legitimate

00:34:43   companies what do you think of that I

00:34:44   also feel though that much like Diane

00:34:47   Keaton it's it's not as good a role as

00:34:50   in the first movie yeah we might do in

00:34:52   the first time yeah and any any he is

00:34:54   also part of the destruction of the

00:34:56   family went like Tom we thought of as

00:34:58   our guy and so you know how do we feel

00:34:59   about him in the first movie it's like

00:35:00   it's all great in this movie Michael in

00:35:02   one of his fits of you

00:35:04   external izing his internal issues

00:35:06   lashes out at him and says I thought you

00:35:08   and your wife and your kid and your

00:35:09   mistress we're going to leave me and

00:35:11   take that job it's like why do you hurt

00:35:12   me Michael like and so tom is revealed

00:35:14   as a person with his own flaws and his

00:35:17   situation isn't as great as you think it

00:35:19   is either and and like once Michael is

00:35:21   questioning Tom's loyalty like then

00:35:23   everything has fallen apart well in the

00:35:24   first movie he's the he's the

00:35:26   consigliere in this movie he's the he's

00:35:28   the enable area

00:35:29   he's just an enabler for Michael and all

00:35:32   of his regardless of what his instincts

00:35:34   are he is there to facilitate just

00:35:37   facilitate A to B I love that scene what

00:35:40   I love about it when when Michael is

00:35:42   mean to Tom is Tom Hagen shows who we

00:35:47   know he is which is absolutely loyal

00:35:50   like the whole time he takes it why are

00:35:54   you doing this to me Mike you know he

00:35:57   says again and again of course I'm with

00:35:59   you I'm not taking that job I'm not

00:36:01   going to work for someone else every job

00:36:02   I turn down he's like you know there's

00:36:04   no question that I'm with you and I'm

00:36:06   with the family and and I think it shows

00:36:08   just how lost Michael is that he's

00:36:11   questioning the loyalty of the only

00:36:13   loyal man that just how lost and

00:36:16   confused he must be a bit but I think it

00:36:18   also reveals Tom as his own flawed

00:36:20   pursuer like he's not the perfect person

00:36:22   we always thought he was - that

00:36:23   everything is falling apart that the

00:36:24   thing that used to hold us all together

00:36:26   they could have their private lives of

00:36:28   whatever things are going on but it was

00:36:30   always you know we're in this together

00:36:32   and once that falls apart now you're

00:36:34   just a bunch of people with crappy home

00:36:35   lives and also the bonds that used to

00:36:39   tie the family daily to its decaying

00:36:40   Empire right I mean this is the rise and

00:36:42   fall of the Corleone he pulls out you

00:36:44   know like the Roman Empire Tom says it

00:36:46   was once yeah I want to ask about

00:36:48   Patanjali because this is an interesting

00:36:50   scene that happens where like we don't

00:36:52   know how to get to him it's impossible

00:36:53   how we going to get to him I don't know

00:36:55   and then and then we don't see again we

00:36:58   don't see what happens and the next

00:36:59   thing that happens is that Mike comes

00:37:02   into the Senate hearing with this guy

00:37:06   there's older Italian gentleman perfect

00:37:10   who perfectly nails what a fish out of

00:37:12   water he is some

00:37:14   wrong outfit for this little time we

00:37:15   have not given a shout out for costume

00:37:17   and design and production designing this

00:37:19   but like so perfectly Neely it's this

00:37:22   guy who looks like he just landed on

00:37:23   Venus yeah oh he just wants to go home

00:37:26   he just wants to go home hello I am here

00:37:28   eat your human foods that the Senators

00:37:31   asked about it who is that guy he keeps

00:37:32   looking back at them can you intersted

00:37:34   Thomas kind of at I speak a word of

00:37:36   English he's just visiting then and

00:37:39   there's the thing they never explain it

00:37:40   like is that in the one time I was asked

00:37:42   about it's between the brother all right

00:37:43   well that's it then

00:37:44   I mean you could surmise many theories

00:37:46   about like I don't want to do something

00:37:47   shameful in front of my brother who I

00:37:49   respect or without like but who knows

00:37:50   what the backstory is that but you don't

00:37:51   need though it's between the brothers

00:37:52   but we do know that his brother is could

00:37:55   have been a come over and been and run

00:37:57   one of the families that is also

00:37:58   presumably he maybe is in this business

00:38:00   back in Sicily and that and therefore

00:38:04   knows the code and his brother would be

00:38:06   completely shamed in doing this in front

00:38:08   of him but whatever the reason I don't

00:38:10   think so I I didn't I I thought used to

00:38:12   think that but now I don't think so I

00:38:13   think this guy is probably I think this

00:38:15   guy is probably like a like a real

00:38:16   citizen and it's just a matter of seeing

00:38:18   his brother breaking I don't know omerta

00:38:21   like breaking the code is just just

00:38:23   whether or not you're involved in the

00:38:25   system you know that it is not okay to

00:38:26   break it's a it's a family it's like you

00:38:28   can't bear to do this in front of in

00:38:30   front of your family like it's hard

00:38:32   enough he knows he's shaming himself but

00:38:33   he's under the thumb and if you're in

00:38:34   the environment just playing cards with

00:38:36   the FBI guys you can convince yourself

00:38:37   this is the thing to do right but you

00:38:40   know there there is the egg noodles and

00:38:41   ketchup factor which does come in when

00:38:43   he's realizing not gonna spend a whole

00:38:44   life in these rooms with these suckers

00:38:45   and you know all you'll be protected

00:38:47   Bubba blah you'll live great out here

00:38:48   like what kind of life is that and then

00:38:50   to see the brother it's like I can't I

00:38:52   can't go through with this and who knows

00:38:53   if you would even be able to go through

00:38:54   with it with Michael there because he

00:38:55   doesn't he doesn't want to turn in

00:38:57   Michael he hates these guys he hates the

00:38:58   government this is some sort of an

00:39:00   intercession by Michael to make a make a

00:39:03   statement or make a threat or me or in

00:39:06   some way just induce the behavior that

00:39:09   he wants out of Frankie at this point

00:39:12   which I you know it's difficult to say

00:39:15   because again especially by this point

00:39:17   in the movie Michael you know we we do

00:39:21   learn a lot about him and the way that

00:39:22   he operates and who he is on the inside

00:39:24   and everything

00:39:25   but the reason that I think the the

00:39:26   moment is difficult to read is that we

00:39:29   can't tell if it's meant as a threat or

00:39:31   if it's meant as just a a memory jog or

00:39:35   a you know you you should know better

00:39:38   that you know that that that you would

00:39:41   think that it would be you know me that

00:39:42   would come at you the way that you did

00:39:43   if you you know he's already sworn the

00:39:45   affidavit he's already on the train and

00:39:47   and it's running and it's a matter of

00:39:49   you know whatever whatever Michael's

00:39:52   direct intent was what he wanted was the

00:39:55   the end result which was getting him to

00:39:58   recant and say oh I don't know you know

00:40:00   these guys make me write all kinds of

00:40:01   crazy things yeah I think the brothers

00:40:03   conception of what's going on it's

00:40:04   different than Michaels and pant Angele

00:40:07   understands that difference he

00:40:08   understands the brother is here and is

00:40:10   concerned and he'd be shamed in front

00:40:11   but I think he also understands shame or

00:40:14   no shame Michael is kind of saying I

00:40:15   could also kill your brother if you go

00:40:17   through with this yeah and the brother

00:40:18   probably doesn't know her that but yeah

00:40:20   I think that's that's subtle but it's

00:40:21   there yeah I love a Frank Pentangeli

00:40:24   she's the way when he realized when he

00:40:26   changes his mind and realize you know I

00:40:36   don't know nothing about he is he's

00:40:39   already established as as a sort of uh

00:40:42   you know a bon vivant you know he's he's

00:40:46   a guy who's you know he lives life large

00:40:47   like he's not just gonna clam up and say

00:40:49   nothing like he skis if he's gonna if

00:40:52   he's gonna switch sides he's gonna do it

00:40:54   big yeah it's great any any reaction

00:40:57   shots of these various senators and

00:40:59   things are like looking at paper like

00:41:00   when I have this Rafa David here and

00:41:02   he's like I don't even where the folders

00:41:08   bring a good result you know what you

00:41:10   thinking of I was in the olive oil

00:41:11   business is amazing Oh years ago my wife

00:41:15   pointed out and my wife was an attorney

00:41:18   and and when we watched the oj movies

00:41:20   this year there's the the fake one that

00:41:21   they're fiction one and the documentary

00:41:23   from ESPN and they're both great but you

00:41:25   know clearly one of the huge turning

00:41:26   points and that was that Chris Darden

00:41:28   did the glove thing and she said the

00:41:30   thing that makes it so ridiculous is

00:41:32   that you learn one of the things you

00:41:33   learn in law school didn't matter what

00:41:34   type of law you do if you're doing

00:41:35   criminal or anything you never put any

00:41:37   witness on the stand unless you know

00:41:38   actly what exactly right it's it and it

00:41:41   doesn't matter it's you already know

00:41:42   exactly what they're going to say and

00:41:44   the senators are all lawyers you know

00:41:45   they know and these this it's not really

00:41:47   a legal proceeding it's a Senate you

00:41:48   know but that it that's the shock that

00:41:51   they have and the go get the papers in

00:41:53   the turmoil is if is completely legit

00:41:55   and if you ever watch real you know even

00:41:57   today like on c-span it everybody knows

00:42:00   exactly what they're gonna say you know

00:42:02   it's so somebody who actually says

00:42:04   something completely opposite it really

00:42:06   would just make the whole proceeding

00:42:07   crawl like the scaffolding the

00:42:09   scaffolding just all comes down those

00:42:11   Senate hearings they're they're all

00:42:12   about you know the game of theater and

00:42:15   stage stage craft and it really it just

00:42:19   comes down like a literal house of cards

00:42:21   but I wanted to bring back to you know

00:42:25   hey I love seeing Roger Corman but at

00:42:26   the same time while all these other guys

00:42:28   are like freaked out and panicked and

00:42:30   everything Roger Corman is just staring

00:42:31   straight ahead just kind of sitting

00:42:33   there just everyday everything's just

00:42:35   tumbling down around all the other guys

00:42:37   are like oh we need to look at these

00:42:39   folders hey where'd the folders go are

00:42:41   good give me the folder that has the the

00:42:42   thing at all look that was also

00:42:45   mentioning that so this was shot I think

00:42:48   it started in toward the end of 73 that

00:42:51   that would be you know basically that

00:42:53   that spring and summer of 73 was

00:42:58   Watergate so I think that this is an

00:43:01   image that is you know the Watergate

00:43:03   hearings I think this was very resonant

00:43:05   probably with the feeling at the time

00:43:06   let's talk about our last major block

00:43:10   with Robert De Niro which is return to

00:43:14   Sicily uh uh guess what he remembers

00:43:18   remembered after they get off the train

00:43:21   wasn't he wasn't worried about the words

00:43:23   what was your name yeah they're met by

00:43:25   an older man and woman who I assume are

00:43:28   the people who put him in the bag and

00:43:31   wrote him out on the donkey oh wow I

00:43:33   never thought about that never thought

00:43:34   ID not but I just guessed I mean it was

00:43:36   a husband and a wife who squirreled him

00:43:38   out right then maybe and maybe it's

00:43:40   meant to be them but I don't know I yeah

00:43:42   I don't know if it's the same actors are

00:43:43   just meant to be the same characters or

00:43:45   what but you know but they're it's an

00:43:47   older pair and they meet him at the

00:43:48   train station there's people there and

00:43:50   they and they they take them around and

00:43:52   and and he's in Sicily and it's great

00:43:54   and then they go to don don t Gio's

00:43:57   place which we remember from the

00:43:59   beginning of the movie is still sitting

00:44:01   in the same chair it was very old at

00:44:03   this point and I like that the again the

00:44:06   movie makes you wonder what the details

00:44:10   are like I am convinced that Robert De

00:44:15   Niro right the Vito is there to exact

00:44:17   his revenge on Don ciccio's

00:44:19   but I do have a question of like is this

00:44:21   a pretense that he's put everybody onto

00:44:24   into to get him close to Don TG oh yeah

00:44:27   the whole thing we're gonna coming back

00:44:28   to pay our respects and maybe we'll deal

00:44:30   with you we brought the olive oil that's

00:44:32   one of my favorite little things along

00:44:33   with along with Hyman Roth berry sticks

00:44:35   when he hands me one is it his assistant

00:44:38   handsome the big jug of olive oil

00:44:40   and the eye looks at it and he goes yeah

00:44:42   yeah we want me yeah like you can play

00:44:45   that back of the old man looking to be

00:44:47   olive oil for a second and going yeah

00:44:49   yeah and gives it back to him yeah it's

00:44:51   olive oil but that's that's all to be

00:44:53   like yeah I'm ingratiating myself to you

00:44:55   come come closer I can't see you I do

00:44:57   like them there's a shot of them like

00:44:58   checking out the guards as they're

00:45:01   walking up like they know we're just you

00:45:03   know yeah yeah they got a skate plan

00:45:05   Tommasino doesn't come out too well this

00:45:07   is why he ends up in a wheelchair in the

00:45:08   other movies that's a nice little pretty

00:45:10   cool you know oh I didn't know that cuz

00:45:12   he gets shot he gets shot right to get

00:45:14   away and then as they seen him back off

00:45:16   to America on the trainings in the

00:45:17   wheelchair and Linda got father Mun when

00:45:19   he goes to Thomas you know guy meets um

00:45:20   yeah Wow see we're revealing all the

00:45:22   secrets of the Godfather expanded

00:45:24   universe like all the little bits of

00:45:26   Canon that otherwise you missed there's

00:45:28   so many characters it's hard to keep

00:45:29   track of the players you know like it's

00:45:31   it's not as if there is so many other

00:45:34   movies do this in a in a sort of on the

00:45:37   nose why even even I think the more you

00:45:39   know more subtle but still uh more

00:45:42   blatant the things in this movies like

00:45:43   Indiana Jones getting the scar on his

00:45:45   chin right with the way down right

00:45:46   you're like oh that's why I Harrison

00:45:48   Ford slashed Indiana noses scar because

00:45:50   they kind of put a pin in it but Thomas

00:45:51   you know getting shot and carried to the

00:45:53   car and then being in the wheelchair

00:45:54   they don't they don't dwell Matt it just

00:45:56   happens to be there and if you don't

00:45:57   notice it right yeah the the scar on

00:45:59   Vito's neck

00:46:00   there was a deleted scene in a version

00:46:03   of movie that Coppola has said

00:46:05   originally the intercutting was like it

00:46:06   went back and forth like 20 times and

00:46:08   now it goes back and forth you know I

00:46:10   think they're like twelve segments of

00:46:11   the movie now but he said it was much

00:46:13   more intercut there was a bunch more

00:46:14   stuff in there it was closer to four

00:46:16   hours it was a mess but you know there

00:46:19   there are those bits of you know

00:46:20   additional detail and everything and

00:46:23   bringing up this kind of oh so that

00:46:25   links to this and oh I didn't never

00:46:26   notice that that kind of thing one of my

00:46:28   favorite things about the the series of

00:46:30   The Sopranos we shouldn't go on a

00:46:32   Sopranos tangent but you know for me the

00:46:35   the thing that I think made that show

00:46:37   work so well right out of the gate is

00:46:39   that it was about the first generations

00:46:41   of these guys after these types of

00:46:44   movies existed being able to comment on

00:46:46   them and constantly refer to them and

00:46:49   misquote them and do bad impressions of

00:46:51   characters from them and and look at and

00:46:55   look at look at this from their own lens

00:46:57   and and it's you know it's it's like

00:47:01   them arguing about Star Wars minutiae

00:47:02   it's it's incredibly dorky within the

00:47:05   context of you know meatheads who kill

00:47:07   each other for a living

00:47:09   the other thing about this this going

00:47:13   back to the homeland sequence that that

00:47:15   I wanted to mention was him closing

00:47:18   these different loops you know whether

00:47:19   you look at these flashbacks as

00:47:21   something that is within Michael's

00:47:24   consciousness or him having a version of

00:47:27   all these different events that have

00:47:28   been told to him there's definitely got

00:47:31   to be a chunk of this stuff that he was

00:47:35   told about very specifically because I

00:47:37   feel like I feel like his dad telling

00:47:40   him about the events of the return to

00:47:42   the homeland and exacting justice and

00:47:44   that kind of thing that Michael learned

00:47:46   exactly the wrong lessons about it in

00:47:48   terms of you know closing loops and and

00:47:51   that sort of thing and and Michael just

00:47:54   going a bit overboard in closing loops

00:47:57   that you don't necessarily even have to

00:47:58   close that it's it's not even a matter

00:48:01   of honor it's it's a matter of you know

00:48:02   him being reactionary or just you know

00:48:06   feeling feeling like he's he's going to

00:48:08   he's going to show people who's boss and

00:48:10   the infrastructure Vito built up the

00:48:12   infrastructure that is there for Michael

00:48:13   later when he has to be sent off to

00:48:15   Italy like that that these people he has

00:48:18   relationships and how

00:48:19   they've helped him like the whole

00:48:20   Godfather cliche thing if you do me a

00:48:22   favor I do you a favor seems like oh

00:48:24   that's a way that I get leverage on you

00:48:25   know it's legitimate way that he builds

00:48:27   relationships sometimes it's you know

00:48:29   with leverage but other times it is we

00:48:31   are in this together Thomas you know

00:48:33   helps me out later I send my son to them

00:48:35   that takes care of it and like the

00:48:36   people who help me out of the village

00:48:37   I'm going to the people here I'm going

00:48:39   to see them again like it's it's a

00:48:40   network of relationships that he builds

00:48:42   that support his empire more so than

00:48:45   ruling through fear which is ends up

00:48:46   being Michaels thing some day and that

00:48:48   day may never come this film ends with a

00:48:53   couple of intercut things right boy

00:48:58   as we talked we talked a little bit

00:48:59   about the funeral and about Fredo and

00:49:00   all of that and about Michael and Kay

00:49:02   having their falling-out but one thing

00:49:04   that we haven't really gotten to at the

00:49:05   end here is not only do we have Fredo

00:49:06   who is going fishing son the son is

00:49:11   called away Fredo goes out on the lake

00:49:13   with a guy but we also have our friend

00:49:15   Fant Anjali who is visited by Tom Hagen

00:49:20   who reminds him that in the Roman Empire

00:49:22   often what would happen to the people

00:49:25   who tried to commit treason against the

00:49:27   Emperor was that they would kill

00:49:29   themselves they'd sit in a bath pent

00:49:31   Angele remembers and cut their wrists

00:49:34   open and bleed out but and they would

00:49:37   die sometimes they'd even have a big

00:49:38   party beforehand but what would what

00:49:40   that would mean is that the family of

00:49:42   the of the dead person would be taking

00:49:44   care of the family wouldn't be destroyed

00:49:46   it would just be the sacrifice made by

00:49:48   the leader of the family and we get that

00:49:50   intercut which of course leads to Fredo

00:49:52   being killed out on Lake Tahoe and

00:49:55   potentially being found by his FBI

00:49:57   guards in the bathtub having killed

00:50:00   himself in order to take care of the

00:50:01   press we got poor Hyman Roth he just

00:50:03   wants to vote yeah yes killed me Airport

00:50:06   this is a mirror of the first movie with

00:50:08   the five families getting killed all

00:50:09   once it's fewer people getting killed

00:50:11   but it's the orchestrated final murder

00:50:12   sequence this is your Endicott right

00:50:14   right behind Roth who can't be reached

00:50:15   oh well maybe we can reach him and he

00:50:17   basically it's like Jack Ruby style

00:50:19   where he gets off a plane he's

00:50:21   interviewed oh I'm just a penchant you

00:50:23   know a pensioner it got consistent

00:50:26   someone got a gun into an airport and

00:50:27   met him and literally exude walks up to

00:50:30   him and just shoots him

00:50:32   Point Blank and rhinos lion doesn't make

00:50:34   it out but first he let he laughs he

00:50:36   laughs a little bit and then he leans

00:50:37   into it that expressions like haha

00:50:38   that's funny cuz he's a reporter mr.

00:50:40   Roth mr. Roth yeah has a bullet yeah and

00:50:43   so that's all in a cut so this is yeah

00:50:44   this is the big explosion of violence at

00:50:47   the end of this although again it's a

00:50:48   little a little quieter compared to what

00:50:51   happens and yeah it's sadder because we

00:50:53   know this is not triumphant it is

00:50:54   Saturday the first one is so op this

00:50:56   first one is so big and so operatic and

00:50:58   so necessary and in this one it's you

00:51:01   know excluding I guess Hyman Roth I mean

00:51:04   even Hyman Roth like Haim Roth is more a

00:51:07   more sympathetic character than Michael

00:51:08   he's got six months to live at most and

00:51:11   Michael doesn't care I'm still

00:51:12   descending just to shoot him and

00:51:15   probably die in the process which he

00:51:18   does he does he does die yeah this one

00:51:20   it feels more like you want to turn away

00:51:22   a little bit more cuz all three of them

00:51:24   are like ah gee yeah like you don't

00:51:27   really want the all three you know it

00:51:28   says it's one thing to like take out Moe

00:51:30   green and also bring in The Sopranos

00:51:32   back into this for a second this movie

00:51:34   even with the the deal that's offered to

00:51:36   pant Angele like that you know but also

00:51:38   number looking back at their own empire

00:51:39   they both done reading about they know

00:51:41   the deal that you do this it's the

00:51:42   honorable thing to do would take care of

00:51:43   your family

00:51:44   this still even in the downfall of the

00:51:48   Corleone family in this movie and the

00:51:49   downfall of Michael and and just how

00:51:52   everything is falling apart and it's not

00:51:53   like it used to be still you come away

00:51:56   believing that they will take care of

00:51:57   pantangeles family in The Sopranos era

00:52:00   they will say that but your family is

00:52:02   like what once you Sopranos and in the

00:52:04   Goodfellas thing the whole thing is like

00:52:06   it is post this this era and it's like

00:52:08   we'll pretend that we're gonna take care

00:52:10   of your family but as soon as you're

00:52:11   gone forget it they don't get another

00:52:13   dime from us like the the honor is

00:52:15   completely out yeah I I really I really

00:52:17   caught that this this viewing that the

00:52:19   amount of coded speaking is it's very

00:52:22   straightforward the the the the the

00:52:24   coated speaking while the smoking cigars

00:52:25   they're in the chain-link area it's like

00:52:28   there doesn't even have to be like a

00:52:29   huge amount of like mmm like leaning

00:52:32   into it like Frankie just gets it he

00:52:34   knows that this is the thing to do and

00:52:35   he on the strength he just knows they'll

00:52:37   he'll be taken care of it was been and

00:52:39   they real and they really will it is not

00:52:40   a BS thing like it is in every

00:52:42   occurrence of this in the Sopranos and

00:52:43   most

00:52:44   them in Goodfellas that it's like every

00:52:45   man for himself and there is you know

00:52:47   there is no honor among thieves right

00:52:49   like the way that when when Henry was in

00:52:52   the joint doing his time the right way

00:52:54   you know even with and crewed up with a

00:52:56   bunch of his guys you know and they're

00:52:57   making that the meals and everything and

00:52:59   but nobody gets home he takes one look

00:53:01   around the place for Karen and the kids

00:53:02   aren't he's like pack your stuff we're

00:53:04   moving you know like they're living it I

00:53:05   got a one-bedroom you know a house you

00:53:08   know it's and they were more or less

00:53:09   supporting or was he was still alive and

00:53:11   he was still on the in in the in with

00:53:13   them but it's not in no way was she

00:53:15   being taken care of in the right and if

00:53:17   he if he betrayed them it's not like

00:53:18   they're gonna take care of his family

00:53:19   because he killed himself that was an

00:53:20   impossibility and the sopranos well you

00:53:22   know which I watch so many years ago

00:53:23   that I remember this specific detail but

00:53:25   with so many times someone does anything

00:53:28   against the family everyone you know

00:53:30   your entire extended family you're lucky

00:53:32   a if it all get killed be they're not

00:53:34   getting another dime hey I got a I got a

00:53:37   super dumb guy question and I'm just

00:53:39   probably spacing this why did he have to

00:53:41   die is so he wouldn't testify further or

00:53:44   was a purely an honor thing oh no it's

00:53:46   been biggest because Michael why do you

00:53:48   had yet to wipe out everybody no just my

00:53:49   enemies he had died because Michael

00:53:51   wanted us he don't trade him yeah you

00:53:52   can he considered betraying him just to

00:53:54   be clear that the reason for that just

00:53:56   dicks I think it changes the movie it

00:53:58   wasn't that I mean he was already in

00:54:00   he's he's been convicted yes he would

00:54:02   have just been in jail like that's it he

00:54:03   was he was off the board it was an honor

00:54:05   thing yeah my well it was it that

00:54:07   Michael could not allow to stand that

00:54:08   you even considered betraying me even

00:54:11   though you eventually didn't because I

00:54:12   brought your brother in the unite to die

00:54:14   yeah even even even if it was because he

00:54:17   got fooled and got played like a fool

00:54:19   it's his fault for being played played

00:54:21   like a fool yeah I mean he killed Fredo

00:54:23   for crying about like his system is like

00:54:25   you you know you betray me even if there

00:54:29   is a reason even if you had good

00:54:31   intentions even if you're my dim-witted

00:54:32   brother you gotta go yep and that's

00:54:35   that's the sickness that infects him

00:54:36   that you know it puts him in that

00:54:38   charity in the movie there's a deep dark

00:54:40   vindictive streak to Michael yes that it

00:54:43   that isn't there at all in Vito

00:54:45   well he compensates he V he compensates

00:54:47   for anything where he's also he

00:54:49   compensates for a lot of things with his

00:54:50   coolness his distance

00:54:52   his measured attitude toward things and

00:54:55   and I think fan

00:54:57   at having the world view that Vito had

00:54:58   this is how he reacts to things uh you

00:55:01   just go back like with Vito even with

00:55:03   just the silly little thing with the

00:55:04   landlord and the dog he goes the first

00:55:07   time and he it doesn't say hey you know

00:55:09   who I am he doesn't threaten him he just

00:55:10   says hey I'm a guy I'm a friend of this

00:55:11   lady I want to give you more money so

00:55:13   you get more money you'll get something

00:55:15   and all you do is leave her there and

00:55:17   she gets to keep her dog but when the

00:55:19   guy comes back and he meets him in the

00:55:20   office and he's groveling there's not a

00:55:22   single bit of Vito's reaction to now he

00:55:24   accepts it he's not like he's not trying

00:55:26   to make the guy feel felt comfortable

00:55:28   per se but he's not vindictive he's not

00:55:30   like there's nothing intimate and he's

00:55:32   more amused like he's laughing with his

00:55:34   friend like but not laughing at the guy

00:55:35   just laughing like that it's a funny

00:55:37   situation the same reason we're laughing

00:55:38   at he's not like haha finally I I have

00:55:41   achieved triumph over the evil landlord

00:55:43   and not but like they could think about

00:55:45   uhm think about Michael in Italy when he

00:55:48   has the meeting as like the parlay with

00:55:50   up lo Nia's father and you could see

00:55:53   that he's kind of just jumping through

00:55:56   you know formal hoops but the very you

00:55:59   know gracious kind of you know the way

00:56:02   that he says like you know the big ways

00:56:04   introducing the idea that basically he

00:56:05   wants to marry Apollonia he does it you

00:56:07   can see him and he's you know he's kind

00:56:09   of by rote walking through what will be

00:56:12   the the civil way to do this but at

00:56:14   least he was still doing that at that

00:56:15   point he understood that there were

00:56:16   hoops to jump through to make this look

00:56:17   good

00:56:18   well that is that gets us to the end

00:56:20   which we already kind of talked about

00:56:21   which is we get the flashback that's so

00:56:23   really the the end of the Robert De Niro

00:56:26   story is this story that takes us right

00:56:27   up to the beginning of the first

00:56:30   Godfather movie it's you know it's Oh

00:56:32   before that before Michael even goes off

00:56:34   to war - you know - like I said I I love

00:56:37   despite that you know you forget who it

00:56:39   was was saying that this this scene

00:56:40   seems clunky and the people ended

00:56:43   reprising I was Mary prising their roles

00:56:46   from the first movie in a clunky way and

00:56:47   look at all these people and and and Don

00:56:50   Corleone is not there because they

00:56:51   couldn't get Marlon Brando and stuff

00:56:53   like that but like it works so much for

00:56:55   me because they you're on such a down

00:56:56   after seeing Fredo get shot and all

00:56:58   those people get murdered and Michael in

00:56:59   the chair by himself contrast to his

00:57:01   father's end which was so different and

00:57:03   then they bring it back one more time

00:57:05   and like I said you know they're

00:57:07   revealing that this was Michael all

00:57:08   along but also like the

00:57:11   the bitter sweetness of seeing like

00:57:13   despite the dysfunction despite sunny

00:57:15   trying to set up his sister like

00:57:17   basically with this arranged marriage

00:57:18   but this guy who ends up being the jerk

00:57:20   anyway it's kind of like Sunny's your

00:57:21   own stupid fault you hate her husband

00:57:22   you introduced her to her husband you

00:57:24   know everybody's flaws are on full

00:57:26   display but they are through the magic

00:57:28   of makeup and technology this is how

00:57:30   they were young and vibrant and look at

00:57:31   Michael's collar and look at his

00:57:33   idealism but look at he was he was that

00:57:35   same person you will see later under the

00:57:37   covers you know like it totally works

00:57:40   right I would like a chance to respond

00:57:42   this response I don't think it's I don't

00:57:43   think it's conceptually a bad idea this

00:57:45   scene I think it's not well implemented

00:57:47   I think it shows that it was hastily

00:57:49   done I think James Caan's like shucky

00:57:52   jivey slap him everybody around that

00:57:53   does not have the same subtlety as the

00:57:56   scenes with like but it was like it was

00:57:58   sunny like for the whole first movie he

00:57:59   doesn't have any subtlety he's a big if

00:58:01   it's a real stat it's a weirdly static

00:58:03   shot and it just feels it feels a little

00:58:05   bit like I don't know it feels like a

00:58:06   reunion episode yeah I mean the staging

00:58:09   the staging could be better it feels

00:58:10   like they didn't have a lot of room in

00:58:11   the set but I do kind of like yeah the

00:58:13   sitcom kind of thing where it's just

00:58:15   everyone sitting at the table I don't

00:58:17   mind that I didn't get to mention that

00:58:18   before but like watching old movies

00:58:20   which I will categorize this one as an

00:58:22   oldish movie it's not remarkable for

00:58:24   this movie because the way things were

00:58:26   shot and framed in those days basically

00:58:28   the style of the times as I say but the

00:58:30   the fact that this is like one camera

00:58:32   showing the whole table the whole time

00:58:33   with a couple of intercuts with

00:58:35   close-ups and stuff but a lot of it is

00:58:37   just pulled back and they just let the

00:58:38   scene play out kind of like you put a

00:58:40   camera in front of a stage a theater

00:58:41   stage and just let it play out

00:58:42   there's that scene with where they're

00:58:43   stealing the rug where the policeman

00:58:45   comes to the door and Clemenza is back

00:58:47   against the wall with the gun pointed to

00:58:50   where the guy's going to come through in

00:58:51   a modern movie the modern sensibility is

00:58:53   never to frame that by pulling back and

00:58:56   getting the entire wall the door in the

00:58:58   middle of the wall and the guy

00:58:59   silhouetted there Clemenza with the gun

00:59:02   pointed sideways at the thing to get

00:59:03   that all in the shot and that be the

00:59:04   entire shot for the entire time it works

00:59:06   so well and today would always be a

00:59:08   close-up from like chest level looking

00:59:10   up under the guy's chin seeing the sweat

00:59:12   on his brow

00:59:12   glistening off the gunner series of like

00:59:15   9 points in extreme close-ups yeah right

00:59:18   and like the guy outside the door let's

00:59:19   see the view from the outside it's it

00:59:20   from the inside let's see let's see him

00:59:21   sweating by the gun

00:59:23   the tip of the gun let's see the guy

00:59:24   looking over there and this one they're

00:59:25   just like camera back and just let this

00:59:27   thing play out and I think this this has

00:59:29   that essence especially Michael sipping

00:59:30   his drink at the end with this pinky up

00:59:32   all alone at the table with the camera

00:59:33   that has not moved for the entire scene

00:59:35   it's not as artful as the other things

00:59:38   but I mean I disagree it feels well I'm

00:59:41   saying like it's not as like as

00:59:43   willfully like avant-garde artful it is

00:59:45   more like literally like I didn't plan

00:59:47   it that way like that it is it and it

00:59:50   plays out like a theater scene because

00:59:51   what kind of stage again you have you

00:59:52   put the table that you put everyone

00:59:53   front of the table they all bounce off

00:59:55   each other and all the again the clumsy

00:59:57   stage mechanics of Sonny Raphael

00:59:57   stage mechanics of Sonny Raphael

01:00:00   think people but actually not rough

01:00:01   handling them and you just see it all

01:00:02   there there's no editing to hide the

01:00:04   fact that his shaking of his brother is

01:00:06   not really that severe of a shaking and

01:00:08   all that other stuff I'll say that I'll

01:00:09   say that James Caan was was exactly

01:00:11   consistent with how he was with physical

01:00:14   work in the first movie in not selling

01:00:17   it terribly well

01:00:18   yes lobbying his strength which is kind

01:00:20   of bad for a character he's always

01:00:21   supposed to be you know punching people

01:00:23   the thing about this scene I part of

01:00:27   this when we when we first talked about

01:00:29   it seven hours ago the the original plan

01:00:33   was that they were gonna have marlon

01:00:35   brando and i'm curious to know what the

01:00:38   original scripting for this scene was

01:00:40   supposed to be because I you know I I

01:00:43   would say that I fall more on the

01:00:45   siracusa side of things on the scene but

01:00:47   I I completely identify with I think

01:00:50   part of what Merlin was trying to say

01:00:51   which is that it feels rough around the

01:00:54   edges it feels hastily thrown together

01:00:56   it doesn't feel as incredibly precise as

01:01:00   the entire rest of the movie that

01:01:01   precedes it which is which is why I you

01:01:04   know I I feel a little bit like a

01:01:08   cutscene and a lot yeah it it's an ill

01:01:11   fit alongside all of the stuff that

01:01:13   preceded it you know the the the the

01:01:15   whole first movie was Coppola making a

01:01:18   movie that he was being actively

01:01:20   countermanded at every step and he was

01:01:23   getting put into it progressively more

01:01:25   and more of a tiny box and then it was a

01:01:27   massive success and then they let him do

01:01:28   whatever he wanted to for this one and

01:01:30   he had to deal with Cohn going yeah I'm

01:01:32   gonna get paid a ton of money and I'm

01:01:34   gonna show up and say lines leave and

01:01:36   contending with all of the schedules of

01:01:38   the people that they suddenly had to put

01:01:39   together for this movie that was a

01:01:41   follow-up to the surprise mega massive

01:01:44   hit that the first movie was and they

01:01:46   set literally everything up expecting

01:01:49   they're going to do a version of the

01:01:51   scene which I assume that the majority

01:01:52   of the dialogue is the exact same as

01:01:54   what they expected to do the day before

01:01:56   when they were pretty sure that they had

01:01:58   marlon brando but then on the day when i

01:02:02   you know i would presume he was supposed

01:02:04   to be brought into the scene it was

01:02:07   probably going to be staged the exact

01:02:08   same way but there was there was

01:02:11   probably some redial logging that had to

01:02:13   have

01:02:13   and to fill in bits of character stuff

01:02:16   that we're going to come from

01:02:18   Don Corleone coming back into the room

01:02:20   and that just kind of got shoved into

01:02:23   people's mouths and it was it was like

01:02:24   back-loaded expository dialogue and

01:02:26   that's why it feels kind of perfunctory

01:02:29   and kind of alright now we're checking

01:02:30   this off the list and we're checking

01:02:31   this off the list and now we're hanging

01:02:33   this lantern on this and I'm going to

01:02:34   call the twins Luke and Leia as I die

01:02:38   Tom's thing the more he says to Micah

01:02:40   that your father has plans for you like

01:02:41   that's probably was courtly out you know

01:02:43   dot veto was gonna say Michael I have

01:02:45   plans for you now that's what I would

01:02:46   yeah yeah and I think Michael's

01:02:49   performance not seen is better than

01:02:50   almost everybody else's like I do feel

01:02:52   oh yes he's in a way better movie than

01:02:54   everybody else yeah cuz like he's doing

01:02:57   that thing we're like there's so much

01:02:58   about I mean and this has been talked

01:02:59   about I've million things I'm not

01:03:01   mentioning that everybody knows about

01:03:03   the Godfather movies but like you know

01:03:05   if you go and watch this I think I

01:03:06   dropped it into Skype you can put it in

01:03:08   show notes that documentary on the

01:03:10   making of or the basically the

01:03:13   restoration process that brought this

01:03:15   movie back from the dead and how in that

01:03:16   one scene that the John circus and I

01:03:19   like to talk about in the Italian

01:03:20   restaurant in number one you can see

01:03:24   Pacino's like there's so many there's so

01:03:26   many levels to Pacino's performance

01:03:27   because there's the basic stone enos but

01:03:29   there's also like just the tiniest

01:03:30   little like tick like a little bit like

01:03:32   his face just like just like moving just

01:03:34   a little bit and you know that's yeah

01:03:37   God how do you I don't know I I feel

01:03:40   like in that scene he is in a different

01:03:42   movie he's fidgeting in his seat he's

01:03:46   got the crazy collar like you mentioned

01:03:47   I'm not I'm not down on the scene it's

01:03:50   just like after after making the

01:03:53   Godfather - I just wouldn't have ended

01:03:55   it with that I would I would have left

01:03:57   that off III think the scene is

01:03:59   essential I can get on board with it

01:04:01   being executed better but if it just

01:04:03   ended with him in the chair that's not

01:04:04   the ending like I need it to go back to

01:04:06   this I need it to because I think the

01:04:08   audience needs it to go back to that to

01:04:09   give you the final contrast like the tie

01:04:12   back in just Hanks the sense of the past

01:04:13   now ties right and also to show you that

01:04:16   this was Michael all along maybe you

01:04:18   didn't you know that I think it is a

01:04:20   it's kind of like the movie showing it's

01:04:22   work right and and this is one of the

01:04:25   few scenes that I think does have some

01:04:26   pigs Michaelson

01:04:27   Sharyn he's thinking and what is he

01:04:28   thinking about and maybe he's not

01:04:29   thinking about this exact thing but he

01:04:31   would have a memory of this because he

01:04:32   was an adult at this time because things

01:04:33   have stuff on so far apart and maybe

01:04:35   he's twisting the knife to say remember

01:04:38   what it used to be like and it wasn't

01:04:39   all roses right but they were together

01:04:41   they were all eating together they were

01:04:43   fighting over the things they fight with

01:04:45   their all their personality traits were

01:04:46   there

01:04:46   they're the downfalls written on the

01:04:48   forehead of every single person in the

01:04:49   scene to a degree where it's a little

01:04:51   bit on the nose like Oh file your files

01:04:52   got plans with you and I'm gonna arrange

01:04:54   you with this thing and Sonny is a

01:04:55   blowhard and like you know it's but I I

01:04:58   need this to be there when they do that

01:05:00   fade every time I'm like oh yeah it

01:05:02   doesn't end in the chair and I'm I'm

01:05:04   happy for it because I feel like it it

01:05:07   seals this movie in a package that is

01:05:09   it's not an entire downward slope it's a

01:05:11   downward slope that wraps back around on

01:05:13   itself and that somehow makes me feel

01:05:15   better than just leaving him in that

01:05:16   chair with the leaves blown by I I agree

01:05:18   with you on that and from you know I

01:05:19   think I'm allowed to you know make some

01:05:21   Star Wars references and I'm not doing

01:05:23   it because to do is move a fourth

01:05:24   because it's not a holiday to me it's

01:05:26   just a day but because you know we

01:05:28   talked about sequels and prequels and

01:05:30   and the way that this really earns all

01:05:33   of the prequel least stuff is is that it

01:05:36   is you know this the this guy was going

01:05:39   to be Darth Corleone all along and if

01:05:42   it's the movie itself was not made in a

01:05:45   time when you could jump onto iTunes or

01:05:47   go down to your local record shop and

01:05:49   get a used copy of the blu-ray and go

01:05:51   back and immediately watch the first one

01:05:53   but it does have that effect you know

01:05:55   the the reason that this movie was so

01:05:57   beloved and so besotted with Oscar

01:05:59   nominations and everything and has

01:06:01   become so legendary is one of the if not

01:06:03   the greatest sequel of all time is that

01:06:06   it really adds another layer to the

01:06:08   movie that preceded it it adds

01:06:09   additional text and subtext to all of

01:06:13   that stuff and the the reason that you

01:06:15   can put on the Godfather just watch it

01:06:17   and you know put on Godfather to just

01:06:19   watch it is that is that it is such a

01:06:23   thoroughly detailed tapestry all around

01:06:26   and you know the this scene shaggy

01:06:28   though it may be I you know I I also

01:06:31   would not leave it off for me it is this

01:06:33   it is an essential part of earning all

01:06:35   of that stuff that the second movies dug

01:06:37   in that last moment of when you see

01:06:38   James Caan right it is the connection

01:06:40   that takes you back to how you felt in

01:06:43   the first movie like it's the world as

01:06:46   we saw it so it is the connection right

01:06:48   we've been watching what happened before

01:06:50   that movie and what happened after that

01:06:51   movie and this is sort of the moment

01:06:53   it's a special scene shot for this film

01:06:55   but it is the moment where you're

01:06:57   touching the that first movie we've come

01:07:00   into contact with it from both sides

01:07:02   it's not you know it's not going to have

01:07:04   Robert De Niro in it right it's going to

01:07:06   have Marlon Brando if you were there and

01:07:07   so he's implied off screen minute but

01:07:10   and you see James Caan you have that

01:07:11   moment like oh my god this is I've made

01:07:13   that connection to the depth at other

01:07:15   movie so it's very important to have it

01:07:17   there even though I agree it's kind of a

01:07:19   weird I feel like almost dreamlike scene

01:07:21   where it's like what am I seeing here

01:07:23   what am i watching the wrong movie now

01:07:26   John though as a point of order the way

01:07:28   that the movie ends is we see Michael in

01:07:31   The Boathouse and then we do a slow

01:07:33   dissolved this scene and then we do a

01:07:35   slow dissolve to Michael sitting in the

01:07:36   chair with the leaves in the background

01:07:38   and then we go to the credits so that is

01:07:40   the last thing we see is him in the

01:07:41   chair yeah it does go back to the chair

01:07:43   well you also you also get him leaving

01:07:45   on the train in Italy too yes one more

01:07:47   loop back all the way back with him to

01:07:49   him that's right doubles right in on

01:07:51   this because dissolves yeah it does it

01:07:53   does end with but like the Sun you see

01:07:55   him in the chase Sun and and zoom in you

01:07:58   know for a few seconds then they're out

01:07:59   yeah as if you go back to him on the

01:08:01   chair for five minutes I think it's a

01:08:02   tendency to the air it's a testament to

01:08:04   the the kind of collective bleed

01:08:07   together of this whole movie that it's

01:08:09   you know a lot of movies you're like oh

01:08:10   yeah that was the last shot of that now

01:08:12   oh that's how that movie ends and we

01:08:14   even even freshly watching within the

01:08:17   last week I find myself trying to

01:08:19   convince myself no wait no that's not

01:08:21   what happened

01:08:22   they do three time periods and within

01:08:24   like a second and I yes yeah in a

01:08:25   separate 20 years now we're at the end

01:08:27   anything more that people have

01:08:30   shockingly have not gotten out that

01:08:32   they'd like to get out we will we have

01:08:33   to go for about another 40 minutes to

01:08:36   meet the running time of the movie so

01:08:37   we're still gonna come up a little short

01:08:38   we are doing so much better than I

01:08:41   expected

01:08:41   I could if I had done a Goodfella style

01:08:43   where I did the scene at a time no

01:08:44   problem yeah I know I have I've quit I

01:08:48   have quick notes regarding accolades

01:08:50   according to Wikipedia which is never

01:08:52   real good Godfather to I have three

01:08:56   things Godfather to one Best Picture and

01:08:59   Best Director pretty cool I think

01:09:02   perhaps most dramatically three of the

01:09:05   actors in this movie were nominated for

01:09:08   Best Supporting Actor

01:09:10   De Niro Michael V Gazzo who and at least

01:09:15   Rosberg all three Lee Strasberg his

01:09:16   first like actual real movie despite

01:09:19   training everybody how amazing is that

01:09:21   three three Best Supporting Actor

01:09:24   nominations and third I would just like

01:09:26   to mention shout out to the thirty

01:09:28   second Golden Globe Awards most

01:09:31   promising newcomer male least rosco the

01:09:38   one thing the Golden Globes have done

01:09:39   well and Pacino was nominated for Best

01:09:42   Leading yeah uh and he was he was real

01:09:45   sore about lost the armor supporting in

01:09:47   the first movie yeah where Brando was

01:09:50   nominated for lead he was nominated for

01:09:51   supporting he was really sore he lost to

01:09:53   Ed Norton in a cat yeah yeah it's not

01:09:55   not so good actually the the funny thing

01:09:57   about Michael Vick as oh so that's a

01:09:59   that's pant Angela but he that was

01:10:03   supposed to be um Clemenza right yeah

01:10:08   that he's discount store Clemenza

01:10:10   because you couldn't get Clemente his

01:10:11   commends didn't want to do again to

01:10:12   write his own dialogue or something and

01:10:14   then in the end that part basically gets

01:10:15   uh guess that Supporting Actor

01:10:17   nomination so career career mistake

01:10:19   I'm just saying well and Coppola Coppola

01:10:22   even brings brings up the the deal with

01:10:24   with trying to get Castellano to to like

01:10:27   you know close his deal on the Godfather

01:10:30   to commentary track where he says that

01:10:32   yeah you know we wanted him in the movie

01:10:33   and he basically says yeah so here's

01:10:35   what we did where we you know this guy

01:10:38   is basically supposed to be Clemenza and

01:10:40   you know I really wish it we could have

01:10:42   had him in the movie but no so too bad

01:10:44   but also like yet what's surprising to

01:10:47   me like I'm sure that excludes Brando

01:10:50   and maybe a couple of other top-tier

01:10:52   characters but as salaried actors went

01:10:55   Clemenza

01:10:56   was the highest-paid actor in god

01:10:58   other one huh that's crazy what it's

01:11:02   crazy that that movie even got made in

01:11:04   the first place and and you put a link

01:11:06   to the to the restoration documentary

01:11:08   but there's a there's an archival you

01:11:10   know behind-the-scenes thing that was on

01:11:12   the DVD collection of all three movies

01:11:13   back in 2001 that's like on the you know

01:11:16   on the archived extras part of the

01:11:19   blu-rays and I would assume is in the

01:11:20   iTunes extras but it's a it does a it

01:11:24   does a you know you've even got Robert

01:11:26   Evans in there toejam but oh well I was

01:11:29   just trying to get this movie made and I

01:11:31   was you know taking a bath and a bathtub

01:11:33   full of applesauce and you know being

01:11:35   crazy Robert tells a story about how

01:11:37   Evans called Coppola and said I take a

01:11:41   yeah and you know I need to get I needed

01:11:43   to our cut and so he comes down with a

01:11:45   two-hour cut he says this route this is

01:11:46   like a trailer we're gonna cut it down

01:11:47   here and Coppola realized oh this was a

01:11:50   game they were gonna not let me no

01:11:52   matter what I answer you will take this

01:11:54   to LA and edit it yourself yeah he knew

01:11:56   that I i yeah i'll throw in that that

01:11:58   story presumably true about James Caan

01:12:01   getting paid the same as he got paid in

01:12:02   the first film I imagined he didn't get

01:12:04   paid that much and for the first film

01:12:06   and it was sort of like alright but the

01:12:08   best part of it is also part of his deal

01:12:10   he's not credited like all the other

01:12:12   actors he's actually credited with a

01:12:14   thank you there's a special appreciation

01:12:17   special special appreciation for James

01:12:20   Caan good he's got a good agent he got a

01:12:24   days like Daisy Ridley numbered agent

01:12:26   man good good job I mean there's another

01:12:29   thing that goes without saying we talked

01:12:30   about a lot in The Godfather one but the

01:12:32   way they maintained the look the the the

01:12:36   super inky blacks the the staging of

01:12:39   everything that the dark the contrast of

01:12:41   darkness and light is a direct

01:12:43   continuation of the first movie and if

01:12:45   anything executed even more skillfully

01:12:46   but by this point we just take it for

01:12:48   granted but just go through this movie

01:12:49   and look at some of the frames and they

01:12:51   are they're just spectacular you can

01:12:54   chew the film grain in this movie like a

01:12:56   meat oh yeah like we got brother wine

01:12:58   matricies watching the Coppola rest

01:13:00   elation but we get to see every single

01:13:01   grain in the restoration and HD it's not

01:13:04   like especially the outdoor scenes were

01:13:06   like limp in the end the thing of like

01:13:08   they're there on the roof in

01:13:10   Cuba and the ocean is in the background

01:13:12   and it's like it's like it's made of

01:13:14   felt it's like that's so incredible

01:13:16   different film stocks have different

01:13:17   greens consistencies even within eras

01:13:19   like the things the things that were

01:13:22   shooting at around the same time as

01:13:23   Godfather Part 2 might not look as

01:13:25   grainy as noisy just because this is a

01:13:27   particular 35 millimeter stock that that

01:13:30   Gordon Willis wanted to use I like the

01:13:32   distinct fields of the settings here too

01:13:33   I mean the way it's shot the color

01:13:35   palette does change without the film

01:13:36   grade when you're in Cuba when you're in

01:13:39   Washington DC when you're in Lake Tahoe

01:13:41   like they all feel distinct and I and I

01:13:44   really like that about it that there's a

01:13:45   sense of place in all of these scenes

01:13:47   just down to the look of them that's

01:13:50   that's a quite pleasing

01:13:51   I like how DC's look is just sort of

01:13:53   boring yeah it's almost natural but it

01:13:56   looks like it shot through TV cameras

01:13:58   because that's the thing they do with

01:13:59   the angle the the long lens the the so

01:14:01   much the only the only the limited

01:14:03   number of angles that you have on

01:14:04   anybody that just repeatedly gets shown

01:14:06   like a TV news program it's just beige

01:14:08   all right I'm gonna wrap it up here but

01:14:11   I feel like we've done this movie

01:14:13   justice you know what I got to tell you

01:14:14   Jason Snell bright and tight yeah I was

01:14:16   expecting a minimum of four and a half

01:14:18   hours done easy gonna done less than

01:14:20   three look at us three I think we're all

01:14:22   heroes all right I'd like to thank my

01:14:24   guests for for sticking through this

01:14:26   epic complete epic no edition of the

01:14:30   incomparable John siracusa thank you

01:14:32   Jason we're bigger than us steel

01:14:34   it's true longer to Marlon man thank you

01:14:38   thank you

01:14:39   mois├ęs chu-young thank you I want all

01:14:41   of you to enjoy your cake so enjoy and

01:14:44   John Gruber this is the business that

01:14:46   we've chosen I'm smart but like I can

01:14:52   say thanks to everybody out there for

01:14:55   listening we will see you next time

01:14:57   you

01:14:59   [Music]

01:15:14   I'm just kidding I know I've said this

01:15:16   on a podcast before too but I'm not

01:15:17   entirely convinced that if if Karen had

01:15:20   gone to get the coats or the dresses

01:15:22   that anything was going to happen to

01:15:23   that's why you'd be dead

01:15:25   I feel that what makes that seem so

01:15:28   masterful is it I feel like it's good

01:15:31   but because it's when paranoid or is

01:15:34   this well-founded paranoia and I almost

01:15:36   and I think it's very decks perfectly

01:15:38   delivered but the thing that makes me I

01:15:39   thought about this a lot but the thing

01:15:41   that makes me convinced that nothing was

01:15:42   actually going to happen to her is that

01:15:44   there were a couple of spooky guys in

01:15:46   silhouette doing work where she was

01:15:48   supposed to go and if it was if if she

01:15:50   was gonna get like garroted or something

01:15:52   there wouldn't be anybody she could see

01:15:53   huh that's just yeah anything in a movie

01:15:56   yeah good you know that they feel like

01:15:59   they're they're interconnected

01:16:00   tapestries even outside for the father

01:16:02   franchise as it were I do feel like

01:16:04   sometimes the Goodfellas is very

01:16:05   specifically like here's all the work

01:16:07   that was going on underneath while you

01:16:09   were watching The Godfather right is the

01:16:11   really dirty stuff down here in the

01:16:12   bottom but the bet the best the best

01:16:14   thing about any hit scene the best thing

01:16:16   about any hit scene is how they get the

01:16:18   target to rule you know like right Pesci

01:16:20   going to his get made it don't God every

01:16:23   one of them every hits you know the best

01:16:24   part is you know mo green get a massage

01:16:26   what's happening before I'm looking at

01:16:30   the Oscar nominees for that year and the

01:16:32   other the other best supporting actors

01:16:34   in addition to the three from the

01:16:35   Godfather Part two was Jeff Bridges from

01:16:38   thunderbolt and Lightfoot and amazingly

01:16:41   Fred Astaire for the towering inferno

01:16:45   contemporaries now in the Best Actor

01:16:48   Pacino lost out to Art Carney for a

01:16:51   movie I've never even heard of called

01:16:52   Harry and Tom Cary and Tonto I'm telling

01:16:54   you it's Ed Norton and a cat yeah and an

01:16:57   Albert Finney was nominated Dustin

01:16:59   Hoffman for Lenny and Jack Nicholson

01:17:02   Chinatown of town

01:17:03   Janet Nguyen Chinatown got Godfather -

01:17:06   neither one Chinatown and Godfather -

01:17:09   part of the big comeback of Paramount

01:17:11   which you know at the time of the first

01:17:12   movie they got the the big conglomerate

01:17:14   Gulf Western that had bought Paramount

01:17:16   was just ready to strip-mine the place

01:17:17   and get rid of it and and Robert Evans

01:17:20   is like well we have this book that we

01:17:22   have the rights to and it's it's the

01:17:24   most successful book out there other

01:17:25   than

01:17:26   and the story all right talking about

01:17:27   love story love story I argue that your

01:17:31   ass carnie and a catcher instead one our

01:17:35   carny is cat this is making me so angry

01:17:37   I get so angry at the academy yeah you

01:17:39   know you guys dances the bull this was

01:17:44   like we're we love the Godfather so much

01:17:47   we're gonna do exactly the same and

01:17:48   close the oxr inexplicably to it's not

01:17:52   as fair they lost a skier to dance

01:17:53   evolved which is not a bad movie the

01:17:55   best Oscar for cinematography went to

01:17:57   the towering and the towering burger

01:17:59   special towering inferno over Chinatown

01:18:02   and and the Godfather Part 2 wasn't even

01:18:05   nominated oh my god it was rough I was

01:18:08   just Oso I've been I've been watching

01:18:10   this on the iPad while we've been

01:18:11   talking in the scene with Mama uh I

01:18:16   think never actually officially got a

01:18:18   name that scene with night shift on is

01:18:21   rough I'm just super you doing to your

01:18:24   life don't do it

01:18:26   don't do it oh all right yeah anytime

01:18:29   you get mad about the Academy Awards

01:18:31   John just remember that Roger Deakins

01:18:33   has never 1% of mythography yeah that's

01:18:36   I mean like it's you know these things

01:18:38   like even like a Jacqueline but

01:18:39   Chinatown and stuff like the Oscars

01:18:41   thing is like a unrecognized genius and

01:18:43   you get the apology Oscar later I mean

01:18:45   like Scorsese is a great example you

01:18:47   don't get the Oscar for your best work

01:18:48   you get fee Oscar after your best work

01:18:50   is recognized and I don't know it's not

01:18:53   happening with Deacons like why did I

01:18:55   not had what the system broke down there

01:18:57   what did he lose to for did it's a No

01:19:00   Country for Old Men that's the one word

01:19:02   that wouldn't even been like a make up

01:19:04   that was a beautiful movie I don't know

01:19:06   what he lost to Hill Country for Old Men

01:19:07   2007 Moises I knew you were the one

01:19:12   who's going to answer while you're

01:19:13   looking it up can I just say how we're

01:19:15   gonna hear from he lost a Robert Ellis

01:19:16   Whitford there will be blood oh yeah

01:19:19   good yeah it was a good movie alright

01:19:21   also up in that same year for Best

01:19:24   Director was Francois Truffaut four day

01:19:26   for night which is a remarkably well

01:19:28   directed movie so it what a year for

01:19:30   movies that yeah day for night is

01:19:32   phenomenal yeah but look at

01:19:34   cinematography guys you got inferno you

01:19:38   got Chinatown you got

01:19:39   quake earthquake sir Murder on the

01:19:42   Orient Express just yeah give it up for

01:19:44   Jeffrey Unsworth America just tuning in

01:19:46   brother it's the seventies Wikipedia

01:19:48   page Oscar cast ticka ticka ticka ticka

01:19:51   dee wait a minute wait a minute

01:19:54   they had a category for best on-screen

01:19:55   moustache hold on people were mad people

01:19:59   were super mad when that came out on

01:20:01   blu-ray out like everybody else I gave

01:20:02   your other idiot I bought the two

01:20:05   Godfather movies and the restoration box

01:20:08   set and people were super mad about the

01:20:11   noise people yeah yeah people just a

01:20:14   demonstration online of like this

01:20:15   digital camera aficionado showing you

01:20:18   know he do this thing where it's like

01:20:20   I'm gonna show you a bunch of things

01:20:21   that were shot one of them was on film

01:20:22   and one of them was on digital made to

01:20:24   look like filming you won't be able to

01:20:25   tell the difference and just threw that

01:20:26   in people's faces and like to use it as

01:20:29   an aesthetic like oh the film grain was

01:20:30   a real thing then but you can get the

01:20:32   same look now and like this movie I

01:20:34   think argues for artistically using

01:20:36   digital tools to not to recreate the old

01:20:39   thing in a skeuomorphic kind of way but

01:20:41   just to have that in your bag kind of

01:20:42   like you know when people start going

01:20:43   crazy with film with color grading like

01:20:45   in traffic and everything back in the

01:20:46   day and now every movie like yeah right

01:20:50   oh yeah everything's like luhan's old

01:20:52   yeah to to to not bring back but to have

01:20:57   that as a tool in your toolbox and

01:20:59   you're in your semi tigress toolbox to

01:21:01   decide the look of the movie to have

01:21:02   noise essentially be part of the toolbox

01:21:05   and today it almost seems like we only

01:21:07   use it to make old people feel

01:21:09   comfortable but I think this movie shows

01:21:11   that it can it can provide an aesthetic

01:21:13   that is beautiful on its own with no

01:21:15   reference to the past like you don't

01:21:17   need to know that this was filmed in in

01:21:19   the in the world of HD restorations I am

01:21:21   so glad that the trend of of scrubbing

01:21:24   out as much green from the picture as

01:21:26   possible the works the way of the dodo I

01:21:28   mean it there's a version of Sunset

01:21:30   Boulevard on DVD that is absolutely

01:21:32   atrocious to look at also a version of

01:21:34   Spartacus that that got put on the first

01:21:37   version of Spartacus on blu-ray looks I

01:21:39   mean it looks like moving wax figures

01:21:41   and it's the great restorers now know

01:21:44   that even if they have a denoise portion

01:21:46   of the movie they they actually will

01:21:47   will like clone the film green from

01:21:49   another part of the renoise and renoise

01:21:51   it so it's the not Jay

01:21:53   to grain but the grain from the movie so

01:21:56   that it's all of a kind and that's the

01:21:58   way to do it yeah Marlon no I'm good no

01:22:02   all right well well you know all's gonna

01:22:04   mention was did like oh uh put me there

01:22:11   hi I'm not sure just one more thing I

01:22:15   just you means like you want to keep a

01:22:17   dog in your apartment okay it's a that's

01:22:20   high that time of confusion peak junkie

01:22:22   um no this is a year when two really

01:22:25   amazing directors had arguably two of

01:22:28   their best films I'm just just crossing

01:22:31   through the awards page on Wikipedia

01:22:32   which is never wrong so this is also

01:22:35   like technically the same cycle for

01:22:37   Godfather 2 and the conversation both up

01:22:40   for Best Picture this is also the same

01:22:42   year of Blazing Saddles and Young

01:22:45   Frankenstein 1974 is a tremendously

01:22:48   underrated year of movies a lot of

01:22:51   people like to go oh yeah there were

01:22:52   like four or five really great movies in

01:22:53   the 70s 74 in particular is there

01:22:58   they're these that everybody knows

01:23:00   really well and then I you know I could

01:23:01   do what's uh what's taking a Pelham one

01:23:04   two three

01:23:04   that's 1975 when was I born

01:23:08   Oh No no an earthquake what year was

01:23:12   earthquake the towering inferno

01:23:14   oh god what are you around you guys

01:23:16   Airport 75 strangely enough 74 I'm not

01:23:21   kidding I have no way right I don't I

01:23:25   don't understand how the conversation

01:23:28   and this movie could come out in the

01:23:29   same year

01:23:30   yeah I like that way about no books

01:23:33   movies were like this okay to such

01:23:35   accomplished like canonical and

01:23:38   completely different like like just

01:23:42   mastery of modern comedy in the same

01:23:44   year

01:23:44   unbelieva but same your Sugarland

01:23:47   Express Lenny Wow um that's good death

01:23:50   wish

01:23:51   yeah head of Alfredo Garcia airport 75

01:23:54   I'm telling you parallax mutant parallax

01:23:57   view oh that's a good one and with a

01:23:58   paradise phantom of the paradise Oh NYX

01:24:02   Phoenix