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[00:00:00] (music)
[00:00:21] Puckus closely now!
[00:00:23] (giggles)
[00:00:25] Puckus closely now!
[00:00:27] (giggles)
[00:00:29] You got more?
[00:00:31] I mean, the song pretty much those two lyrics are...
[00:00:33] (giggles)
[00:00:34] I got close right now!
[00:00:35] I thought it was great!
[00:00:37] I mean, cause it was the...
[00:00:39] Podcast...
[00:00:41] Soft as an easy chair.
[00:00:44] That's alright.
[00:00:45] That's right!
[00:00:46] I just passed.
[00:00:47] Fresh as the morning air.
[00:00:50] Mm-hmm.
[00:00:51] I feel very embarrassed doing this in front of you.
[00:00:53] Love is said a lot in this song.
[00:00:55] You could just... you could sub in the Word Podcast for...
[00:00:58] No!
[00:00:59] What I was gonna do was just...
[00:01:00] You can trash your podcast, but you're not gonna trash mine.
[00:01:03] Okay.
[00:01:04] There you go!
[00:01:05] But all of that life...
[00:01:06] That's pretty good.
[00:01:07] Yeah, yeah.
[00:01:08] That's a big line.
[00:01:09] That is kind of the big line.
[00:01:10] In 1976 as a star is born...
[00:01:14] The third out of four films in the storage stars born franchise.
[00:01:18] Sure.
[00:01:19] Yeah.
[00:01:20] I guess so.
[00:01:21] Yeah.
[00:01:22] It's one of the greatest events out there.
[00:01:23] Yeah.
[00:01:25] ASIB CU.
[00:01:26] Yup, PSIBC.
[00:01:27] I want to like pick our theory and...
[00:01:29] The starbirth CU.
[00:01:30] The starbirth cinematic universe.
[00:01:33] Uh-huh.
[00:01:34] I want to pick our theory and argue that they all take place in this same universe.
[00:01:38] In a way.
[00:01:39] Like this is a curse that gets passed on.
[00:01:41] Well that's something Judy Garland exists in the...
[00:01:44] In the Lady Gaga one because she sings somewhere over the rainbow.
[00:01:47] Right.
[00:01:48] That's true.
[00:01:49] That's fascinating.
[00:01:50] So, you know, she was never Esther.
[00:01:51] She was Judy.
[00:01:52] Yeah.
[00:01:53] Right.
[00:01:54] I had never seen this film before.
[00:01:56] Oh.
[00:01:57] We cover...
[00:01:58] You'd never seen this one before, sure.
[00:01:59] Yeah.
[00:02:00] We cover the Bradley Cooper movie on this podcast.
[00:02:02] Blanchack with Griffin and David.
[00:02:03] I'm Griffin.
[00:02:04] Don't do it.
[00:02:05] Podcasts, biophomography, directors who have massive success early on.
[00:02:07] Their career is a big fan of Blanchack's makeup, whatever crazy passion products they want.
[00:02:10] Sometimes those texts clear.
[00:02:11] Sometimes they bounce baby.
[00:02:12] We covered Bradley Cooper's stars born.
[00:02:13] Because we felt like that was...
[00:02:16] A director's career being born.
[00:02:18] Yes.
[00:02:19] Yeah.
[00:02:20] 100%.
[00:02:21] That's not true.
[00:02:22] I'm not a fan of Blanchack's poetry.
[00:02:23] I'm sorry.
[00:02:24] I am a fan of Blanchack.
[00:02:25] I'm sorry.
[00:02:26] I'm a fan of Blanchack.
[00:02:27] I'm a fan of Blanchack.
[00:02:28] I'm a fan of Blanchack.
[00:02:29] I'm a fan of Blanchack's.
[00:02:30] It was a really fun show.
[00:02:31] It was a very fun show.
[00:02:32] It was a really fun show.
[00:02:33] I'm a fan of Blanchack.
[00:02:34] Oh.
[00:02:35] It's a really fun show.
[00:02:36] Pretty fun show.
[00:02:37] I would love to see what I think.
[00:02:38] I'm a fan of Blanchack.
[00:02:39] Oh.
[00:02:40] Well, it's a great show.
[00:02:41] I'm a fan of Blanchack.
[00:02:42] A fan of Blanchack.
[00:02:43] Oh.
[00:02:44] I'm a fan of Blanchack's research.
[00:02:45] I'm a fan of Blanchack's research.
[00:02:52] I'm a fan of Blanchack's research.
[00:02:55] I'm a fan of Blanchack's research.
[00:02:58] I'm a fan of Blanchack's research.
[00:03:00] I'm a fan of Blanchack's research.
[00:03:02] I'm a fan of Blanchack's research.
[00:03:03] I'm a fan of Blanchack's research.
[00:03:04] I'm a fan of Blanchack's research.
[00:03:05] I'm a fan of Blanchack's research.
[00:03:06] I'm a fan of Blanchack's research.
[00:03:07] I'm a fan of Blanchack's research.
[00:03:08] I'm a fan of Blanchack's research.
[00:03:09] I'm a fan of Blanchack's research.
[00:03:10] I'm a fan of Blanchack's research.
[00:03:11] I'm a fan of Blanchack's research.
[00:03:12] I'm a fan of Blanchack's research.
[00:03:13] I'm a fan of Blanchack's research.
[00:03:15] I'm a fan of Blanchack's research.
[00:03:17] I'm a fan of Blanchack's research.
[00:03:18] I'm a fan of Blanchack's research.
[00:03:19] I'm a fan of Blanchack's research.
[00:03:20] I'm a fan of Blanchack's research.
[00:03:21] I'm a fan of Blanchack's research.
[00:03:22] I'm a fan of Blanchack's research.
[00:03:23] I'm a fan of Blanchack's research.
[00:03:24] I'm a fan of Blanchack's research.
[00:03:25] I'm a fan of Blanchack's research.
[00:03:26] I'm a fan of Blanchack's research.
[00:03:27] I'm a fan of Blanchack's research.
[00:03:28] I'm a fan of Blanchack's research.
[00:03:29] I'm a fan of Blanchack's research.
[00:03:30] I'm a fan of Blanchack's research.
[00:03:31] I'm a fan of Blanchack's research.
[00:03:38] I'm a fan of Blanchack's research.
[00:03:41] I'm a fan of Blanchack's research.
[00:03:46] I'm a fan of Blanchack's research.
[00:03:51] I'm a fan of Blanchack's research.
[00:03:58] I'm a fan of Blanchack's research.
[00:04:02] I'm a fan of Blanchack's research.
[00:04:05] I'm a fan of Blanchack's research.
[00:04:07] I'm a fan of Blanchack's research.
[00:04:11] I'm a fan of Blanchack's research.
[00:04:13] I'm a fan of Blanchack's research.
[00:04:15] I'm a fan of Blanchack's research.
[00:04:19] I'm a fan of Blanchack's research.
[00:04:21] I'm a fan of Blanchack's research.
[00:04:23] I'm a fan of Blanchack's research.
[00:04:25] I'm a fan of Blanchack's research.
[00:04:27] I'm a fan of Blanchack's research.
[00:04:30] I'm a fan of Blanchack's research.
[00:04:32] He's a fan of Blanchack's research.
[00:04:35] I'm a fan of Blanchack's research.
[00:04:38] I'm a fan of Blanchack's research.
[00:04:41] I'm a fan of Blanchack's research.
[00:04:44] I'm a fan of Blanchack's research.
[00:04:47] I'm a fan of Blanchack's research.
[00:04:51] I'm a fan of Blanchack's research.
[00:04:54] I'm a fan of Blanchack's research.
[00:04:58] I'm a fan of Blanchack's research.
[00:05:00] I'm a fan of Blanchack's research.
[00:05:02] I'm a fan of Blanchack's research.
[00:05:11] I'm a fan of Blanchack's research.
[00:05:13] I'm a fan of Blanchack's research.
[00:05:16] I'm a fan of Blanchack's research.
[00:05:19] I'm a fan of Blanchack's research.
[00:05:22] I'm a fan of Blanchack's research.
[00:05:26] I'm a fan of Blanchack's research.
[00:05:30] I'm a fan of Blanchack's research.
[00:05:33] I'm a fan of Blanchack's research.
[00:05:41] I have a fan of Blanchack's research.
[00:05:43] I'm a fan of Blanchack's research.
[00:05:46] I have a fan of Blanchack's research.
[00:05:49] I have a fan of Blanchack's research.
[00:05:51] He is.
[00:05:52] He's the fan of Blanchack's research.
[00:05:53] I'm a fan of Blanchack's research.
[00:05:54] He's the fan of Blanchack's research.
[00:05:55] I'm a fan of Blanchack's research.
[00:05:57] He is.
[00:05:58] I'm a fan of Blanchack's research.
[00:05:59] I'm a fan of Blanchack's research.
[00:06:00] Don't disturb Lenny.
[00:06:01] Yeah.
[00:06:02] This is the start.
[00:06:03] I'm going to go.
[00:06:04] I'm going to go back.
[00:06:05] I'm going to go back.
[00:06:06] I'm going to go back.
[00:06:07] Don't disturb Lenny.
[00:06:08] Yeah.
[00:06:09] This is the start.
[00:06:10] I'm going to go back.
[00:06:11] I'm going to go back.
[00:06:12] This is the start.
[00:06:13] I'm going to go back.
[00:06:14] Do you think that's what Kristofferson thinks?
[00:06:15] I'm going to go back.
[00:06:16] This is a new mini series on the films of Barbara Streisand.
[00:06:20] It sure is.
[00:06:22] And we are not discussed with the name of this mini series.
[00:06:26] Oh my God.
[00:06:27] That's a good point.
[00:06:28] Wait, you guys haven't, or you haven't told anybody.
[00:06:30] We haven't.
[00:06:31] I feel like we had one conversation.
[00:06:32] I have my pitch.
[00:06:33] The podcast has two faces.
[00:06:34] Because let's say, our guests today return to the show and first time IRL, first time
[00:06:39] IRL.
[00:06:40] Thank God.
[00:06:41] This is a dang pandemic.
[00:06:42] I was definitely over.
[00:06:43] Well, I was also, I was in London last time.
[00:06:44] You were in London.
[00:06:45] I would just never would have been able to make it.
[00:06:46] I was making a movie.
[00:06:47] I was making a movie.
[00:06:48] A movie?
[00:06:49] Oh, right.
[00:06:50] We can't talk about it.
[00:06:51] I don't think I can name it.
[00:06:52] Sorry.
[00:06:53] Sorry.
[00:06:54] Sorry.
[00:06:55] But our guests, they return to the show dang ass movie star Rachel Zagler.
[00:06:57] Hey, Rachel.
[00:06:58] Now we are recording this very far in advance of when it will come out because you're a
[00:07:02] busy movie star.
[00:07:03] It's true.
[00:07:04] There is currently two strikes going on.
[00:07:05] So I'm not so busy.
[00:07:07] So let's get this recorded while we can.
[00:07:10] Who knows when the Hollywood factory starts up again.
[00:07:14] But it means because we're recording this further in advance.
[00:07:16] We have not really discussed the name of the miniseries.
[00:07:20] Sure.
[00:07:21] Now Barbara Streis and the person we're talking about only directed three proper movies.
[00:07:25] We're including this.
[00:07:26] A star is born as the first in the series because she was kind of the main authorial
[00:07:31] person had followed right now.
[00:07:33] She had final cut producer, I mean, she was everything.
[00:07:37] It is one of the only cases where final cut was granted to someone who was not the director.
[00:07:43] Sure.
[00:07:44] She and we're never look, I like Frank Pearson as a director actually.
[00:07:48] You look as a director?
[00:07:49] I do.
[00:07:50] I like that as a writer.
[00:07:51] Obviously, I like him as a writer as well, but he directed a lot of good TV movies in
[00:07:54] the 90s and 2000s, but yeah, we're never doing a Frank Pearson series.
[00:07:58] No.
[00:07:59] And he infamously when this movie came out, like a couple weeks before it came out, wrote
[00:08:05] an article for New York Magazine just trashing the movie and talking about what a nightmare
[00:08:10] he had working with her and what a control freak she was.
[00:08:13] No.
[00:08:14] And she kind of was, she went nuclear on him, unsurprisingly.
[00:08:18] Good for her.
[00:08:19] But his article was sort of like, they wouldn't let me direct and her response was like, because
[00:08:24] you didn't know what the fuck you were.
[00:08:25] You can't direct yourself out of a paper bag.
[00:08:27] And even now still when this movie gets re-released or the repp screening, she is the one who goes
[00:08:32] and talks about it.
[00:08:33] And she talks about it very much with the voice of someone who directed.
[00:08:36] Which I think she kind of largely did.
[00:08:39] It's very telling that she and Kristofferson are still very good friends.
[00:08:44] She considers him like one of the best people she's ever shared screen with.
[00:08:47] And I think in 2019, they sang Evergreen together.
[00:08:51] No.
[00:08:52] Still keep it on stage.
[00:08:53] Yeah.
[00:08:54] It's like a real thing that they're still buddy-buddy.
[00:08:58] And I think that's really telling in the grand scheme of something is that if your co-lead
[00:09:02] is still, then yeah.
[00:09:04] I found a feeling they probably see eye to eye about the Frank Pearson series.
[00:09:07] This was the first John Peters production.
[00:09:10] So it's her coming in with a lot more power because they have this United front, the two
[00:09:15] of them together.
[00:09:16] I hear you.
[00:09:17] But what's the name of the movie series?
[00:09:18] The movie series.
[00:09:19] I'm sure.
[00:09:20] So here's the point.
[00:09:21] Yeah.
[00:09:22] I'm going to say I think it can't be called a pod is cast because she didn't technically
[00:09:24] direct it.
[00:09:25] It's also a little brawn.
[00:09:26] Right.
[00:09:27] So then we're down to three.
[00:09:28] Okay.
[00:09:29] You can't do anything with the end tool.
[00:09:30] Well, well, of course you can.
[00:09:32] Can I pitch it?
[00:09:33] All right.
[00:09:34] Go ahead.
[00:09:35] Podcasts.
[00:09:36] I like it.
[00:09:37] Honestly, I love that.
[00:09:39] Yes.
[00:09:40] I'm I'm, I'm, I'm totally into that.
[00:09:41] Cause the other two options are.
[00:09:43] Podbabs.
[00:09:44] Podbabs.
[00:09:45] Podbabs, podcast.
[00:09:46] Pod, podra.
[00:09:47] Strice cast.
[00:09:48] We used to do bar pod cast.
[00:09:52] That used to be our predecessor, Rachel, the first like year.
[00:09:56] That's what we would do.
[00:09:57] We'd be like, we'll fit into the name of the person.
[00:09:58] Cause we, what was the Fosse one?
[00:10:00] Fosse was.
[00:10:01] Was called hot that jazz cast.
[00:10:03] Yeah, pod that jazz cast.
[00:10:05] Yeah.
[00:10:06] Yeah, that's good.
[00:10:07] That's good.
[00:10:08] But we used to be like pod night chama cast.
[00:10:10] Yeah.
[00:10:11] The Wachowski podcast.
[00:10:13] Yeah.
[00:10:14] The pod house.
[00:10:15] The casters.
[00:10:16] Yeah.
[00:10:17] Then we gave up on that.
[00:10:18] Okay.
[00:10:19] So you know, our only other options are the prints of or the podcast of tides, yeah, something
[00:10:23] like that or the podcast has two.
[00:10:26] Podcasts.
[00:10:27] Those good.
[00:10:28] No, I do it.
[00:10:30] The only other argument.
[00:10:31] No, don't talk me out of it.
[00:10:32] You talk me into it.
[00:10:33] The podcast has two friends.
[00:10:35] Yeah, but then we're kind of far from whatever we were doing, right?
[00:10:39] People call us the two friends.
[00:10:41] It's a competitive advantage.
[00:10:42] We're the only friends who goes to podcast together.
[00:10:45] And I like the insinuation that we are not part of friendship.
[00:10:48] Well, then you're a producer, you're a friend, you're a friend.
[00:10:50] You're a friend.
[00:10:51] There are.
[00:10:52] We're talking about titles.
[00:10:53] Podcasts.
[00:10:54] Two friends.
[00:10:55] If we're the side friends.
[00:10:56] The best friends that anyway, give him.
[00:10:58] Exactly.
[00:10:59] Honestly, Lenny and I are the now of the two new friends.
[00:11:01] Okay.
[00:11:02] So now I'm the one who gets completely extra.
[00:11:05] You're a dear friend.
[00:11:06] Oh, thanks.
[00:11:07] And thank you for coming on the show.
[00:11:08] I'm very happy to be here.
[00:11:09] I'm so happy to have you here.
[00:11:11] Are you comfortable telling me the thing you texted me the other day?
[00:11:15] What did I text you the other day?
[00:11:17] About a connection you forgot you had.
[00:11:19] Oh, yes.
[00:11:20] To the subject.
[00:11:21] Oh, yes.
[00:11:22] I and I brought a picture of it.
[00:11:24] Did I send it to you?
[00:11:25] You.
[00:11:26] Or did I just text you about it?
[00:11:27] You texted me about it.
[00:11:28] You didn't send it to me.
[00:11:29] So when I was out in, I was out in Atlanta and I was shooting a movie in 2021.
[00:11:33] We'll not be next.
[00:11:34] We'll not.
[00:11:35] The movie will not be named not that anybody saw it.
[00:11:37] Anyways, Solidarity, baby, I know right.
[00:11:42] Jesus.
[00:11:43] That would be great.
[00:11:44] I was shooting a movie in Atlanta and I got a box in the mail.
[00:11:50] It was, you know, it said it was from Barbara Streisand.
[00:11:52] It just said it.
[00:11:53] It was just like, yeah, it said like Streisand something on it.
[00:11:56] And I was like, okay, one, two, three Barbara Lane and I was like, this is interesting.
[00:12:03] She had come out with an album.
[00:12:05] It came with like a little notebook that had her face on it.
[00:12:08] And like the actual album and a hoodie that had like very Andy Warhol-esque pictures of
[00:12:15] her face and like.
[00:12:16] So at this point opening the box, you just think maybe like I'm on a list of like an
[00:12:19] influencer PR list.
[00:12:21] It's probably like whatever label she's with.
[00:12:23] Sure.
[00:12:24] Has a list of people because I would get boxes from, you know, my friend, it is that.
[00:12:27] It is that.
[00:12:28] It is that cover.
[00:12:29] Yeah.
[00:12:30] Yeah.
[00:12:31] And there was this little note card, little note card in the notebook.
[00:12:37] Okay.
[00:12:38] And it said R dash and then in like a gold embossed said with compliments from B like in handwriting.
[00:12:50] Very classy to just do initials.
[00:12:52] Yeah.
[00:12:53] Oh, I and I, there was a video that I took of me being like, there's no way.
[00:12:58] There's no way.
[00:12:59] Like on the Today show because I tweeted it out and people were like, watch Rachel's
[00:13:03] regular loser, God damn mind over barbershard but this, this is it.
[00:13:07] It says with compliments, look at that.
[00:13:10] Do you have it like framed?
[00:13:11] It is in.
[00:13:12] Yeah.
[00:13:13] It is framed in my my childhood home in Jersey right now because I'm in the middle of moving,
[00:13:19] but yeah, this is the craziest fucking thing that's ever happened to me genuinely, and
[00:13:23] I've had some crazy shit happen to me.
[00:13:24] But this is like, I don't even know how she knows who I genuinely.
[00:13:27] Right.
[00:13:28] That's the question.
[00:13:29] Get on this list, whatever it is.
[00:13:30] The note is in and of itself an emission of like I'm aware.
[00:13:34] Yeah.
[00:13:35] It's her saying, I'm noticing, I'm watching.
[00:13:37] I will say the only thing I could think of was that there was like a video of me during
[00:13:42] the pandemic that went semi viral before the movie had come out.
[00:13:46] The movie, my first movie had never come out.
[00:13:48] It had not come out yet.
[00:13:49] It had gotten pushed because of the pandemic.
[00:13:52] So this really is crazy.
[00:13:53] It was really wild.
[00:13:54] And the only thing I could think of was I had a video of me singing my man from Funny
[00:13:57] Girl.
[00:13:58] I did it on Twitter.
[00:13:59] Yeah.
[00:14:00] That didn't do crazy.
[00:14:01] It didn't do my stars, more numbers, but it was...
[00:14:03] Is that the one where you're showing like yelling to the back of the room?
[00:14:06] That's shallow.
[00:14:07] That's shallow.
[00:14:08] Okay, that's like.
[00:14:09] That's dark.
[00:14:10] I did like my man sitting in my bathroom wearing like leggings and a t-shirt and I was just
[00:14:14] singing in my bathroom, which I always was doing, but that was the only thing.
[00:14:18] I feel like I saw you do that, like a monkey.
[00:14:20] I'm still doing it.
[00:14:21] Yeah.
[00:14:22] The strike has been long with.
[00:14:24] Yeah.
[00:14:25] It's just, it was so crazy and I remember going over to my friend's house that night
[00:14:30] and nobody cared as much as I did.
[00:14:32] I was like, guys, you don't understand.
[00:14:36] It's-
[00:14:37] She's not the more famous people of the 20th century.
[00:14:40] Yeah.
[00:14:41] It's still with us obviously.
[00:14:42] But it's like as a musical theater kid.
[00:14:44] Yeah, exactly.
[00:14:45] She's not.
[00:14:46] She's the top of the pyramid.
[00:14:48] I didn't want to stereotype, right?
[00:14:50] Yeah.
[00:14:51] But I texted you and I was just like, FYI, we're doing Barbara Streisand.
[00:14:54] Yeah.
[00:14:55] She might be interested.
[00:14:56] I think I was-
[00:14:57] Jumped on it.
[00:14:58] You did.
[00:14:59] Right.
[00:15:00] We were in the room when you texted her and you replied in like five seconds.
[00:15:01] Yes.
[00:15:02] Yes.
[00:15:03] I'm done.
[00:15:04] That's just how I replied to Griffin.
[00:15:05] But she's cool.
[00:15:06] But she's like, she's particularly important for you.
[00:15:08] Absolutely.
[00:15:09] Right.
[00:15:10] And I would say to everyone who grew up the way I did, she was very important.
[00:15:15] And she was, I mean, and that's why it was really nice to, I've obviously seen this movie
[00:15:18] in particular so many times.
[00:15:21] Interesting.
[00:15:22] But I hadn't revisited it in a while.
[00:15:24] And watching it being like, I can't believe this woman knows who I am was crazy.
[00:15:28] That is amazing.
[00:15:29] Also, Lenny was not a fan of the movie.
[00:15:31] Interesting.
[00:15:32] Lenny was put along.
[00:15:33] Would bark.
[00:15:34] Yeah.
[00:15:35] Whenever she sang.
[00:15:36] Oh well.
[00:15:37] Okay.
[00:15:38] And I was gonna say, Lenny Bernstein was not okay with this movie.
[00:15:41] It's plausible.
[00:15:42] Yeah.
[00:15:43] Maybe not.
[00:15:44] I have a video of it that I will show you guys of him just being absolutely angry at
[00:15:46] Barbara Streisand being on screen.
[00:15:48] No son of mine.
[00:15:49] Let me tell you-
[00:15:50] Maybe you was angry because you won a Kristoff or something.
[00:15:51] He was like, I'm tired.
[00:15:52] He's the guy's guy.
[00:15:54] Yeah, yeah.
[00:15:55] Lenny's not true.
[00:15:56] And Barbara has curly hair.
[00:15:57] True.
[00:15:58] In this movie, maybe he was just like, yeah, agitated.
[00:16:00] Like, who's this?
[00:16:02] Yeah.
[00:16:03] You know?
[00:16:04] He's this curly hair brand.
[00:16:05] But I'll figure one.
[00:16:06] What!
[00:16:07] And there.
[00:16:08] Oh, gosh.
[00:16:09] Okay.
[00:16:10] Podcastel.
[00:16:11] A miniserys on Friends of Barbara Streisand that starts out with this film.
[00:16:15] Then I'd say the experience of making this film is the thing that pushes her to say,
[00:16:20] "I need to start directing my own stuff."
[00:16:22] Which is just not something that someone like her did back then.
[00:16:26] That's why she's such a classic blank chat candidate, obviously.
[00:16:29] Yes.
[00:16:30] And just a major Otter, even though she didn't direct a lot of movies.
[00:16:33] No.
[00:16:34] And she's, you know, much like Warren Beatty, she's one of those people where she continues
[00:16:37] to threaten to make another film.
[00:16:39] We would love to see it.
[00:16:41] I like the word threaten is funny.
[00:16:42] Well, Warren finally did make rules don't apply.
[00:16:46] A film to which no rules apply.
[00:16:48] Yeah.
[00:16:49] Only like five years will be like, "I'm actually pretty close to doing this."
[00:16:52] And it'll be similar where it's like, "I'm doing readings of this."
[00:16:56] "I've been talking to this actor about doing stuff.
[00:16:58] I actually want to film this in six months."
[00:17:00] Guys, maybe the note that she sent me was just her saying she was really interested in
[00:17:04] me being the star of her next film.
[00:17:06] Right.
[00:17:07] I mean, do you remember like 10 years ago she got the rights to Gypsy.
[00:17:10] Yeah.
[00:17:11] And was like, "I'm going to make it soon."
[00:17:13] Which she would have to, and she would be good.
[00:17:15] Yes.
[00:17:16] Which I guess Steven did the same thing with.
[00:17:18] Yep.
[00:17:19] With a certain movie.
[00:17:20] With a different movie.
[00:17:22] Yes.
[00:17:23] And with a lot of his movies.
[00:17:24] Yeah.
[00:17:25] He said some stuff.
[00:17:26] Ten years is soon.
[00:17:27] Yeah.
[00:17:28] So, we have to get the biggest thing out of the way.
[00:17:31] We have to.
[00:17:32] Okay.
[00:17:33] Barbra Streisand has my birthday.
[00:17:34] We have this birthday.
[00:17:35] What?
[00:17:36] She's my celebrity birthday.
[00:17:37] She's kind of the only one.
[00:17:38] And when is this birthday?
[00:17:40] April 24th.
[00:17:41] Oh my god.
[00:17:42] It's Taurus.
[00:17:43] Me too.
[00:17:44] Yeah.
[00:17:45] Oh, really?
[00:17:46] Me third, baby.
[00:17:47] Hello.
[00:17:48] There we go.
[00:17:49] Not a lot of celebrities have my birthday.
[00:17:51] Barbra is really the only big one I have.
[00:17:54] Jimun Honsu.
[00:17:55] My good friends.
[00:17:56] That was good.
[00:17:57] I just Googled a wizard himself.
[00:18:00] Diamond's the best.
[00:18:01] The wizard himself.
[00:18:02] We love diamonds.
[00:18:03] Cedric the Entertainer.
[00:18:04] What the fuck you talking about your own birthday?
[00:18:07] Great.
[00:18:08] You got a good birthday.
[00:18:09] Oh, this one's good.
[00:18:10] I didn't know this one.
[00:18:11] Kelly Clarkson.
[00:18:12] Oh my gosh.
[00:18:13] Legend.
[00:18:14] Waiting for her Broadway debut.
[00:18:16] My birthday is Benicio Del Toro.
[00:18:18] Nice.
[00:18:19] Jeff Daniels.
[00:18:20] Nice.
[00:18:21] Seal.
[00:18:22] Nice.
[00:18:23] Victoria Justice.
[00:18:24] Okay.
[00:18:25] Who you were once in a movie with.
[00:18:26] I was.
[00:18:27] Whoa.
[00:18:28] Yeah.
[00:18:29] Yeah.
[00:18:30] He was on a No Kiss list.
[00:18:31] Oh my gosh.
[00:18:32] Right?
[00:18:33] That's the movie you were in with.
[00:18:34] No, the joke is that I'm not on the list because they're like, who even cares about it?
[00:18:36] Oh, why you didn't make the No Kiss list?
[00:18:37] No.
[00:18:38] She kisses me and that turns out to be a prank.
[00:18:39] Me third.
[00:18:40] That's so evil.
[00:18:41] It was.
[00:18:42] Me third?
[00:18:43] Yeah.
[00:18:44] Who's Me third?
[00:18:45] Oh, I'm in.
[00:18:47] Frankie Valley.
[00:18:48] Nice.
[00:18:49] Just a Jersey legend.
[00:18:50] Yeah.
[00:18:51] I'm a Gamestrel.
[00:18:52] Try state legends over here.
[00:18:53] Christina Hendricks.
[00:18:54] Christina Hendricks.
[00:18:55] Cool.
[00:18:56] You know, I'm not James Brown.
[00:18:58] That's cool.
[00:18:59] Oh, huge.
[00:19:00] Bing Crosby.
[00:19:01] Amy Ryan.
[00:19:02] Love Amy Ryan.
[00:19:03] Yeah, me too.
[00:19:04] I don't want...
[00:19:05] Tiffy Amberteason.
[00:19:06] I don't like that I didn't come up when I googled.
[00:19:08] Yeah.
[00:19:09] You should be coming up.
[00:19:10] What the hell is this junk list?
[00:19:11] I need everybody listening to go boost me on famous birthdays.
[00:19:14] Oh, but your number one on the website famous birthday.
[00:19:17] Hey.
[00:19:18] Yes, look.
[00:19:19] Look at you.
[00:19:20] There you are.
[00:19:21] Oh my God.
[00:19:22] Everybody did boost me.
[00:19:23] You're right.
[00:19:24] You're way ahead of, you know, YouTube star Danny Aaron's.
[00:19:27] This is weird.
[00:19:28] I'm looking this up.
[00:19:29] Ben.
[00:19:30] Producer Ben shares a birthday with Mud.
[00:19:33] Who do?
[00:19:34] When is that birthday?
[00:19:35] Crime.
[00:19:36] Crime?
[00:19:37] Yeah.
[00:19:38] What else?
[00:19:39] The sound of motorcycle tires.
[00:19:41] Shotless dude.
[00:19:42] Oh my God.
[00:19:43] Oh my God.
[00:19:45] Okay.
[00:19:46] Oh my God.
[00:19:47] Do you all know where Barbara Streisand was born?
[00:19:50] Brooklyn.
[00:19:51] She's a Brooklyn girl.
[00:19:52] No way.
[00:19:53] She's from East Flatbush.
[00:19:54] Erasmus High School where my grandmother went.
[00:19:57] No way.
[00:19:58] My grandmother always points out that, of course, Barbara is much younger than her, which is
[00:20:02] big growth.
[00:20:03] My grandmother's part.
[00:20:04] Nice.
[00:20:05] Did she not always do that?
[00:20:06] No.
[00:20:07] She had false documents for a very long time.
[00:20:08] You're lying.
[00:20:09] But she...
[00:20:10] And so was she.
[00:20:11] Her passport was full of lies.
[00:20:13] The highest level of document, but she now finally admits whenever I say, well, of course,
[00:20:17] you and Barbara high schooled again.
[00:20:18] But I was there years before.
[00:20:19] Erasmus, of course, no longer exists.
[00:20:22] Yeah.
[00:20:23] So the building still exists.
[00:20:24] Oh my goodness.
[00:20:25] But yeah.
[00:20:26] She's a Brooklyn gal.
[00:20:27] Brooklyn gal from East Flatbush.
[00:20:29] And then I think when she was quite young, her parents left Brooklyn, and her father died
[00:20:37] on like a hike.
[00:20:38] He like fell on a hike and hit his head and died when she was like one year old.
[00:20:44] This is why I stay in New York City.
[00:20:46] Yeah, it's why you don't know hikes.
[00:20:48] No hikes.
[00:20:49] So she, then they have to move back to Brooklyn.
[00:20:51] They live in Williamsburg.
[00:20:54] I know.
[00:20:55] Pretty cool.
[00:20:56] Okay.
[00:20:57] I just really, I'm sorry.
[00:20:58] I just need to say this, the building that I lived in and Crown Heights.
[00:21:02] It was the...
[00:21:03] The Brooklyn Jewish family.
[00:21:04] ... formerly known as the Brooklyn Jewish hospital.
[00:21:05] That is the hospital that Barbara Streisand was born.
[00:21:08] That is the hospital, my grandmother, and Grady.
[00:21:10] And it was built on your birthday.
[00:21:12] And it was built on my damn birthday.
[00:21:14] My grandmother.
[00:21:15] At least -- Ben's building.
[00:21:16] Your birthday!
[00:21:17] My grandma.
[00:21:18] My idols, no card.
[00:21:19] My best friend.
[00:21:21] Yes.
[00:21:22] My, uh, yeah, we recorded at least one buying check at the Brooklyn Jewish hospital.
[00:21:27] Yeah.
[00:21:28] Do you remember?
[00:21:29] Yeah.
[00:21:30] I remember when your girlfriend would just sit in the bed and watch us because there was
[00:21:32] nowhere to go?
[00:21:33] It's a tiny apartment.
[00:21:34] There you go.
[00:21:35] Hey.
[00:21:36] You've got to do what you've got to do.
[00:21:37] We've got to do what we had to do.
[00:21:39] So they moved to Williamsburg.
[00:21:40] Very hard.
[00:21:41] They moved back to Williamsburg.
[00:21:42] Apparently she was sort of in Barbara, was in poor health when she was a kid underweight,
[00:21:47] a lot of ear infections, bronchitis.
[00:21:49] She was sent to a health camp in upstate New York when she was a kid.
[00:21:55] And then...
[00:21:56] That sounds like the most depressing thing.
[00:21:58] It seems like it was traumatic.
[00:21:59] Health camp, yes.
[00:22:00] I'm going to health camp.
[00:22:01] Well, they probably just scrubbed you, or I don't know what they did.
[00:22:05] And when she returned from health camp, her mother Diana had met her next husband, Louis
[00:22:10] Kind.
[00:22:11] Okay.
[00:22:12] This is from the dossier.
[00:22:13] So this is JJ's judgment of her.
[00:22:14] The financially unsound son of a tailor, who veered into real estate, selling used cars,
[00:22:20] gambling and other vices.
[00:22:22] So Barbara has a bunch of half-siblings from this second marriage and doesn't like him.
[00:22:32] He's bad.
[00:22:33] He eventually abandons the family when she's 14 years old.
[00:22:34] Was she the only child of her parents?
[00:22:37] Yes.
[00:22:38] Okay.
[00:22:39] So, you know, just try and think of like young Jewish girl in Brooklyn, kind of a shitty
[00:22:42] life, right?
[00:22:44] Mm-hmm.
[00:22:45] Dreaming of musicals.
[00:22:46] Like, it's like, it's very storybook in a way.
[00:22:48] Yes.
[00:22:49] Like, she loves, like, singing in the rain, right?
[00:22:51] She just wants to be in movies, same, yes.
[00:22:54] Yeah.
[00:22:55] In a way, we are all Barbara.
[00:22:56] Yeah.
[00:22:57] Well, Barbara's just got that thing where it's like, I didn't know any of this information,
[00:23:02] right?
[00:23:03] Everything you were saying just fits into my conception of her, where it's just like,
[00:23:06] she is one of those people you can point to in the history of popular entertainment,
[00:23:10] where you're just like, inevitable.
[00:23:12] Yeah.
[00:23:13] Destined, right?
[00:23:14] Yeah.
[00:23:15] You know, she's quote unquote, like, not conventionally attractive, right?
[00:23:18] Like, you know, like, people make fun of her.
[00:23:20] She's got a big nose, like, whatever.
[00:23:22] But that's so much of it.
[00:23:23] Where it was just like, on paper, you know, this is not the thing that the studios go for.
[00:23:27] She doesn't fit the particular mode, but just like, undeniable, touched with greatness,
[00:23:32] talent, and just this sense of like purpose and clarity of what she was working towards.
[00:23:38] Went to her as this high was in the coral club.
[00:23:40] Never did the school plays or her justification quote, "Why go out for an amateurish high school
[00:23:45] production when you can do the real thing."
[00:23:47] This is what I'm saying.
[00:23:48] Like, she knew.
[00:23:49] It's not.
[00:23:50] That's a real quote from her biography.
[00:23:51] My senior quote.
[00:23:52] Yeah.
[00:23:53] You did high school plays.
[00:23:54] I said I was in all four years of my high school musicals.
[00:23:56] Right.
[00:23:57] Wait, what were your four high school musicals?
[00:23:58] I was in, I was Bell and Beauty and the Beast.
[00:24:00] How'd I go?
[00:24:01] It was Ariel and The Little Mermaid.
[00:24:02] Jesus.
[00:24:03] I was Dorothy Brock in 42nd Street.
[00:24:05] Oh, that's a show.
[00:24:06] And then I was Fiona and Trek the musical, famously.
[00:24:08] Yes.
[00:24:09] That I knew you were.
[00:24:10] That made it onto Graham Norton.
[00:24:12] Yes.
[00:24:13] I knew you were.
[00:24:14] God, I was so embarrassed.
[00:24:15] No, that's what you mean.
[00:24:16] That's what Graham Norton was there for.
[00:24:17] They just showed like the picture of me with like the big fuckin green nose on in front
[00:24:21] of Kenneth Branagh.
[00:24:22] No, Rachel.
[00:24:23] I felt a little great.
[00:24:25] Oh, no.
[00:24:26] You've never been on the show.
[00:24:27] You've never been on the show.
[00:24:28] The portion is very good.
[00:24:29] Yeah.
[00:24:30] British esteemed Legend of Theatre.
[00:24:32] Oh, the fuck is that?
[00:24:33] Fucking Batman.
[00:24:35] Ken, Ken, Bradwell.
[00:24:36] That's pretty cool.
[00:24:37] And then Vicki McClure, who's like, the, like, I don't know how to say that she's like the
[00:24:41] equivalent of something in the States besides like Ellen Pompeo because she's like on every
[00:24:47] TV show.
[00:24:48] Nein a duty.
[00:24:49] Yeah, yeah.
[00:24:50] She always plays like a cop or a doctor or a doctor cop.
[00:24:53] You're nicked, mate.
[00:24:55] Yeah.
[00:24:56] You're nicked.
[00:24:57] And I'm going to take out your appendix.
[00:24:58] Officer doctors.
[00:24:59] I'm not gonna give you a cop, babe.
[00:25:01] Yeah.
[00:25:02] That's a DJ quote.
[00:25:03] I'm drinking problem.
[00:25:04] I'm drinking problem.
[00:25:05] I'm drinking problem.
[00:25:06] I can steal that.
[00:25:07] Pop babes?
[00:25:08] DJ Katrina wants Doc Cop to be his thing.
[00:25:09] That's it.
[00:25:10] That's the End.
[00:25:11] Like, yes.
[00:25:12] Yeah.
[00:25:13] Yes.
[00:25:14] I am dunked.
[00:25:14] Network's are desperate right now.
[00:25:15] Come on.
[00:25:16] A syndication, baby.
[00:25:17] Here we come.
[00:25:18] Yeah.
[00:25:19] Cause we always joke about like unknown British TV shows where it's like a blank who moonlights
[00:25:21] as a detective on the side.
[00:25:22] To make it a cop who moonlights as a doctor or vice versa's really funny.
[00:25:25] I love that.
[00:25:26] Now if somebody was moonlighting as something and a star is born in the 70s, who would be
[00:25:31] doing what?
[00:25:32] Someone's moon.
[00:25:33] Okay.
[00:25:34] So, uh...
[00:25:35] Is Esther moonlighting as, you know, they cool?
[00:25:38] A detective?
[00:25:39] Yeah.
[00:25:40] I don't know.
[00:25:41] Maybe she's actually just trying to get to the bottom of how does Chris Christopherson
[00:25:44] get all this coat?
[00:25:45] I think Chris Christopherson is right.
[00:25:46] How do you pay for this house, man?
[00:25:48] Yeah, Chris Christopherson is moonlighting as the Lorax.
[00:25:53] Save the trees, baby.
[00:25:55] The truffle of trees.
[00:25:56] Okay.
[00:25:57] Look, I just need to tell them I'm a fucking face one slur.
[00:26:03] Who is the one slur of a star is born?
[00:26:05] It's the mean agent.
[00:26:06] Palmizorski.
[00:26:07] Palmizorski.
[00:26:08] David.
[00:26:09] Yeah.
[00:26:10] The economy.
[00:26:11] No!
[00:26:12] I know.
[00:26:13] That's never...
[00:26:14] It's actually more robust than the press would have you think.
[00:26:17] But you know what?
[00:26:18] What?
[00:26:19] It's hard talking about the economy and this economy.
[00:26:22] It ain't cheap talking about the economy.
[00:26:24] We're doing an ad read in this economy.
[00:26:26] In this economy?
[00:26:27] Look, I used to spend over $100 a month on streaming services.
[00:26:32] Yeah.
[00:26:33] Same bro.
[00:26:34] Big saying.
[00:26:35] Disney Plus.
[00:26:36] All of them.
[00:26:37] Prime, you name it.
[00:26:38] Yes.
[00:26:39] But then since I started using ExpressVPN, I've been able to cut back and save so much
[00:26:40] every month.
[00:26:42] You know why?
[00:26:43] Why?
[00:26:44] Well, all these streaming services like Netflix have thousands more shows than you think,
[00:26:47] because if you switch to another country, they got a completely different library.
[00:26:51] They're hidden behind a door.
[00:26:52] They're whole other rooms.
[00:26:53] Remember New About?
[00:26:54] Check out that Italian Netflix.
[00:26:56] Okay.
[00:26:57] It's got nice Chibata.
[00:26:58] Yeah.
[00:26:59] Right.
[00:27:00] Lots of rail.
[00:27:01] We did the legal movie draft for the big picture.
[00:27:03] Yes, sure did.
[00:27:04] I was having a hard time finding all the grishums and I went, "Let me check ExpressVPN."
[00:27:07] They're all on Disney Plus in the UK.
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[00:27:11] It was one stop shopping.
[00:27:13] Ran through them.
[00:27:14] Because you just have to use the ExpressVPN app to change your own location.
[00:27:17] That's like I got 90 countries to choose from.
[00:27:19] Yeah.
[00:27:20] Every time we run out of stuff to watch, switch to another country, unlock some new shows.
[00:27:23] It's incredibly simple.
[00:27:25] I will say my mother and my brother both live in Europe now.
[00:27:29] Mm-hmm.
[00:27:30] I don't want to sign up for all these new-fangled European streaming services while they have
[00:27:34] these old American subscriptions.
[00:27:36] Okay.
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[00:28:24] It would join custody.
[00:28:26] Okay.
[00:28:27] Okay, buddy.
[00:28:29] Okay.
[00:28:32] So when Barbara's a teen, she goes some Broadway, she sees the Diary of Anne Frank.
[00:28:36] Yes.
[00:28:37] This is when she's like, "I am going to be an actress."
[00:28:39] Yeah.
[00:28:40] This is a quote from her.
[00:28:41] It was a thrilling experience sitting in the last row of the balcony.
[00:28:44] The ticket was $2.85, $2.85.
[00:28:47] God.
[00:28:48] You couldn't sit very close because when you sit, but you know, you couldn't afford it,
[00:28:51] but when you sit far away from the whole stage, you know you don't see the reality
[00:28:55] of the actress' pores, you don't see the makeup, you get swept along with the illusion.
[00:29:00] Her mother decides that this idea is terrible, she'll be humiliated, and it'll be a total
[00:29:05] of yes.
[00:29:06] But Barbara starts working at a Chinese restaurant, starts saving up money, starts going to the
[00:29:11] Cherry Lane Theatre, meets Anita Miller and Alan Miller, who worked under Lee Strasburg,
[00:29:17] auditioning for stuff, moves into their house when she's 16 years old.
[00:29:22] No way.
[00:29:23] This is kind of cool.
[00:29:24] And she's like a cool like Beatnik, you know, this is like late 50s, I imagine, right?
[00:29:29] And does a little play in 1958 called "Seawood" opposite Joan Rivers.
[00:29:34] Wow.
[00:29:35] No one goes to see it and then does a couple other shows and decides to do a talent show
[00:29:43] at a club called "The Lion" and she writes her name on the edition sheet as B-A-R-B-R-A
[00:29:49] because there were too many Barbaras.
[00:29:51] Of course, Barbra Streisand spells her name wrong.
[00:29:56] She dropped B-A?
[00:29:57] She dropped the middle A.
[00:29:58] Yeah, it's cleaner.
[00:30:00] As legend has it, she blows the competition out of the water, kicks off her career as
[00:30:04] a nightclub singer, and then she's discovered by Peter Daniels, her first sort of arranger.
[00:30:12] And she does an 11-week engagement at the Bon Choir, I don't know what that is.
[00:30:16] Did a double bill with Phyllis Diller and then does a tour and does an appearance on
[00:30:21] "The Tonight Show" with Jack Parr.
[00:30:24] Streisand, this is like Phyllis Diller, must have been an unbelievable evening of entertainment.
[00:30:29] In the young Streisand too.
[00:30:31] Yeah.
[00:30:32] Yeah, and Phyllis Diller was probably very young at that point, like 90, 95.
[00:30:35] I was early in her career.
[00:30:38] What's the show she meets Ellie Gould on?
[00:30:40] I can get it for you, host sale.
[00:30:42] Okay.
[00:30:43] Right.
[00:30:44] The Arthur Lorentz directed play, yes.
[00:30:47] The greatest Jewish couple of all that.
[00:30:50] Like the true Jewish relationship goals, this could be us, but you're playing.
[00:30:55] Yes.
[00:30:56] Yeah.
[00:30:57] You've seen the photo of them in the pool, right?
[00:30:59] Yeah.
[00:31:00] It's the greatest picture anyone's ever taken.
[00:31:01] Yeah, then I mean, they did it for Barbie promo.
[00:31:05] Yeah.
[00:31:06] They recreated that without saying they were recreating that.
[00:31:08] Yeah.
[00:31:09] No, no.
[00:31:10] Yeah.
[00:31:11] It's the hottest photo of Ellie Gould ever taken, number two is obviously Ellie Gould and
[00:31:16] Rover on the cover of TV, right?
[00:31:18] Exactly.
[00:31:19] Yes.
[00:31:20] I know exactly what you're talking about.
[00:31:21] In 1963, she releases now one called the Barbra Streisand, no.
[00:31:25] It is a huge hit.
[00:31:28] And then she becomes pretty much the most successful female singer in like, in America
[00:31:34] until like Mariah Carey, basically, right?
[00:31:37] You know, it's like, that's it.
[00:31:38] Yeah.
[00:31:39] So like all of her early fame, obviously, is in, is in singing, but she desperately wants
[00:31:44] to act more and all that.
[00:31:45] And she gets funny girl.
[00:31:47] You know, when is that?
[00:31:49] Like 60, 68, when it's really eight is the movie.
[00:31:53] Yeah, right.
[00:31:54] But she did show is 64.
[00:31:55] Yeah.
[00:31:56] I was going to say she did it earlier.
[00:31:57] How long did she do the show for?
[00:31:59] Hmm?
[00:32:00] How long was she in the show on Broadway?
[00:32:02] At least a year.
[00:32:03] Yeah.
[00:32:04] Back then you had to do a year.
[00:32:05] Yeah.
[00:32:06] Now you do six months.
[00:32:07] I don't know about you guys, I liked funny girl.
[00:32:09] I thought it was good.
[00:32:10] Like the movie?
[00:32:11] Yeah.
[00:32:12] Ben over the course of doing this podcast has secretly been growing a huge Barbra Streisand
[00:32:18] fandom.
[00:32:19] He watched, what's up Doc?
[00:32:21] Oh, great.
[00:32:22] Several years ago.
[00:32:23] And that was the movie where he went, I believe your letterbox review was, Oh shit.
[00:32:27] Maybe old movies are good.
[00:32:29] That's true.
[00:32:30] I love that.
[00:32:31] And then quietly since then, Ben's just been filling in the Streisand philosophy and getting
[00:32:37] them out in Bab's Pill.
[00:32:38] I'm starting to get it.
[00:32:39] I love funny girl too.
[00:32:40] Yeah.
[00:32:41] I got funny girl as a Christmas present when I was a kid.
[00:32:44] The movie or like the record?
[00:32:46] Okay.
[00:32:47] No, I got the DVD with, you know, Omar Sharif and I, and I was just, I, I was shocked at
[00:32:51] how long, that is a long movie and it makes sense that they cut so much of it for the
[00:32:58] stage.
[00:32:59] Like my man is not in the stage show, which is a sin by the way.
[00:33:03] She would sometimes sing at the, and at the end of the night.
[00:33:05] Which I think Michelle just did, that's all.
[00:33:11] And she looks like she did it for about a year, year and a half, then she reprised the
[00:33:15] role on the West end in 1966, but then she got pregnant and had to drop out.
[00:33:24] Okay.
[00:33:25] Some other people who played that role though, Lany Kazan, Jean Stapleton, Kay Medford.
[00:33:31] So you know, so that's like, you know, that's the big, that, that, and that shows like we
[00:33:35] could do a whole fucking thing on that show, like Bob Vossi was involved briefly, Sydney
[00:33:39] Lumette was involved, like Carol Burnett, like all kinds of crazy things happened with
[00:33:43] that show.
[00:33:44] But obviously that's what she wins the Tony, right?
[00:33:48] Yes.
[00:33:49] And she wins the Oscar.
[00:33:50] No, she loses the Tony.
[00:33:51] I knew this one.
[00:33:52] Oh, yes.
[00:33:53] I have to look this up.
[00:33:54] All right, sorry.
[00:33:55] No, she, she is.
[00:33:56] She shared the Oscar, didn't she?
[00:33:57] She did.
[00:33:58] Her partner, Catherine Hepford, for line and winter.
[00:34:01] For line and winter.
[00:34:02] But Hepford doesn't show up.
[00:34:03] So she just accepts it.
[00:34:05] She accepts it.
[00:34:06] And it's, it's.
[00:34:07] No, she's bad.
[00:34:08] Oh, yeah.
[00:34:09] You know, she's fucking bad.
[00:34:10] Well, they also only gave her the bottom half.
[00:34:12] Oh my gosh.
[00:34:13] That's not true.
[00:34:14] She got her own statue.
[00:34:15] That's, she lost to Carol Channing for hello dolly.
[00:34:18] Right.
[00:34:19] And then she fucking, she's a nice Channing later.
[00:34:21] Yes.
[00:34:22] Yes.
[00:34:23] That's a nice looking movie you got there via shame of someone else played the book.
[00:34:26] Oh my God.
[00:34:27] The dewie Andrews effect.
[00:34:29] Yup.
[00:34:30] That 100%.
[00:34:32] But yeah, I guess, I mean, it's also like that thing in like the Tonys, they do it.
[00:34:35] Just like the Oscars do it where they're like, well, you're young.
[00:34:38] You'll be back.
[00:34:39] Yeah.
[00:34:40] Like we got to give it to Carol Channing.
[00:34:41] Versus funny girl.
[00:34:42] She's in.
[00:34:43] And she's never really, you know, given another shot at a Tony.
[00:34:45] Funny girls, the limited scene of acting Oscars for first performance ever.
[00:34:51] And it happens so much more rarely with the lead categories.
[00:34:55] The couple of times it's happened.
[00:34:57] It's more often supporting.
[00:34:58] Yes.
[00:34:59] For lead, it's like her and Marley Mattlin or maybe the only, I don't know.
[00:35:03] I can't.
[00:35:04] I can't summon that for you right now.
[00:35:05] Okay.
[00:35:06] But the point is she wins an Oscar for her first movie ever.
[00:35:08] Crazy.
[00:35:09] Yes.
[00:35:10] She did the movie.
[00:35:11] She went to the Oscars.
[00:35:12] She does tie, which is bizarre.
[00:35:13] Immediately a huge star.
[00:35:14] Yes.
[00:35:15] Her star has gotten even bigger.
[00:35:16] So then she does.
[00:35:17] Yeah.
[00:35:18] Hello dolly.
[00:35:19] Yeah.
[00:35:20] Which is kind of an infamous flop.
[00:35:21] Kind of a flop.
[00:35:22] What do you think?
[00:35:23] Have you seen Hello Dolly?
[00:35:24] Having revisited it.
[00:35:26] I don't really understand why it was such.
[00:35:29] I don't know.
[00:35:30] I guess it's a little like slow and kind of bloated or it's yeah.
[00:35:33] But we could make that argument for so many movie musicals of that era.
[00:35:37] I find it very charming.
[00:35:38] I think it's super charming as well.
[00:35:40] It's just, it's lush.
[00:35:41] Like I literally the music man.
[00:35:43] It's got the same charm as the music man and the same color palette and everything like
[00:35:48] that.
[00:35:49] I imagine that they thought it was a sure fire hit on their hands.
[00:35:52] I think it's just that that kind of movie was going out of style at that time.
[00:35:57] It's like the shift from 68 to 69.
[00:35:59] Does Dolly come out 69 or 70?
[00:36:01] Dolly is 69.
[00:36:02] Yeah.
[00:36:03] Yeah.
[00:36:04] It's just already the like wheels were falling off the old Hollywood musical.
[00:36:08] Yeah.
[00:36:09] Such a shame.
[00:36:10] She makes a movie called On a Clear Day You Can See Forever which I've never seen.
[00:36:12] I'm just named an L.A.
[00:36:13] movie.
[00:36:14] Which is another adaptation of a musical on set.
[00:36:18] She has an affair with Pierre Trudeau, the prime minister of Canada.
[00:36:21] Okay, which is a big scandal.
[00:36:24] Then she makes the hour in the pussy cat split up at that point.
[00:36:28] When did she split up with Google?
[00:36:29] Was it a two wave divorce in 1971.
[00:36:32] Okay.
[00:36:33] I don't know.
[00:36:34] It's down there.
[00:36:35] And she has a child at this point.
[00:36:36] Yes.
[00:36:37] Yes because she gets pregnant during the West End.
[00:36:40] During the West End of a Funny Girl.
[00:36:41] And that is, is that her only kid?
[00:36:43] How many kids does she have?
[00:36:45] I think I'm I think that's wrong with you.
[00:36:47] Many young many clone dogs, but yeah, many, many clones dogs got she has dated some incredible
[00:36:54] people.
[00:36:55] Andre Agassie.
[00:36:56] Really?
[00:36:57] Clint Eastwood.
[00:36:58] I mean that James Newton Howard?
[00:37:01] Oh, I did.
[00:37:02] Such a list.
[00:37:03] Peter Jennings.
[00:37:05] Yeah.
[00:37:06] Liam Neeson.
[00:37:07] Liam Neeson.
[00:37:08] RoboCop.
[00:37:09] Peter Weller.
[00:37:10] Oh, oh, oh, yeah.
[00:37:11] I thought they were listening.
[00:37:13] RoboCop is a character.
[00:37:14] She did Peter Weller.
[00:37:16] Yeah.
[00:37:17] The Wild.
[00:37:18] All right.
[00:37:19] She's in the Owl in the Pussycat, the movie with George Seagull.
[00:37:20] That movie's pretty fun.
[00:37:21] Yeah.
[00:37:22] That movie was a hit.
[00:37:23] Yeah.
[00:37:24] She's in What's That Dog.
[00:37:25] Do What's Up Dog?
[00:37:26] One of the best movies ever made.
[00:37:27] Yeah.
[00:37:28] Funny.
[00:37:29] She's so funny.
[00:37:30] She is so funny.
[00:37:31] But this is what's interesting is like after Hello Dolly, right?
[00:37:33] She does.
[00:37:34] And and on a clear day, you can see forever, which also did not have as big a response.
[00:37:39] She just kind of goes like, I guess I need to pivot, right?
[00:37:43] Yeah.
[00:37:44] Like I was amusing a movie musical star.
[00:37:46] Yeah.
[00:37:47] But if that's going out of fashion, I'm going into comedies and dramas.
[00:37:50] Maybe I still have my place to sing, but like I'll shift have any of you seen up the sandbox?
[00:37:56] I it is one of the greatest posters.
[00:37:59] Look at this weird poster.
[00:38:00] So this she makes in 1972, you're a giant, baby bottle, right?
[00:38:07] Yeah, she's tied to a baby bottle.
[00:38:09] It's about a mom, her back who's bored in New York City and starts having crazy fantasies
[00:38:14] such as Fidel Castro, sweeping her off her feet, or like, you know, blowing up the Statue
[00:38:22] of Liberty shit like that.
[00:38:24] Never seen it's an urban character movie.
[00:38:26] But what's important about it is it's the first movie produced by first artists, which
[00:38:30] is going to produce a star is born as well, which is the sort of like you would these
[00:38:37] actors would take lesser fees who were involved with it to get more creative control.
[00:38:41] Like Paul Newman and Steve McQueen and Dustin Huff and other actors at the time are using
[00:38:46] first artists as well.
[00:38:47] I just think what's interesting about her is that there are many interesting things about
[00:38:51] her.
[00:38:52] But anything I think is interesting about her is that she sort of a young star in the old
[00:38:56] Hollywood mold hitting right as the old Hollywood studio system is breaking down and the old
[00:39:04] genres are breaking down.
[00:39:05] And she'd like adapts immediately.
[00:39:08] Like she just like jumps over to the 70s and is totally carried over as like new Hollywood
[00:39:12] star.
[00:39:13] She's going to work with the stars of the moment.
[00:39:15] She's not trying to like hold on to the traditions of the things she grew up with, you
[00:39:20] know.
[00:39:21] She just she evolves.
[00:39:22] She's evolved.
[00:39:23] And it's like I'm now going to represent the modern woman.
[00:39:26] But she still does like big, you know, epic movies.
[00:39:30] The way we were obviously is her next giant hit with Redford, sort of like a TV classic
[00:39:37] when I was a kid.
[00:39:38] The hairstyle is on.
[00:39:39] Yeah.
[00:39:40] That's good.
[00:39:41] I mean, it's kind of dumb, but it kind of I'm going to use this series to fill in some
[00:39:44] some barber gaps.
[00:39:46] Then she did a couple movies that don't really work, something called for Pete's sake, which
[00:39:51] is sort of a what's up doc type thing, like a comedy.
[00:39:55] That's how she meets John Peters because she wanted a specific hairstyle for the movie
[00:39:58] and he is a hairdresser.
[00:40:00] - She was, of course, notoriously.
[00:40:02] - Her hairdresser.
[00:40:03] And then she does funny lady.
[00:40:05] - Right.
[00:40:06] - The sequel to Funny Girl that is Less Good.
[00:40:10] - The long awaited sequel.
[00:40:11] It's a funny girl.
[00:40:12] - Yes, and John Peters says to her,
[00:40:16] and this is from her biography,
[00:40:18] "You need to do hotter and sexier and younger roles
[00:40:21] "because you have a great ass."
[00:40:22] - Yes.
[00:40:23] - And she takes this to heart and makes a star is born.
[00:40:26] - Right.
[00:40:27] Are they dating at this point?
[00:40:28] - I don't know.
[00:40:29] - The little lines are a little blurry on their relationship
[00:40:31] and when they were officially dating them,
[00:40:32] when they weren't 'cause I think oftentimes
[00:40:34] there were other people,
[00:40:35] and he was married to Leslie and Warren.
[00:40:36] - Yes.
[00:40:37] - John Peters is one of the most like canonically insane
[00:40:39] people, Tevor Kickin' Hollywood.
[00:40:40] He's amazing, he's terrible.
[00:40:42] You can read all about him.
[00:40:43] - Look, I am such a fiend for his interviews.
[00:40:47] He's one of the most fascinating interview subjects,
[00:40:49] the way he speaks.
[00:40:50] You just go like, "And you read stories about him,
[00:40:52] "the way people talk about the way he behaved and talk."
[00:40:55] And you go like, "I cannot imagine this existing
[00:40:57] "in the real world."
[00:40:58] - Yeah.
[00:40:59] - And Bradley Cooper's performance in La Grise Pizza,
[00:41:01] which I wax poetic about many times on this podcast.
[00:41:03] - Great performance.
[00:41:04] - Is astounding 'cause you're just like,
[00:41:05] within 10 minutes, this guy has actually conjured up
[00:41:08] what it must have felt like to talk to this guy.
[00:41:10] - Yes.
[00:41:11] - In his peak.
[00:41:12] - Yeah.
[00:41:13] - Have you interacted with John Peters?
[00:41:14] - No, he's out there in the wilderness now.
[00:41:16] - Right, from what you're talking about
[00:41:19] with the interviews and everything
[00:41:20] that when Bradley came on screen in La Grise Pizza,
[00:41:24] I knew exactly what was about to happen.
[00:41:26] - It's astonishing.
[00:41:27] I re-wash all of his concerns.
[00:41:29] - She's so good in that movie.
[00:41:31] - I'm deeply ignored by me, Oscar.
[00:41:33] - You should've won.
[00:41:34] - But yes, he still today in modern interviews
[00:41:39] will basically phrase things the exact same way.
[00:41:42] And it's like a bragging point.
[00:41:44] And he'll say, "I was the first person
[00:41:45] "to point the barber and go,
[00:41:46] "You got a great ass, you need to be hot in movies now."
[00:41:49] - You're like, "Oh, thank you."
[00:41:51] - No.
[00:41:52] - Thanks, let's get you back to that.
[00:41:53] - Look, it's pretty classy.
[00:41:54] - But he did, to some degree,
[00:41:57] I think helped transition a new era of her career
[00:42:01] in her deciding to take ownership of things, right?
[00:42:03] - That to be fair, that advice from the right person
[00:42:06] is life-changing, you know?
[00:42:08] - Absolutely.
[00:42:09] - Out of context, it sounds like--
[00:42:10] - We should all embrace her hotness,
[00:42:12] but yes, I think he had a fun--
[00:42:13] - Yeah, we should all embrace our great asses.
[00:42:15] - And I think so much of her persona,
[00:42:17] I mean, this is all the weird,
[00:42:18] the kind of like the ego of Barbara Streisand, right?
[00:42:21] What is so fascinating about her as a movie star
[00:42:24] is her ego and her insecurity at the same time
[00:42:28] that's constantly balancing itself out
[00:42:30] and all this sort of legend about how controlling she is
[00:42:32] and how protective she is of her image
[00:42:35] but also her things are all about her
[00:42:37] sort of like not feeling good enough or whatever.
[00:42:39] And most of her movies up until Star is Born
[00:42:43] are playing on the, like, I don't know,
[00:42:45] I'm just some goofy girl from Brooklyn.
[00:42:47] And I'm trying to make people give me respect
[00:42:49] to like one degree or another.
[00:42:51] And Star is Born is obviously like,
[00:42:53] it starts with that point,
[00:42:55] but so much of it is about her cocooning out of that
[00:42:58] into fully owning the kind of stardom that she obviously had
[00:43:02] but was always in conversation with this sort of sheepish,
[00:43:06] why don't look like the other girls?
[00:43:08] I'm too loud, I'm too this.
[00:43:10] - I'm an ugly duckling type, but yes.
[00:43:12] But obviously, great beautiful talent within all of it.
[00:43:16] - It was oddly the reality for every woman
[00:43:18] that ended up playing that part in the version,
[00:43:21] Jennie Gaynor, Judy Garland.
[00:43:23] They called Judy Garland a hunchback,
[00:43:24] tried to change her face.
[00:43:25] They actually put that in the movie.
[00:43:27] - It's wild that all four movies star people
[00:43:31] who were already mega stars at that point
[00:43:33] and yet needed some transition transformation
[00:43:38] into the next stage of their career.
[00:43:40] Like, it was all of them,
[00:43:41] it's not like they had hit the end.
[00:43:43] - No.
[00:43:44] - But all of them were like, I need to find the next thing.
[00:43:46] I need to fully enter a new thing.
[00:43:48] - And that's why the Judy Garland one
[00:43:50] is so particularly heartbreaking
[00:43:52] because she should've won for it.
[00:43:53] - And she didn't get to ride out the success.
[00:43:55] - Yeah.
[00:43:56] - Rachel, you watched all the stars are born.
[00:43:58] Let's talk about it now.
[00:43:59] Let's talk about a star is born.
[00:44:01] We're at a star as a first two
[00:44:03] before we did our Bradley Cooper episode years ago
[00:44:06] and then I'd never seen this one.
[00:44:07] - You've never seen this one.
[00:44:08] - I'd never seen this one, watch this one.
[00:44:09] - It's so funny 'cause so much of Bradley's
[00:44:12] is taken from this one.
[00:44:13] - Yeah, yeah, yeah, yeah.
[00:44:14] I'm astonished people don't talk about it more.
[00:44:17] There are so many things.
[00:44:19] Obviously not just the first two are in Hollywood.
[00:44:21] They are movie stars.
[00:44:23] It's for winning an Oscar, whatever.
[00:44:25] But like the characterization of Jackson Main
[00:44:28] is so similar to this guy.
[00:44:30] The transmuting it into the music world.
[00:44:34] But even like it has the tracing of the nose.
[00:44:37] It basically has the, I just want to take
[00:44:38] another look at you.
[00:44:40] - Right.
[00:44:40] - That's in all of them.
[00:44:42] The way it manifests in this is so many elements.
[00:44:47] You just feel like Bradley Cooper watched this movie
[00:44:50] and was like someone could make this 20% better.
[00:44:53] - 20% exactly 'cause it gives her a bit more autonomy
[00:44:58] and a lot of things are a bit more earned
[00:45:01] than in the '70s one, I feel.
[00:45:04] - This movie is shaggy to the extreme.
[00:45:08] I know it's reputation is really crappy
[00:45:12] and I enjoyed it a lot more than I thought I would,
[00:45:15] maybe just because I went in with such guarded expectations.
[00:45:19] - This movie feels like someone, like people were high
[00:45:23] when they made this and they wanted it was a word.
[00:45:25] - This is a movie that was executive produced by cocaine.
[00:45:28] - Yeah.
[00:45:29] - And one of those.
[00:45:29] - But then there were some co-exact producers
[00:45:31] from like grass and pill and acid and whatever you know,
[00:45:35] everything. - Gary Beecy.
[00:45:36] - There's that opening credit that says
[00:45:38] a drugs production.
[00:45:40] (both laughing)
[00:45:43] - And association with my brother is association with booze.
[00:45:47] - Because like the Cooper movie, obviously,
[00:45:50] it's very like booze soaked,
[00:45:51] but in this very authentic way where you're like,
[00:45:52] you're like with a guy who's got five minutes left, right?
[00:45:55] - Yeah.
[00:45:56] - He's really in it.
[00:45:58] - It's obviously the thing Bradley Cooper's been very open
[00:46:00] about his struggles with sobriety and his battle
[00:46:02] to get there and everything.
[00:46:04] That's the big value that movie has.
[00:46:06] It's being made by someone who's playing the character
[00:46:08] who's been through hell.
[00:46:10] - Yeah, that's why the character is given a lot more
[00:46:14] of an effort where he's actually trying to get better.
[00:46:19] - Yeah, 'cause that character is always doomed,
[00:46:21] but he's the only one who feels like a real guy in a way.
[00:46:23] I like all the guys and all the stars are born.
[00:46:26] - I feel like the Judy Garland one, he's really true.
[00:46:29] - He's amazing.
[00:46:30] - He goes to a, you know, he goes to a facility.
[00:46:32] It's like with this one, Chris Kristofferson's just kind of
[00:46:34] like, "Hey," and then we're getting married
[00:46:36] and we'll disappear into the desert
[00:46:38] and I'll forget about my drug problem.
[00:46:39] - Yeah, let's build a house out of here man.
[00:46:41] - Let's build a house right here
[00:46:42] and also we're gonna have sex right here in the desert.
[00:46:45] - I don't know what shirts are, mother.
[00:46:47] - Yeah, Chris Kristofferson.
[00:46:48] - They just fly right off me.
[00:46:50] - I didn't really do.
[00:46:51] - He's amazing.
[00:46:52] - He is so good.
[00:46:53] - I don't know if it's a good performance.
[00:46:54] It's very natural.
[00:46:55] - Well, it's like an incredible energy performance.
[00:46:57] The characterization is-
[00:46:58] - I love him.
[00:46:59] I love him too.
[00:47:00] - I'm pretty much always in the bag for him.
[00:47:02] And if he shows up in any fucking bag.
[00:47:03] - The first note I took when I was watching it was
[00:47:05] Chris Kristofferson is daddying all over the place.
[00:47:08] - Yes.
[00:47:08] - That's the note I took.
[00:47:10] - That's exactly.
[00:47:11] - It's also so funny 'cause like, I mean what-
[00:47:13] - Have you seen Alice doesn't live here anymore?
[00:47:15] Like he's amazing in that.
[00:47:16] Like he's such a natural actor.
[00:47:19] Like that's what it is.
[00:47:21] He's also played like one of three types,
[00:47:23] but like he's really good at it.
[00:47:25] - Yeah.
[00:47:26] - No, I agree.
[00:47:26] - He can play Blades Assistant.
[00:47:28] - Yes, I found this out.
[00:47:30] Just like reading a little bit of his like history.
[00:47:33] - Oh my God, I agree.
[00:47:34] - Yeah, heads and steaks.
[00:47:36] - That's hilarious.
[00:47:37] - Sorry, what you were saying about Chris.
[00:47:40] - No I think, you know, correct me if I'm wrong
[00:47:43] in the docie, but my understanding of the culture reputation
[00:47:45] of this movie was always like, you know Star is born.
[00:47:48] They've remade the movie.
[00:47:50] The second one was even better, right?
[00:47:51] - Yeah.
[00:47:52] - Barbara at the time, her star is huge.
[00:47:54] She's sort of like, in the press, you know,
[00:47:57] it feels like they make a Star is born every 20 years.
[00:47:59] It's one of those stories that needs to get told
[00:48:01] every 20 years as the industry changes
[00:48:04] the reference points change, whatever we're overdue.
[00:48:06] She decides this is her big passion project.
[00:48:08] She's teamed up with John Peters.
[00:48:10] Now they're going to produce this thing
[00:48:11] and hand-pick the writer and the director and everything.
[00:48:13] And they go through these different versions
[00:48:15] of the leading men that we'll talk about.
[00:48:18] And they land on Christophaursen,
[00:48:19] and people are like, why the fuck are you casting?
[00:48:22] Chris Christophaursen, the singer to be,
[00:48:24] that's like a dramatic part.
[00:48:26] That guy can't carry this weight.
[00:48:28] And the movie comes out and he's the thing
[00:48:30] that people were the most positive about.
[00:48:33] Like, I mean, obviously the soundtrack's humongous, right?
[00:48:36] And the films are really big hits.
[00:48:37] - This is the second biggest movie in the year.
[00:48:39] - Yeah, but you read the reviews
[00:48:40] and people are like Christophaursen's the good thing.
[00:48:43] 'Cause he's new.
[00:48:44] I mean, Barbara was sort of old enough.
[00:48:46] - He's a shock.
[00:48:46] - Yeah, exactly.
[00:48:47] You're like, dang, like, there's a lot more here
[00:48:49] than I would have guessed.
[00:48:50] - Yeah.
[00:48:51] - But the characterization is very thin.
[00:48:54] It does not go deeper.
[00:48:54] - It's very thin.
[00:48:55] - And the character comes, oh, for both of them.
[00:48:58] - Yeah, yeah, yeah.
[00:48:59] - The character comes off is very dumb.
[00:49:00] Like, we're at Jackie and Maine, as you said,
[00:49:02] it's like really trying and you believe like,
[00:49:04] this guy has, like, he had something.
[00:49:06] - Yeah, he had something he has baggage.
[00:49:08] He's got a past, he's got a reason for feeling the way
[00:49:11] he's got Sam Elliott.
[00:49:12] - Right.
[00:49:13] - And it's like, there's just a lot more
[00:49:15] where I, you know, went from--
[00:49:16] - Yeah, this movie lacks the Sam Elliott.
[00:49:17] - That's the thing, when I was first watching it,
[00:49:19] I really thought they were amping up Gary Busey
[00:49:20] to be this Sam Elliott type character,
[00:49:22] and it just didn't happen.
[00:49:24] - No.
[00:49:25] - And it kinda left something to be--
[00:49:26] - Look, he's in the air.
[00:49:28] He's helping to contribute to the atmosphere of this film.
[00:49:31] - Which I have to say, the calmest I've ever seen
[00:49:33] Gary Busey in a movie.
[00:49:34] - He was, he was calmly shocking.
[00:49:36] - It's wild.
[00:49:37] - I think I-- - He's like a steady present.
[00:49:39] - I said, Gary Busey is to a star is born
[00:49:41] what Joe Pesci was to the Irishman.
[00:49:43] Unhinged playing hinge.
[00:49:44] - Yeah, yeah, great.
[00:49:46] - And that's my analogy for the whole film.
[00:49:49] - He's still-- - And I'm done.
[00:49:50] - I think he's still this sort of like,
[00:49:52] interesting up-and-coming actor.
[00:49:54] Like, he'd been in Thunderball and Leipo, like Foote.
[00:49:57] - Like Foote, yeah.
[00:49:58] - He gets the Oscar nomination like a couple years after this.
[00:50:01] - Like, this buddy really is after this.
[00:50:03] And it's like, yeah, oh, well, look out.
[00:50:05] Very Busey.
[00:50:06] Like, this is your new-- - He was supposed to do Nashville.
[00:50:10] - Uh-huh. - Okay, sure.
[00:50:12] - Was he supposed to be the Keith Carody,
[00:50:13] the dance? - I think he was,
[00:50:14] wasn't he supposed to do that?
[00:50:16] - 'Cause he writes a couple of--
[00:50:18] - He writes a couple of the songs
[00:50:19] that end up in the film, not I'm easy
[00:50:22] 'cause Carody obviously wrote that.
[00:50:24] But there are one or two songs,
[00:50:26] since you've gone, which is the song "The Trio" sings,
[00:50:29] is written by Gary Busey,
[00:50:31] 'cause he was in the rehearsal process for that.
[00:50:33] - That's crazy.
[00:50:34] - But yeah, he was in this sort of like,
[00:50:35] the guy's a good musician, he's a good songwriter.
[00:50:38] - But no idea.
[00:50:39] - He's sort of like-- - He's tall
[00:50:40] and he's interesting looking.
[00:50:41] He's like, you know, he's put in both worlds
[00:50:43] and then Buddy Holly is the one where it's like,
[00:50:45] well, now we totally crystallized,
[00:50:47] lightning in a bottle.
[00:50:48] This guy's seen that movie, you never seen it, right?
[00:50:49] - No, no, we should watch it.
[00:50:51] - Yeah, let's just watch it.
[00:50:52] - Yeah, let's have a friend on Dave Marshall.
[00:50:53] Okay, alright, no, Star is born.
[00:50:56] Okay, so this is the 1937 Star is born,
[00:50:58] the Janet Gaynor, which is good.
[00:51:00] - David I was so surprised.
[00:51:01] - Yeah, there's the 54 one with Garland,
[00:51:04] which is amazing. - Amazing.
[00:51:06] - And it is, as you say, so you're just sort of like,
[00:51:08] oh God, it's so mixed up with reality too, like, you know?
[00:51:12] - The whole time you cannot stop thinking,
[00:51:14] I mean, I couldn't stop thinking,
[00:51:15] knowing everything that I know about Judy Garland.
[00:51:17] - Yeah, yeah.
[00:51:18] - It's so heartbreaking to watch.
[00:51:19] And then to just think, like,
[00:51:20] 'cause I think what the reality of that was,
[00:51:22] everybody thought she was gonna win,
[00:51:24] there were cameras in her hospital
[00:51:25] remember she gave birth, is that not a true story?
[00:51:27] - Yes, no, I thought that. - Oh, it is, yes, exactly.
[00:51:29] - Yeah, and then she lost to Grace Kelly
[00:51:31] for doing something so similar.
[00:51:33] Like, Grace Kelly just did something a little bit different.
[00:51:35] - She did a DeGlam.
[00:51:37] - It's one of those like, truly tragic,
[00:51:39] like it feels like a moment out of a Star is born.
[00:51:42] - Yeah.
[00:51:43] - Where it's like, she's there in a hospital room.
[00:51:46] - Yeah, with her freshly born child.
[00:51:48] - Right, holding a baby, getting ready to grab an Oscar,
[00:51:51] you know? - And she loses.
[00:51:52] - Yeah, and then there's just that moment
[00:51:54] where it's like the camera crew all just like,
[00:51:56] this is assembling and just being like,
[00:51:58] well, some of you later.
[00:51:59] - Yeah, yeah, congrats on it.
[00:51:59] - You're just immediately trash, you know?
[00:52:01] - Congrats on the child.
[00:52:02] - Like the highest high, the lowest low,
[00:52:03] they immediately just make you feel like
[00:52:05] we have no interest in you anymore.
[00:52:06] - Yeah, and I remember, I think it was George Cukert
[00:52:08] talked about it, where he said that, you know,
[00:52:10] they were doing that, he was directing her in the scene
[00:52:12] where she talks about how she can't help,
[00:52:15] but love her husband and wants to support him through it.
[00:52:18] And it's, and she feels like she's failed him too.
[00:52:20] And it was just so true to her life at that point in time,
[00:52:22] it's devastating to watch 'cause she was having such a problem
[00:52:25] and struggling with her addiction.
[00:52:27] - It's an incredible performance.
[00:52:28] Why is she so good in it?
[00:52:29] - Do you focus on controversy with the missing footage
[00:52:31] on that movie?
[00:52:32] - Oh my God, I love the version of it with just the stills
[00:52:36] and the sound.
[00:52:37] Have you watched it like that?
[00:52:39] - Yes, that's how I had seen it.
[00:52:40] And there was like, 'cause it was one of those movies
[00:52:42] where they were so world show caught
[00:52:43] and then they cut it down like 40 minutes.
[00:52:46] And then Warner Brothers had been trying to restore it
[00:52:47] forever and they got close,
[00:52:49] but they were still a little bit missing.
[00:52:51] So in its current incarnation, you watch it
[00:52:53] with like still photos over audio.
[00:52:55] - Yeah. - Over a couple parts.
[00:52:56] - It's kind of amazing.
[00:52:57] - Yeah. - Yeah.
[00:52:58] - And then it turns out,
[00:52:59] I'm gonna get the specifics of this wrong,
[00:53:01] but there was like a guy who's like kind of
[00:53:03] a archivist film preservationist who like took on
[00:53:07] like finding elements of films at the studios
[00:53:10] that abandoned and holding onto them themselves.
[00:53:13] And there was some movie, maybe it was "Streetcar Named Desire,"
[00:53:16] "Roboth at a Cause."
[00:53:18] There's some other film that Warner Brothers had
[00:53:19] where he gave them the elements to help their restoration.
[00:53:22] And they didn't credit him properly.
[00:53:24] And he's the one who has the missing footage
[00:53:27] from "Star is Born."
[00:53:28] And he basically refuses to give it to that
[00:53:31] and to Warner Brothers, like--
[00:53:33] - Gotta steal it. - We kinda good for him.
[00:53:36] - No, let's go get it.
[00:53:37] - Isn't that why-- - Yeah, I mean like
[00:53:38] maybe he'll show it to us.
[00:53:40] - He'll show it to us. - Yeah, well--
[00:53:41] - We just gave him to do it. - Nicely.
[00:53:42] - Yeah. - We think you're great.
[00:53:44] - We love you. - Whatever your name is.
[00:53:46] We'll start creating you in every episode.
[00:53:48] - Yeah, yeah.
[00:53:49] - All right, so John Gregory, Don, and Joan Didian
[00:53:52] were driving down over the road again.
[00:53:53] - Also I have to say, I'm so sorry.
[00:53:54] I have to say this is how I found out
[00:53:56] Joan Didian wrote scripts, had no idea.
[00:53:57] - This is-- - She had her period.
[00:53:59] - Classic, like you're celebrated.
[00:54:02] You're gonna write a rec in turn,
[00:54:04] move to Hollywood, baby, write us some scripts.
[00:54:06] - This is her partner, Thing New, yeah, right.
[00:54:08] - And she said, sorry, John Gregory, Don,
[00:54:12] who's no longer with us, says,
[00:54:13] well neither of them are with us anymore.
[00:54:15] Who says, "I can pinpoint the exact moment it was conceived.
[00:54:18] "It was one o'clock in the afternoon, July 1973.
[00:54:21] "I turned to my wife while past in the Aloha tower
[00:54:23] "in downtown Honolulu, on our way to the airport.
[00:54:26] "And I said 16 words, I would later regret James Taylor
[00:54:29] "and Carly Simon and a rock and roll version
[00:54:31] "of a star is born."
[00:54:32] - I mean, it's a good pitch.
[00:54:33] - Sounds pretty good.
[00:54:34] - It's a good pitch.
[00:54:35] - They just were sort of like,
[00:54:36] they had neither of them had seen the original two movies.
[00:54:39] - Oh, wow.
[00:54:40] - But they were just like a rock and roll version of that.
[00:54:43] - Just cultural houses.
[00:54:44] - Even though they don't know what that is.
[00:54:45] - Exactly, yeah.
[00:54:46] - They write a script, they take it to Warner's,
[00:54:51] they think maybe Warren Beatty or Mike Nichols
[00:54:53] can direct this.
[00:54:54] Warner's once Peter Bugdanovich,
[00:54:56] who is very hot stuff.
[00:54:57] Mark Raidell is eventually hired.
[00:55:01] - Sure.
[00:55:02] - Carly Simon and James Taylor passed.
[00:55:04] - Interesting.
[00:55:05] - Mike and Bianca Jagger passed.
[00:55:06] Sunny to Cher passed.
[00:55:08] - It's hot, so they went to a real couple.
[00:55:10] - Wait, I mean-- - Lies of Manelli,
[00:55:11] Diana Ross, Elvis Presley.
[00:55:12] We'll talk about it in a second, obviously,
[00:55:14] but he was a big, you know, Kristofferson.
[00:55:16] - Wait, I'm sorry, you're telling me
[00:55:17] I could have had a Sunny and Cher.
[00:55:20] - Kind of fun to think about.
[00:55:21] - I think it would have been unbelievable.
[00:55:21] - Cher would have been.
[00:55:22] - Cher would have been amazing.
[00:55:24] - Holy shit.
[00:55:25] - Now, I don't know how Sunny would have been.
[00:55:27] - No.
[00:55:27] - Sunny, Sunny would have been funny.
[00:55:29] You think you would have sold this.
[00:55:31] - Let it closely now.
[00:55:32] (laughing)
[00:55:34] - Nick and Bianca Jagger is kind of fun to think about.
[00:55:38] - Yeah, it is.
[00:55:39] - But I don't know if Bianca can like shoulder,
[00:55:41] - No.
[00:55:42] - you know, the star way.
[00:55:43] - Oh my God.
[00:55:44] - Yeah, Rodel gets fired, Jerry Schatzberg comes on board.
[00:55:48] Then it makes it to Streisand.
[00:55:50] Peter's claims, I discovered this project.
[00:55:53] I found it for Barbara.
[00:55:54] I convinced her to do it.
[00:55:55] The character in my movie is a guy who's fighting all the time
[00:55:59] and hitting all the time and he can't relate.
[00:56:00] It's a macho guy which is very much like me.
[00:56:02] He's talking about, you know, he's crazy.
[00:56:05] - He is, I mean, look, I think there's a lot of Peter's.
[00:56:08] - Streisand takes it over with Peter's,
[00:56:09] they bring it to first artists and now it's like their thing.
[00:56:11] - Peter's loves to take credit for every single element
[00:56:14] of every movie that he had any involvement with.
[00:56:17] But this is the one where I'm like,
[00:56:19] he's a pretty strong authorial voice in this thing.
[00:56:21] - Yeah.
[00:56:22] - You know, like you feel a lot of Peter's in this
[00:56:26] for better and for worse.
[00:56:27] - You know, Joan and John leave at this point,
[00:56:32] you know, they're off Peter and Streisand take over,
[00:56:35] Peter's and Streisand take over.
[00:56:37] And they have their, basically like,
[00:56:39] yes, this will be our first creative project,
[00:56:42] you know, where we're in charge.
[00:56:43] - Yes.
[00:56:45] - She says.
[00:56:46] - And I'm gonna be sexy now.
[00:56:47] - Right.
[00:56:48] But also as Barbara says, like there's a change
[00:56:50] of women's roles every 20 years.
[00:56:51] I wanna make this character personal.
[00:56:54] I think this film will have a lot to say
[00:56:55] about the changing roles of men and women.
[00:56:58] Women are no longer afraid to confront male society.
[00:57:01] In the wedding scene, I'll be wearing a man's suit.
[00:57:03] I think that says a lot, you know.
[00:57:06] That that's why there should be a 90s star is born.
[00:57:09] - They should be canonically in every 20 years.
[00:57:11] - They really really should be and who would have done it,
[00:57:13] though?
[00:57:14] Do you have by Whitney?
[00:57:16] - This is the question is, did bodyguard slide in
[00:57:19] and the star is born?
[00:57:20] - Yeah, did it make, did it, yeah?
[00:57:22] - 'Cause it like it probably should have been costume.
[00:57:23] Mariah Carey could have done it though.
[00:57:25] - Cousin would have been perfect.
[00:57:26] - Yeah, well, that would have been cool.
[00:57:27] - But that's what glitter is.
[00:57:29] - Yeah, that's what glitter literally is.
[00:57:31] - It glitterly is.
[00:57:33] - It glitterly is.
[00:57:34] - And I have to say, I really like glitter.
[00:57:37] - Can you come back on the PAK animation?
[00:57:39] - For the Vondy Curtis Hall.
[00:57:40] - And we'll do, hey, Vondy Curtis Hall's a good director.
[00:57:43] - Vondy Curtis Hall and I've worked together already.
[00:57:45] - Really, really?
[00:57:46] - Yeah, we did like readings of the notebook musical together.
[00:57:49] - Oh, wow.
[00:57:49] - Yeah, and it was so crazy to them like.
[00:57:52] - Was he acting or directing it?
[00:57:53] - He was acting in it.
[00:57:54] - So he's directed--
[00:57:54] - Playing the Garner part?
[00:57:55] - Playing the, yeah, yeah, yeah.
[00:57:56] - He's amazing.
[00:57:57] - He's amazing.
[00:57:58] - He is amazing.
[00:57:59] - I love him as an actor but he directed Gridlocked,
[00:58:01] which I've always maintained is a really good movie.
[00:58:04] The Tupac Timron movie, everyone--
[00:58:06] - I think you mean glitter.
[00:58:07] - Yeah, he also directed glitter,
[00:58:09] which I have never seen.
[00:58:11] - No, stop.
[00:58:12] - So I would happily check out glitter.
[00:58:14] - Glitter, but when I tell you that glitter
[00:58:16] is quite literally Mariah Carey, a star is born
[00:58:19] in every sense of what it is.
[00:58:21] - I do think like,
[00:58:24] Koster and Houston are who it probably should have been
[00:58:27] if we're looking at cultural power of the 1930s.
[00:58:29] - And when they passed, it would have been Mariah Carey.
[00:58:32] - Well, that's, I think there's some other movies
[00:58:35] in the '90s and early 2000s
[00:58:37] like glitter that are like someone being like,
[00:58:38] "Can I kind of make my stars born without doing stars born?"
[00:58:41] - Yeah.
[00:58:42] - They avoided the real thing.
[00:58:44] - Which I get, because as somebody
[00:58:46] who's done the remake prequel sequel train,
[00:58:49] it's a lot of fucking pressure and people are really mean.
[00:58:51] - There's a lot on your shoulders.
[00:58:52] People are mean.
[00:58:53] People have a certain idea
[00:58:55] of how things are supposed to go.
[00:58:56] - Unfortunately, glitter came out like right after 9/11
[00:58:58] and there was nothing else for anybody to make fun of.
[00:59:00] So they just made fun of glitter.
[00:59:01] - Glitter was a unifying for--
[00:59:03] - But I've hit a little bit of national healing
[00:59:04] for the kind they really could all agree
[00:59:05] with glitter stuff.
[00:59:06] Having revisited glitter which this podcast is not about.
[00:59:10] - But maybe we're gonna have to do a glitter episode eventually.
[00:59:13] - Yeah, I have to say, she has a very strong performance
[00:59:16] in it and I would have loved to stars born with Mariah Carey.
[00:59:18] - She has a good actor.
[00:59:19] - She really is.
[00:59:20] - This is great and like a Batman movie.
[00:59:21] - She's great in a precious.
[00:59:23] - She's incredible.
[00:59:24] - She's incredible impression.
[00:59:24] - Trying to think what else she's even in.
[00:59:26] - Did she have a, wait, it wasn't a cameo she had in Precious.
[00:59:30] - No, she's had a real less role.
[00:59:31] - No, no, no, she was, she had a cameo
[00:59:33] in another Oscar movie that wasn't it.
[00:59:34] Like, she wasn't in, what was her cameo?
[00:59:37] Was it 12 years as late as it wasn't?
[00:59:38] - She's in the butler.
[00:59:39] - The butler.
[00:59:39] Maybe, was it the butler?
[00:59:40] - Maybe, 'cause she works with Lee Daniels.
[00:59:42] - Oh, you guys had a harmonic dog.
[00:59:45] - We did.
[00:59:46] - That's beautiful.
[00:59:47] - There's a, you're right, she doesn't look cool.
[00:59:48] - She's in pop-start, not never stopping her ever stopping.
[00:59:51] I mean, should've won Oscar.
[00:59:52] - Anytime, yeah she parodies herself, she's funny.
[00:59:55] - She's, I, she's good.
[00:59:57] - I like her.
[00:59:58] - Bonnie Curtis Hall's other movies
[00:59:59] that would be Weigh Steepe with Tyreese and Meghan Goode.
[01:00:02] And I like Tyreese and Meghan Goode.
[01:00:03] - I've never seen it.
[01:00:05] But more like Meghan Great.
[01:00:06] - Truly, Meghan Best.
[01:00:08] - Yes, hey, you're right.
[01:00:09] - And I just re-watched all the song movies
[01:00:11] and you're making Goode's in, fine.
[01:00:13] - Really?
[01:00:14] - Yeah, she's in one of them.
[01:00:15] - David?
[01:00:17] - Yes.
[01:00:19] - I co-host a podcast, I don't know if you are aware of it.
[01:00:21] - I'm not sure, I haven't checked with him, David.
[01:00:23] - You actually, you are the other host on?
[01:00:25] - Yeah, I don't know what to say or do you expect.
[01:00:27] - All you need to know is the name of the show is Blank Check.
[01:00:29] People think it must be real cushy being a podcast host.
[01:00:34] - Sure, get to watch movies and talk about them.
[01:00:36] - Oh, what a nice existence you got.
[01:00:39] - But...
[01:00:40] - They're not considering how much I worry.
[01:00:42] - About?
[01:00:43] - Everything.
[01:00:44] - Well, you do.
[01:00:44] - Are my takes hot enough?
[01:00:46] Are they too hot?
[01:00:47] Am I answering the discourse?
[01:00:50] Am I leaving out?
[01:00:50] I forget to mention some important piece of context.
[01:00:54] Did I not consider that one movie I dislike
[01:00:57] was another person's favorite movie
[01:00:59] and that was rude of them to hear me say that.
[01:01:01] - One thing I never have to worry about when I host
[01:01:04] is whether my guests will find their sleeping accommodations
[01:01:07] up to scratch.
[01:01:08] - Oh, interesting why?
[01:01:10] - Well, I'm realizing now that this copy
[01:01:12] is about hosting people at your home.
[01:01:14] - Uh-huh.
[01:01:15] - Like hosting guests.
[01:01:16] - Something you never do.
[01:01:17] - Right, and I just read this as if they were obviously asking
[01:01:20] me to talk about being a host of a podcast.
[01:01:21] I'm just realizing this in real time
[01:01:24] and we're not taking this over, this is the ad.
[01:01:26] 100%.
[01:01:28] You're talking about Burro's new shift sleeper sofa.
[01:01:31] - Exactly.
[01:01:32] - It's one of those things everyone should have
[01:01:33] in their home.
[01:01:34] It's a comfortable everyday sofa
[01:01:36] that easily converts into a queen-sized sleep surface.
[01:01:39] - That's a nice surface.
[01:01:41] - Genuine queen-sized, not a full, full queen-sized
[01:01:44] sleep surface that sleeps two people very comfortably.
[01:01:48] I've got a burro.
[01:01:49] - Oh, you do.
[01:01:50] - I do.
[01:01:51] I don't have the sleeper sofa, although I am very intrigued.
[01:01:54] I do have the Nomad sofa plus the sleep kit,
[01:01:57] which is another sleep thing that they are,
[01:02:00] which is really good.
[01:02:02] The best thing about Burro, I live in New York City.
[01:02:03] It's hard to get couches through doors and upstairs
[01:02:08] and so on and so forth.
[01:02:09] The burro breaks down very easily
[01:02:11] and then you assemble it in your house.
[01:02:13] - It's easy to get in, it's easy to get out.
[01:02:14] I had a burro at my old apartment.
[01:02:16] - Yeah.
[01:02:17] - I miss it, actually.
[01:02:18] - Go get it.
[01:02:18] - Well, maybe.
[01:02:19] But I'll tell you, here's another thing I like.
[01:02:21] I know this isn't the one they specifically--
[01:02:23] - I have bought a couple garbage bags.
[01:02:25] - I'll go to the sixth drink.
[01:02:26] - You could bring it over one piece of the time, you could.
[01:02:28] It's easy to assemble.
[01:02:29] It's easy to decide.
[01:02:30] - I recently moved and I said to the movers,
[01:02:32] like, I said, this couch comes apart and he's like,
[01:02:34] oh, believe me, I'm very familiar with Burros.
[01:02:36] They are great for movers.
[01:02:37] - You want movers to like you?
[01:02:38] - Yes.
[01:02:39] - Buy some Burros.
[01:02:40] Here's the other thing.
[01:02:41] You hear that you go, oh, this is gonna look like
[01:02:43] it's made out of plain meal or something.
[01:02:45] - Right, right?
[01:02:45] Oh, it must be junky.
[01:02:46] - It must be junky.
[01:02:47] No, you could fool anyone, you could.
[01:02:49] - Anyone but a movers.
[01:02:50] The thing I was gonna say, my Burro, I had at my old apartment.
[01:02:53] A feature I really like, even though they didn't put this
[01:02:55] in the copy, they put like a charging cable.
[01:02:58] You know what I'm saying?
[01:02:59] There's like USB ports in between the cushions.
[01:03:01] - Yeah, it's pretty clever.
[01:03:02] - So that you can plug your couch into the wall.
[01:03:04] - They got a lot of stuff like that.
[01:03:05] - And you can charge devices while sitting on the couch
[01:03:08] without having to reach over to the outlet.
[01:03:09] You know what I'm saying, Ben?
[01:03:10] - They're all about the thoughtful details.
[01:03:12] - It's a good company.
[01:03:13] - And this shift sleeper sofa, when it's unfolded,
[01:03:16] it's got layers of cooling memory foam,
[01:03:18] it's got comfort foam, it's got core foam.
[01:03:20] You got a nice night of sleep for any guests.
[01:03:23] It's so easy to get into your home.
[01:03:25] It's got a painless online shopping experience,
[01:03:27] free shipping to your door.
[01:03:28] And of course, easy to set up as we said,
[01:03:30] assembled without tools in boxes, you can move yourself.
[01:03:34] - Now I want to restate, I myself as a podcast host,
[01:03:36] I'm constantly uncomfortable, both physically and mentally.
[01:03:41] But this ad is about making sure you are creating
[01:03:44] comfortable circumstances for guests who may stay with you.
[01:03:48] - Sure, right.
[01:03:49] That's what they meant, not podcast guests.
[01:03:51] - No, but you do have a lot of anxieties about your hosting.
[01:03:54] - I do, I don't do it, that's why.
[01:03:56] - Check out Boro's new shift.
[01:03:57] - I meant "comiosting" not the podcast hosting,
[01:03:59] it's just clarifying.
[01:04:00] - Check out Boro's new shift sleeper sofa
[01:04:02] and all their incredible furniture at burrow.com/check
[01:04:06] and get 15% off your burrow order when you do.
[01:04:09] That's burrow.com/check
[01:04:11] for 15% off your burrow purchase burrow.com/check.
[01:04:14] - I obviously do podcast hosting,
[01:04:16] even though I do have worries about it.
[01:04:18] - Okay, there buddy.
[01:04:19] - Okay, so a star is born,
[01:04:24] a lot of where we talk, no it's totally fine.
[01:04:26] What about like an indie 90s star, like Bjork?
[01:04:29] - Yo. - You know?
[01:04:30] - Sure.
[01:04:31] - Courtney Love.
[01:04:32] - Wait, who could it be?
[01:04:33] - Dude Bjork, Lars von Trier, Scarsgard.
[01:04:36] - Right, yeah. - Yeah, yeah, yeah, yeah.
[01:04:39] - I'm too fucked up, you know what I'm trying to do?
[01:04:42] Okay, all right.
[01:04:43] - I can't get these pants on.
[01:04:44] (laughing)
[01:04:45] - Hey, I have to be bottomless for another scene.
[01:04:48] (laughing)
[01:04:50] - But the whole thing with this movie is Frank Pearson's
[01:04:53] one of the best screenwriters in Hollywood.
[01:04:56] They're struggling to find a director.
[01:04:58] Who is, Sidney Pollock was almost gonna do it.
[01:05:01] They'd obviously work together on the way we were.
[01:05:03] And they go to Frank Pearson and they're like,
[01:05:06] can we get you to do a rewrite on this?
[01:05:08] And Pearson so badly wants to kickstart his direct
[01:05:11] and career that he's like, I will rewrite the script
[01:05:14] if you let me direct.
[01:05:15] He was the 14th re-writer.
[01:05:17] - Yes.
[01:05:18] - So they brought in a ton of other writers.
[01:05:20] - And they were like, just bring it home, Frank.
[01:05:21] They're so desperate that they agree
[01:05:23] to give him the director chair.
[01:05:24] - Did you also know that she wanted Robert Altman
[01:05:28] to direct at one point?
[01:05:29] - Would have been wild.
[01:05:31] - He was making Nashville's a very different movie.
[01:05:34] She wanted Christopher,
[01:05:36] Barbara wanted Christopher to do the lead role.
[01:05:38] John Peters wanted Mick Jagger, probably because he thinks
[01:05:41] like Mick Jagger's cool.
[01:05:43] - So Alice doesn't live here, it's already happen
[01:05:44] at this point?
[01:05:45] - No.
[01:05:46] - No, is this his first movie?
[01:05:48] - This is like, 'cause Alice is 74 and then,
[01:05:50] oh, no, wait maybe it is then.
[01:05:52] - Right, this is 76.
[01:05:53] - Yeah, so he's done Alice, he's done like
[01:05:54] Pack, Eric and Billy.
[01:05:55] - Okay, he's done that as well.
[01:05:56] - Okay.
[01:05:57] - So he's acted.
[01:05:57] - Yeah.
[01:05:58] - And obviously they're big reaches to Elvis,
[01:06:01] which is such a cool idea.
[01:06:02] - I mean, it just, what did you know this?
[01:06:05] Elvis Presley.
[01:06:06] - Well, I assumed.
[01:06:07] - Not Elvis Costello, although I'd watch that too.
[01:06:10] - I would also watch that.
[01:06:11] - Elvis Presley.
[01:06:13] - What about Sharon Elvis Costello?
[01:06:14] (laughs)
[01:06:15] - What about Sharon Elvis Presley?
[01:06:17] - No, wait a second.
[01:06:18] - Yeah, I don't like it.
[01:06:18] - No, the Elvis of it, like him having that
[01:06:21] Judy Garland weight to him.
[01:06:23] Would it like thematic weight?
[01:06:25] - Yes.
[01:06:26] - Exactly.
[01:06:26] Now he hadn't done a movie in a couple of years,
[01:06:27] apparently Tom Parker asked,
[01:06:29] well, he don't know what we call change of habit
[01:06:31] in 69, yeah, yeah.
[01:06:33] He's on tour, he's making tons of money,
[01:06:35] so Tom Parker is apparently like, you know,
[01:06:38] "I'll only do it for $1 million," or whatever.
[01:06:41] - His other thing by all accounts was that
[01:06:43] in the movie, the guys obviously washed up, right?
[01:06:47] - Right.
[01:06:48] - And he's like, I don't want you to position yourself.
[01:06:52] - Yeah, yeah, yeah.
[01:06:52] - In that way, I'm making money hand over fist,
[01:06:55] which I'm then piling directly into debt,
[01:06:57] converting into debt.
[01:06:59] - Yeah.
[01:07:00] - But you doing your residency at Vegas.
[01:07:03] - Yeah.
[01:07:04] - People might be making jokes about you being sweaty
[01:07:07] or puffy or whatever, but you're the biggest act.
[01:07:10] I don't want a movie out there that's billboarding you
[01:07:13] as drunk circling the drain.
[01:07:15] - And it's interesting 'cause you wonder--
[01:07:16] - On the decline.
[01:07:17] - What could have done to change the trajectory.
[01:07:22] - There's the scene in the Baszler man movie
[01:07:24] that I find very heartbreaking,
[01:07:26] where he's talking to Priscilla
[01:07:28] and he's like, I think I got more to give.
[01:07:30] Like, I can do this movie and I can show people
[01:07:33] the things I've never gotten to do.
[01:07:35] And it's an imagined scene, you know?
[01:07:37] - Yeah.
[01:07:38] - Simplified dramatic scene.
[01:07:39] - Right.
[01:07:40] - You do imagine that was his feeling at the time
[01:07:42] and you do feel like he would have brought a lot to it.
[01:07:46] - Probably would have crushed.
[01:07:47] - Would have been an entirely different movie.
[01:07:48] - An incredibly interesting movie.
[01:07:50] - Yes.
[01:07:50] - If it had been even been made.
[01:07:51] - Yes.
[01:07:52] - Barbara does learn to play guitar for the film
[01:07:55] and works on the melody that becomes evergreen,
[01:07:58] which wins her her second Oscar for original song.
[01:08:01] - Comes with one of the best song songs of the '70s.
[01:08:04] - She was handed that Oscar by Neil Diamond for some reason.
[01:08:09] - Okay.
[01:08:09] - And he was also, someone had been bandied about
[01:08:14] for the part at some point.
[01:08:15] - Makes sense.
[01:08:16] - Yeah.
[01:08:17] - He's in the other ill-advised remake jazz singer
[01:08:21] in which he does "Blackface."
[01:08:23] No one ever talks about it.
[01:08:24] - Oh.
[01:08:25] - Do you even wonder why?
[01:08:26] - Yeah.
[01:08:27] - I cut that out.
[01:08:28] - That Neil Diamond did "Blackface" in the jazz singer?
[01:08:32] - Cut it out of the jazz singer.
[01:08:33] - Yeah.
[01:08:34] - You should rip it up with the jazz singer.
[01:08:36] - We can go find that guy who's doing archive work
[01:08:38] if he can come up.
[01:08:39] - Keep it in the episode.
[01:08:40] - Come on.
[01:08:41] - 'Cause it's true, but cut it out of the fucking movie.
[01:08:43] Also, Lawrence Olivier is wearing a 12 fake nose.
[01:08:46] Isn't that film?
[01:08:47] - Yeah, that's the insane performance.
[01:08:49] - Yes.
[01:08:50] - Look, the highlighted production is
[01:08:52] they have a 55,000 person concert
[01:08:55] at the Sundeville Stadium in Arizona.
[01:08:57] - It is astounding.
[01:08:58] - And Streisand is singing.
[01:08:59] - I was gonna say, was it a concert?
[01:09:03] Like, I always wonder what seems like that,
[01:09:05] especially now that I've made movies,
[01:09:07] is it a concert?
[01:09:09] And then they were like,
[01:09:10] this is also gonna be a filming day?
[01:09:11] Or did they say show up filming?
[01:09:14] Streisand is gonna sing.
[01:09:15] - And it's more the latter.
[01:09:17] Like Cooper Star is born, I think they--
[01:09:19] - They're running on stage.
[01:09:20] - They used Gaga concerts for one of the scenes.
[01:09:23] - Yes.
[01:09:24] - And they'd go to like music festivals or whatever.
[01:09:25] - And what they were mostly doing was
[01:09:27] with Willie Nelson's son, what's his name?
[01:09:29] - "The Triumph of the Real" is the name of the band--
[01:09:31] - Yeah.
[01:09:32] - Or something.
[01:09:33] - Or something.
[01:09:33] - They would be doing films of the real.
[01:09:34] - Yeah.
[01:09:35] - And then right, Bradley who would run on stage for a bit
[01:09:37] on a bridge, right?
[01:09:38] - Oh, right.
[01:09:40] - And they'd be like, "Woo!"
[01:09:41] - It's that.
[01:09:42] - You get like five minutes.
[01:09:42] - They're friends with,
[01:09:43] and they're like,
[01:09:44] can we hijack your audience for 10 minutes
[01:09:46] and film the performance?
[01:09:47] - Oh my God, it's like the idol.
[01:09:48] - Yeah.
[01:09:49] - Yeah.
[01:09:50] - Yeah.
[01:09:50] - Very realistic show, right?
[01:09:51] - Very realistic.
[01:09:52] - That's what it's like.
[01:09:53] - Rip from the headlines.
[01:09:54] - That's exactly what it's like.
[01:09:55] - But that sequence,
[01:09:58] 'cause at first you're getting mostly shots
[01:09:59] focusing on the stage.
[01:10:01] - Yeah.
[01:10:02] - They'll cut up to the audience.
[01:10:02] And I'm like, maybe this is like stock footage,
[01:10:04] maybe they went and got this B role
[01:10:05] that's some real concert.
[01:10:06] - Yeah, but yeah,
[01:10:07] it's the same unit.
[01:10:08] - And then we're just close up on the performance.
[01:10:09] And then there are moments
[01:10:10] where the camera moves from the stage to the crowd,
[01:10:13] and you just viewed the Remodern lens
[01:10:15] cannot imagine having that many people on camera.
[01:10:19] - In both versions.
[01:10:20] - They just never do that for real.
[01:10:21] - It's wild, yeah.
[01:10:23] In both versions of like the 70s
[01:10:25] and the, you know, the Bradley Cooper version.
[01:10:27] There are some wild shots with a real crowd.
[01:10:30] - Right, and I love the bit in this version of this movie,
[01:10:34] this rise in version with,
[01:10:37] where it kind of turns into a pseudo documentary
[01:10:39] at one point to kind of document her meteoric rise
[01:10:42] and to start them.
[01:10:43] I love that.
[01:10:43] Like it cuts oddly seamlessly,
[01:10:46] but it's also so out of place.
[01:10:47] But I love, I subscribe.
[01:10:49] - Yeah.
[01:10:50] - I think it's great.
[01:10:51] - I do too.
[01:10:52] Do you want me to tell you what Barbara Streisontold,
[01:10:53] the crowd when they started filming that day?
[01:10:55] - Oh no.
[01:10:56] Yes, I do.
[01:10:57] - We're gonna do rock and roll today.
[01:10:58] And we're gonna be in a movie.
[01:11:00] In our movie, we're real.
[01:11:01] We fight, scream, yell.
[01:11:03] We talk dirty.
[01:11:04] We smoke grass.
[01:11:05] So listen.
[01:11:06] What we're gonna do now is meet my co-star,
[01:11:08] Chris Christoferson.
[01:11:09] And when he comes on and oh, you'll love him anyway,
[01:11:11] but you have to love him even more, you know,
[01:11:13] so we won't have any problems.
[01:11:15] In the lingo of our movie,
[01:11:16] I say all you motherfuckers have a great time.
[01:11:19] Imagine Barbara Streisontold that you'll get that at you.
[01:11:20] - I got it.
[01:11:21] - All your own grass.
[01:11:22] - I love it.
[01:11:23] - So can we, can we talk about the thing though?
[01:11:26] - Yeah, please.
[01:11:27] What's the thing?
[01:11:27] - Is Barbara Streisont ever for a moment
[01:11:29] convincing as a rockstar in this film?
[01:11:31] I think this is like the crux
[01:11:33] of any conversation around this movie, right?
[01:11:36] Which is like, I think she is good in it.
[01:11:38] - Sure.
[01:11:39] - Anytime she is singing.
[01:11:40] - And she's such an arresting corner.
[01:11:41] - It is undeniably bad.
[01:11:42] - No, and that's like you read Ebert's review
[01:11:44] from the time.
[01:11:45] He gives us two out of four, right?
[01:11:47] And he's like, she never once is convincing
[01:11:50] in this role as they position her.
[01:11:52] It feels like a misframing of who she is
[01:11:55] and how she reads on camera.
[01:11:56] And yet anytime she's singing,
[01:11:59] you are reminded that his term uses undeniably
[01:12:03] one of the great elemental movie stars.
[01:12:06] One of the best people to ever be on screen.
[01:12:09] And there is that thing where it's like
[01:12:10] anytime the movie needs to sell,
[01:12:12] she's singing and people cannot deny what she's doing.
[01:12:15] It works other than the framing
[01:12:19] of what type of star she is.
[01:12:21] And it feels odd because it's like 10 degrees off
[01:12:24] of I have no doubt that she would have a meteoric success.
[01:12:29] But it feels the kind of star they're trying
[01:12:32] to pretend she is versus Chris Kristofferson
[01:12:36] who is obviously just really this guy.
[01:12:39] - Right.
[01:12:40] - What do you think?
[01:12:41] - It's interesting because I feel like
[01:12:42] when I was watching it and I didn't even put
[01:12:45] her in the rock star box when I was watching it.
[01:12:48] I was just kind of like, oh, she's a famous singer.
[01:12:50] I didn't go like, oh, right.
[01:12:51] She's a rock star.
[01:12:52] That's a good point.
[01:12:54] It's like, we meet her.
[01:12:55] She's in like a smokey club.
[01:12:57] - Right.
[01:12:58] - In her band, The Oreos.
[01:13:00] - The Oreos.
[01:13:01] - Jesus Christ.
[01:13:02] It was like, you couldn't do that now.
[01:13:04] - Nope, just the cring felling.
[01:13:05] - I really just could not believe that.
[01:13:07] And then that, and that's the kind of music
[01:13:10] she kind of goes off to sing,
[01:13:11] but then she just gets like these very 70s ballads.
[01:13:13] - Right.
[01:13:14] This is my club.
[01:13:15] - Like much more in line with who Barbara Streisand
[01:13:19] was a recording artist at that moment.
[01:13:21] - At the time, yeah, for sure.
[01:13:22] - Yes.
[01:13:23] - So I guess I agree.
[01:13:25] I mean, I do agree.
[01:13:26] You can't tell what kind of star she is just the fact
[01:13:30] that she's a really good singer
[01:13:31] and she's singing for many, many people
[01:13:33] and getting very famous.
[01:13:34] - But that attitude of how she's like prepping the crowd.
[01:13:38] - Yeah, yeah, yeah.
[01:13:38] - Feels like the thing she was doing of like,
[01:13:40] you know, and it's part of this John Peters,
[01:13:42] like I want you to be like sexy.
[01:13:43] I want you to be cool.
[01:13:44] None of this like sheepish, you know
[01:13:47] like wilting willow kind of stuff, whatever.
[01:13:50] She's not a hard edge performer in that way.
[01:13:54] - No, no.
[01:13:55] - And I think the Cooper movie
[01:13:57] has a better framing of Gaga of like,
[01:14:00] this is what she'd like to be singing.
[01:14:02] This is sort of the pop mold she's getting put into
[01:14:04] because that's what you need to do in this industry.
[01:14:07] But you understand underlying what her dream would be
[01:14:10] as a performer.
[01:14:12] - Yeah.
[01:14:12] And the only and like even in the script to screen
[01:14:15] of that movie in particular,
[01:14:18] the star isn't born until the very end
[01:14:20] where she goes back to that type of singing,
[01:14:22] that lyrical ballad singing and not what did it do?
[01:14:27] - And every green is like such a classical ballad.
[01:14:30] - Exactly.
[01:14:31] - And it's weird that it's in a movie that's like,
[01:14:32] and this is the fucking pills and weed rock star version.
[01:14:35] - Right and the industry's gonna ruin you.
[01:14:37] - Yeah.
[01:14:38] - She doesn't get really affected by the industry
[01:14:40] at all in that movie.
[01:14:41] - Well, she has a sing about her genes.
[01:14:43] And Alec Baldwin introduces her on SNL.
[01:14:45] - Oh, well, yeah.
[01:14:46] Well, no, I'm not.
[01:14:47] - Oh, in this movie, she tries in.
[01:14:48] - No, in this movie.
[01:14:49] - No, in this movie, definitely affects Gaga.
[01:14:51] - Yeah.
[01:14:52] In this movie, I don't really have a sense
[01:14:53] of her really struggling at all.
[01:14:55] - No.
[01:14:56] - She's doing well. - I'm going on tour.
[01:14:57] - Right.
[01:14:58] - She was incredibly stable at the whole film.
[01:14:59] - Because you're like, "Yeah, you're Barbara Streisand."
[01:15:01] - She's got this picture now.
[01:15:02] - Which is the problem in this movie.
[01:15:03] You're like, "Yeah, you've been doing this
[01:15:04] for 20 years, girl.
[01:15:05] You're great.
[01:15:06] I'm not worried about Barbara Streisand."
[01:15:07] - And it's so funny, 'cause I had the same thought
[01:15:09] I had when we were doing our cabaret episode,
[01:15:12] where I was like, "Liza Manelli would never
[01:15:15] be trapped in this nightclub."
[01:15:16] - Right, which is obviously the right problem.
[01:15:19] - This is the point.
[01:15:19] But I think that was like something I wrote down as a nose,
[01:15:22] like none of these women in every version of a star is born
[01:15:25] would ever be waiting for some dude--
[01:15:27] - No.
[01:15:28] - To come discover them.
[01:15:30] And this is exactly what Barbara Streisand did
[01:15:31] with her life. - No, yeah.
[01:15:32] - But here's the thing, like, as much as this is the movie
[01:15:35] that makes her realize I should be directing my own films,
[01:15:38] right? - Right.
[01:15:39] - Which is a positive, a net positive takeaway
[01:15:41] from this experience.
[01:15:43] I do think this is the movie where you're like,
[01:15:46] it could have benefited from her having a really good director
[01:15:50] who could have pushed her to break her habits
[01:15:53] as an actress a little bit.
[01:15:55] Because what would have been really shocking
[01:15:58] is to see a certain vulnerability
[01:16:02] that she had never put onscreen before.
[01:16:04] For how much Streisand would be sort of like low status
[01:16:06] who me, the ugly ducking thing we're talking about,
[01:16:10] there's the sort of like raw, uncomfortable vulnerability
[01:16:14] of Liza and cabaret that's so striking
[01:16:16] where you're like there's something a little desperate here.
[01:16:19] - Yeah.
[01:16:19] - And banging the sort of like whatever it is,
[01:16:23] it would have been astounding to see Streisand
[01:16:27] let a little bit of that out in this.
[01:16:29] - I know, the only time. - And I think she's two poise
[01:16:30] to do it.
[01:16:31] - And the only time you ever really see beyond that curtain
[01:16:34] is like in every version of the movie,
[01:16:36] the conversation with the manager being like,
[01:16:39] but I still love him and he's my problem
[01:16:41] and I love it all. - Got that one line reading
[01:16:43] that I think is the most affecting part of the entire film
[01:16:47] where she goes like when he's sleeping he's so beautiful.
[01:16:50] - Yeah.
[01:16:51] - Yeah.
[01:16:52] - It's just all the hurt pains like gone from his face.
[01:16:54] You know, and it's like it's the best single line,
[01:16:58] I think across these four versions of the story
[01:17:02] at conveying why she's still with him.
[01:17:04] - Yeah.
[01:17:05] - Yeah, no, that's a good call
[01:17:07] because the other ones, it's more,
[01:17:10] well the Mason Garland romance is maybe the weirdest
[01:17:13] of the, like they are the most ill-match.
[01:17:14] No, the Mason's really good.
[01:17:16] - Like, if you go out and Koopa and you're just like,
[01:17:18] yeah they have like some kind of natural sexual chemistry
[01:17:21] that's like. - They sell the
[01:17:22] - Magnuses a mower. - Yeah.
[01:17:23] - I do think Kristofferson and Streisand
[01:17:25] sell being deeply in love.
[01:17:28] - Yeah.
[01:17:28] - Cause they're both crazy.
[01:17:29] - Yeah. - God bless them.
[01:17:30] They're crazy. - Mm-hmm.
[01:17:32] - And you know, Streisand is just so like exciting
[01:17:37] to see in a movie. - Mm-hmm, yeah.
[01:17:40] - Basically always. - Yeah.
[01:17:41] - That even though I feel like she's kind of lost
[01:17:43] in most of this movie, I do think she's kind of lost
[01:17:45] in this movie. - I agree.
[01:17:47] - Like I don't really, like if she's on screen,
[01:17:49] I'm not, I don't, maybe loss is the wrong word.
[01:17:52] Cause I'm still like noticing her,
[01:17:53] I'm still like so invested in what she's doing.
[01:17:55] - She's working through.
[01:17:56] - It's an awkward transitional stage for her
[01:17:59] cause there's even like the early courtship stuff.
[01:18:02] It feels like she's playing it very like Fanny Bryce.
[01:18:06] - Yeah. - Like why don't you come
[01:18:07] out to mom and make me breakfast.
[01:18:08] You know, like everything's a little like sticking
[01:18:10] with her in a way that's fasting that's like out of tone
[01:18:13] with the movie out of tone with Kristofferson.
[01:18:16] - Yeah, that's the thing I felt the entire film
[01:18:18] is just stakes out the window.
[01:18:19] I don't care.
[01:18:20] - Yeah, right.
[01:18:21] And it is a lot of hanging out.
[01:18:23] - Yeah.
[01:18:24] - Like a lot of hanging out in just vibes.
[01:18:27] - 230, yeah, it's a long film.
[01:18:31] Did you folks watch the special edition
[01:18:34] of the regular edition?
[01:18:35] - I don't know.
[01:18:36] - I don't know.
[01:18:37] - I can't just watch whatever they gave me.
[01:18:39] - So I bought the iTunes and I saw
[01:18:41] that there was a special edition listed.
[01:18:43] - Yeah.
[01:18:44] - I went like, "What the fuck is this?"
[01:18:45] "What's so special?"
[01:18:46] - And then I dug into it in 2019 before after.
[01:18:51] Yes, you know what, it tied to the release-
[01:18:53] - I think it was 2018.
[01:18:54] It wasn't even, that was semi coincidental.
[01:18:57] She did a new special for Netflix.
[01:18:59] And as part of that, she sold like six of her things
[01:19:04] to Netflix.
[01:19:05] Netflix had a whole barber section that now is gone.
[01:19:08] - Of course.
[01:19:09] - Only the one special she made for Netflix is up there.
[01:19:11] I forget which one that is, but like all of her old TV
[01:19:15] specials were up there, a couple of her concert specials,
[01:19:18] and she sold them Star Wars born,
[01:19:19] but she recut it just for Netflix.
[01:19:22] - Okay.
[01:19:23] - And was like, "There are a couple of decisions
[01:19:24] "I made that have been bugging me for the last 40 years."
[01:19:27] And I just went back in and I fixed them.
[01:19:29] - Okay.
[01:19:30] - And I think it's really only two major changes,
[01:19:33] but both of them are, I would argue, really positive.
[01:19:37] - Okay.
[01:19:38] - One of them is, they include a scene earlier
[01:19:41] where she plays Evergreen for him on the piano.
[01:19:44] - Does that make sense to get that song in earlier?
[01:19:47] - Yeah.
[01:19:48] - Yeah.
[01:19:49] - He's like, "Do you play?"
[01:19:50] And she's like, "Yeah."
[01:19:50] And she's like, "Well, what's that?"
[01:19:52] And she's like, "It's like a symphony I'm working on,
[01:19:54] "but I never had words to it."
[01:19:55] - So it's the parking lot.
[01:19:56] - It's fascinating.
[01:19:57] - It's fascinating.
[01:19:58] - It's fascinating, 'cause it is that exact scene.
[01:20:00] Yeah. Which is like a crucial season. She's playing it but she doesn't have any lyrics and she's just sort of like humming along and playing on the piano. And then he's like, "I can come up with something" and he starts improvising Evergreen. I think I did see that scene so I must have watched this version. Yeah. Maybe I want it to. It does seem. It's a good scene and it sells like their artistic collaboration which I think is big for later her wanting so badly him to be on tour and all of that. Right. And then the other difference is the final number as theatrically released,
[01:20:29] was 1/7 minute unbroken close-up shot for the whole thing. Right. And what's the final song she does?
[01:20:37] What's the thing now? Right. She did, I think, a more plannative, ballad-type version of that.
[01:20:43] Yeah. More of a barbo version. Right. And in the special edition it cuts out to a wider shot and
[01:20:48] she does more of a rock and roll performance of it that I think is the only point in the movie in
[01:20:53] which she sells being a rock star quote unquote. Right. But she said she cut the Evergreen piano
[01:20:58] scene because she was only worried about pacing at the time. The movie had to be shorter and she
[01:21:04] said that was like a fors through the trees. It really helped the movie later on if you kept that
[01:21:08] in. That was a mistake. And she wanted the rock performance of watch closing now, look closing now.
[01:21:14] But people were impressed by the skill of the 7-minute unbroken take. And she lost that argument
[01:21:23] of just everyone saying like just keep it that way. Which is sort of a fair call in a way.
[01:21:27] Yeah. Yeah. I think so.
[01:21:29] Okay. Christopher Sauvros soon got drunk to play all the drunk scenes, got high to play all the
[01:21:34] high scenes. He says the film was the worst thing he'd been through since Ranger School.
[01:21:38] At one point, John Peters said, Christopher Savorson told Streisand to fuck off because she was
[01:21:45] telling him what to do. And Peters said, "You owe my little lady an apology." And Christopher
[01:21:50] Savorson said, "If I want some shit out of you, I'll squeeze your head." Which is fun.
[01:21:56] Looking back, he says that has to be one of the all-time great lines. So he's praising himself.
[01:22:01] When this movie was coming out, Peters kept on sailing. Yeah, the guy's kind of based on me.
[01:22:06] I base this character on me. He's really Christofson's playing me. And then there was
[01:22:09] some interview with Christofson. They said, "Is it true you're playing John Peters?" And he went,
[01:22:12] "No, I'm playing me." Yeah. That's the thing. He then watches the movie. And it's like,
[01:22:16] "I need to get sober." Yeah. He's like, "I'm seeing myself. I'm watching the Twilight Zone."
[01:22:23] And it's like, "I'm watching my own death approach, if I keep behaving this way."
[01:22:27] Yes. Pearson does make an initial cut. His ass gets kicked into a swimming pool and they take over.
[01:22:34] And then they, as you said, basically did the rest of themselves.
[01:22:42] And they had notes for the projectionists when they presented the reels to them.
[01:22:50] Make sure that reels one and two are as loud as possible. Love that.
[01:22:54] It's a loud movie.
[01:22:55] It is a loud movie.
[01:22:56] It is a loud movie. I mean, it's the same with the Cooper movie, which is when we saw it a
[01:23:02] tiff. We had to see it at the lightbox because that had Dolby. Sure.
[01:23:06] And they fucking blasted it up. And it was part of it.
[01:23:09] Yes. And it was kind of one of these things where we'd seen the trailer at this point.
[01:23:14] Like we knew. But still, where you were like, "Damn, this movie's like going in it hard."
[01:23:18] Like, you know, this like Lady Gaga Star Wars movie, is like, or you know?
[01:23:24] So this movie too is like, Bradley Cooper Jackson Maine has that sort of like broken poet
[01:23:29] thing, right? If this guy can't get out from under his own demons, but there's genius there,
[01:23:34] there's feeling there, there's all of this. It is fascinating. Remind me what,
[01:23:38] Chris Offsen's character's name is. And she says it eight million times.
[01:23:41] Oh, he is, of course, John Norman Howard.
[01:23:44] John Norman Howard.
[01:23:44] Oh, yeah. I forgot.
[01:23:46] He's not a Maine. I find it fascinating in a, not a successful way, but it is interesting
[01:23:52] that he's basically like an idiot savant in this movie.
[01:23:56] Yes. Right? A little bit, yeah.
[01:23:57] Like, everyone treats it like they're just like, "Well, this guy's a moron.
[01:24:01] Yeah. He is undeniably compelling on stage. He's probably going to kill himself at some point.
[01:24:06] Yeah. Just keep loading him full of drugs to get him to finish the concert."
[01:24:09] Yeah. So weird.
[01:24:11] And he keeps on saying like, "I'm working on new stuff. It's good. It's better." But you like,
[01:24:14] never hear his new songs, really, right?
[01:24:16] No. No.
[01:24:18] No.
[01:24:19] And then like--
[01:24:20] There's this attitude.
[01:24:21] I forget he ever had a career to start with.
[01:24:22] Right.
[01:24:23] And there's this attitude from everyone when he's like, "I'm going back to basics. I'm writing
[01:24:27] new songs. They're like, maybe accept your career is over. Like, they don't even want to hear this shit."
[01:24:31] Yeah, no. Nothing.
[01:24:32] They're like, "Your moments passed."
[01:24:34] Yeah, yeah.
[01:24:35] What are some other things we can talk about from this movie?
[01:24:38] I'm trying to think.
[01:24:39] Why is she not more enraged by him quite literally cheating on her?
[01:24:44] She's trying on her. That scene is kind of amazing.
[01:24:47] In their bed?
[01:24:47] In their bed.
[01:24:48] You've got, what's her name, Quinton?
[01:24:50] Yeah, Quinton.
[01:24:51] Who's a naked woman in his pool, and he didn't call the cops.
[01:24:54] This is the 70s.
[01:24:55] This is where it feels so 70s, though.
[01:24:58] We're just like, "I'm some naked. Hit me on pool."
[01:24:59] All right. I guess should we have sex?
[01:25:01] She's like, "Can I interview Esther?"
[01:25:03] Can I interview your wife?
[01:25:04] Yeah, baby. I can make that happen for you.
[01:25:06] Right.
[01:25:06] And when she shows up - She is to his place
[01:25:09] because she used to fuck the pool guy years ago.
[01:25:11] Right, sure.
[01:25:12] Baller.
[01:25:13] Right.
[01:25:13] Even at her, she just vaulted a fence.
[01:25:15] I mean who knows?
[01:25:16] Same.
[01:25:16] She's a derolist.
[01:25:17] We never see the keys.
[01:25:18] Right.
[01:25:19] Yeah, right. We don't see her come in.
[01:25:21] Right.
[01:25:21] And this is coming right off of -
[01:25:22] Is it after the Grammy?
[01:25:24] When it's off of a low moment.
[01:25:25] It's post the Grammy War.
[01:25:27] Yeah, both parties.
[01:25:28] Like, he's already kind of in the dog house.
[01:25:29] He's completely fucked.
[01:25:30] And he's like, "Oh, we fucked the interviewer."
[01:25:32] Yeah.
[01:25:32] And then when she walks in on them,
[01:25:33] he's like, "Oh, she's got some questions for you."
[01:25:35] Yeah. She wants an interview.
[01:25:36] My favorite part is that, right.
[01:25:39] He's like, "She won."
[01:25:40] And she's like, "Oh, yeah, yeah.
[01:25:42] Like, tits out."
[01:25:42] Just like, "Can I - I'll just go get my tape recorder or something?"
[01:25:46] And Barbara's - Yeah.
[01:25:47] First question.
[01:25:48] Do you know your husband can't get it off?
[01:25:49] Yeah.
[01:25:50] Is basically what she said.
[01:25:51] And then I feel like Kristofferson actually gives her a shift.
[01:25:54] I mean, "Come on, my friend needs an interview."
[01:25:56] Like, doesn't he kind of do?
[01:25:57] Yeah. He does.
[01:25:57] He's like, pissed at her for not wanting to talk to the other woman.
[01:26:01] The Audacity of Man.
[01:26:03] There's the thing.
[01:26:03] God bless.
[01:26:04] He's trying to kiss and make up,
[01:26:05] and Streisan starts biting his lip that is genuinely very hot.
[01:26:09] And then they start having like angry makeup sex,
[01:26:12] while it feels like the reporter is just slowly being like,
[01:26:15] "Where - the ex - I'm going to go.
[01:26:17] Where's my - who?
[01:26:19] Where's my top?
[01:26:21] Yeah, who knows?
[01:26:22] Who's okay?
[01:26:22] Yeah.
[01:26:25] The scene directed to the room,
[01:26:28] but I feel like Ben, most of all,
[01:26:30] where he discovers Streisand at the club,
[01:26:33] performing, and he gets into the fight with the guy who wants to see him performing,
[01:26:37] and wants his autograph, wants him on stage.
[01:26:39] Did any of you recognize who that actor was?
[01:26:41] Did you not recognize who it was, David?
[01:26:44] No.
[01:26:44] What I'm talking about?
[01:26:45] The goofy guy who's just like,
[01:26:46] "Hey, we pay your bills.
[01:26:47] You better get up on their platform."
[01:26:48] Yeah.
[01:26:49] His Robert Englund, Freddy Krueger himself,
[01:26:52] and early performance with Freddy Krueger.
[01:26:55] Interesting.
[01:26:56] No, I didn't like that at all.
[01:26:57] Who mostly played that, played like goofy
[01:27:00] Hicks and stuff in movies.
[01:27:01] Yeah.
[01:27:02] Because he's got the big kind of forehead and like,
[01:27:04] "Yeah, yeah, yeah, yeah."
[01:27:04] He played a lot of like sleazy dee-shucks guys
[01:27:07] until they put - once they put the hat on him,
[01:27:10] everything changed.
[01:27:11] Wow.
[01:27:12] Yeah.
[01:27:12] That's incredible.
[01:27:13] I was happy to see him.
[01:27:15] I mean, that's the thing.
[01:27:16] Like, it's like, very interesting to see Gary Busey.
[01:27:18] I think that first sequence is really compelling in that way.
[01:27:23] No, no, it's part of the movie.
[01:27:24] Yeah, well, these stories you hear about, like,
[01:27:26] people where it's like,
[01:27:27] "How the fuck did that guy make it through a concert?"
[01:27:30] You know?
[01:27:31] And it's like the audience is cheering,
[01:27:32] everyone backstage is like,
[01:27:33] "He's fucking doing it again."
[01:27:35] He shows up, he's incoherent,
[01:27:37] Gary Busey shoves four things up his nose.
[01:27:40] He gets on stage wearing like a Halloween mask
[01:27:43] and just growls.
[01:27:44] And you're like, "His compelling.
[01:27:46] I would pay to watch this."
[01:27:47] Well, shit.
[01:27:48] Yeah, no, it really is that moment.
[01:27:49] Music industry and like, just like concerts and just -
[01:27:54] it was very different.
[01:27:55] Yeah.
[01:27:56] It's like, what was acceptable?
[01:27:57] It is.
[01:27:58] Behavioral wise.
[01:27:59] 100%.
[01:28:00] There was less to do back then.
[01:28:01] You know, you go to a show and Kristofferson comes out
[01:28:04] in a Halloween mask, you're like,
[01:28:05] "Yeah, well, what else was I going to do today?
[01:28:06] Yeah, exactly.
[01:28:06] I watched this.
[01:28:07] Right.
[01:28:08] I don't have a phone.
[01:28:09] My phone's at home.
[01:28:10] Well, that's the thing.
[01:28:12] Now I feel like it.
[01:28:13] There's just like this.
[01:28:13] Like, I do sit at home, look at the with-
[01:28:16] I can't read on it.
[01:28:17] I can't play Pac-Man on it.
[01:28:18] Sorry, it's really amazing.
[01:28:19] No, no, just nowadays there's this idea of errors
[01:28:22] and a persona and all these things.
[01:28:24] I mean, you can even use Lady Gaga as an example
[01:28:26] of like the way she burst onto the scene was,
[01:28:29] "Yeah, she would get on stage and do something weird."
[01:28:31] Like nobody thought that about Kristofferson's character
[01:28:34] because they didn't fucking know who he was.
[01:28:36] It's unbridled in.
[01:28:37] Yeah, it's this guy might puke on me tonight.
[01:28:39] Yeah, yeah.
[01:28:40] I mean, the scene.
[01:28:41] But that was the whole early Lady Gaga thing.
[01:28:42] It was like, you won't believe what this woman does
[01:28:44] sitting at a piano.
[01:28:45] Like, that was like that early vibe.
[01:28:47] But she always talked about that much in this kind of way of like,
[01:28:50] "I knew the kind of music I wanted to do."
[01:28:52] That music didn't sell.
[01:28:53] I needed to play the game of the industry
[01:28:55] and slowly start working in, stripping it down,
[01:28:59] getting it back to being supposed to focus on the voice.
[01:29:01] I love the way she talks about it now
[01:29:02] and where she's just kind of like,
[01:29:03] "I was doing my thing."
[01:29:04] You know?
[01:29:05] And that's exactly what got her.
[01:29:06] Sometimes all it takes is one person in our room.
[01:29:08] I was there one.
[01:29:11] Look, we, the critic circle, gave her best actress
[01:29:14] for Ausiguchi.
[01:29:15] Yeah.
[01:29:16] And I was there for what was essentially her Oscar speech
[01:29:18] that she didn't get to deliver anywhere else.
[01:29:20] And it was a tour de force.
[01:29:22] It was 20 minutes.
[01:29:22] It was amazing.
[01:29:23] I know she won the song Oscar.
[01:29:27] Yeah.
[01:29:27] She did.
[01:29:28] But it's like more than anything,
[01:29:29] I want to see her win best actress eventually
[01:29:31] so she can get that speech.
[01:29:33] She might need the speech will be better
[01:29:34] than whatever performance she gives.
[01:29:36] Not to diminish her.
[01:29:37] I think she's a really good actress in moving.
[01:29:39] She's so strong.
[01:29:40] Yeah.
[01:29:40] And I really do think she'll get her chance
[01:29:42] to do accept that best actress Oscar one day.
[01:29:45] And I think she's building her career in a very interesting way
[01:29:47] in terms of what she's taking on.
[01:29:49] She's doing some good projects.
[01:29:50] And it's so funny because she's somebody
[01:29:52] who can tell she cares so much.
[01:29:55] But she's also just genuinely having such a good time
[01:29:58] while doing it that it's really admirable.
[01:30:00] She's like a real star.
[01:30:01] Like she doesn't need us.
[01:30:02] That's the thing.
[01:30:03] She doesn't need us.
[01:30:04] She doesn't need us.
[01:30:04] She doesn't need the stupid industry.
[01:30:06] She needs one person in the room.
[01:30:08] She just needs one person in that room.
[01:30:09] I love her so much.
[01:30:10] She's my mom.
[01:30:11] I think I think this movie because there are moments
[01:30:13] where you're like,
[01:30:14] this movie is like hitting something good.
[01:30:17] Yeah.
[01:30:17] Right?
[01:30:19] Degree music character I like that he is not nefarious.
[01:30:24] Right?
[01:30:25] Yeah.
[01:30:25] Yeah.
[01:30:26] He's not trying to get anything out of anybody.
[01:30:28] No.
[01:30:29] He's just genuinely the working man,
[01:30:31] trying to make a living.
[01:30:32] He's genuinely kind of his best friend.
[01:30:34] Yes.
[01:30:34] But the thing it speaks to really well is like
[01:30:38] a guy like this
[01:30:39] who's trapped in an absolute cycle of like self destruction,
[01:30:43] right?
[01:30:43] There's that line Streisand has when she goes to his house
[01:30:46] for the first time and she goes,
[01:30:47] so what are you?
[01:30:48] Were you really rich or really poor?
[01:30:50] Yeah.
[01:30:51] Where she can't figure out what was your central trauma?
[01:30:54] Yeah.
[01:30:54] What broke you when you were growing up?
[01:30:56] Yeah, and what got you here?
[01:30:58] Right.
[01:30:58] And they never answered it.
[01:30:59] No.
[01:30:59] I actually really liked the lack of back story.
[01:31:02] Yeah.
[01:31:03] Of just like this guy's undeniably got something.
[01:31:05] But like why can't he get out of his own way?
[01:31:07] I totally figured it out.
[01:31:08] Right.
[01:31:09] My brother is character actor, Sam Elliott.
[01:31:11] Right.
[01:31:11] And it just feels like your abuse is like genuinely kind of
[01:31:14] trying his best.
[01:31:15] Yeah.
[01:31:16] And it's just like, here you go.
[01:31:17] Here are the four things I know you need to make it through
[01:31:20] the next 45 minutes.
[01:31:21] Mm-hmm.
[01:31:22] And then every time he, you know,
[01:31:25] does a motorcycle wheelie off the stage?
[01:31:27] Or pukes on people or pisses himself or any of these fucking things.
[01:31:31] He just trashes his own house, spray paint for the walls.
[01:31:34] Who do I need to call now?
[01:31:35] Like everyone stuck in the routine of the thing?
[01:31:37] Yeah.
[01:31:38] In this way that like when you are in industry,
[01:31:40] when you're making money for people and you've built,
[01:31:42] like an organization around yourself, right?
[01:31:45] And a staff and whatever.
[01:31:46] Even when people can see like,
[01:32:01] like none of them are like positioned as being like inherently duplicitous.
[01:32:05] No.
[01:32:06] Evil like, because I think the,
[01:32:09] the agent character in the Cooper movie is the biggest mistake of that film.
[01:32:13] Or he is like...
[01:32:14] It's oddly too mustache twirl.
[01:32:16] Yeah, it doesn't fit.
[01:32:17] It's very nefarious.
[01:32:18] And this is like all these people,
[01:32:20] the scene with Missouri ski where he's like,
[01:32:22] I'll listen, I'll listen to the tapes.
[01:32:24] I really will.
[01:32:25] It's kind of touching where he's just like,
[01:32:27] there's no future for you,
[01:32:28] but I'm really listening to what you're saying.
[01:32:30] And I feel bad for you.
[01:32:31] And they have that moment in the Garland one with,
[01:32:33] you know, the head of the studio comes to visit her on set
[01:32:37] and she says, he says, would it help if we put him in something?
[01:32:41] Yeah.
[01:32:42] And she's like, oh my God, would you do that?
[01:32:43] And really thinks that that's going to turn it all around.
[01:32:46] Yes.
[01:32:47] And the dramatic irony of it is that we know that it's not.
[01:32:49] It's this story that's been told a million times,
[01:32:51] but those moments matter in movies like this.
[01:32:55] Esther wanting him to be on the tour is like...
[01:32:58] Yeah.
[01:32:58] 50%.
[01:32:59] I want the accountability of,
[01:33:00] I need him in my sight, right?
[01:33:02] And I need to be the one providing him structure, whatever.
[01:33:05] But I think she also thinks like,
[01:33:06] it's why putting the Evergreen scene in is really valuable for the movie
[01:33:11] is like, if we could recapture that on stage every night.
[01:33:14] Yeah.
[01:33:15] That's the version of him that I love.
[01:33:17] And if I could show that to some people, he has a future.
[01:33:19] And that's...
[01:33:20] And I wonder if Cooper was tipped off about that or something,
[01:33:23] because that she's singing shallow at her fucking krompiano
[01:33:28] that she brought on the Joantor.
[01:33:29] I know I was there.
[01:33:31] And she's singing it, and she wanted to sing it with him.
[01:33:34] And that's why she wanted to bring him on tours,
[01:33:36] to capture the magic of why they fell in love,
[01:33:38] and why she became a star, and why he's the reason.
[01:33:41] Yeah.
[01:33:42] And it makes me wonder if he knew that that Evergreen scene
[01:33:46] hadn't been cut.
[01:33:47] Why?
[01:33:48] I just think...
[01:33:49] I imagine he knew in some capacity, I don't know.
[01:33:52] This movie is quietly smart about how complicit everyone is
[01:33:56] in his self-destruction without being sinister, you know?
[01:34:00] And they're all in this position where they're like,
[01:34:02] this guy makes my life so fucking difficult.
[01:34:04] Right.
[01:34:05] The way Missouries case, like,
[01:34:06] I got to fucking call the cops and pretend,
[01:34:08] or you see the one who pretends it was a sniper
[01:34:10] when he was the one shooting a pistol at the helicopter.
[01:34:13] He's like, "I got to do this fucking again."
[01:34:15] Yeah.
[01:34:15] Like, why does this guy make my life a living hell?
[01:34:17] But they're also all only doing what he needs
[01:34:22] to keep making money, rather than really trying to help him
[01:34:25] at any moment.
[01:34:26] Right.
[01:34:27] Yeah.
[01:34:27] Right.
[01:34:28] I don't know.
[01:34:28] I like the agent character in the Cooper one.
[01:34:30] I think these mysteries like that now.
[01:34:31] They're just fucking like, this guy's got to go.
[01:34:34] Yeah.
[01:34:34] Missouries bad, but...
[01:34:35] Yeah.
[01:34:35] Missouries case match.
[01:34:36] Well, Missouries is all right in this one,
[01:34:37] but that feels more 70s, right?
[01:34:39] Where it's like, "Yeah, I guess it's just all just die
[01:34:42] in this castle of ours, I guess, right?
[01:34:44] We'll just keep doing drugs."
[01:34:45] And like...
[01:34:46] In my head, it's like, if you're a rock star like that,
[01:34:48] you live in a house, and then they just keep adding layers
[01:34:51] to your house until you can't even leave.
[01:34:53] You don't even know where the exit is.
[01:34:54] You know?
[01:34:55] In that house, though, is it correct?
[01:34:57] Yes.
[01:34:57] Yeah.
[01:34:58] Like, what, what, uh, how would you describe the design?
[01:35:02] Like, what era is that, like, or the -- like, Wayne Manor?
[01:35:06] No.
[01:35:06] Like, certainly, is it like --
[01:35:08] So, uh, I can't think of the name.
[01:35:11] I have to look it up.
[01:35:12] Yeah.
[01:35:13] I like the pagoda, too.
[01:35:14] The pagoda ranch.
[01:35:16] The one they build, yeah.
[01:35:17] Yeah, yeah.
[01:35:17] That one's cool, too.
[01:35:18] That place looks relaxing.
[01:35:19] Like, I like their little lost weekend.
[01:35:22] Yeah.
[01:35:22] It's nice.
[01:35:23] And he just kind of builds that,
[01:35:24] and like, I don't know, like a day.
[01:35:26] Yeah.
[01:35:27] Is that like what we're going to build you?
[01:35:28] That's how it's depicted, yeah.
[01:35:30] Do you mean the ranch house, or they have the honeymoon?
[01:35:32] Like, which, which, which house?
[01:35:33] His mansion.
[01:35:34] His mansion.
[01:35:35] It's like LA mansion.
[01:35:35] I know.
[01:35:36] I'm trying to think of...
[01:35:36] I can't think of--
[01:35:38] There's like a very particular name for it, whatever.
[01:35:40] It doesn't matter.
[01:35:41] I want to see it.
[01:35:42] Most of the stuff is about their honeymoon house,
[01:35:44] which is cool.
[01:35:45] It's like total maximalist design in it,
[01:35:48] which is, you know, the decoration.
[01:35:50] So many mirrors.
[01:35:50] There's so many mirrors.
[01:35:51] So much curtain work.
[01:35:53] You're a big star.
[01:35:53] So like every wall in your house is a mirror, right?
[01:35:56] I actually don't think I own a single mirror
[01:35:59] that isn't in a bathroom.
[01:36:00] You live in a sphere.
[01:36:01] No, you need to, yeah.
[01:36:02] You need to wear a suit of armor
[01:36:04] that's made of mirrors at all times.
[01:36:05] So everybody can look at themselves
[01:36:06] when they're looking exactly.
[01:36:07] It's a commentary.
[01:36:08] Yeah.
[01:36:09] Because actors are just reflections of other people.
[01:36:11] Exactly, Rachel, thank you.
[01:36:12] Exactly, yeah.
[01:36:13] You need to take pictures of the paparazzi.
[01:36:15] Yeah.
[01:36:16] That I do.
[01:36:17] Yeah, well, what was the thing I was going to--
[01:36:20] Starsborn, say it's youtube--
[01:36:21] Starsborn, Christopher Sopferson,
[01:36:23] is in the movie, "Barber drinking."
[01:36:24] Oh, it's one of the things that's just very--
[01:36:26] It did help me.
[01:36:27] That worked.
[01:36:28] It's one of the things that makes this story so sticky, right?
[01:36:34] Is that you enter in mostly through the eyes
[01:36:39] of the young woman,
[01:36:41] who's just like,
[01:36:42] "I cannot imagine this world you live in."
[01:36:44] Look at these people around you,
[01:36:45] this house that seems to go on forever.
[01:36:47] You just get to walk on stage and people love you,
[01:36:50] even when you're fucking up.
[01:36:51] Everything is supported for you.
[01:36:53] And then the moment she hits,
[01:36:56] the energy changes so much,
[01:36:58] where your perspective, you go like,
[01:37:01] "Oh, this guy is slipping."
[01:37:02] I know the guy was slipping psychologically,
[01:37:04] but almost immediately,
[01:37:06] her star is so much bigger that we've ever seen him be.
[01:37:10] You can fill in the blanks and go,
[01:37:12] "Maybe he was there at some point,
[01:37:13] or maybe she's already eclipsed the height of where he was."
[01:37:16] But it's like,
[01:37:18] the scene where Missouri-ski is just kind of like...
[01:37:21] He's already done.
[01:37:22] We've known he's been done for a year.
[01:37:24] We've been riding out on the fumes.
[01:37:26] There's nothing left there.
[01:37:28] There's not a--
[01:37:30] It's like that scene where he goes to visit the studio
[01:37:32] and Bucey's there,
[01:37:33] and they're just recording with other people,
[01:37:37] new music.
[01:37:38] And he's like, "Yeah, we're just--
[01:37:39] We like this sound.
[01:37:40] It's really nice."
[01:37:40] It's a good sound that they've got going.
[01:37:42] Like, he never even existed.
[01:37:44] Yeah.
[01:37:44] But the thing is--
[01:37:45] The scene for like six weeks
[01:37:46] and they were like,
[01:37:47] "Yeah, that's actually kind of healthier."
[01:37:48] He's moving on.
[01:37:49] Yeah.
[01:37:50] And we don't really see,
[01:37:51] though, the effect that that genuinely has on him
[01:37:53] because we don't see him ever on the up and up.
[01:37:56] And Bucey, when he's giving him the bad news
[01:37:58] in that scene,
[01:37:59] is also still giving him bumps off the little sp--
[01:38:02] But he's like, "Got to keep him, you know, stable."
[01:38:04] Yeah.
[01:38:05] Yeah.
[01:38:05] Said, "Hey, remember this?"
[01:38:07] Keep this guy level.
[01:38:08] Yeah, right.
[01:38:09] There's the Grammy's scene, obviously,
[01:38:12] which is crucial to any stars-borne movie
[01:38:15] is "Man Makes a Scene at Awards" ceremony.
[01:38:18] Yeah.
[01:38:19] It's just like--
[01:38:20] Which is good and embarrassing.
[01:38:22] The Cooper one is so brutal
[01:38:25] that it's almost hard to watch.
[01:38:26] It's hard to watch.
[01:38:27] This one is more classic just like,
[01:38:28] "Ah, ah, you know, like, you know--"
[01:38:30] The Grammy's when he pisses himself?
[01:38:32] Yes.
[01:38:32] Yeah.
[01:38:33] It's a little much.
[01:38:34] I'll say the Garland one's kind of hard to watch too.
[01:38:37] Yeah, the Garland one's really brutal.
[01:38:38] Yeah.
[01:38:39] Cheers, Macey.
[01:38:40] This isn't--
[01:38:40] He like accidentally hit her in the face
[01:38:42] in that one too.
[01:38:42] Yeah.
[01:38:43] That's tough.
[01:38:44] But it's what works about--
[01:38:46] How do I put this?
[01:38:50] I don't know.
[01:38:51] I don't know.
[01:38:52] I was watching this when we threw the prism
[01:38:53] of getting ready to talk about Babs.
[01:38:55] For a bit of Babs, we have--
[01:38:57] A bit of Babs, a babble about Babs.
[01:38:59] Do it's a Babs, Babs, Babbling.
[01:39:00] Do it's a Babs, Babbling?
[01:39:01] Yeah.
[01:39:01] That thing I was saying earlier,
[01:39:04] of her being one of those people
[01:39:05] where you're just like,
[01:39:06] inevitable, undeniable, right?
[01:39:09] It was just like sheer force of will and talent.
[01:39:10] She was going to be Barbara Streisand,
[01:39:13] no matter what.
[01:39:14] And I feel like all these stars born movies
[01:39:18] have that element of like,
[01:39:20] the woman at the center at the beginning
[01:39:23] is sort of like, "Who me?
[01:39:24] I don't know.
[01:39:26] Everyone's told me I'll never make it."
[01:39:27] I like doing this.
[01:39:29] I've accepted my position in all of this, right?
[01:39:32] I don't really want all of this necessarily.
[01:39:35] I'm kind of fine with where I am.
[01:39:36] And then someone pushes them onto the bigger stage,
[01:39:39] and they just not only immediately explode,
[01:39:42] but kind of take to it immediately.
[01:39:44] Yeah.
[01:39:44] We're much in the same way
[01:39:46] where when she hits you realize
[01:39:47] how much bigger she immediately is than he ever was,
[01:39:51] that she is so much better adjusted than he is?
[01:39:55] That's the thing.
[01:39:56] Like it's another thing I think this movie gets right
[01:39:59] is after that first concert where he forces her to perform,
[01:40:01] she's so nervous, it feels like she's going to bomb.
[01:40:04] And then over the course of three songs, she just destroys.
[01:40:06] And then when everyone's hoarding her outside,
[01:40:09] mobbing her and all the press
[01:40:11] or putting the microphones in her face,
[01:40:13] she has like funny quips for every question.
[01:40:15] And you're like, "He's Barbara."
[01:40:17] Right. Her whole life has been ready for this moment.
[01:40:19] Right. But I mean, this is sort of my problem with movies.
[01:40:21] I'm like, "She's too famous."
[01:40:23] There's no struggle.
[01:40:24] Right. Because she's Barbara Streisand.
[01:40:26] Whereas like, again, the Cooper one somehow gets away with it.
[01:40:28] Like I buy Lady Gaga's,
[01:40:30] a nobody in that movie, which is surprising.
[01:40:33] Yeah.
[01:40:33] Well, yeah. And I think it works
[01:40:35] because you'd never seen her strip down before.
[01:40:36] I can. And you'd never really seen her act of it.
[01:40:39] You had to be like a die-hard fan
[01:40:43] to know like when she came up with the album,
[01:40:44] Joanne, she really stripped herself down vocally
[01:40:47] and great album.
[01:40:48] And as somebody who was there for all of that,
[01:40:53] I was not shocked to see her be so real and grounded
[01:40:57] and look like a person.
[01:40:58] Most people are like, "Oh, it's poker face.
[01:41:00] You know, that burns.
[01:41:01] Exactly. And they have no idea.
[01:41:03] But that's what's amazing about these movies though,
[01:41:06] is that it stripped back the, for lack of a term,
[01:41:10] the glitter of the women who were at the forefront of these films
[01:41:15] and stripped them down to a way
[01:41:17] that nobody had ever seen them before.
[01:41:19] It's really nice that the movie's called glitter.
[01:41:22] Like, why had no one ever called a movie glitter before?
[01:41:24] Yeah. It's a good title.
[01:41:25] Karen's Howard's in it, right?
[01:41:26] Yes. So is Padma Lakshy, I'm pretty sure.
[01:41:30] Yep.
[01:41:31] Yeah.
[01:41:31] Apparently she plays a character called Silk.
[01:41:33] Yeah. She's a famous singer.
[01:41:36] Yeah. She's in it.
[01:41:36] Like, I think Mariah Carey like does background vocals for her
[01:41:40] in the opening and she's apparently like a hack.
[01:41:43] She's lip-syncing.
[01:41:44] And Mariah's like, "I can do that."
[01:41:46] Oh, she can like, right.
[01:41:47] You don't need to flip her.
[01:41:49] De Brat is in it. One of the great hip-offs artists in the '90s.
[01:41:52] Why not?
[01:41:53] Oh, yeah.
[01:41:53] Trying to find, I had it saved before,
[01:41:56] but the Frank Pearson article, so I can read.
[01:41:58] There's like, a particularly damning quote.
[01:42:00] I mean, go ahead and check it, pull some stuff in the dark.
[01:42:01] I mean, certainly I have some quotes which was, he was very mean.
[01:42:05] Really?
[01:42:06] Like, this is all the money.
[01:42:07] I mean, a lot more than we had a bad time.
[01:42:09] That's the thing.
[01:42:10] That's what's what's...
[01:42:11] That's sort of impressive where he's like, "I'm kneecapping you."
[01:42:15] That's the thing.
[01:42:15] It's one of those like, Josh Trank levels of self-sabotage
[01:42:18] where you're just like, "Wait until the movies come out."
[01:42:21] Yeah.
[01:42:21] And if it's something to be celebrated,
[01:42:23] don't you want to be celebrated?
[01:42:25] If it bombs, then you can sort of like, vindicate yourself as the fact.
[01:42:28] I wonder if he was kind of like,
[01:42:30] prepping himself for a possible backlash that would come
[01:42:35] if it were really successful and everybody was giving him credit.
[01:42:38] And Bab was going to get up there and be like, "Actually, it was all me."
[01:42:42] Right, I took this movie over, running.
[01:42:43] Then he wanted to kind of like-
[01:42:45] Possibly?
[01:42:45] I think it was a mistake, though,
[01:42:46] because I feel like that just kills your career.
[01:42:49] Totally.
[01:42:49] He's never a major director because of this movie.
[01:42:52] No, but I think-
[01:42:53] He was just kidding.
[01:42:54] I think you're right, Rachel.
[01:42:55] This strategically, his attitude was,
[01:42:57] if I position myself as...
[01:43:00] Or if I give everyone the story of my struggle
[01:43:02] to get my voice through in this movie,
[01:43:04] then anything they do like in the movie,
[01:43:06] they'll credit to me and anything they don't like,
[01:43:07] they'll say, "Well, it was out of his control."
[01:43:09] Yeah.
[01:43:10] That's what I think it was,
[01:43:11] some kind of strategy to just safeguard himself
[01:43:15] not knowing what the response was going to be.
[01:43:17] That's right.
[01:43:17] Like an e-page article for New York magazine,
[01:43:20] like a big outlet.
[01:43:21] It's not like a-
[01:43:22] No, it's a big part.
[01:43:23] It's in the modern era.
[01:43:24] And if he had just stayed quiet-
[01:43:26] Yeah.
[01:43:27] The movie comes out of the big hit
[01:43:28] that gets kind of middling reviews,
[01:43:30] a few Oscar Noms, nothing major.
[01:43:32] And he had just been like,
[01:43:33] "Yeah, so I was the director of that.
[01:43:35] Everyone probably would have been chill about it."
[01:43:37] Yeah.
[01:43:37] You know, he would have been like,
[01:43:38] "Yeah, you know, Barbara.
[01:43:39] Obviously, strong force, personality, bubble,
[01:43:42] but you know, yeah.
[01:43:42] And then he gets to make some other movie.
[01:43:43] You made a big hit,
[01:43:44] buddy."
[01:43:45] But she basically just now,
[01:43:47] like it has taken the,
[01:43:48] I don't even think about you,
[01:43:50] for the last 40 years,
[01:43:51] she just talks about the movie-
[01:43:53] As if it doesn't, right?
[01:43:53] Without Minh-
[01:43:54] Yeah, he doesn't-
[01:43:55] She does the director's commentary,
[01:43:57] she does the retrospective press.
[01:43:59] Wow.
[01:43:59] And she just says like,
[01:44:00] "When John and I were making stars born."
[01:44:02] Wow.
[01:44:03] She can knock directors and actors
[01:44:04] clear out of the practice of their profession
[01:44:06] with 10% of her energy,
[01:44:07] says Frank Pearson
[01:44:08] of Barbara Streisand.
[01:44:09] You know, apparently they fought the whole time.
[01:44:14] She said, "I don't feel you really want to love me.
[01:44:16] All my directors have wanted to make me beautiful.
[01:44:18] I feel like you're holding something back.
[01:44:19] There's something you don't tell me.
[01:44:20] You never talk to me.
[01:44:21] Now, this is Frank quoting Barbara."
[01:44:23] Sure.
[01:44:24] So I don't know.
[01:44:25] And Frank says, "I love you,
[01:44:27] but I'm not the demonstrative type."
[01:44:28] Okay.
[01:44:30] I don't know.
[01:44:30] Yes, sentence.
[01:44:32] "Every rehearsal,
[01:44:33] Barbara can never settle
[01:44:34] on a final reading.
[01:44:35] Nothing ever gets done."
[01:44:36] This is, again, his telling of things.
[01:44:40] You know, the dailies are good,
[01:44:41] but they're not good enough.
[01:44:43] Barbara and John Kancy,
[01:44:44] how they go together,
[01:44:45] they convince the movies of disaster,
[01:44:47] they yell that he's ruined it.
[01:44:49] I've never been so tired not since World War II.
[01:44:51] Both he and Chris Kristofferson
[01:44:52] comparing this movie to serving in the military...
[01:44:54] Yeah, that is a yoke.
[01:44:56] You know, back in the day,
[01:44:58] fucking 70s directors could be like,
[01:45:00] "Look, man, I was in Germany."
[01:45:02] Yeah.
[01:45:02] And I preferred that.
[01:45:03] And I'd feel bad.
[01:45:05] And, you know,
[01:45:07] I guess, like,
[01:45:08] it does kind of seem like that classic,
[01:45:11] like, Barbara and John have the idea of the movie,
[01:45:15] and they're watching dailies
[01:45:16] and being like,
[01:45:16] "You're fucking up,
[01:45:17] whatever our idea of this movie is, right?"
[01:45:19] Like, you know,
[01:45:20] and they're probably not.
[01:45:22] Yeah.
[01:45:23] Like, I don't know that he was really
[01:45:24] to blame for anything,
[01:45:25] but, you know,
[01:45:26] there's no sense of collaboration.
[01:45:28] No, I don't know if it's just that the bones
[01:45:32] of "Star Is Born"
[01:45:33] hit on something so primal and fascinating,
[01:45:36] where like, yeah,
[01:45:37] every 20 years we want the fame machine
[01:45:40] to like look in words
[01:45:42] and tell this tragedy
[01:45:43] about like how we dispose of people.
[01:45:45] And also how we like
[01:45:46] dehumanize people in the process of,
[01:45:48] I mean, that's what's so poignant about it
[01:45:51] is the sort of like one person on the way out,
[01:45:53] one person walking in kind of thing,
[01:45:55] where this movie always leaves you
[01:45:56] with this note of like,
[01:45:57] "How's she gonna look in 30 years?"
[01:45:59] Exactly.
[01:46:00] She seems to have a better head on her shoulders,
[01:46:02] but like,
[01:46:02] he doesn't know what price Hollywood you could say.
[01:46:06] Exactly.
[01:46:06] But I had always been led to believe,
[01:46:09] like, well, they've made three great "Star Is Born"
[01:46:11] and obviously there's the turd from the 70s
[01:46:13] that we all went to see.
[01:46:14] Right.
[01:46:15] And I think it's like,
[01:46:15] there's enough here,
[01:46:17] it's a sloppy-ass movie.
[01:46:19] Yeah.
[01:46:20] But I think it does have some juice to it.
[01:46:24] Yeah.
[01:46:25] I think there's definitely a reason
[01:46:27] people still watch it, you know?
[01:46:28] Yeah.
[01:46:29] It's because he's in it.
[01:46:30] It's because he's in it.
[01:46:31] It's because he's in it.
[01:46:32] And it's because everybody
[01:46:34] knows the song Evergreen.
[01:46:35] Good song.
[01:46:36] You know, it's a really upsetting scene,
[01:46:37] although it's a little,
[01:46:38] it almost feels like a family guy gag or something.
[01:46:41] When,
[01:46:42] I mean, he does,
[01:46:45] I like that his suicide is him just racing the car in this.
[01:46:49] Yeah.
[01:46:50] You know, that--
[01:46:51] It drives, like, the wind and then you never see him again.
[01:46:53] There's something I'm a spiritual about it.
[01:46:55] The scene, it's almost, yeah,
[01:46:56] with his own, his corpse, his affective, right?
[01:46:58] Right.
[01:46:59] That scene is, yeah, it almost could be unintentional.
[01:47:01] Yes.
[01:47:01] Right, right.
[01:47:02] Yeah, that's what I like about it.
[01:47:03] Yeah.
[01:47:04] Absolutely.
[01:47:04] Right, because you have the same moment that you have
[01:47:07] of like, you're dragging her down, man.
[01:47:10] Yeah.
[01:47:10] Her career is hamstruck by you.
[01:47:12] Yeah.
[01:47:12] And when it becomes like a deliberate suicide
[01:47:15] by your own hand,
[01:47:16] then it sort of feels like this thing of like,
[01:47:18] martyrdom, he's sacrificing himself versus this,
[01:47:21] where it's like, it's just a whole ball of emotions.
[01:47:23] Yeah.
[01:47:24] And it's, yeah, it's kind of mythical.
[01:47:25] He drives off,
[01:47:26] and then the next thing you see--
[01:47:27] Just staring at him and his motor is like--
[01:47:28] Right, the crane raising, lowering down from the sky
[01:47:31] and her there talking to his dead body
[01:47:33] and begging for blankets and whatever,
[01:47:34] which is the one scene where I think
[01:47:35] she kind of has that vulnerability.
[01:47:37] I mean she's really good at dancing.
[01:47:39] See in some other places in the movie.
[01:47:41] And then you have the scene where she's like,
[01:47:45] tossing and turning in the bed in their mansion.
[01:47:48] Here's his voice.
[01:47:49] Starts running down the stairs.
[01:47:51] You think she's hallucinating.
[01:47:53] You see that they're already movers,
[01:47:55] moving shit out of the house.
[01:47:56] Like she doesn't even have time to grieve
[01:47:58] before they're dismantling her home.
[01:48:00] With having her, yeah.
[01:48:01] Right, and then the guy walks in and goes like,
[01:48:03] "Hey, I can't figure that out, turn this tape recorder off."
[01:48:06] Oh, yeah, everything done.
[01:48:08] You're right, it does read.
[01:48:10] It's the reason--
[01:48:10] This is the thing.
[01:48:11] I think it's a nice idea for a scene.
[01:48:14] And if that scene is she walks in,
[01:48:16] and a giant, real-to-real recorder is playing,
[01:48:19] and some guys are like, "Yeah, sorry, I turned that on by accident."
[01:48:22] Right, but you think the guy's too hammy.
[01:48:23] Yeah, the guy walks in holding a blun box,
[01:48:26] and it's like, "How did you turn this over?"
[01:48:27] He's flippin' especially.
[01:48:28] What is this, this button says--
[01:48:30] This is kidding, it is.
[01:48:32] If you guys should try it.
[01:48:33] But I like the idea that she thinks she's hearing him,
[01:48:36] she's not imagining it, and it is the tapes of him,
[01:48:39] including him answering the phone when he's trying to record his demos.
[01:48:43] Hey, everybody.
[01:48:48] Stephen Colbert here.
[01:48:49] My own.
[01:48:50] We have the show has a podcast, The Late Show Pod Show.
[01:48:53] And I'm here with a producer, Becca.
[01:48:55] Becca, what are we doing?
[01:48:56] What is this?
[01:48:57] So The Late Show Pod Show, it's everything you love about The Late Show,
[01:49:00] the monologue, the leading guest.
[01:49:02] And here, am I correct about this,
[01:49:05] that you actually get things in the podcast,
[01:49:07] often that aren't on the show,
[01:49:09] because we had to cut things for time.
[01:49:10] And so you'll get more guests,
[01:49:12] or you might even get some jokes,
[01:49:13] or some more mean-wiles, or something like that.
[01:49:15] We didn't get a chance,
[01:49:15] or certainly conversations with Lewis in the band,
[01:49:19] that you don't get.
[01:49:20] So you get more stuff to--
[01:49:21] If you don't listen to the podcast, you're losing money.
[01:49:23] It's true, it's true.
[01:49:24] TV, you can only put so much.
[01:49:26] You got to get those commercial breaks in,
[01:49:28] but the podcast, we can keep going.
[01:49:30] That's the great things about podcast,
[01:49:32] is that the real estate is enormously cheap.
[01:49:34] And so, you could just shovel anything in there,
[01:49:37] people go, "Thank you."
[01:49:38] Listen to The Late Show Pod Show with Stephen Colbert,
[01:49:41] wherever you get your podcasts.
[01:49:44] I use the internet.
[01:49:44] Do you want to pull up "Box up" this game?
[01:49:50] I got it, ready, baby.
[01:49:51] Okay, this movie came out Christmas time in 1976.
[01:49:57] The number one movie in 1976, of course.
[01:49:59] We recorded, the other thing we recorded today,
[01:50:02] Rachel, was a Patreon episode on Alien versus Predator.
[01:50:05] Oh!
[01:50:05] Of course.
[01:50:06] Yeah, of course, obviously.
[01:50:06] Perfect double-header,
[01:50:07] but the second Alien versus Predator movie
[01:50:09] also came out on Christmas Day.
[01:50:11] It sure did.
[01:50:12] Did it?
[01:50:12] Not the same year.
[01:50:13] Not the same year, no.
[01:50:14] This film lost--
[01:50:16] The big movie in 1976 is Rocky.
[01:50:19] That is the--
[01:50:20] This is the second biggest movie theater.
[01:50:21] That up for failure.
[01:50:22] This is the Rocky Network,
[01:50:25] all the president's man.
[01:50:26] for glory.
[01:50:27] Taxi Driver.
[01:50:28] It's the five nominees for Best of Ever.
[01:50:29] Wow.
[01:50:30] And you look at some of the stuff that doesn't even make--
[01:50:32] Scorsese gets bumped out of Best Director.
[01:50:34] He sure does.
[01:50:35] This is one of the best Oscar fields ever.
[01:50:37] Scorsese gets bumped out,
[01:50:39] Scorsese and...
[01:50:40] who do--
[01:50:42] (mumbles)
[01:50:43] How should we get knocked out?
[01:50:44] Does this pull me to Ryukon?
[01:50:45] No, for--
[01:50:46] Lena Vertmuller,
[01:50:47] for Seventh Ladies.
[01:50:48] And Ingmar Bergman for face-to-face.
[01:50:50] All kinds of cool people are nominated this year.
[01:50:53] Obviously, Network kind of sweeps the acting awards.
[01:50:57] This movie, unsurprisingly, wins the five Golden Globes,
[01:51:00] the most expected thing ever.
[01:51:03] It wins a song,
[01:51:05] absolutely take pride.
[01:51:07] It was a song,
[01:51:09] Trophies of Troscor.
[01:51:10] That's its only Oscar.
[01:51:12] But it was nominated for cinematography as well.
[01:51:14] I will say some of the shots in this movie had me saying out loud.
[01:51:18] What a great shot it.
[01:51:19] It's Rocky TCS who's like an old Hollywood guy.
[01:51:23] This is a movie that uses shadows very well,
[01:51:25] as opposed to Alien vs PrejorASW,
[01:51:28] the darkest movie ever made.
[01:51:32] Rachel, you would not believe--
[01:51:34] Hate when that happens.
[01:51:34] How bad this thing looks.
[01:51:35] When you have to like squint and be like...
[01:51:37] This movie truly looks like the brightness is down on your phone.
[01:51:41] Oh no.
[01:51:42] Which is as it was meant to be viewed, right, on your phone.
[01:51:44] Yes.
[01:51:45] Watching these two movies within a couple of days of each other,
[01:51:48] this is-- you're just like,
[01:51:50] "Right, this is like what an expert cinematographer knows how to do."
[01:51:52] Right.
[01:51:53] Yeah.
[01:51:53] So this film is coming out Christmas time and number one--
[01:51:57] it's going to be opening at number five.
[01:51:58] Number one, I was back in the day.
[01:52:00] Yeah.
[01:52:01] But it ends up making 80 something?
[01:52:03] The second biggest hit of the year makes 80 million dollars.
[01:52:06] What was the budget?
[01:52:08] The budget was only 6 million dollars.
[01:52:11] That's a huge hit.
[01:52:12] Incredible.
[01:52:13] I mean, and the song builds several houses.
[01:52:16] Yeah, yeah, yeah, yeah for many different people.
[01:52:19] And this is kind of the beginning of Barbara,
[01:52:20] which is really just not making a lot more movies.
[01:52:22] Like now it's, when she makes a movie--
[01:52:24] What makes a movie control?
[01:52:25] Yeah, yeah.
[01:52:25] It's like a rare thing.
[01:52:27] This is her word "bitty transition"
[01:52:28] where she's like, I'm getting super selective.
[01:52:31] I'm in the business of being famous.
[01:52:31] Where we're beginning with her.
[01:52:32] Yeah, we're beginning with that.
[01:52:34] Number one of the box office
[01:52:36] is another sort of famous overpriced remake of 1976.
[01:52:41] That does well, but probably could have done better.
[01:52:44] It does well, but probably could have done better.
[01:52:46] Seems a little bit of a boondoggle.
[01:52:48] Yeah, but it's another movie that people keep remaking.
[01:52:51] It's another movie that people keep remaking.
[01:52:53] In what genre?
[01:52:54] Action, adventure.
[01:52:58] It's 76.
[01:53:00] Yeah, 76 and it's a remake of something earlier.
[01:53:03] And they do it again.
[01:53:04] They keep doing it.
[01:53:05] What was the original?
[01:53:06] 1933.
[01:53:07] It's a 1933 movie.
[01:53:10] Kind of a famous movie.
[01:53:12] That's kind of--
[01:53:13] This one are the 33 one.
[01:53:14] The 33 one, right.
[01:53:15] They're all pretty famous,
[01:53:16] but there's 33 ones real famous.
[01:53:18] It's real famous.
[01:53:19] Yeah.
[01:53:19] It's one of the more famous movies.
[01:53:22] And I probably should admit.
[01:53:23] Action, adventure films.
[01:53:24] Why the fuck, this is going to be glaringly obvious, right?
[01:53:27] They remade it again in 2005,
[01:53:30] and then they remade it again in 2017
[01:53:33] as part of a cinematic universe.
[01:53:35] Planet of the Apes.
[01:53:36] It's very close.
[01:53:37] I'm going to take that.
[01:53:39] Oh, it's King Kong.
[01:53:40] King Kong.
[01:53:41] It's the Jessica Lang, Dino De Laurent's King Kong.
[01:53:44] Jessica Lang and Jeff Bridges in King Kong.
[01:53:47] And Charles Gurbt.
[01:53:48] And Charles Gurbt.
[01:53:49] It was a huge hit at the time.
[01:53:50] Big hip, but still an underwhelming--
[01:53:54] I feel like it has the exact same reputation as this movie,
[01:53:57] which is everyone in the world went to see it,
[01:54:00] everyone agreed it was kind of shitty.
[01:54:02] Right.
[01:54:02] And the versions before and after all have better reputation.
[01:54:06] Yes, girl, we will still watch it.
[01:54:08] We'll still watch this.
[01:54:09] It's still in the world.
[01:54:10] Yeah.
[01:54:10] It's still in the air.
[01:54:11] Number two at the box office is the third in a series of films.
[01:54:18] OK, 1976.
[01:54:19] Crime film.
[01:54:20] Is it a dirty Harry?
[01:54:22] A dirty Harry film.
[01:54:23] But which one?
[01:54:24] Third one is called--
[01:54:25] I always get to tell you--
[01:54:26] Tell you a Tyne Daley's in this one.
[01:54:27] Magnum Force?
[01:54:28] Nope.
[01:54:29] That's two.
[01:54:31] Fuck.
[01:54:31] It's not the Enforcer, right?
[01:54:34] The Enforcer.
[01:54:34] OK.
[01:54:35] His third film, James Fargo's the Enforcer.
[01:54:38] And then it's the Deadpool?
[01:54:40] That's the last one.
[01:54:41] What's the other one I'm forgetting?
[01:54:42] It's not an impact,
[01:54:42] which is the one Clint Eastwood directed,
[01:54:44] which is Bananas.
[01:54:45] Yeah.
[01:54:46] Uh, if anybody else--
[01:54:47] No, anybody else loses Bananas.
[01:54:49] Well, that's true.
[01:54:49] Um, number three at the box office.
[01:54:52] Another sequel.
[01:54:53] People say sequels have taken over.
[01:54:55] But in 1976, this is, um,
[01:54:59] but famously, this is the last film of this series.
[01:55:05] It's the fifth.
[01:55:06] It's the last where the lead is still with us.
[01:55:08] So this is a ping-panther?
[01:55:09] Is it--
[01:55:10] Wow.
[01:55:11] Yes.
[01:55:11] See, he's good.
[01:55:12] He's very good.
[01:55:13] Trail is the one after he died, right?
[01:55:15] It's the really weird one that's after.
[01:55:17] Is this curse?
[01:55:18] Nope.
[01:55:18] That's, um, the--
[01:55:21] That's the one after trail
[01:55:24] that he's not even in,
[01:55:25] with David Niven and--
[01:55:26] Oh, Jesus.
[01:55:28] It's what a weird franchise that is.
[01:55:29] Mm-hmm.
[01:55:30] Uh, it's not strikes again or returns.
[01:55:33] Is it one--
[01:55:33] It's one strikes--
[01:55:34] It strikes again.
[01:55:34] The pink panther strikes again, 1976.
[01:55:37] This is the last Peter Sellers movie
[01:55:38] they use footage from this in trail of the thing, Panther.
[01:55:41] Do you know about trail, Rachel?
[01:55:43] I don't.
[01:55:43] He died.
[01:55:44] OK.
[01:55:45] Famously.
[01:55:46] Sad.
[01:55:46] And then they were like,
[01:55:47] we're going to make a movie
[01:55:48] where we take all the outtakes we have left over.
[01:55:51] And the movie is new footage of actors being like,
[01:55:54] is he going to sing Cluso in a while?
[01:55:55] Does anyone know where he is?
[01:55:56] And they're like, I heard he was doing this,
[01:55:58] and then they cut to some scraps.
[01:55:59] I kind of love that.
[01:56:01] From the previous movie.
[01:56:02] I kind of love that.
[01:56:03] And the whole movie is like, we just can't find Cluso.
[01:56:05] Yeah.
[01:56:05] Like, is he?
[01:56:07] Yeah.
[01:56:07] That's really funny.
[01:56:08] Did it turn out as funny as it's been described?
[01:56:11] No, I think it's widely despised.
[01:56:13] Oh, cool.
[01:56:14] He essentially released a clip show in theaters.
[01:56:16] I love it.
[01:56:17] And it wasn't even a best of it.
[01:56:18] It was like regent.
[01:56:19] It was like, oh, yeah.
[01:56:20] Yeah.
[01:56:20] Yeah.
[01:56:20] It was the year old.
[01:56:21] Yeah.
[01:56:21] But everyone's just like, that Cluso guy.
[01:56:23] Yeah.
[01:56:24] Where is he?
[01:56:25] He happened to him.
[01:56:26] Wow.
[01:56:26] Number four at the box office,
[01:56:27] a famous documentary.
[01:56:29] Remember, he may know this that back in the day,
[01:56:31] they would just put documentaries in theaters
[01:56:32] that were just fake.
[01:56:34] Yes.
[01:56:34] That would just say made up shit.
[01:56:36] Well, this is one of the most famous.
[01:56:37] You know what's are?
[01:56:37] In search of Noah's art.
[01:56:38] Do you know about this movie?
[01:56:40] I don't want to.
[01:56:40] They bought out crazy television advertisements
[01:56:43] at a time where people were not just like full marketing
[01:56:46] blitz when marketing was more reserved.
[01:56:48] Right.
[01:56:48] And films got word of mouth platform releases.
[01:56:50] I kicked my head over again.
[01:56:51] And they just did all these TV ads.
[01:56:55] They blitz it.
[01:56:56] You can watch like old Cisco and Ebert
[01:56:57] where they complain about this thing incessantly.
[01:56:59] Oh, my God.
[01:57:00] What they said we made it later.
[01:57:02] They still complain about like.
[01:57:03] This movie in search of Noah's art, which yes,
[01:57:06] which they would, they bought these TV ads.
[01:57:07] And they were like, we're putting a movie in theaters.
[01:57:09] We found Noah's art.
[01:57:10] You have to go to theaters to find the answer.
[01:57:11] They found Noah's art.
[01:57:13] And it was in Turkey.
[01:57:15] Yeah, it's all made up.
[01:57:15] Yeah.
[01:57:16] Oh gee.
[01:57:17] But they were just like the 72th century.
[01:57:19] You got to go to theaters to see it.
[01:57:21] You have to go to theaters to see where it is.
[01:57:22] Number five is a star is born.
[01:57:24] You've also got something called the Shaggy DA.
[01:57:26] Now is that a Shaggy dog?
[01:57:27] That's the cool?
[01:57:28] Yes.
[01:57:29] He goes to court.
[01:57:29] He's a district attorney.
[01:57:31] So Dean Jones and Suzanne Percy, yes.
[01:57:35] He's just got big Shaggy.
[01:57:36] What if that became your star demand where you're like,
[01:57:38] I demand a vehicle for me and my dog.
[01:57:40] Right?
[01:57:41] That is what I want.
[01:57:42] I'll be honest, guys.
[01:57:43] I'm going to think I'm going to get there at that point
[01:57:45] where I'm like, the dog goes first.
[01:57:48] Right.
[01:57:48] Dog gets first billing.
[01:57:49] Yeah.
[01:57:50] But also like, I don't want him in my movies
[01:57:51] because I don't want him to upstage me.
[01:57:53] I'm just a package dealer.
[01:57:54] You have to green light one of his pictures.
[01:57:55] I would rather he upstage me.
[01:57:57] That's very, see, this is how I know.
[01:58:00] Yeah.
[01:58:00] You're a good no ego.
[01:58:01] No ego.
[01:58:02] Because also like, then this might sound shitty parenting of me
[01:58:05] but like what's he going to do with the money?
[01:58:07] It'll be mine.
[01:58:08] That's true.
[01:58:09] And I'll just use it to get him more things.
[01:58:11] No Jackie Kuggen law for dog.
[01:58:12] Yeah, no.
[01:58:12] Is there a Kuggen account for a dog?
[01:58:14] I don't think so.
[01:58:15] I can't imagine.
[01:58:16] Is there a Rinton-Tim law?
[01:58:17] Yeah, exactly.
[01:58:18] But it would be nice if he used all of his money
[01:58:22] to get him things.
[01:58:23] And that's what I do all the time.
[01:58:24] He's all my money to get him things.
[01:58:26] No.
[01:58:26] He's the most spoiled brat in the world.
[01:58:28] Absolutely.
[01:58:29] Yeah.
[01:58:30] As a new parent, I can test my kids two and a half years old.
[01:58:33] And I eat that new.
[01:58:34] And I know exactly how old she is.
[01:58:36] Is she just found out?
[01:58:38] No, I knew.
[01:58:39] I always knew.
[01:58:39] She literally--
[01:58:40] She's literally funny.
[01:58:41] She literally--
[01:58:42] She likes to play with the pillows on the sofa.
[01:58:44] And she just pointed at one and said,
[01:58:45] that's ponio.
[01:58:46] That's so scary.
[01:58:47] That's pillows.
[01:58:49] That's how deep ponio is in her brain right now.
[01:58:51] Which she should ponio is great.
[01:58:52] How many times is she washing up?
[01:58:53] What do you guess?
[01:58:54] 40.
[01:58:54] I don't know.
[01:58:55] Like endless looking.
[01:58:56] She watches it usually in sort of three stages.
[01:58:58] The second stage is when ponio goes to sleep on the couch.
[01:59:01] That's when we're always like,
[01:59:02] OK, ponio's asleep.
[01:59:03] Like you're going to be smart.
[01:59:05] Yeah, smart.
[01:59:06] Silver streak is on the top 10.
[01:59:08] Wild or Fire.
[01:59:09] We are bad movie.
[01:59:10] Kind of a bad movie.
[01:59:11] Yeah, that one I actually have seen.
[01:59:12] And it's only got 10 minutes of the two of them.
[01:59:14] Yeah, that's the one where they realize--
[01:59:16] The marketing is--
[01:59:17] It's like Zendaya and Timmy Chalamet.
[01:59:19] Yes.
[01:59:19] And Dune.
[01:59:20] Yes.
[01:59:20] It's really just--
[01:59:21] It is so funny.
[01:59:22] It is so funny.
[01:59:22] 90 North by Northwest with 10 minutes
[01:59:24] of those guys riffing off each other.
[01:59:25] Yeah.
[01:59:25] I love Dune to death.
[01:59:26] I think it's incredible.
[01:59:27] But it is funny how that movie ends with her being like,
[01:59:29] oh, hey, what's up?
[01:59:29] And I was like, it looks nice to me, too.
[01:59:31] Nice to meet you.
[01:59:32] Yeah.
[01:59:32] And the whole press tour was then
[01:59:35] powering around.
[01:59:36] I was like, they know what they're doing,
[01:59:38] those marketing teams.
[01:59:39] But also, the whole movie is him being like,
[01:59:41] I had a dream that Zendaya--
[01:59:42] Zendaya's going to have a bigger part.
[01:59:44] Dune's not stuff.
[01:59:45] Yeah, not stuff.
[01:59:45] It's everywhere.
[01:59:46] Zendaya dreams Zendaya in the sand.
[01:59:49] She's always in the sand.
[01:59:51] We only have her for five days on this one.
[01:59:53] But the next one will be a much larger role.
[01:59:55] Dream of her multi-tiered contract.
[01:59:57] OK.
[01:59:58] [LAUGHTER]