Paul F. Tompkins on Butch Cassidy and the Sundance Kid

This week Chuck had the great pleasure of chatting with beloved comedian Paul F. Tompkins about the movies they grew up with, and his take on Butch Cassidy and the Sundance Kid.

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Episode Transcript

Speaker 1 (00:24):
Hey, everybody, welcome to Movie Crush. Charles W. Chuck Bryant
here from our studio at Pont City Market, Atlanta, Georgia.
And Hey, if you're new, welcome to the show. Uh.
You might have come here because you're a big fan
of Paula Tompkins, which would just delight me because who
isn't a fan of Paula Thompkins. If you are a
regular listener, then welcome back. And like I just said,

(00:46):
this week, we had Paula Tompkins in the studio at
our l A studio. So I had a little trip
out there for some business and I had to double
up and grab a few guests and was able to
get paul in there. I've known him for a few years.
He's one of my favorite comics. Um, just a good, solid, funny,
funny dude. And um we talked about Butch Cassidy and

(01:07):
The Sundance Kid this week. One of the all time
greats starring the legendary Paul Newman and Robert Redford. One
of one of the great movie pairings in history. They
are so charming, so funny in this movie. It's just
one of the all time greats. Directed by Mr George
roy Hill and You're gonna hear Paul and I talked
about the the all star crew that worked on this movie.
But it was shot by the legendary Conrad Hall, costumes

(01:30):
by the legendary Edith Head, written by William Goldman, it
was you couldn't have asked for a better cast and crew,
the great Catherine Ross. So it's obviously the story of
legendary outlaws Butch Cassidy and the Sundance Kid and their
in their final days as outlaws, and uh and Paul's
just such a funny, warm, warm guy. And the conversation

(01:52):
went exactly as I hoped it would, which was great
and funny. So without any delay, here is Mr Paul
Thompkins on Butch Cassidy and the Sundance Kid. So in
listening to JV though, and I think I knew anyway
that you're from Philly or outside Philly or Philly newbor

(02:13):
word called mount Airy, which is about ten minutes outside
of the city, but in Pennsylvania, yes, okay, yes, yes, yes,
not one of the South Jersey Philly people dreaded the
same county, Philadelphia County, right, okay, uh? And so what
we were just Um, before we started recording, we were
talking about our growing up life with our families, which

(02:34):
we won't get into on the air because who needs
to be depressed. But uh, we're fine, Yes, we're fine,
don't worry about it. We're doing great. Yeah, we're doing great.
But uh, as far as my family goes, we didn't
go to a lot of family movies. Um, but I would.
I was kind of one of those kids that would
get dropped off or go with church friends to like

(02:57):
after church at night, we would go to the Dollar
movie and stuff like What About You. Movie wise, I
remember being very little and my parents taking us to everything.
So we saw a lot of grown up movies, you know.
And my memories are seeing like The Towering Inferno and
The Poside Adventure on a big screen. And um, at

(03:18):
that time, I think there just weren't as many kids movies,
you know. There were like Disney would do a movie
every I don't think even every year, you know, but
there was like a handful they but they did those
live action movies like The Apple Dumpling Gang and stuff
like that. But um, yeah, it wasn't It was not
a time that was where there was so much stuff

(03:40):
geared towards kids that I remember. I'm sure there's probably
stuff that I forgot about, but it didn't seem like now.
It seems like, you know, with the advent of cable
and now streaming and there's so much stuff for kids
to choose from. But back in those days, it was
sort of like, man, you'll get this. No, you're totally right,

(04:01):
And I never really thought about that. But um, like
you said, Apple Dumpling Gang and like Escape from Which
Mountain and there were thinking like that. But I think
I bet you anything. One of the big sea changes
was merchandizing, absolutely, and which came on a big note
obviously in seventies eight with Star Wars because they were
a year late on their merchandizing. But um, yeah, I

(04:24):
never really thought about that. Yeah, that's interesting, but at
least to make such great adult movies back then, Yeah,
it was. It was the It was definitely the time
that I would have been going to those movies with
my parents. It was the end of that. It was
as that seventies movie making aesthetic was tapering off, and
so it's still survived. I think into the early eighties
you still had some like you know, grown up movies

(04:47):
that had you know, adult themes and um that naturalistic
acting and you know, um, but uh it then it
would all change forever, you know, and maybe you'd see
that kind of thing and in indie movie, but as
far as like a mainstream, you know, studio movie being
for adults, you know, it was the beginning of the

(05:09):
end of that, Yeah, for sure. And I think it
seems like, and you're about in my age. I think
you don't have to say, I'm pretty sick. I'm a
couple of years older. Okay. Uh so you remember then
the onset of the kids movies where it was sort
of kids. Um, like, what dude cares? You know? I

(05:30):
don't know. Honestly, I never had any compunction about that,
but for some reason, I'll be I'll be fifty next year, right, Yeah.
I think I think because of that, Like, as I
got closer to fifty, I felt like, I don't want
people to make a big deal out of this. I
don't want to, you know, it's it's a milestone, and
it's like I'll celebrate that with in my own way
with my people, but putting it out there in the public,

(05:52):
it just feels weird to me. No, I know it's
a word. It's because a couple of my friends returning
fifty this year, and it's on the horizon for me,
And it's a weird word to say out loud for sure,
that I'm fifty. Yeah, um, but I thought forty was
a weird word. So they're they're all weird from here
on out. So we as we speed towards our death,
that's um. But you remember then, the um the kind

(06:13):
of kids movies, at least in our early teens were
sort of those kids uh fantasy adult type things like
Red Dawn and war games where kids got to do
these adult like things. But there weren't a lot of
at least probably I don't remember any like just fun,
fun kids movies. Yeah, absolutely. And and even those movies
were you know, for lack of a better term, they

(06:36):
were smart movies. You know, they weren't um, they were exploring, um,
these these ideas in a in a very unsentimental kind
of way. I mean, there were mainstream movies, but they
weren't quite as I don't think they were quite as
dumb down as movies were about to get. Yeah, you
know for sure. Yeah. Yeah, and kids movies now You're right.

(06:58):
Disney definitely didn't make like one of the cartoon movies
every year, and now it just feels like and they're
really good movies. They're formulate, to be sure, um, but
they are good. But it definitely feels like today it's
just a money, money printing machine at work. Once the
technology got easier for animation, because you know, those people

(07:20):
were drawing those movies by hand or whatever. It took
all that time. But now it's you know, I think,
is there a Pixar movie every year? I feel like
there is or between Pixar and Disney and what other outfit.
And I'm sure the different ones making almost movies, but
I'm sure there's a mathematical formula in some executives office,

(07:42):
no doubt that says we spend this much and we
are guaranteed almost to make this much and then sell
this much ship in stores, and uh, it's just gravy.
But I'm starting to see those a little bit again
because I have a daughter now and whereas I didn't
see them for a long time. Um, and they're all
pretty good. I gotta say they're not bad movies. And
that Cocoa movie is wonderful I've heard it's great. I

(08:05):
actually I'm looking forward to seeing it's great and um,
maybe the most visually spectacular thing I've ever seen in
my life. Did you see the three D? No, I'm
not in the three D S three D yes, and no,
like it's not. Um, yeah, maybe I am, because I
feel like it depends on the movie and if it's

(08:27):
if it's made by people like I kind of trust,
then I feel like, Okay, that is a is A
is a movie that I do want to see in
three D because Anderson and three D exactly exactly, So
Phantom Thread, I'm only going to are you in that
by any way? No, No, I think I think I'm

(08:47):
I think I've made my appearances with with Paul Thomas Headerson. Yeah,
and then that fight the last day on set sealed
your fate. Um. Yeah, I don't know the three D
for me. I did it for right when it came back.
I went to see The Avatar, which I was in

(09:08):
a fan of and me neither, and I think that
was bad three D. Yeah, it was not like a
great use of it, you know, but I especially for
animated films, like I remember seeing U Up in three
D and that I felt like up Choroline or around
the same time. And for animation it works really well
because everything is fake, you know, it's all drawing, so

(09:33):
you you can more easily lose yourself in the world
and the the idea of the depth of field now
giving you the feeling that you're there. It's a little
more magical with animation than it is with with representations
of real people or whatever. You know, that makes sense, Yeah,
it does. Maybe I'll try that because I imagine Coco

(09:54):
is pretty spectacular in three D. I'll be thrust into
that pop up book. Uh, but there's no way my
daughter would wear the glasses. So that's the problem. How
old is she too little? She she's like two and change.
So she would just yeah, yeah, there's no way. So
she would just be looking at uh whatever three D
looks like without glasses, which is not good. So she
would know, but something in her subconscious would be like

(10:15):
this kind of sucks. Why did you even take her?
Mad Max was a good one for three D. Uh,
Fury Road was was really fun and three D alright, well,
I'm gonna try it out again. Then you sold me. Um,
you gotta cut on those glasses or something nice work.
I'm having my own maid for my prescription. Did you

(10:36):
uh you have siblings, that's right, sisters, two brothers, a
Catholic family, and so did you have a lot of
like VHS family movie night action or I don't think so.
I don't think so, because, you know, because with that
that big of a spread of ages, my sisters who

(10:58):
were old, the it was first my sisters, then me
and my brothers, and so they were like, you know,
having their own social lives and then moving out of
the house well as I was coming of age. So
like I remember family dinners, but as far as family entertainment,
when I think it was, I don't think there was

(11:19):
ever a thing that we all did together, you know. Um,
and even movies, I kind of don't remember watching with
my other brothers. I remember, like I remember my parents
taking me to the movies and maybe my little brother.
I don't remember my older brother being there. It's it's
it's it's funny and sad. How hazy it gets as

(11:42):
you get older, you know that that stuff becomes fuzzier
and fuzzier. But um, you know, my most vivid memories
of going to the movies, not with my friends were
with my mom and dad and maybe my little brother.
What about as you got older and like went into college,
when did I think a lot of people get that
first taste of um, like independent film and stuff like

(12:04):
that in college. Oh yeah, there I I you know,
I did not last long in college, but I but
I that age, I was definitely getting into um that
sort of stuff. And I remember going to I moved
downtown and there was the the art house um uh
down affiliate that I went to all the time was
the Theater of the Living Arts, which is now a

(12:26):
performance venu, but when I was growing up was a
um you know, the equivalent to like the New Beverly
here or you know, it's the It was the same
menu of films as exists on all those same places,
you know, and you get the calendar every month and
it would be you know, double feature, A Hard Day's
Night with the Monkey's Head, you know, like that kind

(12:47):
of thing. But it was great because it was inexpensive
and I was seeing um uh you know, all of
these indie films for the first time, like Jim jarmushsta
Uf and you know, things like that that I've never
seen an old art house movies that, Um you know
that that I'm trying to say, I don't know, like

(13:09):
trying to remember what was what was I seeing at
that time? Yeah? Yeah, yeah, yeah, but there were there
were there were ones that I never saw, but I
saw the saw on that calendar. I can see them,
so I can see that calendar so vividly. It was
like almost like a roadmap that you would Um, it

(13:31):
was like a little booklet you'd unfolded, unfolded, unfolded, and
then that would be the whole month, you know, and
um like uh oh Lucky Man with Malcolm McDowell was like,
I just remember seeing that. Square never saw that movie.
I have no idea what it's about. Um, but it's
it's hard again, it's hard for me to remember, Like
Wings of Desire. Did I see that there? Or was

(13:51):
that when I was then like a young adult and
I went to I saw that when it was new,
you know, um, when it just came out in the
like the first run sort of art house movie theater
you know that would show you know, like that's where
you see like the new Woody Allen movies. Um, the
Roxy movie theater right in Philly. Um, so yeah, it
was it was Uh. It was a time of you know,

(14:17):
seeing movies, uh in a more critical way than I
had before. You know. Yeah, it's a good way to
put it, for sure. And there's you, at least for me,
there's a like a friend that will kind of usher
you along, yes, as a little like you haven't heard
of Mystery Train? Yeah exactly. You're finding your people and
they're introducing you to these things. Um, and you know it.

(14:39):
It was I remember that feeling of of like the
first time two movies when I was a kid, when
I first had the feeling of I don't like this,
you know, like when you're young, when you're little, when
you go to the movies, like any movie is it's
a movie, and it's like this is at least for me,

(14:59):
may it was different for other people, But I guess
I associated with just the just you know, childhood. Your
brain is not fully formed yet, so any entertainment you're
plopped down in front of your like this is great,
you know, And that's why I like going to these
grown up movies. I my memory is that we were
not disruptive at the theater because I like my my

(15:23):
emotional memory of it was just being in awe of
seeing this movie, you know, um and who maybe I
talked through the whole thing. I have no idea. Um,
but it must not have been too bad because it
happened more than once. Um. But I remember the Disney's
The black Hole and Tron. Unfortunately, sorry Jenni Varney, but
those are the first movies I can remember being that

(15:45):
young and saying, I don't think that I liked that,
even though it's for me. It's squarely aimed at me.
But feeling like kind of black Hole was not not
that great. It was wasn't wasn't fun. It was this weird,
bleak bas movie kind of boring. Yeah, especially after Star
Wars where it's like, sorry, guys, not everybody can do it.

(16:07):
We have a new bar. Yeah. Yeah, we're so lucky
to have been at that age where we could see
that first Star Wars in the theater and uh, I
mean I was six, but I went a bunch of times.
I was so excited after that, after seeing that movie
here the first time, that feeling of just this was

(16:27):
a wonderful thing that I got to see. I felt
like it really spoke to me, you know, and and
was I felt like it was trying to speak to me,
you know, and that it was this this fantastic adventure,
um with all this stuff that I'd never seen before,
you know, C three PO and R two D two
and Chewbacca and all this, all these characters that were

(16:48):
just flat out amazing. And I remember getting home and
just like drawing pictures, you know, just drawing pictures of
scenes from the movie, trying trying to replicate the poster,
you know, because I was just I didn't want the
experience to end, and it's like, how can I prolong this?
Maybe if I draw, if I draw pictures, and I'm
still thinking about it, I'm still looking at it, you know,

(17:11):
But I remember how thrilling that was. Yeah, I'm so
contradicting myself now from what we said earlier. But I
was just sitting here thinking like, man, we got Star Wars,
and we got Raiders of the Lost Dark and we
got E T And what what's out there today for
kids that age? Whereas before I was saying just the opposite.
But I think I'm right in both cases. I don't

(17:33):
know what movies are being made now for twelve and
thirteen year olds and ten, ten, eleven, twelve, tweens is
that what they call them? Yeah, I have no idea
I have. I mean, I but here's the thing. It
feels like everything is kind of has been um everything
now is like mainstream stuff is made with that in mind.

(17:57):
So they're trying to it's this buckshot thing of like
adults can stand this movie or maybe they'll like it,
and kids you know, of a certain age will enjoy it,
you know, And it doesn't. It just doesn't feel the same.
I'm not as inclined to see, you know, studio releases
as I used to be, because I look at the

(18:18):
trail and I think, well, well well looks dumb, you know,
it just looks like not worth my time, you know.
But I don't know, it's it's it's It's definitely like
in the in the days when you know, George Siegel
was a huge movie star. I do that all the time.
I'll look at these old movies, Dustin Hoffman, like all
these dudes, mainly guys. It seems like because they would

(18:41):
still cast like the beautiful Woman, but they would cast
these kind of regular shimps as leading men, and that
just there's no way you would do that today. George
Siegel is channing Tatum. Yeah, exactly. Yeah, it's really interesting.
Even if it was a comedy, it's like, well, but
let's we gotta throw a hot guy in there too. Yeah.

(19:02):
He can't just his ugly guy, can't just be by himself,
I know. Yeah, Like, I mean, I don't know. With
the I mean, I love the Graduate so much. Of course,
Dustin Hoffins now been revealed as a creep, so it
feels weird to even talk about him. But um, I'm
just wondering, like, if you remake that movie today, there's
no way you cast a five ft four uh, you know,

(19:24):
kind of short guy with a big nose. But maybe
he was handsome. I don't know. I mean when you
look what's funny when you look at him now, when
you look at those people, I think there's also um
uh you know, the by virtue of of just continuing
to age is that you look at people at that
age and they're just beautiful, you know. And so you

(19:45):
look at little Dustin Hoffman You're like, oh, he's like
he's adorable. Who ever thought he was unattractive? Yeah, he's
full of life, which is rapidly draining away from me.
That's true, of course. The but then you put him
next to Katherine Ross who uh it was one of
the and is one of the most beautiful women planet

(20:06):
which we'll we'll get to butch Cassie and then that
speaking of Katherine Ross, um, But as far as the
sort of college agent getting real a critical discerning I
I remember Jim Jarmish was a hugely like revelation and
Spike Lee was the other. Those two were sort of
the yen and yang for me. Uh in my years
from like nineteen to twenty five years old and seeing

(20:30):
uh down by Law that was yeah. And do the
Right Thing? Uh was it was down by Law the
ice CEM. Yeah, I get him confused sometimes. Those early
ones so great. And then John Laurie, I was like, man,
is there a cooler guy on planet Earth than this
guy who's not even acting? Uh? And uh stranger than Paradise,

(20:54):
Like just such good movies. And then for Spike Do
the Right Thing was just such an eye opener for
a kid growing up in the South, in a in
a very integrated city like Atlanta. Um, just to see
you know, of course he's from Atlanta. To see his
take on race, it was just I felt like I
learned about race from Spike Ling to a large degree absolutely.

(21:15):
I mean for me coming from where I coming from
where I did, which you know, Philadelphia is not without
um it's race issues, you know, and you are you
can be raised in a certain culture as I was,
and when you get out in the world and now
you're meeting people who are different, Um, it's an extremely

(21:37):
eye opening experience and and you uh, you know, like
a movie like that was I remember being, uh do
the right thing. I remember being it was such a
mixture of emotions because you know, it was like seeing

(22:00):
it was a window onto a world that was not
my own, that a world that was that was just
beside my world, and that point of view that I
just had not seen before. I just had not seen
that point of view before. And having that, you know,
the way that some of the feeling was oh right,
you know, I oh I see Okay, yeah, yeah that's reality.

(22:24):
Yeah yeah, yeah. All right. Well we can move on
to Butch Cassidy then. Um, although I will say that, uh,
for the listeners out there, it felt bad because your
first pick was topsy Turvy, and topsy Turvy it turns
out is impossible to find. Yeah, I I I don't
know why that is. Um, it's a I mean it's

(22:47):
it's a it's a mic Lee movie, but it's not.
It's a little out of what he usually does. And
then it's a it's a period piece, you know, um
about Gilbert and Sullivan. You know, it's not like Slice
of Life, you know, improvised feeling, you know, like like
most of his movies are. But it's a really um
it's a really wonderful movie. And uh, I don't know,

(23:11):
you know, if I can't tell people, Hey, you should
just buy it and trust me. But you know, it's
it's I think it's pretty terrific. It hits a lot
of it checks a lot of boxes for me. Um,
and uh I, I absolutely love it. But I found
out that I had an inkling of might not be
available to to stream anywhere because friends of mine were

(23:32):
doing a at their house. We're doing like a backyard
movie series in the summer, and that was the movie
that I suggested. And I was like, is that Well,
I have to bring that movie because I don't know
if it's available anywhere, And a very cursory search, I thought,
I'm gonna have to bring this movie and to disk
drive from my friend right from my friend's laptop. Yeah,

(23:52):
that was It was surprising because it wasn't on demand
on cable, which is my first go to. It wasn't
on iTunes. It was on iTunes Britain, but they wouldn't
let me buy it as an American. Uh, it wasn't. Um,
it wasn't available anywhere. The only thing I could do
was buy it and uh put it in a find
my DVD player, which had I known a few weeks

(24:15):
ago that it was unavailable, I totally would have done that.
I was willing to buy it, but I felt bad
because you had to pick a different movie. Um. But
I want to know, though, is that like, oh, that's
my favorite movie or are you one of those where
I can make a case for a bunch of movies
there's I mean there's there's. I would say there's probably
like a handful that are very close to my heart.
But that movie, it really touches me in a certain way,

(24:40):
you know. There it makes me It's it's not like
it's a comfort movie. It's that it makes me feel good.
It I have a really strong emotional connection to it. Um,
there's something about it because it's it's Um, you know,
it's a movie about the making of the kado and

(25:00):
the writing and so so you have first it's you know,
first it's the inspiration for where does the inspiration come from?
But then the thing that really gets to me is,
you know, the frustration of not being able to think
of an idea. Um, you know, the the not wanting
to repeat yourself, you know, thing that you've done before.
And then the scenes of them rehearsing it, of refining it,

(25:25):
of of him figuring out the writing, Um, he's got
to pitch it to his partner, um, all of that stuff.
There's something about it that's so satisfying to me. UM.
I weirdly got the same thing out of the Netflix
series Glow because when they would show them working on

(25:45):
the wrestling moves and everything, instead of it just being
like a dumb moss like montage set to music of
like there they started out bad but then they got better,
it's like them talking about it and figuring it out
and doing it and you know, like rehearsing the moves.
That hits such a sweet spot for me. Interesting I

(26:05):
don't I just love it. I love it representations of
that of people working together for a common goal in
that way, especially a performance thing. I love that so much.
It fills my heart with joy. Well, I guess with
thrilling adventure hour or two you probably had a lot
of those. Great for sure. Yeah, very cool. So boy,
that was the one, Chuck, that was the one. Uh.

(26:31):
You also, for the listeners picked Miller's Crossing as an alternate.
But our friend Banacker is coming in right after you
to talk about Miller's cross So I'm sorry for that.
But the through line for all three of these is uh,
vests and fine clothes, which is no surprise. I was thinking.
I was like, I don't know what Paul's gonna pick,

(26:52):
but I know it's not gonna be a movie with
a bunch of T shirts and cut off I mean,
no cargo shorts. Look, I love layers and I like
to see them represented on film, right, all right? Well,
butch Cassidy and the Sundance Kid. Then, uh, great movie.

(27:15):
I watched it again on the plane. I was able
to download that to my laptop. Watching on the Plane
directed by the great George roy Hill. And as the
movie is starting and it's ticking through those great Cepia
toned photographs and listing the credits. I was blown away
by um of the Hole in the Wall Gang by

(27:35):
the Way, which was their their robber gang. Um. William
Goldman wrote the screenplay and Edith Head did the costumes,
and Bert back Erect did the score, and uh, Connie
Hall shot the movie. And it's just like an all
star crew to begin with, and then you throw in
Newman and Redford on top of that, and it's just

(27:58):
incredible that they were able to like that's back when
they were making real movies, and uh, it was just amazing.
Like Edith Head, I've been in the Edith Head building
at Universal. Yeah, the costume building at UNI is the
Edith Head building, like it's named after her. So uh,
I can't remember if I had seen I'm sure I
have other her movies, but it's just amazing to assemble

(28:21):
that kind of talent like behind the camera, you know,
it really is. Um. There's something also that's very satisfying
about that movie to me too, that these these two
guys playing those characters on this adventure, this very like

(28:42):
sad adventure, you know. Um, it's just perfect. You know,
it's just perfect. They are so they're so relaxed and
connected to each other, and man, you just love them.
How do you not love those guys? I know, how
do you not? How are you not so thrilled to
just watch them do anything together? You know, it's it's

(29:05):
true magic. It's true magic. And I think that you know,
those kind of uh, cinematic relationships are are so rare,
and they they they come around every once in a while.
But man, when they when they work, it is just
the most pleasurable thing to watch, to just see them

(29:27):
be together, you know. Yeah, you never for a second
get the feeling that those two are not just having
a complete joy of a time themselves as actors. They're
not even acting. Yeah, they're just being Newman and Redford
on screen. And there were there were no more to charming,
handsome dudes. Oh they're beautiful than those guys. Like my

(29:50):
mom was in love with Paul Newman, mine too, her favorite,
her favorite, a favorite, and you can't you can't blame him, no,
of course, it was like, especially when he gets into
this period of his life where he's like, you know,
this is one of his first movies where he's like
a man, you know what I mean, and he's just

(30:12):
you know, that into that age of being so confident
and relaxed in his own skin and like just the
beginning of the world weariness. You know. Um, he's just
like so magnetic, so magnetic, and you just you just
have a crush on him. You know. It's like I
thought when I was a kid seeing this movie, and
I I have a memory in my mind. I saw

(30:35):
this movie in a movie theater. But this movie came
out in sixty I want to say, so I would
have been a year old, so that can't be so.
But maybe it was like a revival, and I could
absolutely see my mom saying, we're gonna go see this,
you know, at the Dollar Theater or whatever was playing it. Um,
And I just remember being a kid and thinking, these

(30:59):
are the two coolest dudes in the world. You know
who's cool is in this It's like look at them.
Steve McQueen might have been the third of the triad. Yeah,
you know, but like seeing these dudes in their in
their cowboy outfits and you know, like and being funny,
you know what I mean. That was another thing, Like

(31:20):
Paul Newman was so funny in this movie, just just
this guy who's like making it all up as he
goes along and you know, there's he just can't live
any other life. This is this is it. You know,
he was never gonna like just settle down and not
do crimes. But it doesn't even feel like he's doing
crimes at no point. Are these the bad guys never

(31:45):
the good guys In this movie, they blow up the
one guy and they feel bad about it, you know
that such a great scene. And then they come back
the next week. Uh, and he's you know, back in
there again. Whatever he's paying, he is not enough. Uh.
It's funny. We talked about the relaxed like that's such
a good way to describe both of them, but especially

(32:06):
Newman just you never get the sense really in any
of his movies. Like I can't even picture him in
my mind fretting over apart and rehearsing. Like it looks
like Newman just grabs the script, reads it through. It's like, yeah,
let's do this, Yeah, let's bang this out absolutely because
I'm fucking Paul Newman, and uh that's who I am.

(32:28):
And it's such a it's such a crazy illusion that
happens because Um, a thing that I I understood about,
you know, I do stand up and and a thing
that I that gradually daunt me because I hear this
from people over the years, that they are so many
in the audience can be afraid for the person on

(32:48):
stage because I guess it's a thing that's so beyond
them that they're looking at it like how can this
not be a disaster? You know, and especially if it's
like a performer you don't already know, you haven't already
heard of. I think that people tend to feel like
this must be his first time on stage, you know,
and so they're they're worried for the person. And somebody

(33:09):
like Paul Newman is so he puts he's so easy,
he puts you at ease to the point because like
with with stand up, you want to assure the audience
everything's fine, guys, I know what I'm doing. This is
all gonna be okay. And so watching Paul Newman in
this movie, you feel the same way that he's the

(33:30):
leader of this gang. He's got everything in control, even
though he does not at all like he's very much
you know, uh, in trouble, but you still just feel like,
I don't know, like this is you feel like this
experience is in good hands, you know, as you're watching
this movie. Yeah, uh, well we'll get to the end later.

(33:51):
But I never got the sense as you're watching it.
And I think that's probably the point of the movie
that it's going to end badly for them, because he's
the that can talk his way out of anything. Yeah,
and even as it's going badly, he just projects this
this easy confidence that's like, well, you know, they'll just
keep going, They'll just keep running, and you know, eventually
the other people get tired of chasing them, probably, right,

(34:13):
like how could this and these guys that are immortal
they live forever? Right, Yeah, I definitely as as even
though like history has told us what happened to them,
if you're if you don't know anything about it and
you're watching the movie, you you think, well, they're clearly
just going to die in bunk beds together one day
in their in their nineties. But Katherine Ross like serving
the food. Uh, perhaps the first buddy comedy. That's one

(34:36):
note I made that's interesting. Didn't do research on it,
But as far as this kind of buddy comedy, yeah,
I can't think of one before that in the nineteen
sixties for sure. So I'm gonna go on record and
have someone pret me wrong from here that this is
the first true buddy comedy in that Hollywood vein here. Absolutely, yeah,

(34:59):
that has an action element to it, you know. That's yeah, yeah, yeah, yeah,
A case could be made, all right, I think I
think we just made it. Uh. And it's interesting how
it gets started too, because there's no backstory or anything.
It starts with that great first scene of the Blackjack
gang game when Redford is playing with the guy, and um,
Redford is is virtually silent while through all of that scene.

(35:22):
But he's pretty quiet the three quarters of this movie. Absolutely,
he doesn't do a lot of talking, and yet is
so magnetic, so magnetic, and you know, his eyes just
like burn right into your soul. And it's a weird.
It's not weird, but it's it's certainly a a a

(35:44):
different character than you see him play anywhere else. Maybe
the natural like a kind of laconic man a few words,
you know, kind of character. You know, for the most part, um,
you know, a guy that's that's got some clearly out
some darkness inside of him. You know, Um that they

(36:04):
don't really you know, they don't really talk about how
many people that the Sundance Kid has probably killed Yeah
you talk about Yeah, he's this amazing shot and people
are afraid of him, you know. And I wouldn't have
what was that, I wouldn't have Uh. I wouldn't have
gone against you if I'd known you as the Sundance
Kid in the first scene. Yeah, it's amazing. And of
course we learned well we see early on that Paul

(36:25):
Newman doesn't want to fight. He doesn't wanna you just
get the sense of that. And then when he faces
down I can't remember the guy. But when they go
back to the Hole in the Wall gang and they
have that that big scary looking guy, yeah, Ted Cassidy
turns the tables and say, hey, you know, I'm kind
of the leader. Now you know, guns are nots butch
he doesn't neither, you know, like, I don't want to

(36:47):
do this, and you know he does the equivalent of
throwing dirt in his face, uh, which is basically or
look look over there, and then kicks him in the balls. Um.
But that's that's just so, like says who that character is.
You don't want to fight anybody. He didn't. You don't
want to shoot anybody, for sure. We learned at the
end that he's never even killed anyone. Um, and in

(37:08):
a in a different a hundred years later, he would
have been a grifter, yeah, and not carried a gun
and been a bank robber. But he's the guy that
didn't want to work really yeah. And and that that scene,
that establishment of his character when he comes back and
he interacts with all the different guys and um, it's
such a great quick unfolding of who this guy is,

(37:32):
you know, and like, you know, news Carver's reading the
clipping and it's like, okay, it's like, well, let me
get to the part where it has my name is
like all right, yeah, yeah, um, it's it's really it's
really wonderful. And you instantly, you know, because it's Paul Newman,
but also because of how afflatable he is, Like you're
instantly on his side when these guys are like you

(37:54):
were gone and you know, now I'm in charge of
the gang, you know, and everyone's and he's like, you guys,
all you agreed to this. You know. His feelings are hurt.
His feelings are hurt. That's the emotion. He's not piste off,
he's not angry, he's you can tell He's like, oh, really, guys,
I thought we were having fun. It's so great. Um,

(38:16):
so we need to talk about the rain Drops Keep
Falling in My Head because very very divisive scene. Joe
Randazzo in here yesterday with robotcop. I told him that
you were gonna We're gonna talk about this. Yeah, you know,
I can't wait to see what he thinks about the b. J.
Thomas song weird weirdly inserted into the movie. Yeah, it's
this is also a very seventies thing. Um, this crazy

(38:40):
anachronistic score. Not all the time, because sometimes there's some
traditional movie scoring that happens, and then sometimes there's just
these weird you know, like the two big moments are, um,
the b. J. Thomas song Raindrops Keep Fall in My
Head and this this it's this very wonderful montage um

(39:03):
music video. Yeah, it's it's music video and it there's
nothing connected to the story happening. It's it's absolutely just
they're just for fun, just for fun with this completely
contemporary song. You know over this guy who's uh you
know this this you know western bank robber who's riding

(39:26):
a bike for the first time, which is a brand
new invention. Yeah, he gets good at a real fast
He's like, look, I can do all of a sudden. Um.
For me, it works. And I don't know if it's
just because of the the affection that I have for
when I'm a kid, when I was a kid, but

(39:48):
watching it as an adult, I don't question it at all.
And and it's when other people talk about the movie
and I'm like, oh, yeah, I guys, see what you're saying.
I get I get why that seems weird to you, right.
And the other one is, you know when they're in
Bolivia and there's the montage of them, uh, you know,
going on this crime spree and there's that bottom bottom

(40:11):
but but but it's it's weird. Yeah, I'd buy a
one percent. I have no issue with it. And I
guess that was the bird back Ireq. Yeah yeah, yeah,
that a thing so much of its time, like what
happens all these people just go bopping up? But uh
that's a song. Yeah, yeah, it's great, slightly lazy. Um.

(40:37):
I will say this about the scene though, with the
rain drops keep falling on my head. It really um
the song aside, it really shows um and the nature
of the relationship of Butch and Sundance and uh, what's
her name again? A kid? Hello? Right? I think yeah,
I think so because by all accounts, in a Western
like you know you you hugging you looking at my

(40:57):
lady like he would have had holes in it. A yeah,
I think that's right. Yes, Um, he would have been,
you know, shot full of holes, like if you looked
at my lady the wrong way. But he's you know,
they're very affectionate and they're by all accounts, sort of
a triad. It's it's not sexual as far as we know,
but um, it's a family. You know. I liked how

(41:19):
I liked how kind of mushy that relationship was. That
it was like you didn't really mushy in the sense
of like, are they kind of like a a three
person Yeah? Is there a triangle here or is it?
Because there's never anything really overt with Butch and at
a but um, it is sort of like that's that's

(41:42):
the whole scene is extremely flirty, extremely flirty, and it's
very like there's there's a sexiness to it that is
undeniable that you know, Katherine Ross watching him and just
those like beautiful shots of her just like kind of
lounging around. You know, it's it's you just fall in
love with everybody. Yeah. Well, I mean she even says, um,

(42:05):
do you ever wonder if we would have met each
other first? And I got the real sense that that
she loves them both romantically even from you know, like
it's it's pretty clear, I think. Uh. And then the
humor again, um, I mean there's just so many great
lines from Paul Newman when the whole second act, you know,
when they're getting trailed by that that the gang about

(42:27):
how good they are, and uh, you know, don't they
get tired? Don't they eat? Like they're even keeping the
same pace. Like it's just this constant threat from far
away though, which is an interesting kind of threat. Yeah,
they're not. It's not a stalker chasing you down the hallway.
But every time they stop and look up in the distance,
they see those guys coming. They're so far out on

(42:49):
the horizon. But it it you feel the the threat
of it so immediately. Yeah, so immediately it's I love it. Yeah,
And you get the um, you really get the sense
of just how tiring it is, um, for those horses
and for the dude they're going up in the rocks
and everything. Yeah, and it's just it's just relentless and

(43:12):
and all the great lines from Newman, like tracking them
over rocks when he goes, I can't do that? Can
you do that? How did they do that? And then
they figure out it's the the the the the Indian tracker,
right Lord Baltimore, sorry, the Native American tracker. But I'm
in the nineteen sixties, and the context exactly. Uh. And

(43:33):
you never see the pursuers either. There's never never close
up at all. They're always just this weird, sort of threatening,
out of focus thing. I think you see the um,
the one guy's straw hat from the back when they're
in town together. Um. And then of course there's no
explanation when they're all of a sudden back at Katherine
Ross's house like they just did some weird loop. I
guess they're being chase or being chase or being chased,

(43:56):
and then they just show up on her front porch
like we're going to be here for a little while.
I have they jump in the river right before yeah, no, no, no, yeah,
it's after the river, because I feel like the rivers
when they finally throw them off the center. Yeah, that's yeah.
That's the final thing in Act two and one of
the classic iconic scene in movie history. It's so great. Yeah,

(44:19):
it's so great, and it's not like the one of
the things I love that doesn't get enough attention, I
think is Redford's response after he after he tells him,
you know, I can't swim, and then he does that
little like shrug like you know, they're there. I said it,
that's exactly what I can't swim, and he looks, all right,

(44:44):
it's out there. It's like my only weakness. Uh. Yeah,
I mean it's just one of the iconic scenes in
movie history, like period. It's such a great exchange. There's
oh they're so good, and even the way they jump
in with the that they build up it's kind of
cartoony but totally works. And then you know he's drowning

(45:06):
him in the river and and then they all of
a sudden we're back at Catherine Ross's place. That river
leads to her front door essentially, but you don't question
it because it's such a good movie. Uh. And then
they had that great Um series of that great sequence
of back to the CPI of tone Um when they
go to the big city, and uh, the way they
worked the photographs in there with I think what looked

(45:28):
like real photographs, it's pretty seamless. I think there are
a lot of or did they fake those? I think
they they faked him and I think but I think
some of them were recreations of actual Yeah, and it
just looks so so wonderful. And they're in New York
and then they're they're bathing on the beach, which was
a new thing at the time, recreational swimming. I guess
Redford probably wouldn't in there, but um, and then on

(45:48):
the steamship to Bolivia. It's just such a uniquely seventies
way to move that story forward and get them to Bolivia.
It's really it's it's fun and it's creative and it
and it minds you of of where we are and
and um, uh you know it's still with that weird
contemporary kind of music. Um, but it's uh, it's so

(46:11):
it's it's like what I love what I love about
this movie is that it's um, it's art, you know.
It's like this was George George roy Hill was was uh,
you know, a real artist and really cared about, um,
what he was doing. There's a great if you can
get a hold of it on disc. There is a
great commentary by him before that was a thing. I

(46:35):
don't remember if it's feature length or if they did
or if they took an interview with him and put
video over over it. Yeah, but he's like a real
character and he's he's a lot of fun to listen to.
And it ends with him like this, This commentary ends
with him trailing off, cursing. He's just like wrapping it

(47:00):
up and he's just like, I don't know what the
hell like watch it? God damn, Like, like, what do
you even having me in here for? That's funny? Uh?
And then they arrived in Bolivia. Of course, it's one
of the funniest scenes in the movie when they arrive
at what is basically like an alpaca pig farm, and
uh and Newman and it's just so true to their characters.

(47:20):
And this is when Redford finally he speaks more, probably
in this third act than in the whole movie. And
Newman with the bright side, you know it could be worse.
You know, you get a lot, you get a lot
more for your money in Bolivia. I looked into it
and then Redford and like the all of Olivia can't
look like this, And that's when Redford comes in with
his great lines about how you know people could travel

(47:40):
for how do you know people might travel for hundreds
of miles to be in this very spot we're standing,
Like it might be so great, it might be the
garden of Bolivia. Yet they managed to make a life
down there. Uh, robbing banks again and learning the Spanish
and that's all kind of fun, you know, how they're

(48:00):
learning all that stuff, um, and then finally when they're
when they go to rob the bank. Another another great
scene is when he's telling Redford, like, you know, the
thing to remember is and don't don't tell me how
to rob a bank. I know how to rob a bank.
It's just such great back and forth stuff, like you
get the sense that they're making it up as they go,

(48:21):
you know, I like this, And of course William Goldman
wrote it, so that probably explains that that vibe between
them of now we're in this place, and I guess
we had no choice but to come here, and it
seemed like a good idea at the time, and you know,

(48:42):
Newman doesn't want to admit that it's not a great idea.
Redford like trying to make it work, but he's not
happy about it. You know, they're dynamic remains, um, so
fantastic through the whole thing. Yeah, it's it's it's a
real testament to both of them that they you know,
because it could not have been easy shooting on location

(49:07):
that much. Like I don't know if they were ever
in a studio, you know, for this movie, there's so
few interiors. You know, they're outside so much of the time.
But that they they kept that, um, they just kept
it intact through the whole thing, through through all their
ups and downs. You know that they had a real
um that these characters had a real bond with each other,
even when they were miserable. Yeah, they were their family. Yeah,

(49:30):
they were in it together for sure to the very end.
Um And the only um, I thought it was interesting.
The only kind of serious note, even the even the
robberies and stuff are fun and funny throughout the whole thing.
It's just such a light movie. And the only serious
note they strike in the whole thing that I remember
was when um they go straight they become of all things, uh,

(49:54):
payroll guards for that guy, whoever that guy was and
um they Struther Martin played him right. Well, you've got
a good recall for this stuff. Who's the big guy
again that he fought at the beginning. Ted Cassidy, who
played Lurch Family, Oh god, that jawline of the only

(50:17):
time I've ever seen him speak on film. I think
he's great, you know, but he's just too tall. There
were a lot of opportunities for him to play speaking people. Boy,
that's a that's a good bit of trivia. I didn't
know that. Um. But the only serious note it strikes
is when they go straight their payroll guards and they
uh they the guy get shot and then the you know,

(50:37):
the banditos have got the money and Newman. That's when
we finally learned that he's never shot anyone, never killed anyone,
And he does and and Redford's like, just aim in
the middle and you'll probably hit something. And there's that
very serious moment after he kills those guys where you
can see it on his face. How how awful of

(50:58):
a feeling that is, and you get the feeling like,
I don't want to do this again. This is never
supposed to be what it was about. Yeah, for sure.
But of course getting to the final scene, Um, they're
having dinner in the restaurant, they start getting shot at,
and pretty soon they're surrounded by the Bolivian army. And

(51:18):
you know that this is it for for Butch and Sundance,
and uh, it's just such a classic way that they
end it, hold up like it could almost end no
other way than them hold up together, still cracking jokes
up until the very end, you know. And it's what's
one of the things that's amazing is for a long

(51:39):
time until they until the very very end, you still
kind of think they're gonna get out of there. Yeah,
if you didn't know the history, yeah, you still think
that somehow they're gonna even I think even if you
know this story, you're like, right, so I think they
could still do this. Yeah, I think they think it too. Yeah.
And then that it ends in this um and and

(52:01):
forgive the spoiler if you haven't seen the film, but
that it ends in this in this freeze frame of
them running out with their guns drawn. Um, and you remember, uh,
you know when at a place says to them, um,
I won't watch you die, you know. And so we
don't really either, you know, we know what happens but

(52:22):
we don't actually have to go through the pain of
of seeing of seeing the life go out of them,
you know. Um, I never thought about that. That would
have been a real bummer. Yeah. And they because they
instantly become this they've they fade into Sepia so fast
in that piano music plays and it's like they just
they just you know, transformed into history. You know. Um,

(52:46):
we saw them live for a time, but we didn't
have to watch them actually die. And now they're just
they belong now they belong to the ages. But I
never thought about that. That would have been such a bummer. Yeah,
you know, that's the only way this movie could have ended. Actually,
is not that? All right? Paul? Well. We finished with
a couple of final segments here on movie Crush. One

(53:09):
called what Ebert said this movie is a completed because
I like to go back and see what the great
Roger Ebert said about these movies, and I usually have
a pull quote that I prepared, but I didn't have
that one on this, But I have pulled up the
review and very surprisingly, uh, Roger Ebert did was not

(53:32):
a fan of this movie. Really, Yeah, it's kind of disappointing.
He gave it two and a half stars, and I'll
just read a couple of little selections here. Unfortunately, this
good movie is buried beneath millions of dollars that were
spent on production value that wreck the show. This is
often the fate of movies with actors in the million
dollar class. Like Newman, having invested all that cash in

(53:52):
the Superstar, the studio gets nervous and decides spend a
lot of money on its investment. That's what happened here.
The movie starts promising an amusing period piece newsreel. Uh.
And then there's a scene in the tavern with the
tough gambler and that's good. But then the trouble starts.
After Harriman hires the Posse. It's called the Superposse because
it includes all the best lawmen and trackers in the West.

(54:15):
When it approaches, the ground rumbles and we get the
feeling it's a supernatural force, which in the kids try
to hide in the badlands, but the Superposse cannot be fooled.
It's always on their track forever. Uh. And he bare
He basically says that this goes on forever, and it
gets bogged down and never recovers from that kind of
second act tracking, which I totally disagree with. Yeah, I

(54:37):
do too, I do too. I sort of understand it
because it it feels like it does feel like, well,
this is the rest of the movie, you know, it
is the being pursued by these guys. But then it's like, Okay,
that's an expectation. But just because they subverted this movie
sub verse your expectation, that's not the movie's fault, right,
you know, they're allowed to make the movie that they

(54:58):
want to make, right, Yeah, it's I'm really surprised because
this is a UM it's one of the more classic
movies of all times. And you don't find a lot
of people that poop poop Butch and Sun dance. So
it's really really interesting. Uh. And then finally we finished
with UM five questions. Paul Thompkins, I'm ready. First first

(55:21):
movie you remember seeing in the movie theater, I'm gonna
say it's this one, but I that can't be true. Okay,
this is whenever I whenever, but whenever I think of that,
this is the movie that I think of. All Right,
that counts. I mean, who's going to prove you wrong?
First R rated movie you saw, whether a theater or home.

(55:45):
I g I was Animal House Radar. Yeah, yeah, alright
in the theater. Oh how old were you then? I
was young? I was I think I was maybe, And
a family friend took me to see that movie. He
was the guy that got me in a National Lampoon
the magazine back when I was a kid. And so yeah,

(56:05):
there was for sure stuff that I was not supposed
to be seeing that I was seeing. But it was
very mild, you know what I mean. Yeah, in terms
of you know, being introduced to, uh, some very adult stuff.
It was like very very It was like a little
a little thrill. It was like a little thrill, little
boobies and what you've see And that's absolutely yeah. Yeah,

(56:26):
I mean I think it was probably rated R for
it's themes more than anything. I mean, I don't remember
it being I don't remember a lot of cursing. He's
a little crasp but it's not yeah, vulgar. Yeah. Were
your parents Were they permissive with you seeing things? Yeah?
I mean, especially because I was number five out of six,
things really get relaxed. Yeah, under that game, they were. Yeah,

(56:48):
my parents were way more preoccupied with getting at each
other than what I was doing. I put under the radar. Uh,
will you walk out of a bad movie? And do
you remember we're doing so? Yeah? Absolutely, I I or
do you do it a lot? I don't do it
a lot, but I I will remember that. It's an option,

(57:08):
you know. Um. I walked out of Um I'm a
big Cone Brothers fan, but I walked out of Intolerable Cruelty.
I love that one. Man. I don't know what. I
just didn't find it funny. I just it wasn't doing
it for me. And I was I was in it
for like five minutes, and then I walked out and
I went up to, uh, you know, the guy at

(57:30):
the ticket counter and I said, yeah, I I I
don't like this, didn't like this, and um, you know,
I wanted to get my money back. And he said, well,
what what didn't you like about it? And I said
I didn't think it was good. He asked you that. Yeah.
I think he was more curious than anything else. I
didn't know you could get your money back if you
didn't like a movie. Well they give you like yeah, yeah,

(57:52):
yeah is that what you got? Yeah? I just went
on another movie later. But yeah, I also walked out
of a movie called Beautiful UM with um Oh, what's
the guys have? Javier Bardem Oh, I didn't see that.
It's supposed to be a very heavy movie. It's it's heavy,
but it's very slow and the story doesn't present itself

(58:15):
very quickly. And so my wife and I we used
to live in this um in Los Fielas, and we
were right down the street from the Vista Movie Theater.
It was at the end of our block, right around
the corner. Oh man, we got to see movies all
the time, and I missed that because we just like
stroll down there. It was like, Oh, it starts in
twenty minutes, let's go, you know, UM, and and saw
a lot of movies on on that screen. I think

(58:36):
we probably would have otherwise never seen UM. But that
movie we didn't know anything about it. We're like, let's
go see this. And we got I think like forty
minutes in and and we were like, do you want
to get out of here? Like we just weren't enjoying it,
and so we left. Yeah, it's very empowering, it really is.

(58:58):
I will say this about Intolerable Cruelty, though it is
it is definitely second tier of Cohen's right, So I'm
not saying it exists with the far Gooes and Crossings
because they did a handful of movies with Brian Grazer,
like they had other producing partners, and I think that
must have had some influence on it. That and um
uh The Lady Killers and I didn't love The Lady Killers.

(59:19):
That's the only Cohen Brothers movie that I haven't uh
pretty much loved another one. For me, I gotta say
it is a big Lebowski and I saw once so
when it came out and I was like, that didn't
do anything for me. But it's got such a cult
around it that I feel I keep I keep saying
to myself, I gotta see that again, and then I
just never do well. I love Lebowski, but it doesn't

(59:42):
surprise me for some reason. For you, maybe because it's
about such a slob, and I could just see you
being turned off, Like if you enjoyed movies with slob
ad dressed better. They can sound like I'm a disorder.
I'm smoking yet, Uh that'd be a good disorder to have,

(01:00:04):
though as far as disorders go. As far as disorders go,
I don't know. You still miss out in a lot
of life. Um, all right, and now I'm trying to
think of all the times that have orange cargo shorts
around you. So, um, do you have a guilty pleasure
that you want to name? Oh? Um, I know that
I do. And and this is a this is a

(01:00:27):
very I feel like guilty pleasure is a very specific
thing because to me, it means it's a movie that
I know is actually not a good movie, but I
still like it anyway. It's not like, um, you know,
it's a movie that didn't do well or that you know,

(01:00:49):
but still great. Man. I'm trying to think of the
first thing that can first thing that came to minded
is but it's not a theatrical movie, but it's a
an HBO movie. That movie they that adaptation of the
Late Shift that they did with John Michael Higgins's Letterman
and Daniel Roebuck is Leno and I that's one of

(01:01:11):
those things that if it's on TV, I will easily
be able to watch that. Uh like, just stop on
that and watch it. It's it's weird. It's fascinating to me.
But it's not like I'm so distanced from it. It's
like I also like it. I don't know if there's
something about it that I enjoy, but in terms of
counts though that counts, then yeah, I will say that's

(01:01:33):
absolutely a guilty pleasure because it's not it's not great.
It's not great. There's a lot of problems with it.
I still very much enjoy it. Uh. That movie was
problematic for him too, apparently. Oh yeah, I think he
didn't work for a while. And yeah, yeah interesting. Uh
And finally, movie going one on one? What is your
movie ritual? Where do you sit? What do you get?

(01:01:56):
If I'm going alone? Which is a thing that I have, you,
I still have to make myself do, even though I've
enjoyed it every time I've done it. Yeah, but I
still it feels like I wanta I gotta get somebody
to go see that movie with me. And then it's
only recently that I'm like, oh, yeah, that movie I
will just go see by myself, you know, because my
wife and I like to go to the movies together.

(01:02:17):
But um, it is it feels increasingly rare that there's
a movie that we both want to see on the
big screen, you know where it sounds like we can
wait on that one, you know. Um, but I like to. Um.
I like to sit a little close, not like front row,
but a little close because I like to get the

(01:02:38):
full movie experience. You know, my wife likes to sit
a little further back than I do, so split up
when you go in after. But yeah, if I'm by myself,
I'll sit up close. Um popcorn. Hopefully there will still
be some by the time the movie starts. Um, but

(01:03:00):
I like to UM. I like to uh if I can.
I like to stay for the entire credits, whether there's
a you know, fun thing at the end or not.
But I like to I like to sit through the
whole credit role out of respect. Yeah, I I yeah,
I think so. I think so. Yeah, And I don't know.

(01:03:22):
It's something that's very I don't know it's it's it's
it just feels good, you know, it feels good like
I saw that whole out on it, which is very embarrassing.
That's right. Look, hey, if you hold my attention, I'll
stay with you till the very last second. But if

(01:03:45):
you don't, I'm gone. I'm out the door, all right.
Thanks Ball, This is great, Thank you, Chuck. This is
a pleasure. Boy, oh boy, do I of Mr Paula Thompkins.
That guy is just the best. He's so funny and
I wish sometimes I wish we could add video of

(01:04:07):
these because paul is one of the great uh, one
of the great laughs that isn't so clear on the
audio level, but he laughs with his whole body, which
is a lot of fun to to be in a
room with them and to crack him up when he
throws his head back and he literally slaps his knee
and uh, Paula Tompkins laugh is one of the great

(01:04:27):
great things to see in life. So huge thanks to
him for coming by. Great conversation on Butch Cassidy and
the Sundance Kid, uh, the classic Newman in Redford film.
It was really glad we got this one under our belt,
So thanks for listening. Check us out on Facebook the
movie Crush Facebook page, or if you want to dive
even deeper, you can check out the subgroup the movie Crushers,

(01:04:50):
and there's a lot of good chatter going on there.
So I appreciate you stopping by and until next week
while you bringing your kid to an R rated movie
after nine o'clock for guts. Movie Crush is produced, edited, engineered,

(01:05:14):
and scored by Noel Brown from our podcast studio at
Pond City Market, Atlanta, Georgia.