The Big Picture - The Diane Keaton Hall of Fame

Episode Date: July 7, 2026

Sean and Amanda open the show by briefly discussing the disappointing opening weekend box office performance of ‘Minions & Monsters.’ Then, they honor legendary actor Diane Keaton by celebrating what made her such a special star, and they build her Hall of Fame, selecting their favorite performances from her illustrious career. (0:00) Intro (0:58) The disappointing box office performance of ‘Minions & Monsters’ (8:38) What made Diane Keaton so special? (36:28) The Diane Keaton Hall of Fame Hosts: Sean Fennessey and Amanda Dobbins Producer: Jack Sanders Production Support: Lucas Cavanagh It’s on Prime. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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I'm Sean Fennacy. I'm Amanda Dobbin. And this is the Big Picture A Conversation show about Diane Keaton. Today on the show, we are building a Hall of Fame for Diane Keaton,

one of the great actresses to emerge from the new Hollywood who had a film career that lasted more than half a century and includes several of the greatest American films ever made. We will dive right into some movie news and her entire career

right after this. This episode of The Big Picture is presented by Amazon Prime. One of the best things about streaming is that you never just pick a title. You pick a feeling. And Prime makes that easy with great entertainment

and fast shipping that brings the moment to life, Prime helps you experience the feeling you're craving. Shows you can't wait for and deliveries you don't wait for. One click away. From streaming to fast shipping, it's on Prime. Okay, Dobbins. Since you're dressed like Diane Keaton, this is your episode,

and so it's fitting that we discuss the minions before we talk about it. You're just absolutely dumping all the responsibility on me. That's fine. I'm ready to offer a qualified defense. So... of the box office performance of the 8th, 12th, 49th installment of a franchise. I think it's the seventh. That I'm spiritually but not financially or professionally connected to it anyway.

Minions and Monsters opened over the July 4th weekend. How was your July 4th weekend? It was great. And it was filled with things that were not going to the movies. That's true. Which is, I think, an issue for many Americans. I went to several parties, thanks to everyone. I didn't host any.

I went to many parks. I watched many soccer games. I didn't attend the local Cineplex. So nor did anyone else. Nor did I. And if I'm not going to the movies, that's a bad sign. I think there's a lot of variety of factors. But yeah, Minions and Monsters came in five-day cumulative $61.4 million.

That's the lowest in the franchise's history. Only $36.4 million over the three-day period. We didn't review the movie. It was released last. I guess maybe we'll have a somewhat larger discussion of it later in the month. I will say, as a non-minions person, I find it very, very amusing that after years of being ignored by critics and the Academy of Motion Picture Arts and Sciences, minions and the Despicable Me franchise finally made a movie that is like a Where's Waldo full of movie references for nerds like us. Yes.

And they were roundly rejected by general audiences. There's something kind of delicious about that. It's sad. Again, I do think the timing was spectacularly bad. It was. And two weeks after Toy Story 5 as well. Sure. But the World Cup got really good this weekend.

You know, like we were all sitting there in front of on Saturday and Sunday night. So some of it, I agree, is timing. And I guess even movie nerds did not want to abandon their 4th of July Highland's. Don't forget Taylor Swift's wedding. Sure. That was another cultural event. that captured the imaginations of millions. And many of the people who have spent the last weeks,

and let me say, to everyone who sent me a Minion's meme, including the young woman performing in Mennonies at one of the premieres, including the interview with Pierre Cofin, talking about how Duelipa is a major part of Minion's influence, and they'd even sing some Duelipa songs, I think. Listen, I see you, I appreciate you. I felt seen. But even those people stopped sending me.

minions memes and started sending me Taylor Swift guest updates. So, you know, attention's where elsewhere. They didn't capture the cultural Zygues. Now, I have a question for you about this. Yes. We have been discussing over the last six, 12 months about how all of these historical

franchises from the 21st century are starting to fall away in the consciousness. Now, the minions, there haven't been as many minions movies as Jurassic movies or as Marvel movies. But this is the seventh one. Like, is this also just a franchise getting long in the tooth? think yes, though also you just put it up against dinosaurs and superheroes. So then tiny yellow

tic-tacks, they're like, hey. I'm not equating them in terms of stature. Sure. Well, that's good because they're quite small. But these are, these are mega billion dollar franchise. This is a mega billion dollar franchise. Yeah, absolutely. We are at the, the end of one generation and the Don of another, which I think coincides, you know, pretty neatly with you and I are old and the next generation of people is rising and they don't care about the yellow Tic Tacs. Well, I wonder if... Or references to cinema or a cameo by George Lucas. Yeah, that's true.

Well, that's, but again, that was for us. That wasn't for them. What does George Lucas even mean to 20-year-olds who were seven when the first Minions movie came out or maybe even younger than that? That's part of it too is sometimes the kids who are born on this stuff, they grow out of these franchises. I don't know. It could, it could, it's probably a lot of what you're describing, though, which was that this was a very active and busy July 4th weekend for a lot of people.

Not a lot of people went to the movies. You know what hung in there, though. Disclosure Day with a very small drop of 27%, which I thought was interesting. I know that because I own Disclosure Day in my movie Fantasy League and picked up some extra points over the weekend by sticking around in the top five. You also endured some like live comment section coming at you. We both did at one of the many barbecues hosted by our friends and that's fine, you know. A lot of stray shots at Steven Spielberg. We love to talk about movies. From people who are less talented than Steven Spielberg.

But who do make movies? Very interesting experience. Who I like a lot. They're great people. And I love their children too. But they were just people, people love two podcasts at us. The Schadenfreude are running. And I was like, sir, I'm just trying to finish this candy crony.

Yeah. Let me just ask you one quick meta question because I think Diane Keaton is one of the great meta stars in a lot of ways. Her persona became her personality or her personality became her persona or whatever. When you're at a social function And you're Amanda Dobbins Of the big picture And myriad other podcasts

Right But let's just say for these purposes The Big Picture Sure And someone's like I've got some movie takes for you A friend someone you care for Yeah Are you like I will turn on

Podcast persona? No no no I sit back and relax And I'm honestly like a little bit annoyed A non-movie example of this Is that when Taylor Swift got married this weekend and the press release went out. Do you know Tree Payne sent out a press release detailing certain specifics from the wedding? How cool is it that we all know who Taylor Swift's publicist is in this dystopian nightmare?

Well, some of us have gotten threatening emails from her before. So anyway, as it's happening and I'm, you know, logging on to the jam session doc and making my notes or whatever. And my beloved long-suffering husband sitting next to me offers an opinion about he thought that Friday It was a weird day to get married. And I was pretty rude. I was like, I don't, I'm not working right now. I'm prepping and I don't need your opinion. So for my loved ones, I'm pretty rude.

Okay. For everyone else, but that's really just Zach. I don't think I would do that to anyone else. And then I did apologize. Although I said, I think a wedding on Friday is the least weird part of this wedding. I can't disagree with that. I got to say. Yeah.

Sometimes I really feel for Zach. It's just not nice. I apologize. Okay. I, when I'm wrong, say that I'm wrong. And I said, I'm really sorry. Well, you were right. Yeah. You can be right about that opinion, but it's how you deliver your rightness, right?

That's the challenge. And I was, I was focused. You know, he also, like, he came into my space. It was like the one time that he asked me to read a piece to, like, pick which lead he wanted. And my hands went towards the keyboard, and there was just like an, ah sound. And I was never allowed to edit anything again because I went into his space. That's not allowed. Okay.

So we got to know the rules. But for someone I'm not married to, personally or professionally, I just let them talk. This happened recently where a bunch of people were talking about the drama at a party. And they weren't like, they were new acquaintances. So I just sat back and let it go. Nothing to be gained there. Yeah, yeah, yeah, yeah. And just let them talk.

And it was like, oh, really interesting. The worst version for me, and I say this with affection, is when everyone knows what I already think because they listen to an episode. Yeah. And then they just want to tell you that you're wrong. Even if they agree, they just want to rebut all the points, which you know what? It's an occupational hazard of this wonderful profession of ours. All right, let's pivot away from this frivolous chit-chat, and let's get down to the real, real work. Because this has been real work what we've been doing to honor the great dying key.

I don't think that we understood what we were taking on when we put this on the calendar. So Keaton passed away last fall, and we've taken some time to do this. And I think we both knew we wanted to do it. But I also knew that I had quite a few holes in terms of covering Diane Keaton's career because it's not just that it's been so long. And as we've talked about folks like Robert Duval and Robert Redford who've passed in the last year or so, I think I knew I had some blind spots with those actors. But I know with Diane Keaton that she has really not been,

the films that she's been making have not been a primary focus of mine for the last 15 years. And I actually didn't realize quite how many of them there were. And yet, despite that, despite having moved to like a kind of red box era where she's making a lot of films that are, if not direct to streaming or VOD, feel like they are, I don't think she ever really lost status. Like, she never really got diminished in terms of her iconography and how celebrated she was. And so, like, it seems like a pretty interesting, like threading of the needle there where it's like people like me are like, I don't know what Palms is. I guess that's a movie, but I still. Poms, not palms, yeah. Not palms.

These are palms. Palms are like palm palms. You know, I know she means a lot to you, but have you thought about her this century, I guess. No, I mean, you mentioned that she so quickly became Diane Keaton as a person and as a larger-than-life figure. And that is through all the work in the 70s and the 80s, but really Annie Hall, right? And, I mean, we can all see how I'm dressed. And so there was something visual about the way. that you thought of Diane Keaton

that she continued even through all the Red Box era and what you know, she added on hats at some point and like the big glasses but there was something that was still always aesthetically Diane Keaton even if she was in a movie

that you've never heard of with Richard Gear and William H. Macy and Susan Sarita did you watch that one? Weddings and other disasters. Is that what that's called? I don't remember or maybe it's maybe I do and love another disaster is the Jeremy Irons one?

Okay, yeah, yeah, yeah. Listen, this is the thing. And I, and I, I volunteered to be Captain Redbox. Yeah. And I think I, I think I saw it all. Okay.

Well, we're gonna plenty of time to talk about all of it. So you're watching all of this. And it is virtually, like, those movies didn't happen in terms of cinema history. But she's still making her diet, you know, she has her mannerisms.

She's very recognizable as a physical performer. And she played into the Diane Keenan of all. There was like an aura maintenance that she did until the end of her life that I think helped. Do you think that you will eventually evolve toward hats and oversized glasses? I thought about getting a hat last week. And I was going to go for the something's got to give bucket hat. I do feel on like the spectrum of hats, bucket hats are more where I'm bucket hat and baseball cap as opposed to, you know, bowler hat. Okay. But.

Bowler hat would be a bold choice. Or, I mean, if you just walked in one day wearing a bowler hat with a cane? I have to be honest, I do. I'm not, you know, I'm not a milliner. So I think that's what it's called. You're not a milner? But so I don't know the terminology for the various, it wasn't a fedora that she gravitated towards. I did some of the 70s and 80s stuff that I revisited.

Mm-hmm. I was just like writing notes, like full-on style. Just absolutely dynamite. one of the most influential fashion figures in film history without question. But also very difficult to replicate. I say that with no just respect to what you're attempting today.

But she had a singularity that was... This is an homage. No one can be Diane Keaton. Many have tried and failed spectacularly. Yeah, it's interesting too because in the earliest stages of her career, she's obviously not dressing like Diane Keaton. So we'll talk about these first few films that she made. And she's just a strikingly beautiful woman.

Like she's just, she's a beautiful actress. Unreal. Who, I think because of the influence that she made on the people who were making movies for her in the late 70s, started to build movies around her essence, which is, you know, something you might hear about like Greta Garbo. But you don't hear as much now about modern movie stars where this sort of like, not just how they dressed off screen, but kind of what their personalities were. They're kind of that very particular genusée qua that she had that were people were like, how do I guess? get who you really are into the movie. Right, right. It's also a little bit because of the types of movies that she was making, but also the

time period in which she was making them, which, you know, she starts in 1970, in films anyway, and is going through the women's lib movement, if you want to call it that. Sure, I will call it that. I'm just like, we're not there yet. I just want to let you know. They were liberated and now we're equal. You're free and it's 50-50. Right now on camera, do you know whether we have an equal rights amendment?

We don't have one. Correct. Yeah. Okay, good. You learned that since the last time I popped to you. But so she is often playing... But I'm working on a new one. Oh, good.

Thank you. It's called 7525. You get 25%. Okay, good. But so she's often doing playing contemporary roles. I was thinking about her in terms of, in comparison to Meryl Streep, who is like kind of similar, a little bit younger, but in age range coming up in a similar time period and a similar part of, you know, Hollywood history. And Meryl does a lot of period pieces. And Diane Keaton is sort of is reflecting more often than not what a woman, or, you know, at least like the most beautiful affluent, educated woman you've ever seen in your life.

it was doing in the U.S. or in New York City in 1975, 1980, 1987, etc. So you see people, the movies start being modeled around her, but her also navigating

the world that she is surrounded by. And interesting, if not always, accurate ways. Well, it's a great comparison between the two of them, obviously not just because we just watched all of Murrell Street films for an episode earlier this year, but because Streep is best known for Transformations accent work and for frequently playing real people. And as far as I could tell across the 50-plus movies

that Diane Keaton made, she only played a real person one time in her entire career, just Louise Bryant and Reds. I think that's right. Maybe there's one or two that I'm forgetting, but I don't think so. And you could say on the one hand, well, Diane Keaton was not as much of a transformational, transformational, transformational actress, right?

On the other hand, it seemed like maybe filmmakers saw her as what you're describing, which is like a very contemporary, a modern woman. And there was something kind of not very iron lady about Diane Keaton. And so why would you cast her in a movie like that? It doesn't seem like she was drawn to those parts either if you read interviews with her. And so even though those two actresses kind of more or less kind of, you know, Diane Keaton starts before Melale Street,

but they kind of are a similar stature through the early 90s, I would say. And then things start to shift where Merrill becomes kind of the goddess of dramatic film. Right. And Diane Keaton is still very active and working, but maybe doesn't hold the same, I don't know, sort of like gravitas among critics and the academy. But I like that going through, especially that stretch, like, all the way through 95 or 96, where it was like, this isn't just some like dopey biopic of a person that you could just read the Wikipedia of. Like, sometimes the movies weren't good, but I was watching the good.

good mother and I was like, oh, what's happening here? This is a weird movie. That's interesting. You chose to do this. And so you think that her career is like only these totemic major American movies, and a lot of them are for the first 15 years. But then she's kind of in the wilderness of creativity where she's just relying upon writers and filmmakers to generate something for her that she can fit into.

So she's a very present figure in my life as a movie watcher. Sure. My wife's favorite director is Woody Allen. Yeah. Or Woody Allen and Hitchcock, really. But she always has what she had Woody Allen movies on. I remember. For the first 20 years of our relationship.

And so I've seen a lot of these movies over and over again, just like in proximity to Eileen cooking dinner. And, you know, she's a major icon for Eileen, too. And so she's a little bit like, wallpaper to me as a person. I mean that with no disrespect. But like she was just kind of always around in our life. And it was interesting to kind of try to pull myself out of that wallpaper feeling. And I know she's a huge actress for you. And, you know, we talked about something's got to give last year with 25 for 25. So I kind of like reset my brain on who she is. You know what I'm saying?

In a similar way to the extent that, you know, because she is Woody Allen's foil in so many of their movies together. And she's kind of like the stand-in for Woody Allen. And then she moves on, but keeps doing romantic comedies or, you know, comedies about people and relationships and talking and not character work, not stunts. That, and then she leads into the next generation or two of romantic comedies, or at least, you know, movies starring women talking about feelings. So that she, that is the lens and that's how I know her as well. Um, you. even though, again, I was really startled to see her filmography post-2015. But so same, where she's just kind of always existed.

And I guess that's another way in which Merrill kind of looms large, because they're from the same generation. And Merrill has always been, like, the woman from the Iron Lady or some version of it. And Diane Keaton has always been like this slightly, the neurotic. and daffy, but always capable, like, aspirational woman in, like, in a comedy or just in a normal movie, in a movie about people. Yeah, yeah, yeah. She frequently plays middle class or upper middle class people, too. She doesn't play, like, she's not an iron, she's not playing a hobo, an ironweed opposite Jack Nicholson.

You know what I mean? When she goes opposite Jack Nicholson, he's playing Eugene O'Neill. So it's an interesting kind of persona that she crafted for herself. She's from Los Angeles. She was born in 1946. she was raised in, I think, Santa Ana mostly. Her mother was Mrs. Highland Park, something she talks about and frequently in interviews.

She studied at Santa Ana and Orange Coast College, and then she studied at Neighborhood Playhouse under Sandy Meisner, and that hugely informed the kind of actress that she was, and she talks about this all the time about being an actor of reactivity, of looking what the other person is giving you while performing and bouncing off of that. And so that's an interesting thing because a lot of actors who, use the Meisner method and work that way. Oftentimes they're only as good as they're scene partners.

And so in some of her films, you can feel her like not being as alive as you want her to be because she's like, maybe I'm not having a good time making this movie. And then other times you're like, well, this is the most electrifying scene in movie history that I'm watching right here. So it's an interesting thing. She did start on the stage. She was in the first production of hair in 1960. She was effectively in the chorus.

She was like a vocal performer. And she talked in any interviews about how she was like, I liked these songs. I didn't really know what was going on. But then one year later, she gets cast in a Broadway production of Played Against Sam, which was eventually adapted into a film. And she was cast opposite Woody Allen. And that's where they met and started working together and created this very long partnership. And he is the most significant creative collaborator. Yeah.

They've made eight movies together over the years. Who's number two? Number two is Nancy Myers, of course. She wrote three films for her and directed one. Would have liked her to direct one more? With... With Diane. I could have gone, going through the filmography, I was like, I could have gone

for one more Nancy and Diane movie. Yeah. You know? But then again, instead of the Nancy, instead of Diane, she just used Merrill. Yeah, which I like. I like. I really like it too. Merrill's obviously not the problem in that film.

Yeah, okay. There are problems? And then, of course, she made three movies with Francis Ford Coppola. Yeah. Three Godfather films. And I don't think she recurred with any other directors. Is that possible? Maybe the book club director?

Did the same fellow direct both book club movies? I am Googling Book Club 2 right now, which I saw in theaters. So I come by this, honestly. But yes. Yes. Congratulations to Bill Holderman, who directed Book Club and Book Club. That's right. The next chapter, of course.

Of course, yeah. She notably did not work with many of the hallowed new Hollywood figures. Never made a movie with Scorsese, never made a movie with Altman, never made a movie with Friedkin. She almost made a movie with Spielberg that fell apart, though they have a very interesting connection that I'm not sure if you're aware of. No Kubrick, no Polanski, no Milosh Foreman. She didn't work with any of those directors. And I wonder if it's because a lot of those people often made movies not set in the modern times. Yeah.

And that she was a very modern woman and they didn't necessarily fit into the kinds of films that they were working on. Okay, what defines her as a star? We talked about her persona and her style. Yeah. foremost and probably the most celebrated and respected of her generation in terms of people who did comedy.

But the way that she did comedy is what made her so special because she understood that comedy is just another vessel to, you know, another way to emotions. And so she is sort of playing things for laughs. but I wouldn't say that she knows that she's funny but what she is doing is processing emotions through absurdity and comedy

which many people including myself do as opposed to you know through tears and wailing and and beating your chest and closing yourself off from the world so I like she does plenty of drama

and I think and is very good in a lot of it but most of her comedy roles also have a lot of drama in them, and I think that they are what she is remembered for when we think of. So, you know, the way that Diane Keaton acts is just like a pathos in being funny that opens it up to everybody. Yeah, I think she has become a bit underrated as a dramatic actress because so much of her iconography is indebted to those comedy roles.

And also because you pointed this out to me, and this was a really good note, that she's so similar to De Niro in that De Niro has made a lot of movies in the last 20 years where you're like Robert De Niro made this movie? Including a movie with her. Did you watch that one? Certainly did not.

And but like we're willing to forgive those movies. We don't really think too hard about those movies. We're like, yeah, but he made the deer hunter. Like, it's okay. And for her, it's very similar where it's like, you know, she made Annie Hall or she made Manhattan or she made, you know, on down the list that we'll talk about. But going back and either rewatching or watching for the first time,

some of the more dramatic films that she made, I think maybe because some of those movies in the 80s didn't really work. They weren't financially successful. And she was also kind of pivoting her career a little bit where she starts directing more. Eventually she has a family. Like she starts making some of those choices. And you can see her kind of not getting the respect.

Also, she's a woman who's just getting older in Hollywood, right? So maybe it doesn't have as many opportunities. Or maybe she's being, she's going up against the Merrill Streep's and the Jessica Langs and the Sissy SpaceX and all of her. her contemporaries who were maybe considered like more heavyweight dramatic actresses. But I loved a lot of the stuff she does in the late 70s and early 80s. I think she's really, really good in that and some of that's more steely material too. Yeah, but she's, the big exception for me is Reds, which she's just like electric in,

and perfectly balanced against Warren Beatty and then against Jack Nicholson. And it's kind of the fulcrum between the two. And there are no laughs in that. Like that is just straight up. That is we're saving the world and saving each other In an artist, dare I say boomer sort of way Love Reds Were you laughing a lot during looking for Mr. Goodbar?

No, but at the end you're like, what the hell is happening here? Yeah, no spoilers. You know? But there is something surprising and naturalistic about that performance. I agree. In Reds, she's like wearing a corset, you know? And she's very good at it.

God bless. You ever worn a corset? What do you think? I don't know. I thought maybe for your back, like, you know. I've worn a brace. Does that count? You're pretty close.

I've never been, you know, stitched in. Tied in. Yeah. Yeah. That's not something. I also don't have many people helping dress me every day. Do you have that? I don't.

I actually, I don't really like it when people, like, I don't like having my hair played with. I don't really like being fussed with in any way. But I did. We share that. After a C-section, they recommend that you wear a brace. to like support... No kidding. Well, yeah,

because things are like a little loosey-goosey, and I did sometimes have Zach or like a doula, like pull it tight. So I've had that experience. Must be nice. Yeah. No, it really hurt because I just had surgery. It's fine.

Great. Speaking of Lucy Goosey, one thing I also noticed in reading some interviews with her is that she was very... Didn't think she was a very good improviser and didn't like to improvise, but she did like to be what she called loose with the script. Okay.

Which means one of the... the great things about her as a performer is she has a very particular series of vocal affectations where she gets kind of like startled in the middle of a sentence or stammer's or you mentioned crying she could just like hit a tear note and then pivot back to seriousness very quickly and she had a real dexterity with her own emotions and her own like even like patternistic phrasing within a script and she talks about this a lot in a lot of interviews about working with nancy meyers who's a very very rigorous writer who's very preston sturges where it's like it's every word matters and she talked about the push-pull

of trying to do her thing inside of someone's more tightly woven corset of language. Which, you know, it's the Fincher Sorkin. The people coming, you know, the skills coming against each other is what makes it better. Which is great.

I think she also does that in terms of just behaviors on my rewatches. And even a couple of movies I saw for the first time, there are things that she does on screen. The most famous one that I only noticed because Nancy Myers, like, Instagrammed about it once, was in Baby Boom when she picks up the baby at the airport and then gets out of the car. And she holds the baby under her arm like a sack of potatoes. And Nancy Myers said that was not in the script.

That was not something that, like, Diane Keaton just instinctively knew that that would both be really funny and communicate something about the character. But there were other ones like... Not the safest thing I've ever heard. I mean, that's the point. She just inherited a baby. out of nowhere. So, and, you know, she's a high-flying management consultant or something.

Absolutely. Sure, like we all were in the late 80s. There's another scene in the, what's the Mel Gibson movie? Mrs. Saffel. Mrs. Saffel, when, spoiler alert, at some point she has reason to part with a ring. And the way that she decides just to get the ring, like, there's, it's not planned, you know, maybe it's written in the script that she gets. rid of her ring, but you can imagine anyone else doing it like this very, like, symbolic,

you know, like, now as the moment has come when I'm, and she just like tosses it off to the side in a perfect, perfect Diane Keaton way. So she, like, as you said, and some of it's the Miser method, but the, she's just in the moment and doing her thing. Yeah. I think charisma is an overused word for movie stars, but she also has a thing where, you know, she fell in love with many of her co-stars. She really, like, a lot of filmmakers became insourcehold by her. She has, like, she just has something. We, we use a lot for men, but not that often for women, which I think, I think it's completely accurate here. But she did kind of have that thing in a, in an era of movies, you know, not that movies have caught up, but where, like, everyone else in this league, in this era,

was a man, except for Merrill Street. Yeah. And she just, she had something that brought them all in and made everyone want to look at her. One thing that I noticed going through some of the films, too, is that, you know, all the way throughout her career, she's frequently playing the wife or the girlfriend. You know, in some of the best movies of all time, she's stuck with those roles and in some bad movies. She's stuck with those roles. But it does feel like Woody Allen in particular was inspired to just write better parts for her because he's kind of casting her. Like, in love and death, she's just like the girlfriend. You know, she doesn't, she's very funny in that movie.

But she doesn't have, like, a deep reservoir of complexity. She's just the hot girl that he really wants to be married to. And you can feel him like almost challenging himself because he's inspired by her because she is such a unique person, a singular personality that I think because he writes parts that improve her screen persona, she then gets to do more challenging things over time too. Like she gets to kind of transform into the woman who can dress like that confidently on screen. And that's also unique. And we can talk about the complicated legacy of these Woody Allen movies too.

I think we probably have to. Yeah. Because she's someone who like stood by him through everything. She always, till her last days was like, he was a very special person to me. He gave me extraordinary. I was in love with him. He gave me extraordinary chances. Right.

And obviously, talking about Woody now is much more complicated than it was some years ago. Okay. The other thing I wanted to point out about her before we go through the list is that she was a film director. Yeah. She directed many movies. She directed music videos. She directed some stuff I did not realize she directed. And that's also unlike the female stars of her era.

I was looking at like the real kind of like rock solid movie star, female movie stars of the 1970s, Street, Fay Donaway, Jane Fonda, Goldie Hawn, Ellen Burstyn, Allie McGraw, Raquel Welch, Pam Greer, Susan Sarandon, Vanessa Redgrave, Glenda Jackson, Jessica Lang, Sissy Spaceek. None of these people directed movies. And maybe they wanted to and they weren't given the opportunity. That's certainly possible. But Diane Keaton Yeah She directed a documentary about the afterlife

Called Heaven, which is fascinating She directed two Belinda Carlisle videos She directed an episode of Twin Peaks Excuse me, you just yada yadaed heaven as a place on ours A wonderful song in video I make nothing against it She directed a very strange episode of Twin Peaks in season two When things are kind of going off the rails

But when you watch When you watch Heaven that documentary Which the DP of that movie is Frederick Elms who was David Lynch's DP in the 1980s on a lot of stuff. And that's a very David Lynch documentary. And then she made this TV movie called Wildflower, which is the first known performance, as far as I can tell, of Reese Witherspoon on screen.

Yep. It's also shot by a Polish cinematographer named Janusz Kaminsky. Heard of him. In 1992, when Steven Spielberg was getting ready to make Schindler's list, he was looking to work with a new cinematographer, someone who understood that part of the world. and he called Diane Keaton and said, who did you work with on Wildflower,

which I saw on the Lifetime Network and really liked. And she said, Janusz Kaminsky gave him his phone number and Spielberg has made movies with Kaminsky ever since. Incredible. I didn't know that. That's really good. Yeah. It's just a fascinating thing.

So, like, as a filmmaker, she has great influence on cinema history. She, so are you aware of her late in life, like interior design, Pinterest phase? A little bit. Right. Which is, yeah. And, you know, like, I have the interior design book. But she's clearly a very visual person, right? Like, and it's clearly very exacting in terms of how she sees the world, what speaks to her, how you put things together.

And, you know, film is a visual medium. So it makes sense to me in that, in that way that she's always been drawn to arranging things just so. And then the other thing is that she had kids much later in our life, which I would just, you know, you mentioned everybody else. I think that it is probably easier to direct films if you're not in charge of having. small children. And it's after baby boom when she realizes in the early 90s that she wants to have a family. She doesn't really think she wanted to have a family before

that, right? Yeah, I think so. But I think she adopted like in her 50s, I believe. So, you know, that's how it goes. She's a real one about that too. She's like, it's the hardest thing in the world raising children. If you read an interview, she's very frank about that. And, you know, after that film Wildflower, which was a TV movie, she did go on to direct

two more feature films that were released on Strong Heroes and hanging up. So, yeah, I mean, four Academy Award nominations. She, of course, won best actress for Annie Hall. I could find a couple of places where she should have gotten more throughout her career. Many, many Golden Globe nominations. You know what I didn't see was Amelia Earhart, the final flight where she played Amelia Earhart?

Did you watch that? I didn't because that wasn't in the red... That's a TV movie. There's also, there was another TV movie late in her career that was only released in the UK. So I didn't make it to that. Arthur's Whiskey? Oh, yeah. It is streaming.

It is streaming. Okay, well, I'm sorry. I didn't get there. But otherwise, I think I got to most of the, almost all of it. I counted 57 feature films and she had two, four, six, seven TV films. The TV films, some of the things that she made are not available. That's the other thing. Like, I'm looking at Sister Mary explains it all, for example. I couldn't find that one. A couple of things are just not streaming. And when I make a big show about physical media and whatnot, this is a little bit of what I'm talking about, you know? Great actors work. Not available. available in the world. Anything you want to say before we start going through the filmography now. I'm excited. I'm nervous. What are your preconceived notions right now of what do you think it's going to be in it? I didn't do this. I didn't pre-haul. I tried to not pre-haul. I don't either. I don't know what your relationship is to the Woody movies. We won't, you know, like there's, Annie Hall is a forever movie automatic, whatever. So that goes in no matter what. But the other ones, you can make the case that these are the most important movies of her career. You can make the case.

that they're not aging well. Sure, yeah. But you can't also, well, you can't put eight movies by one director and a whole family. I think it's a question of how many do you want to put in, right? Like, is it two? Is it four? Is it, I don't know. We're going to find out.

So let's begin. Okay. After appearing and played again, Sam, she gets cast in her first movie. It's called Love and Other Strangers. Lovers and Other Strangers. Excuse me, lovers and other strangers. It's a romantic dramedy about a young couple and all of the crazy people and their family. around them. It's probably best known for launching Richard Castellano, who she would soon co-star

with again in The Godfather two years later. He was Academy Award nominated for this movie. She's got a solidly sized part. She's the sister of the Lee with Bonnie Bedelia. Yeah. So first of all, Bonnie Bedelia. He waited too long to say that. So hot. In 1970, she was so hot. And continued to be. Diane Keaton at that wedding, I found myself freeze framing it being like I would like to look at this eye shadow and how can I? She's just so beautiful. She looks very cool. I mean, she's just not the major

part of this. You can see that she already is pretty comfortable on screen. She has this kind of semi-daffy, semi-confident persona in a pretty much lockdown from the first movie, which is really interesting. The movie itself is pretty forgettable. And also, she's again, this is a movie about two people, it's centered around wedding.

So two people who are about to get married and then comparing and contrasting all the different relationships surrounding them. And so she is the married but wants a divorce because her husband didn't remember her birthday. You know, like dissatisfied. It's 1970. You know, the women's live. Exactly. Yeah. So I've heard. Second wave. Here we go. That's going to be a red, I would say. I agree. And that takes us right to the godfather. Okay. So 1970s. Sure. So Godfather, Godfather, Part two, and Godfather part three. You want to talk about all them right now?

Well, I thought we couldn't act. You'd say none of them go in. I thought that we could enact the Robert DeVall rule, which is that I believe one and two. And then Tracy also tried to put three in because he made the wise decision to not be in three. Yes, which I thought was entertaining. Diane Keaton did not make that choice. She didn't make that choice. She appeared in the film. Diane? Not a big no person, as I understood it.

Well, she had weak spots, you know? I think she was very, and she talked about working with Coppola and the difference between working with Coppola and other filmmakers. and what she was able to get away with with other filmmakers and that Coppola was an extremely formal filmmaker. Yeah. The sets were very formal and controlled. And the Godfather movies and Hart are so interesting to talk about. Long-running bit on the re-watchables about how Bill thinks...

Well, it's changed over time. So for a while, I remember that... Because I'm kind of Team Bill on this. Okay, it's a terrible take. No, no, no. So he thinks that Kay doesn't make sense as a character. I think... And I'm supporting this by my friend Meg Spillane and the entire Spelaine family.

that Keaton is miscast as this. Now, I'm not saying we can't put it in the Hall of Fame. I just find this to be terrible. I find what Bill said to be terrible. I said what I think of find what used to do. She is the prospectival character. She is the outsider brought into this world. I understand that.

A waspy person introduced into the Sicilian way of living in this crime family. And she is her fluster and frustration and her being, you know, set aside at critical moments in the story is so key to unlock. If she's not in the movie, if a character like that is not in the movie, played by someone like her. So the character is essential. I just do not believe that Diane Keaton, for all of her fluster and daftiness and, you know, I don't know what's going on, is that clueless or that weak of a person.

And Keaton doesn't play it as someone who's being weak on purpose. Like Keaton does not play it as a, I'm. pretending not to see what I know is happening. And the movie has organized her around Michael closing the door and her being like, oh my God, can I believe this? Well, yeah, I can't because you're Diane Keaton. You know what's up. And so that's always...

Yeah, that's you bringing it to the movie Expo's Factor. This is her second film. She did not have a confirmed screen presence at this time. So you have to consider the contemporaneous release of the movie and what we think about her when we watch the movie. And when we're watching this movie, in all likelihood, unless you saw her on Broadway or in hair, you were like... You just think she's a...

That's what she is. Yeah. So to me, that makes sense in retrospect, and we can have retrospective opinions all the time. Also, I was an abortion, Michael, an abortion. That's too loud. But the scene when she can't see them in the kitchen and Godfather 2, she lights out amazing. And that's why Godfather 2 is so good. So if you wanted to make the case to me that the Godfather should not go in, but the Godfather part 2 should go in. To me, that it was an abortion Michael scene is amazing. Now, it's amazing because it is like, it's surfacing finally the things. thing that you're thinking while you're watching Godfather 1. Yeah. In Godfather 1, you're like, this girl can't be this stupid.

She has to get out of here immediately. It's not the, I want to be clear. Love and Respect Bill Simmons. Number 16 limitless, number one, devil wears Prada. On this matter, it is not the character. It is not the script. It is not Diane Keaton, the person who I love and admire. It is that I think Diane Keaton does not fit the rule.

Okay, we're going to yellow the Godfather, which is the funniest thing you could ever do in a Hall of Fame conversation. I agree in The Godfather, too, then. But that's fine if you want to, like, build up the tension. Where do you stand on plate against Sam? 1972, same year. I had never seen it until this last week. And this was the one where I was suddenly just, like, Googling, you know, double-breasted blazers.

Here we are. I already had this. She's already digging into her style. And she looks. But it's also, it's not costumingy yet. She is just dressed to the nines and looks awesome. I liked it. I mean, I too love the film Casablanca and, you know, based my life on it.

And we're at the 60s and I had the opportunity to write a play and then make a movie that's like making me into Casablanca. Sure. Great way to spend my time. I don't know if it needs to go in. Yeah. It's an interesting question. So it's the rare movie starring Woody Allen not directed by Woody Allen. Herbert Ross directed the movie.

It is based on Woody's play that he co-starred with Keaton. with three years earlier. It's a very nicely made movie. Owen Roisman shot it. It has all of this, like, kind of interesting framing because Humphrey Bogart, not played by Humphrey Bogart, plays this kind of angel on the shoulder of the Woody Allen character and who's a film critic, who is recently divorced

and is being encouraged to start dating again by Humphrey Bogart. And also his wife's friend's wife. if we put it in it would be about like this is the union point of Alan and Keaton. It's a good movie. I don't know if it's a great film. Right, but it's the play that brought them together anyway. So we're kind of couple steps. You can yellow it, but I don't think.

Well, yellow played against him. Okay. Okay, 1973 Sleeper. Yes. Now, one of my mom's favorite movies at the time, I think, considered a revelation, one of the early Woody Allen movies. Right. A sci-fi spoof satire in which he's cryogenically frozen and awoken many, many hundreds, thousands of years later, only to discover an absurd society in which he is operating as a robot to survive.

Diane Keaton, this is where I'm like, he's just writing a part for the girl that he thinks is pretty and funny. Yeah. And not writing for the Great Titanic. actress Diane Keaton. I think this movie holds high esteem amongst people who were alive when it came out. But it was never one of my movies for Woody. And I love many of Woody's movies. And I think that's beautiful for the people that were alive when it came out.

So we're just going to red sleeper. Do you want to yell at it again? Listen, if it's your mom's, you know. Yeah. I'm not going to, we don't need to be rude. No, she's not making this list. This is our list. This is our Hall of Fame.

It's just that there are other Woody movies that I would want to fight for. So I would just. is red sleeper. Godfather Part 2, green. I agree. Godfather Part 2 is green. It was an abortion, Michael. Let me just tell you something about that.

I read all about it. Keaton and Pacino were madly in love with each other multiple times over their lives. They got together, they broke up, they got together, they broke up. They both called each other the loves of their lives. That scene in particular, they completely ripped up the day that they were shooting it. I think she said they shot it for like eight hours. That it took a lot of rehearsal to figure out how they wanted to do it.

most of it is Pacino entering psycho silent mode where that you know that image of him with his eyes widening and the camera holds on him a lot while she's giving her performance

and explaining what happened to their child I think is great and I've always thought was great but the thing is that the godfather you've got to remember is a pot boiler it's like melodramatic material I don't have a problem with the script

and I you know abortion is a weird word to yell just phonetically you know so I understand the but it was an abortion. Okay. Women's lib is about being able to say that word out loud. So get on board. Because I'm here to liberate.

All right? I don't think in 74 it was. I think that was before, you know, it got turned on and then turned off again. Who turned it off? 1975 love and death. It's not funny, but I can like Diane Keene and I only laughed my pain. But do you think love and death is funny? This is the Russian one?

Yeah. Yeah. Okay. I think it's funny. I don't think it needs to go into the Hall of Fame, but I think it's funny. That's interesting. Okay. Do you want to put it in?

Well, this is sort of what I'm talking about with the Woody thing. So Woody is, at the beginning of his career, he's kind of riffing on genres. Right. Right. He's like, oh, I really like Casablanca and Bogar movies. I really like sci-fi. I really like... He and Melbush.

He and Melbush. He and Melbuchar doing the same thing at the same time in different ways. Now, Woody eventually evolves out of this approach. He starts doing other stuff. He continues to be, you know, inspired by like Bergman and Fellini, but everything gets a little bit more high-minded. And then he settles into his own style of just like people in apartments in New York. Yeah. This is, I guess this is kind of one of his last, I guess, like Mad Magazine-style movies, where he is at the center of one of several Russian novels slash Russian plays.

What is your favorite Russian novel? I mean, I've read crime and punishment, if that's what you're asking. I have it. You know, I've read Brothers Karamatov. Okay. Both of those were in college, and I haven't thought about them since. Did you take a Russians class? I read some Gogol.

Oh, nice. Okay. I did not take a Russian class, Russian lit class. I mean, it's very intimidating. I agree. I've always found it sort of insurmountable, except for Anna Karenina, which I famously have read, and thought was quite good. I haven't read Anna Karenina. I would like to one day.

I don't know. I mean, as a person who's like very trapped by my own ethical quandaries, I think they're interesting. Okay. But it's a little late for me, I think, to start digging in. I know. I would like for it to happen for me, but I just, I don't know. I don't know when that's going to happen. I think Woody was at the ripe old age of 25.

I haven't watched season four of the bear, so I'm just not going to get to the great Russian works. If that is really the Thunderdome for you, you're in a lot of trouble with a lot of things. Or season five? What season is it? It's season five now, I believe. Yeah. I watched the last one. They yelled at each other at the restaurant at the end, you know.

Forks closed by Olivia Coleman. I saw it. Okay. Thanks for weighing in on that. Love and Death, yellow or red? Yellow. Okay. Thank you for yellowing it.

We'll return to it. 1976. I will, I will for now. Okay. This is another one I had not seen. Nor had I. I didn't know this movie existed until we had. Neither.

This is, you got to consider, this is after three Woody Allen movies and two guys. Godfather films. She chooses to make this movie. Yeah, but did you see Elliot Gould in this movie? Well, yeah, I mean, I suspect that's why she wanted to make it. Ellie Gould's a big star at this point. It's a marriage comedy about two people who are kind of going their separate ways in an attempt to salvage their marriage. They attempt an experimental approach to be a little bit more loose in their arrangement, would you just say? Sort of, but then there are also ground rules.

It's fascinating to watch after the invite. And it's, you know, there's a lot going on there. Absolutely. And this is the time of Bob and Carol and Ted Nalus and this kind of like evolving notions of post-68 free love and what is a modern relationship. But the tone of the movie and the filmmaking are pretty bad, like a pretty dopey. And it's not very sophisticated. But they both have a lot of star power. Yeah. And they do have chemistry, even though her character in particular, it's so this is 76 when it's released. But, you know, they go to sex therapy at some point. and there are a lot of jokes at the expense of her prudishness, and she's uncomfortable, and it's not really quite as updated as some of her other characters will be. Or it's a reflective of the times. But he's a premature ejaculator.

That is true. That was also an incredible moment for Zach to walk into the room while I was watching it. He was just like, hey, what's going on here? Yeah. And then he was like, is that Alia Gould? Talking about premature ejaculation? Two things to recommend this movie, which is absolutely read. And there's no chance it's going in.

And I didn't even watch this to prepare for the 76 movie draft because I was just like, what is this? No one likes this movie. One, Paul Sorvino as the lawyer best friend who sings opera throughout the movie and is very entertaining. I really enjoyed him. Two, Victoria Principal on fire. Just very, very, very hot as like the woman who lives in the building, like the apartment

next door. The movie itself, I think, is very forgettable and there's a reason why we had not seen it before. 1976, again, Harry and Walter go to New York, another film with Elliot Gould. as well as James Kahn and Michael Kane in this movie. Heard of them. A period drama set, I guess, turn of the 20th century. Yeah.

About two Rapscallian criminals who help a famed thief rob a bank. Rob, one of the most... What's it called when you can't break into something? Impenetrable? I guess. Maybe that's not the word I'm thinking of. But Michael Kane plays the thief. Gould and Khan play the low-law.

level criminals slash vaudevillian entertainers, and Diane Keaton plays a journalist. Yeah. And this movie stinks. It's directed by Mark Rydell. Apparently it had a really good script by W.D. Richter, who went on to write a lot of great movies directed a couple of cool movies, too. Yeah.

But apparently that script was massacred. Mm-hmm. I think James Kahn used to call this movie when he was still with us, Harry and Walter take a dump. I should tell you a little bit about its reputation. Also another shining example of women doing journalism and movies. Yeah, which is just a very storied, very illustrious group of women setting an example for all of us. Do you think that's because men are comfortable empowering women in those roles, especially in films in the 1970s, because they think women are always asking annoying questions?

Could be, right? Probably, yeah. What other job would they be doing if they had to have a job? Okay, Harry and Walter. No. No, out. 77 Annie Hall. Yep.

Green. Yeah. I forgot how long it takes to get to Annie Hall and Annie Hall. Right. I mean, he's talking about himself for a while, but, you know, it's a Woody Allen movie. You expect it. It's Alvy this and Alvey that for about 35 minutes. And then she shows up.

And, you know, I wouldn't say that she's not doing the Diane Keaton persona as much in this performance. If you know what I mean by that. Because she's a little bit of like a magic pixie dream girl. And the movie is very comic but also played very straight. And like it's often about not just them coming together, but them coming apart. Right. So it's kind of an interesting artifact because it informs everything that she does after this. But I wouldn't say it's like everything she does.

Well, it's where it starts. And it's so she, I mean, she has not, she doesn't have anything to play against yet in terms of Annie Hall. And I think for the rest of her life, she, you know, she wins an Oscar for this performance. like she is Annie Hall. You know, we're all wearing the ties and the vests. And so she and we, the audience, are watching her against this particular performance. But this, yeah, this is a little more, you know, again, naturalistic when they're sparring or when they're doing lobsters, they're just kind of doing it. Yeah, it almost feels like documentary.

It's like handheld camera and everything is, you know, so he starts working with Gordon Willis and like his films take on this slightly more elevated artistic. feeling and her performance is terrific and it's totally like it's the birth of a major star. I just found it interesting how it's not quite as, it's not as dopey as the early stuff or as daffy as the leader stuff. You know what I mean by that? Yeah, well, it's, I mean, to our point about Woody Allen as her most important collaborator, which is absolutely true, and they're kind of finding their thing together in real time in this. And so I think he's creating a situation in which she,

is learning this whole new mode of performance and of comedy. And then again, you know, as time goes on, you start to iterate on it. Yeah, I agree. Annie Hall, easy one going in. In 1977, the same year, she makes looking for Mr. Goodbar. Now, this is based on a very famous novel at the time about a young single woman who is a teacher who teaches disabled kids, blind kids, deaf kids to learn how to read, write and speak. And she is interested in exploring her sexuality. Sure. Let's just put it that way.

Once again, women's lips. Yeah. And I commend her for pursuing these ideas on screen. This is a really unusual movie. Yeah. And it has, like, its reputation has waxed and waned over the years. It's very bracing. Yeah.

Because of the ending that you talked about. And if you haven't seen it, you know, And also I skip over this part. Yeah. And also I think because of, again, we all grow up with like a different Diane Keaton and a different understanding of both sexual freedom and also what's safe to do in New York City and night. Yeah. Which, again, I'm laughing because I'm, you know, because it's messed up.

So I think it's a cultural artifact this movie. Like, and as much like sociologically as it is in terms of. you know, the cinematography or her performance, but it's fascinating and that it's Diane Keaton doing it. Yeah. Really is essential in a way that I'm like, this should definitely be yellow and maybe it should be green. I think it's one of her great performances.

Yeah. The movie is kind of uneven. It was not seen for a very long time because it has an extraordinary soundtrack and there were a lot of music rights issues and it's a great snapshot of this combination of disco and rock in New York because she's going to clubs all the time. The stuff that doesn't work for me is there's so much flashbacks.

material that's like here's her trauma. Like this is a really unkind way of framing it but it's kind of like, this is why this woman appears to be a whore. Like that's, it's kind of like really silly the way that it tries to psychologize a woman just wanting to have different kinds of romantic

and sexual experiences. If you made a movie like that now, you wouldn't include any of that stuff. You'd just be like, this is a woman who's trying to figure her life out and who she's really interested in being with and spending time with. And it takes some really gnarly turns. But her performance in the movie is great. And it is very different.

Basically from like anything else that she does? Yeah. Can you think of another movie that is even like a character that's in a similar vein to this one? I mean, I'm scrolling through the Red Box era, but the answer is no. There were a couple late period ones where it's a little bluer than I expected, but not to this level. Yeah. There's a she's. Let's yellow it.

Let's yellow it. For now. I think we'll come back for a green personally. Well, even though. Do you want to listen, make your calls. shoot your shot, you know? Well, we got a lot of stuff to get through. 77 through 82, when she passed, I tweeted this.

I was like, this is one of the great periods. This is one of the great runs for an actor in Hollywood history, the films that they have in a row. So 78 is interiors, new another Woody Allen film. Woody's like real foray into Bergman-esque drama. A very straight-laced movie about three sisters and their relationships and their dynamic, their relationship to their parents,

to their significant others and to each other. Keaton plays a poet. Yes. Who is the sort of, I think she's the eldest and she's sort of like the one to whom the others are compared. She's not the narrator, but she's the stand-in as close as you can be to the observer because she's obviously, she's a part of the family and is dealing with a lot of this stuff. But it's the other two sisters who, or really the one other sister and the parents who are going through it. And so she's, you know, doing the reactivity thing. but she's like a little on the sideline.

Yeah, yeah. And it's a much more, somewhat muted performance. The movie is weird. It's like sometimes it's very quiet and other times it's very hysterical. I like this movie. It is often considered one of Woody's masterpieces.

It's not one of my favorites, though. I like it. But I sort of have a soft spot for the Woody Allen movies that Woody's not in. Aha. Interesting. I'm more than happy to yellow it. No, no.

I don't think we're going to have room for it, but I like it. Okay. All right, so Red for Interiors. 1979 Manhattan I guess Do you have to? Do you have to?

Well, let's talk about her in it. Yeah. Okay. So the movie is obviously about the Woody Allen character going through this crisis of who should he be dating and he's very attracted to this young girl

which is part of the reasons why this movie is both famous and infamous. Very celebrated at the time, a very big hit. One of the most gorgeously filmed movies of the 1970s. Keaton plays the wife of his very dear friend

who's played by Michael Murphy and they fall in Yeah. And they begin an affair. And he thinks that he has kind of found this illicit love in his friend's wife. And there's a very wonderful scene where she tells him that she wants to go back to her husband. That I think is like among her best performances. And he's very funny in the scene and doing Woody stuff.

And she's not breaking. Like she doesn't, that's one of the great things about her as an actresses. She never tries to like get on his level comically. she's doing her own thing. She's not the reason to watch the movie. It's kind of a weird one for a Hall of Fame. It's a very legendary film that has been made complicated

by contemporary history. Right. She is more central to the film than Merrill Streep, who was also in this movie. But we didn't put it in Merrill's Hall of Five, even though Merrill kind of walks away. She only has two scenes.

Yeah, but they're great. And she's a great counterweight. She is. She is. She is. I mean, you know, I understand the problems with the film then and now. I mean, that's another interesting thing. I rewatched another one.

When we get to it, I'll remember. I mean, Wiki and Woody Allen pretty weird about sex even without all the other stuff that's going to. So you're watching it and you're like, hmm, is everything okay here? But this is the real, like, the flag is waving and you're like, what the fuck? But that's the point of the. movie and when it's contained to a film, you know, it's what makes it interesting. I know. We were just talking about a big movie that we just saw. And it's a little bit of a like, when an artist tells you something, believe them thing, you know? Yeah. I mean, totally. I agree.

I mean, I guess she's not that central to it. So I will say yellow. We're going to have a lot of yellows that we're going to have to come back to. Any Hall and the Godfather Part two seemed like obvious. And I think this next one is very obvious as well. Reds. Which is this mega film, um, co-written and directed and produced by Warren Beatty. It's his epic portrait of Jack Reed, the journalist who was there for, you know, 10 days that shook the world and the Bolshevik revolution and this changing hopeful potential for socialism or even communism around the world or in the United States. And it's this kind of globe-trotting historical piece.

And she plays Louise Bryant, a writer-journalist at that time. And they have this kind of torrid epic on again, off again. and you're my forever person, but are you love affair? But also, Jack Nicholson is over here playing Eugene O'Neill and absolutely just shredding apart everyone's life. Well, one of the single greatest movie scenes. If you were mine, I would have... I mean, come on!

I know, and she, you know, it's really interesting because she's dating Warren Beatty. Yeah. You can almost feel the real person falling in love with Jack Nicholson in the scene. Yeah. Their performances are so good that they seem like, not performances. And this is a very different kind of part for her.

It's a real performance. It's not, she's not relying on any of her stuff either. But it's different from looking for Mr. Goodbar. Yeah. I mean, so much of it is in still shots of her reacting or just looking at the camera and feeling all the emotions and not spoken, which is not really what you associate with Diane Keaton or with the filmmakers she usually works with, you know, very dialogue-heavy. gesturing and just been all over the place.

But no, she's really emoting, and it's all you need in those scenes, also lit beautifully. It's an amazing film. One of the craziest things about this movie is that it did not win Best Picture. And Beatty won for Best Director, but Chariots of Fire won Best Picture this year. Yeah. Which is fucking weird that that happened. If you haven't seen Reds, I cannot recommend a movie more. It is a big, gigantic porterhouse of a movie.

Yeah. But it's fantastic. So Reds is green. Yeah. Had you seen Shoot the Moon? I had not. Okay. So,

big one for us, I would say. Yeah, this was tough. Tough sit, yeah. This is a movie, one of the harshest and most direct films about divorce. Diane Keaton and Albert Finney play a couple who have three children, four children, many children, four children, four children. Four children. And when we first meet the couple,

Finney is a novelist and journalist who's about to be celebrated with a book award of some kind that is televised. Did you pick up on that? His children are able to watch? I'm not sure if they're airing book awards on television these days or if they ever did.

But the I Heart Podcast Awards. Yeah, we've got to get those on NBC. And the movie is about, you know, he's already having an affair and they're falling out of love. And they're, I think, their character in the movie are basically at the period of life that we're at. Yeah.

And which is the place where a lot of people end up getting divorced, which is when you have a lot of young kids and you're really stressed about your career and money and does my partner still care about me and who am I in this world? Right. And the movie's super duper frank about their feelings for each other, about what's pulling them away from each other. Albert Finney, you know, I don't know if we're doing the Albert Finney Hall of Fame anytime soon, but he's ferocious in this movie.

she's tapping into something a little different. This is the first time where I felt like she wasn't a young ingenue in a movie. Yeah. Well, some of it is just, you know, situational. Yeah. You get settled with four kids. Yeah.

But and she's still, you know, she's still, she's in her early 30s, I think, what she makes this movie, right? She's pretty young, but she's made to be playing older in a way. Right. And she's also, I mean, she is a mother in the Godfather movies. Or chooses not. to be in the case of Godfather 2 that one time.

That was her choice. Even though it wasn't legal. That's right. Then or now. And depending on what state you're in, because what a special place. Jersey? Was she in Jersey? I don't really know.

I mean, they were in Cuba for all. They were in Texas. They were in Texas. They were in Texas. They were in Texas. They're a fictional character. But for the most part, she's not playing people who are saddled with like a quote-unquote traditional American domestic life,

but by which I mean like a mother, two children. Yep. And, you know, this is also, again, 70s, 80s, so that is more a more quote-unquote traditional portrayal in movies of what an American woman does. And, yeah, so it feels different. This was tough for me.

You know, it was one of those, it's not that it's bad or that she's bad. It was just uncomfortable. It's very bracing if you're a COD, if you're a child of divorce as movies released a year I was born. I would say I didn't watch my dad do the things that he doesn't, that, that Albert Finney does in this movie to his kids, but there's a couple scenes that are really traumatic and really confrontational. I think the ending is kind of a mess.

And it kind of brought the whole movie down for me a bit. And I thought I had seen a bit, maybe I hadn't seen it. I'm still trying to sort through it. Maybe I saw like parts of it on cable when I was growing up, but not the whole thing. It's Bo Goldman's first script, and he was kind of basing it on something that's interesting to look at. It comes out five years after looking for Mr. Goodbar. And it's kind of like a lot of these people that got together in the 70s and they were like, ah, we actually we shouldn't be together. Yeah.

And we're creating hell on earth because we did end up getting together and having kids. Right. And also everyone's gotten a lot less uptight about the legal ramifications of this. That's right. That's right. And this was at a time when, yeah, there's just a ton of divorce happening in the United States. Good film. Not going in. Two Globe nominations for Keaton and Oliver Finney. You don't think it's going in?

You think you got a lot of work? Okay. You can yell at it. Okay. I think it's a good performance. I mean, I got some other things. What if you think of Peter Weller? Um, I was, I spent the whole time trying to be like, what do I know Peter Weller from?

And then what do I know him from? Remind me. He's Robocop. No, there was something else besides Robocop. But I was taken back by that as well. 1984, the Little Drummer Girl. Yeah. I hadn't seen this.

Well, now you have. But you still haven't seen the TV series starring Florence Pew directed by Park Chanwalk. I haven't. Have you read the novel? I haven't. Adapted from a John La Cray novel. What a crazy movie. So how much of that is just this story seems real crazy and how much of it seems, is based on the execution of the themes and characters?

I think the execution is like, It goes awry. Sure does. I do think there's some real flaws in the design of the story. Okay. The movie is about an actress, an American actress living in London, who is very, has sympathy towards the Free Palestine movement. In the dispute between Israel and Palestine,

she's very pro-Palestine. She's going to, you know, rallies and speaking engagements where she's hearing more about this. And this is happening in a world where she's sort of being surveilled by, I guess the IDF, for lack of a better phrase. The Mossad? The Mossad, I think.

And she gets drawn into their plan to disarm and capture a well-known terrorist freedom fighter, however you want to describe this character, by flipping her sympathies, but because it's, it's known that she is a sympathizer to the movement that she would be able to infiltrate that world.

But it's very confusing because she's sort of being, like, pressured into taking this role. Right. Because why? Like, that part of the story, like, never really lands. And it's an interesting performance for Dan Keating because she's playing an actress who has to keep giving these performances inside the movie.

She's a very baddy woman who's, like, looking for love, and she sort of falls in love with this Mossad agent who draws her into the... the scheme, but then she has to, it's a really weird movie. So two catastrophic things happened in 1984. Number one, Diane Keaton got that perm. And number two, she was given the role of the little drummer girl, which if I thought she was miscast in Godfather, I mean, that's nothing.

That's, even, that's an agree to disagree. I really thought you were going to say number three, I was born. Well, according to who you talked to. Terrible haircut. She's definitely miscast. She's just out of her. So, I mean, I am thrilled to have you trying to explain Little Drummer Girls. Did I get that right?

Yeah, more or less. But it's a really strange story. Well, it's just, you know, LeCray writes like SpyCraft movies. And this is about two competing spy agencies or, you know, a spy agency and then the objects of their spying. And they're using this young woman. and her ideology, like, as a pawn. And it's about how, you know, like, is anyone right? Is anyone doing, you know, using any, doing anything for quote unquote good?

Right. But it's about also her impressionability and the impressionability of young people and about how ideology can be so easily, easily manipulated or can be malleable. And so, you know, when you have a very young Florence Pugh playing that or when it's in a novel, which also, I mean, that's the other thing. It's a very baroque novel that gets, it's hard to be condensed into a film. But I think Diane Keen is just not vulnerable or believable enough. I feel like she has the flightiness that you would need for someone who would kind of like, the thing that I just don't understand, and maybe the Park Chan will,

adaptation will help me make more sense. I'm probably not going to read that novel at this point of my life now, having seen this, the movie and seen the story. You should absolutely. So you know who plays the agent who recruits her, the Israeli agent? Did Alexander Scarsguard? Yeah, I didn't know that. Yeah, many people are saying he seems like he's in Mossad.

I... Daniel Craig was in Mossad in music. Exactly. Thank you for making my point. We keep doing this Hollywood. Anyhow, I think... I just couldn't... Klaus Kinski is in this movie.

I thought he was very, at least, entertaining as the sort of chief Mossad strategist who's who's kind of forcing her to do this work, but not holding her. against her will, but like not blackmailing her. Like, there's just something about the mind game that never really clicks in the film. And if that doesn't work, then the movie doesn't work. That is the movie. There are times when I think her performance is interesting. I'm spending a lot of time on this because I'd never seen this movie before, so this is me unpacking it.

But Eileen and I watched it together and we were just like, what? Right. Yes. Why? Well, but I'm sorry. Once you see the perm, you're just like, what? I know. She makes a lot of bad choices.

The movie, though, the story, La Carre's story, does still have a tremendous amount resonance, though. Yeah. Which is the sort of like, the sort of pointlessness of it all, you know, the sort of you get to this feeling of like no one can win and there's, why were you spending all of this time, pain and life toll on this conflict? Because no one can, we'll move one inch. I recommend both the novel and the mini series.

I mean, that's the other thing where that's, I think, it's six hours. Because again, it's hard to consolidate something that's intricate into a movie and they didn't really succeed. I'm sorry to make you spend so much time on a red. No, no, I mean, I'm excited to talk about it. The perm also applies to the second film in 1984, Mrs. Sothel, which she kept. Did you notice that? She still has that perm.

It didn't occur to me because I didn't watch them together, but that's a really good point. And that's not a contemporary haircut, as far as I can tell. No, I mean, it's an 80s situation, for sure. By the way, Little Drummer Girl was directed by George Roy Hill. Yeah, you know, people were trying. Just a crazy mess. 1984 Mrs. Soffle, directed by Jillian Armstrong, the Australian filmmaker. And this is a movie about a warden's wife who falls in love with a prisoner.

Yeah. Well, but who is the prisoner played by? The prisoner is Mel Gibson. In 1984. Very handsome Mel Gibson. Once again, it's like a before we knew. She loves a problematic male co-star. And her brother, his brother, Matthew Modine.

Yeah. And they hatch a scheme to escape. Mm-hmm. And they do escape. Yes. Interesting movie. Not ultimately successful, in my opinion. I think she also, again, just like Little Drummer Girl, this is a challenging part,

kind of sympathizing and believing and understanding this woman. And again, making herself a person who's very vulnerable to the wiles of a dangerous man. And that's like two movies in the same year where she does that. Yeah. And shoot the moon is a little bit of this too. Shoot the moon is a little bit of like, how did this man get me in this position where I have become a prisoner of my own life?

Right. And just thematically, I find that interesting. Because her career takes a different turn, you know? She pivots away from these kinds of parts and becomes more about her own independence. Right. But in this period of time, she's kind of weirdly reflective of the Reagan,

like, homemaker Nancy Reagan. Like, this is the vision of women after the 70s. Yes. And also, I mean, again, the rules that are, available to you that I think you're either I'm thinking about Merrill Streep does at this time where she's just like a bad mom or like a mom that failed in like 40 different time periods and 40 different iterations and Diane Keaton meanwhile is just a woman who you know got done dirty by all the men around

her but weren't they handsome they were handsome. Mel Gibson's very hot in the movie you like really get it and again there are moments in this movie where I think all of the um the warden stuff and kind of of the establishing, you know, reasons for her wanting to leave. Makes sense, but are stodgy. And once again, you're like, you're Diane Keaton, look at you. Why would you do this, even with this perm? She's married to Edward Herman.

Sure. He's a bit more boring for her. Who's also in Reds with her. There's a lot of, you know, people keep popping up. Yes. But, you know, once she goes off with Mel Gibson, and like I said, she, like, throws the ring away. And there are these moments of connection and really just chemistry.

between her and Mel Gibson, where I was like, okay, I see what you wanted to do here. It's not going in. I'm glad I watched it for the historical record, but it's red. 1986 crimes of the heart. Now. This is our first Sam Shepard, but not our last. I didn't love this one. I didn't either.

This was a, now, you're the Southerner here. Yeah, well, listen, this is just, you know, this is darker steel magnolias, right? It is. I mean, it's very stagey. It's based on a play. I have a little bit of Bruce Beresford. He's like a, he's like a, he's like a black licorice for me a little bit. I love Tender Mercy is a movie he made, but like, you know, he made driving Miss Daisy and double jeopardy and a lot of stuff that I really don't like.

And this is, I thought, very saccharine and very like overperformed. She plays one of three sisters. The other sisters are Jessica Lang and Sissy Spacec. Obviously, all great actresses. But it's just a lot of, like, post-Tennessee Williams. I mean, there was a whole raft of these in the... Fried Green Tomatoes was in this mix. Yeah, isn't there an Altman one where they all get back together at a diner?

Yeah, yeah, yeah, yeah. And it's just like a lot of Southern women come back for one weekend, and often Sam Shepard's there, which you can't complain about. No. And none of them leave the weekend truly fulfilled, but maybe they better understand each other. Yeah, I'd love to know what Tracy Lutz thinks about this play because it was a Pulitzer Prize winner, Beth Henley's play.

It's just not a very filmic movie, you know? It doesn't really have a lot of style. And I'm not sure Diane Keaton screams Mississippi to me. Just putting that out there? Yeah, it's a good point. Jessica Lange, Cessie Spacex, sure. Mississippi. And she's doing her best with it.

But she's also, she's tasked with doing Mississippi and, like, sad outcast sister. You know, she's the loser sister. Yeah. I mean, I guess they're all losers in their own way. They're having some struggles. Yeah, she is the one who just stays at home taking care of people. So. I would make this red.

Yeah, of course. Okay. 1987, she has a small cameo as a singer in radio days. Yes. A reunion with Woody Allen. That is not going in. That's red. 1987 baby boom.

Yes. Did you rewatch this? I didn't, but we did it on the Nancy Myers episode, which I guess is almost five years ago, which is kind of crazy. That's insane. But I like this movie. I think it also features, well, one, this is it, right? This is where it starts. This is the new Diane Keaton. Yes, this is the, she's with Nancy and Charles Shire, her ex-husband and her producing and writing and directing partner for many years.

This is, so, you know, new, new, team kind of establishes her and and I guess sets the template for all of the romantic comedies to come. And once again, Sam Shepard is here. The story is that she is a yuppie in New York and, you know, career focused and then inherits a baby like you do. And she gets elbowed out of her job because they don't support working mothers. I'd like to thank everyone here in this room and at home for supporting working mothers.

That's right. Yeah, you guys are allies. Thank you. I saw Lucas throw the double thumbs up. You goddamn right. Good job, Lucas. Not one thumb but two. Yeah.

And you want women's lib 2.0. But James Bader, who is also working at her company, is not an ally. And so she moves to Vermont, buys a beautiful dilapidated house. For what reason we don't know? With the baby. Would have avoided that if I were her, given what transpires. And then has to create a new life, which eventually involves hooking up with Sam Shepard, the local pediatrician, and causal pediatricians and or sports surgeons look like Sam Shepard. As you're learning.

And then becomes an applesauce empire, like starts an applesauce empire. Yeah. And so in the end, she can have it all because she has the baby. Mm-hmm. She has a career, and she has a really handsome doctor. Yep. And that kitchen's really good in Baby Boom also, just to locate it for everyone. I rewatch some parts of this last thing, just to kind of remind myself of its vibe.

And, you know, I don't know if you think this is the most famous scene, but her meltdown in front of the well, in front of the man attempting to fix her well. I think it's one of the funniest things she's ever done. And it's like, it's so unbridled. And it's so, you know, she's very tight in a lot of movies. That's the thing about her, right? That neuroses that you're talking about. And she kind of like, let's go. And she starts melting down in front of this guy.

And she's very funny despite melting down. And, like, you can, very gestural, very, like, making a lot of noises, like, oh, like stuff like that. And the person that she reminded me of most was Albert Brooks, you know, that there's, like, a certain kind of comic person on screen who can get away with this, who we like when they do this. And it's interesting. She works with Meg Ryan a little later in her career. and like she's trying to get Meg Ryan to give a Diane Keaton performance and she can't get her to do it, which is really interesting. But she's great in this.

I think this is obviously green. Yeah, it has to be. Yeah. And a big hit and like kind of like set the template for the really the rest of her career. And you know, and again, it's like it is reflective. I find this fascinating to watch, you know, like my mom in 87 was also like in corporate America trying to be. It's it is another time capsule. and what it reflects is not realistic or ideal in either case,

but it's amazing stuff. Really fascinating. If you haven't seen it a while, it's a really rich text. Same year she directs that movie, Heaven, which I think is worth checking out. I think if you can see it for free on YouTube or Canopy right now, I, of course, bought the Blu-ray. It's 85 minutes.

It's just a reflective documentary in which she interviews regular people and asks them what they think happens when you die. And it's intercut with this hyper-fut. with this hyper fast-moving series of images and sequences from early movie history. And she uses it as almost, it feels like a precursor to YouTube or TikTok or something, the way that it's edited together. It's really interesting and not at all what you would expect from her. I just as an artifact of her life and interest, I think it's very much worth checking out,

not going in the Hall of Fame. 1988, the Good Mother. What the fuck? Yikes, right? Okay, let's talk about it really quick. Because it's not going in, it's red, the Good Mother. It's directed by Leonard Nimoy, who of course was Spock on Star Trek, and he directed two Star Trek films in the 1980s,

and then he directed a movie called Three Men and a Baby, which was a big hit in 1987. And they were like, this guy knows how to make movies with little kids. Let's give him this movie. And this movie is about a woman who is divorced, who has custody of her six-year-old daughter. And they have a very close relationship. And the mother played by Day and Keene is like a little socially awkward,

and she meets a man. played by Liam Neeson and they fall in love They fall in love and she discovers her sexuality They have a very physical relationship Then one day You guys know about this movie? You know what happens in this movie? No, no idea

I have never heard of this movie. Okay. One day, Liam Neeson's in the bathroom And a little girl, Molly, goes in the bathroom Yeah And it's pretty, it's not shown explicitly but made clear that he, reveals to her his private parts and that she maybe touches them.

But doesn't she, isn't she curious? She's curious. Yeah, poor. He's not forcing her to do anything. Right. But she's six. Sure. I mean, yeah, listen.

The reason that this happens is because Keaton and her daughter take a bath earlier in the movie and he's present for that. Yeah. And he thinks that Keaton's character is trying to live a slightly more evolved vision of like comfort with her own bodies. Right. But then this leads to the six-year-old sharing this information with her. birth father who becomes outraged.

And then it becomes just... And then it's like Kramer versus Kramer, you know? Um... What a weird movie. And played very straight the whole time. The whole time it's a crisis drama. You know, it is like... Yeah.

No one can... There's no levity. There's no, you know, no evolved parenting whatsoever. Certainly no evolved legal systems. No. Um, is it... Who are the... Who are the lawyers?

I'm trying to remember who play the lawyers in the film. I think it's Jason Robar and, shoot, who is... Oh, and Joe Morton are the two lawyers. Crazy strange film. Ralph Bellamy's in this movie. It's an artifact of a different time, of a panicked time in our culture. This is not something I would do in any direction. There's not a thing done in this film I would do.

I mean, I think that I agree across the board. But this is an interesting one now. I mean, I don't, I think this would be unwise and basically everything everyone's doing. But I don't know what to do. My kids just run into my room while I'm getting dressed now. Well, that happens, of course. Well, sure, but like at what age I'm going to be like, is, you know. But it'll be like, come over here and touch this.

I mean, that's true. Come on. Yeah. I agree with you. I agree. But that's the provocation. We can move on from the Good Mother. 1990 The Lemon Sisters.

I watched this on YouTube yesterday. Okay. I rented it from videos. Did you really? Good for you. I'm supporting our local video store. I thought it sucked. It's really bad.

Now, it's a little hard to judge this one. But her clothes are so good. And I want to dress just like her, even though she is playing, once again, the saddest of three friends. Yes. Not sisters. In this case, who lives in Atlantic City and is maintaining her dead father's quote-unquote TV museum, which is just a bunch of stuff that was on a 50s or 60s TV show once upon a time. Yes.

These three women who are friends, Carol Kane and Catherine Grotie, are like a musical trio on Ellie Gould in this movie again. Yeah. But now they've cast him as dad, Elliot Gould. It happens so fast. I was like, this was only 10 years ago. I know. Well, that is what happened to his star in a lot of ways, you know? One day you wake up a year Rachel Green's father on television.

I didn't think this was very good either. However, this is a somewhat early Miramax movie that was shelved for like two years and effectively killed Joyce Chopra's directing career who made smooth talk in 1984, which is a very good movie adaptation of a Joyce Carol Oates story. and then like Joyce Chopra like never made another feature film. So I let's just say for the sake of argument, Harvey Weinstein did this. I'm just going to say. It's red.

Put two and two together. Also notably features Diane Keaton singing and dancing, which we'll come back to. Yes, not the first time we've seen her on screen doing this, but she does a bunch. Just like Merrill. 1990 The Godfather Part 3. I think it's red. I think she actually gives a good performance and definitely doesn't embarrass herself in this. What are you going to do?

What are you going to do? 1991 father of the bride. Now. Yeah. Okay. So we already have Baby Boom and she is, though she. Wow. What?

Don't keep going. This is great. So I think this is one of the great films of my lifetime. Is this really her movie though? It's not her movie. You know, once again, it was July 4th this past weekend. So we all posted the George Banks, aka Steve Martin, hot dog and hot dog one speech, which we just have not resolved.

It's the six and eight, yeah. I just, well, now, For me, it's five and six. Like we're closer. Well, you know, for him, I think it's eight and twelve. Oh, okay. Okay. Listen, they're doing all.

They're doing all sorts of permutations. Of course they are. It's like the Apple, you need a new cord thing, like 35 years before Apple or whatever. It's absolutely imperiating. Incredible, incredible performance. And then that scene does lead to, he's arrested by the grocery store cops. And, um, Diane Keaton as his wife. Nina comes to bail him out of jail

and they have like a nice moment. She is a good foil and she's a good mom but the movie is called Father of the Bride. That's right. She also looks so hot in it and she's pretty young when she makes this movie. She's my is my age age which is like that's tough when I realize that. The way she's being

styled and I'm sure she has some say in this but you know the color of her hair she lets her hair go a little gray. She's not she's not fighting to be a glamorous No, she wears a suit For the wedding And she's very like Willfully being a mom

Uh huh Yeah And kudos to her for that Okay so father of the bride is red I'm stunned I'm stunned We can't yell it just like out of Yeah out of respect

But I thought you would maybe make the case For Father of the Bride part two Because that's more of her film We're not there yet But we'll come to it Okay well yellow father of the bride Out of respect Okay

For all the fathers out there Have you one? watched that movie since you, since Alice showed up on the scene? Since I became a father of a daughter. Yeah. And maybe one day a bride. Yeah. Uh, no. Yeah. Fucking get ready. Bill made me do me do that rewatchables when I was like seven months pregnant. Just like crying on a Zoom. That's the best. It was wonderful. It's, it's just an absolutely beautiful movie, a masterpiece. 1993 Manhattan murder mystery. Now, this is a beloved movie. I was, I mean, if we're going to make the

case, how many Woody's do we have right now? We just have one. I think just Annie Hall. A lot of yellow. I like this

because it's a different phase of of Diane Keaton, but it still also keeps the Keaton and Woody Allen thing and she's as much the star

of it as he is. Absolutely. It's very funny. I... What a great pantsuit. I think it's green. Okay, great. Me too.

Um, I mean, this is a kind of a daffy comedy about two people. who think that there are terrible murders happening in their building living in New York City. It's kind of a little bit of a like, what if these people stuck together and 20 years later they became the slightly annoying couple who lived next door to you in New York. You know, very... Aspirational in that way.

Yeah, very, very annoying sort of person if I didn't watch them in a movie, but very happy to be watching them in a movie. Okay, that was easy. 1993, again, look who's talking now. She's the voice of Daphne. Yes. Did you see that movie? I did. I did.

I did, too. Is Daphne one of the dogs? Daphne, yeah, right, dog? You're right, that's what they... Yeah, I mean, good job. Okay, Brad. 1995, she directs but does not appear in unstrung heroes. Yes.

Which is based on the true story of Franz Lids, who is a journalist and writer, and he, it's a story about his own life where his mom became very sick and his father, who was a brilliant man, sent him to go live with his uncles. So in the movie, it's Andy McDowell's his mom, John Torturo's his dad, Mori Chakin and Michael Richards play his uncles. And I'm doing this all off of memory. Wow.

And it's pretty sentimental. This is going to sound weird because there's a lot of problematic people throughout her career, but Michael Richards is very good in this movie. The two uncles are very eccentric. Mori Chikin's character is sort of a hoarder.

Michael Richards' character is a little bit of a conspiracy theorist. But it's mostly about a young boy. It's cool that she adapted this. Franzlid's not a huge fan of the movie of his own life. It's a little complicated. Not what you want. I don't think this is going in.

I agree. 1995, Father of the Bride Part 2. No, four years later. Four years later. Sure. So to catch people up, Father of the Bride Part 1, Steve Martin, and Diane Keaton's daughter,

George and Nina Banks's daughter, Annie, gets married. Yeah, Kimberly Williams. I think you'll find she's now Kimberly Williams-Paisley. I won't acknowledge that. You're in this Pete Sampras era? Yeah, that's right. Were they together? Oh, yeah, for years.

Like, when Sampras was like really... So Bridget Wilson came in and dropped the elbow and ended it? I think so. That's nice. I would allow that to happen to. So now she's married and she and the freelance technology consultant, which is code for unemployed, are expecting a baby. And it turns out that George and Nina are as well.

And so they are pregnant. They are almost identically pregnant. Also, George has sold the perfect home in San Marino, but that's actually in Pasadena, that the first wedding was held at. And so now he has to figure out how to repurchase his home and also how to be a dad in his mid-40s. But this is most memorable for a scene in which Kimberly Williams-Paisley and Diane Keaton with gigantic baby bumps are led in prenatal aerobics by Martin Short. Do you remember this scene? Of course.

Well, it's literally the only thing I thought about for six months each time I was pregnant trying to do any sort of movement. And I'm just, yeah. And it's just like, you know, I mean, it's the original you got this mama, but I played for laughs. So that scene is very good. The movie is quite charming Not as magical as the first I'm not gonna fight for it here We can yellow it but

What happens if you accidentally get pregnant of 49? I think I think we call K From Godfather 2 It would be a challenge Because Rankine's 49 When she makes this movie Listen I mean

Science is amazing as our People who carry children You know So like anything is possible It's not possible in the cards for me. That's just really not. I can't do it again. Okay.

I'll do it. I'll carry the baby. You think you could? Carry the child? You just like, I mean, putting aside, like, basic, like, biology questions or do I have the strength and the temerity? I don't think I. I mean, if you were thinking I was going to say yes, I wasn't.

I can barely carry a beach umbrella at this point of my life. Okay. I don't think that movie's going to go in, but that was a sterling explanation. However, we're about to get to 1996 First Wives Club. Okay, let me just, I'm not going to yuck your yum, but my First Wives Club, very beloved, and a massive hit. Very important movie in her career. Yeah. And I think that kind of sets a template for most of the 21st century in terms of like the style of movie that she starts making, not the persona per se, but the style. Why don't you use me?

Go ahead. We're waiting. Pregnant Paws. Well, we've yellowed many superior films. Sure. You know what I'm saying? Superior in what way? From the perspective of a 43-year-old man who hosts a movie podcast. In a sinist sort of way? Yeah.

I mean, look, my mom got divorced in 1994 and this movie came out in 1996, and she was like, this film matters. I would say of all of the text messages I get from people who think that I have any say over what ever scheduled on the rewatchables. This is number one requested by like a mile. Okay. Everyone is just like, when are you going to do First Wives Club?

Why? And I'm like, well, there are a number of reasons that I don't have an answer to that. But... Give us 12. So it is so popular. And we do consider Box Office

and there is sort of, you know, baby boom and then into the father of the brides and into First Wives Club. She's kind of such. suddenly at, what, almost 50, the center of, like, box office filmmaking for the first time in a while. She's one of the biggest female stars of the time. Now, it's a, it's a team-up movie, though. It's kind of the Avengers of Middle-aged female movie stars.

Goldie Hawn and Bed Midler, but listen, who is front and center for you don't own me? She is. It's Diane Keaton. So that clip alone, which is wonderful, to me, puts this in the Hall of Fame. I think you got to do it. I think you have to do that over Father of the Bride and Father of the Bride part, too, personally. Wow, that's so interesting. I anticipated it going in.

I'm, like, I understand that Manhattan is a quote-unquote superior film. Okay. Does it honor women in the same way? Does it? Put that on the poster of the first wives club 4K. Are those things? Do any of these movies exist in 4K besides, like, the Godfather? Manhattan, I'm sure.

No, none of the Woody movies are available in 4K. I guess maybe Annie Hall is available in 4K, but not in the U.S. I mean, you can imagine there's some concern about promoting the Woody Films these days. I don't think any of these movies are in 4K. Is there a Nancy Myers film on 4K? Oh, looking for Mr. Goodbar is. Vinegar Syndrome put out a beautiful edition of it. That's really good.

Yeah. Because what happens to her in that movie. Yeah. Well, maybe that's why. Something's got to give comes to 4K later this year. Okay. That's exciting. Yes, it is especially because it was never released on Blu-ray.

It is only available on DVD. I think. Well, you know, I think that maybe the gatekeepers are finally opening their eyes. Maybe they've been listening to you. I guess. First Wads Club is Green. Great. 1986 Marvin's Room, which we recently discussed on the Meryl Streep Hall of Fame,

Diane King gets an Oscar nomination for this film. Now, I didn't revisit this time either. So you'll have to remind me about this movie. So she's the sick one, right? She's the sick one. And she's like the nicer one. And so, Meryl, is taking up more space, but Diane Keaton is kind of more the...

I didn't rewatch it for this. I only rewatch it for Marilyn. I remember being impressed by her and being like, oh, you don't normally see Diane Keaton like this, certainly after the run from Baby Boom on, of playing big, broad comedy. Right. And like, it's softer and emotional and she's surrounded, you know, it's Leo, it's all of these big people. But I don't know. It wasn't memorable enough that I'm like, we actually have to put it in. Yeah, I've only seen it once. I remember thinking it was perfectly fine. It's probably a little bit of the thing where she's got the first wives club and Marvin's room in the same year.

And she's like back, back. You know, she's not playing the fifth lead of the father of the bride part too. Like she is at the absolute center of movie culture. And she's playing someone with leukemia. And that's the kind of thing that, you know, afford some sympathies when voting time comes around. I would read it. You know, I think it's even though it's an Oscar movie. movie. It doesn't, it's not a big one. I'm fine with that. The only thrill we both watch for the

first time for this podcast, which is yet another film with Sam Shepard. This is her third movie now with Sam Shepard. Yes. Crimes of the Heart and Baby Boom. And she plays a middle-aged woman who falls in love with this guy and they talk a lot about movies. Yeah, they do. And also about distributions. So I texted you when he was explaining a Sony Betamax player to her. Yeah. So you could movies at home? Yeah, I never had a beta max at home. I obviously didn't either, but I was just like, wow, this is the only time I want to hear anyone talk about physical media at home distribution is when it's Sam Shepard. And then the movie kept going. She has to move. They don't really talk anymore. Other people find love, I guess. It's not going in. This movie is a soggy

piece of bread. That's red for the only thrill. 1999's The Other Sister. Yes. She plays the mother of a disabled girl who falls in love with a guy and memorably portrayed by Juliet Louis and Giovanni Rubisi and parts that would never be played by those actors in 2026. I turned this off because I was just so uncomfortable. That's not going in. Another problematic artifact of Diane Keaton's filmography. Not Going In, That's Red. It's a sweet movie.

It's got its heart in the right place. It's just not. They shouldn't have done this. Yeah. They just shouldn't have done that. 2000 hanging up. This is a movie that she both co-starred. in and directs. Yes, that I saw it in theaters because I support women directors and I have

the entire millennium plus one year because 2000. We're proud of you for that. This was did not this transpired in the previous millennium, but that's okay. Plus one year. The movie is based on Delia Ephron's novel and which is it something of a of a autobiographical piece or is it entirely created. I don't know how much is inspired by their actual father, but it's co-written. I think that they're, I mean, they're always borrowing, as we know. Everything is. The movie's co-written with Nora

Efron and directed by Keaton, and if it's like it's like the Efron's are a little drunk. You know what I mean? Like, it's like someone who doesn't quite have like all their faculties. I mean, it's a

to me fascinating artifact because, you know, you have the Nancy Myers-Dyton track in the 90s and then you've got the Nora Ephron Meg Ryan track and both have something to do like aesthetically with Woody Allen but they're they're exploring them in different ways. Yes. Kind of like deconstructing the Woody Allen idea. Yeah. And so but they're kind of they're running parallel and then this is your whole shit.

I know. And it and it's too confusing when it's all together. It doesn't quite. is not good. Yeah. There's a very good Walter Mathel performance in this movie as a father who is losing his marbles.

He's just very funny. He's very funny. It's his last performance. St. Diane Keaton and Meg Ryan and Lisa Kudor performance. It's not a good Meg Ryan performance. Diane Keaton doesn't have a whole lot to do.

Both she and Lisa Kudra are kind of sideline for most of the movie. It's mostly Meg Ryan's movie. But this is kind of when things are kind of slipping a little bit for Meg Ryan, I would say. And,

yeah, this is after you've got mail is 98. And then, yeah. So yeah, I would say it's red, even though she directed in stars in it. 2001 town and country is... Okay, this is when we... I have to start clicking through every single one to remember which is which.

I got you up until... I'm going to basically check out of this podcast, start in 2008. Okay. Well, I think everyone's... Oh, this is the one that's written by Buck Henry! This is one of the craziest movies of all time. I know. I, for all my...

This is insane. This movie's insane. So it wasn't originally written by Buck Henry. He was paid millions of dollars to rewrite it during... production and he famously talked about buying a home with the paycheck he got from rewriting this movie, which stars Warren Beatty. It's his last movie until rules don't apply. Which you famously loved.

I certainly do. I love Warren Beatty. I also love Gary Shandling. I also love Diane Keaton. Goldie Hawn. I like Goldie Hawn. I wouldn't say I love Goldie Hawn. Nothing personal.

It's like that's the thing where you, like, that's what I like about you, but also I think that's a wrong taste, but you're a little resistant to the, to the daffy blonde thing. And thank you, you know, because... It's not my speed. Yeah, but also... She's very talented. She's Gouldly Han. Yeah, I know she's beloved, just not really my thing.

The movie, this movie's terrible. This movie is entirely about how boomer men's central preoccupation is their own dick. That's the whole movie. It's like, these guys are only interested in what they're able to conquer sexually. Yeah. But it's set in this, like, farcical, whirlwind. of 60-year-olds who are like obsessing over whether they're cheating on someone

or being cheated on. And it's super overwritten and silly and not funny. It's far school, but there's nothing funny about it. No, it's really bad. It's a famous huge bomb. He's an architect, so they're hopping from, like, fancy place to fancy place.

And, like, the crown molding in every home is spot on, and then no one's alive behind the ice. Production design and costuming is fantastic in this movie. Everything else sucks. It costs like $125 million. And it's basically just a... It's quite bad. Not going in.

It's red. Plan B. Didn't see it. Hold on. 2002. Oh, I saw this when it came out, but I didn't revisit it. Okay. This is a sequel to that scene from the Godfather Part 2.

No, she kind of joins the mob, sort of, by accident. And then Paul Sorvino is also. in it. This I remember. And this is where... And some of the hats come in. I think this movie has been kind of deleted. Right. Like, it's not really available in too many places. I guess it was released on DVD, but it does not have a big footprint. It's definitely... And this starts to happen more and more. This is going to come up again. Actually, you know

what? I don't have on my list here, but maybe I should have. I think I skipped over running mates. You know about running mates? No. It's another movie that has been kind of deleted. And I don't know why it's actually not listed here, but 1993. It's directed by, oh, oh, my goodness. Who is the director of the film? I can't remember.

It's Ed Harris and Merrill Street, or Ed Harris and Diane Keaton. He's playing a senator. She's playing a woman who he meets and they fall in love. And it's unclear if they can be together because he's a public person. And I tried to... Marked by Michael Lindsay Hogg. Michael Lindsay Hogg. Thank you. 2019.

Yes. I don't know why it's not on the list here. It should be on the list. But I couldn't find it. Okay. Well, I obviously couldn't. I didn't know that it existed. Yeah. So, and there are a few movies like this where, like, in her career, they're just really hard to track down. I'm sure there's a DVD copy or VHS copy of Running Me. It's floating around somewhere. But you never hear about that movie.

Michael Lindsay Hogg absolutely owned in the Peter Jackson, let it be. Well, yeah, he shot the original get-back footage. No, I know, but then he's just in the... It's really good stuff. That's all. Plan B is read. 2003 Something's Got a GIF. Is there anything you need to say about this other than it's greenness? You're on the record. That's true.

I am on the record. I think it's another example of, like, this is clearly where Nancy Myers logs on the most. And I think it is, if not literally autobiographical, like the most autobiographical of hers, the most Woody Allen-esque of hers. So it uses what, you know, Diane Keaton learns in that tradition. I think, you know, it's well known that they had dialogues about how much improvisation or how much of Diane Keaton. and she could bring to the script, but it works beautifully. And it would have been hard not to pick Keanu Reeves for me personally. But, you know, it works out in the end.

Well, it's a wonderful way of closing up the Reds thing, you know, where Eugene O'Neill walks out on her and they're both kind of devastated in Reds. And this movie, they get to be together. And they're so wonderful together. The Hampton's Doctor turns out to be quite handsome. Who would have thought? You didn't marry a doctor, I noticed. Yeah.

It's interesting. Something's got to give as Green, of course. And, you know, she gets an Oscar nomination for that. She should, but I think it's the only Oscar nomination for something's got to give. I don't think screenplay was nominated. I think you're right. Which I think is a mistake. She said that she's effectively playing Nancy.

But one thing to keep in mind, and I've been told this by a couple of people now, is that one of the reasons why maybe starting circa 1990 through this period is Diane Keaton was simultaneously a very established star and star persona. and also very particular about how she wanted to appear in movies. She doesn't make a lot of period movies. She's often wearing Diane Keaton clothing. Right. Very notable. She looks, as you pointed out, the top of this conversation, like herself, a lot.

And that was important to her. This one, you know, something's got to give is a combination. This famously launched coastal grandma 25 years later, which is just wearing gap clothes in neutral colors. But that's okay. Welcome teens. So funny, though, because, again, she's like 56. She's not that old. No, it's true.

Like, that's 12 years older than me. So to be like coastal grandma, am I getting close to coastal grandma? And famously is nude in this film and looks hot. She does. And that's, it's a, it's a quick shot. You know, they do it. It's tasteful.

Maybe I paused it. Why not? What's wrong with that? I mean, this is from TikTokers. I'm admiring the heart race. Who I think don't know that what something's got to give is. That's great. That's beautiful.

2005 The Family Stone A lot of people like this movie I don't care for it What do you think? I find myself rewatching this Like every Christmas at some point And I don't know It's just on and then I'm like

Oh no I gotta get to the point Where Sarah Jessica Parker Says like incredibly racist things At the dinner table And then I gotta get Your favorite part Well no but that dinner table scene

And then I gotta get to the part With Claire Danes showing up I gotta get to the part with Estrada You know And then I'm like wow I've seen this movie Then you know Luke Wilson

It's like pretty hot and getting stoned in the attic. Could have been Harrison Ford. You know, it's like... So, and I think about this movie way more than I should for it being a not very good movie. And she's pretty mean in it. She's another mom of five or six kids, I think, including Rachel McAdams. Rachel McAdams pretty mean to her.

This is a nice moment at the end with the famed framed photograph. I don't know. I guess it's not going in, but I think it's been... You'd like to leave Manhattan on the sidelines and get the family stone in? Listen, I did my homework for this, so I'm prepared. I'm just going to say, you know, we've got quite a few movies left to go. We're going to have to move quickly through. Okay.

You always do this. Sorry that I spent hours and hours. I'm not trying to wrap you up. I'm just going to set. I just wanted to count up how many greens we had. Okay. Okay. Hold on.

Hang in there, Mama. One, two, three, four, five, six, seven greens right now. And I know you have at least one more green on your mind as we go. through this. Yeah, but we can talk about that. Like, I'm not going to say that we need to put that above Manhattan. Okay. My, just want to say, I did see 2007s because I said so. Okay. And I think it's one of the most deranged films in her filmography. Here's the plot of this movie. Diane Keaton is the mother of three girls. Yes. Fathers out of the picture. Who are the three girls? Lauren Graham. Yes. Who's married, happily married. Piper Perrabo. Yes. Who I can't tell if she's

married or not, but she's got a very active sexual life. Doesn't she get married? Doesn't it start with both of their weddings? I think they both get married. I think at first it's Lauren Graham's wedding, then Piper Parabo's wedding. That right. That's right. Because it's, you know, they're setting a precedent. The third daughter is played by Mandy Moore. And Mandy Moore can't be older than 23 years old in this movie. No. And the whole movie is premised around this dying Keaton desperately needing this 23-year-old girl to get locked down. Right. To get married. Because she needs some order in 2007. She's an aspiring caterer also. Okay. You know. No, or I'm sorry.

She's 23. They're treating it like it's like 15-hundreds. I mean, I agree with you. What are the fucking sexual gender politics of this movie? So Diane Keaton goes about this by auditioning prospective suitors for her daughter. And she rejects Tom Everett Scott from that thing you do. No, she thinks Tom Everett Scott is like the best choice. And he's a D-Bag architect.

And Gabriel Mockt comes in. And this guy. is a fucking charming music teacher who's teaching like elderly people and eight year olds how to play the guitar. Yeah, yeah, yeah. And Diane Keaton's like, no, no, no, he's not okay.

This movie is fucking deranged. It's one of the most like... You just can't compare like the presence and the chemistry of Gabriel Mach to Tom Everett Scott. I'm sorry. Who's your preference? You prefer Tom Everett Scott?

Listen. You are sick in the head. No. This movie is the most flashing green light at Gabriel Mock of all time. and they're like, but consider time. Also, she's just like, banging both of these guys throughout the movie.

Well, that is her right. I agree. Because it is 2007. I agree. And the women are liberated. But both men find out about this. And they're like, you whore. Like, this is the craziest movie.

This movie was not made in like 1984. It was made 18 years ago. This is the one of the ones where I was like, this is a lot bluer than I needed to be for Diane Keaton talking to her three adult daughters about sex. Well, there's a scene in which Mandy Moore vividly recall. the exact experience of having an orgasm to her mother. Yep.

Is that something you would do? No. Okay. It's very strange. I don't think that it should go in. Okay. It's red. I just don't think Gabriel Marx has a lot of chemistry.

I know. I watched this movie and that's when I was like, Amanda, I might need you to take over for 2010 through 2020. Okay. I did. So, Mama's boy. Didn't see this.

Yes. So this is a movie starring Diane Keaton and John Hater? Yeah. Heater? Heater. Yeah. And then who is? was her boyfriend.

Oh, yeah, and sure, then Jeff Daniels. So basically, John Heeter is an older Napoleon Dynamite, but weirder, less charismatic and won't leave home. Weirder than Napoleon Dynamite? Well, like, he just doesn't have the Riz, you know? And Napoleon Dynamite, whatever you want to say about him, like, he has the Ritz. He had Riz. Yes. They made a whole movie about him.

Wow. So, so he doesn't have RIS. Would you have RIS? No, but you're. rooting for him and you're not really rooting for John Keeter. Even though, so Ana Ferris plays his love interest and she works at a, I don't know, she's an aspiring musician. So Anna Ferris, like, gives a very funny, like, half-assed musical performance, you know,

forever and always, justice for Anna Farris. Dan Keaton just tries to get her lazy son to move out of her house. And then things go right. It's not going in. Okay. Oh my God. Did you see Mad Money? No.

Okay. Mad money. So what happens is is when I Google these then Mad Money you know, they're all borrowed from more familiar

so the SEO is really not I just lost my shoe things are going Okay. Hang in there. This is what it takes to host this show. Do you know who directed

Mad Money? Elon Musk? Callie Curry. Oh, I knew that. The writer of Thelman Louise. Yes. This stars Diane Keaton, Queen Latifah

and Katie Holmes. And then who is her husband, who's her husband? It's Ted Danson. And Ted Danson, you know, squanders the family finances. So Diane Keaton gets a job at the Federal Reserve, I think, some sort of financial institution. And she sees how they dispose of money. And she's like, well, that isn't fully disposing of the money. So I'm going to hatch a crime plan with Queen Latifah and Katie Holmes, and we're going to steal all the shredded money. I'll be honest. I tuned out a little bit during the specifics of this.

But it's okay. But it's sort of, you know, like a Langley Mission Impossible, 1996, Heist, except not at all thrilling and doesn't make sense. And then they do get a lot of the money back and then they get caught, but then it's okay. Not going in. It's not going in. So you're going to do that for all of these movies?

As many as I can remember. I saw Smothers. So Smother is another TV movie. And it's another one of a mom and a. son and the dynamic is unusual in that it's... How so? Well, in this case, Dax Shepherd has a very overbearing mother played by Diane Keaton.

Liv Tyler is in this... is in this movie as well as the person that Dax Shepard is romantically involved with and someone else who I thought was too good for this. Anyway, it's not good because Dian Keaton just like can't let go. And so now she's just kind of in weird mom territory. Yes. Well, it's two movies in a row that are very similar. That's also red.

Okay, that's red. I mean, 2010 is Morning Glory. Morning Glory, which I think is a wonderful film. Kind of one of the last, like, classic romantic comedy is starring Diane Keaton and Harrison Ford as newscasters pass their prime who are brought in to rehabilitate a morning show that is produced by Rachel McAdams with the help of her boyfriend CBS producer. Not CBS producer, though it is effectively CBS. 60 Minutes Esk producer Patrick Wilson My boy

Your boy. Your boy. So it's very, it's charming, funny written by Eileen Brush McKenna. It's mostly focused on Rachel McAdams

but Diane Keaton is playing kind of like the, like over the hill, but with it like a little daffy, a little mad, very funny chemistry

with Harrison Ford also gets annoyed when he completely steals her show as he does. I don't think it has to go in. I see the floor to you on this.

It can be yellow or it can be blue. I like this movie but haven't seen it in 16 years. Let's just yellow it. Okay. And it can be my blue. Like people now when they ask me for recommendations of little scene romantic comedies, they're like not morning glory. We know.

So maybe my work there is already done. Okay. 2012 darling companion. I did see this movie. Okay, which one is this? This is Lawrence Kasden. Kevin Klein. Oh my God.

I forget. Yes. Yeah. This movie's kind of a mess. Yeah. So the dog. They have, they, Diane Keaton sees a dog on the highway that's been gravely injured. While she's with her daughter played by Elizabeth Moss, they pick up the dog, they adopt the dog, and the dog becomes a part of their family.

Yeah. They go on a vacation after their daughter's wedding and a log cabin vacation, I guess, with their in-laws, and the dog runs away and disappears. And then the whole movie is about the search for the dog? That's the darling companion, or is it, is it the love in our lives that we need to rediscover and relapse? and relight the flame. It's true. And the film answers that question, thuddingly. It was quite boring.

I didn't really like it very much. So that's red. It's not going on. I didn't see the big wedding. The big wedding is a remake of a Swiss-French film. So maybe you should check it out. I just want to say. Yeah.

I'm really pleased with what the Swiss are doing. Big problem is we're on a plane, well, in the World Cup. Okay. Because, you know, my grandfather born in Switzerland. Yeah, you've made us aware. Your immediate family and friends, incredibly aware. Yes, everyone's aware. The Swiss match is, well, we're on a plane tomorrow.

So the TVs need to work. Well, just stream it. If the TVs don't work, then you just stream it. Then the Wi-Fi's got to work. The Wi-Fi's got to work. Okay. Can't miss that. I have to watch like three David Kronerberg films, but that's what you'll be doing.

Just watch one. Yeah. I don't need to know one. No spoilers. Go ahead. Okay. So this is De Niro's in this one. Yeah, we got to get home for the USMint match, by the way.

I know, Catherine Hegel. I mean, a Cyphred, Tofer Grace. And so it's another one of these things where there's weddings, you know, a young couple is being married. And then Diane Keaton plays one of the parents who is having to make amends with or conceal parts of her own relationship in order to make things okay for the next generation. It's supposed to be funny. It's not really. I think she's married to De Niro. Yeah.

And then some other things might happen. It's not particularly amusing. And it should not go in. Okay. And so it goes. I mean... I saw all of these. I watched everything.

So this one... So this is the Rob Reiner. Yes. I wanted to watch this. This is Michael Douglas and I just didn't have time to watch this. This is... Michael Douglas and Rob Reiner. And he...

This is... This is on Netflix right now. Michael Douglas is a real estate agent, a racist real estate agent. And yeah, he says many offensive things and is kind of profiling all the couples who come to look at the home that he's selling, which, spoiler alert, turns out to be his own home. And then Diankeen's his neighbor. And then Michael Douglas, in a sort of baby boom grandfather situation, inherits a grandchild. Not inherits, but like his estranged son drops him off. and Diane Keaton forms a relationship with the daughter,

with the grandchild, and then with Michael Douglas, and then I can't remember if they sell the house, and they do end up together. Here's the thing. The goal of these segments are not for you to entirely recap the film. So Red. Okay, I'm going.

Just give us something about the quality of her performance and whether or not it should go in. She's just kind of on the side. Also, how funny is it one of these movies that come out at the end of these people's careers, and it's like, and so it goes. What does that mean? Well, that's where I'm Googling.

of them because I can't remember. Okay, five flights up. She stars with Morgan Freeman, and this is about gentrification and also real estate. Weird. What a year, 2014. She's really interested in this. Gensification is innately tied to real estate. And this is the one I...

And where do you stand on gentrification? This is the one where I sent you the screenshot of the painting, because Morgan Freeman is a painter. Oh, sure, yeah. And he's working on a portrait of Diane Keaton that is revealed at the end of the... Yeah, great. The movie and I like it's this is this is a 2014 film so I don't think the painting is AI I think someone has sort of like painted a photograph of Diane Keaton but we're made today of her but it is clearly what has been fed into all of the large learning machines in order

to create the art that we see all around us in films uh it's a horrifying site she's fine in it I mean a lot of them she's just kind of showing up and like you know doing one or two Diane and Keaton, like, vocal tics. And one moment where she's like, well, I didn't really think it was going to happen like that, you know. And she brings in, like, 30 minutes of emotion. And you're like, why did you want to do this? Not going in. Love the Coopers.

This is another ensemble thing. This is Christmas. Okay. Just all of them. Okay. Okay. So this is one where it's Christmas and she's the matriarch of the family and they're going to split up. They're completely coming apart at the seams.

But. Kickoff is in one hour. But I know. I'm such sweating. But I said I would be Red Box Captain, and I do my homework. So here I am. So they don't want to spoil Christmas with a divorce. So they go through it.

Diane Keaton and her husband played by John Goodman. John Goodman. I love John Goodman. Listen. It's a stacked cast. Alan Arkin. You've said listen like 40 times this episode. Amina Sy for it again.

Olivia Wilde, Jake Lacey. Olivia Wilde and Jake Lacey are She's single for reasons that past understanding June Squibs in this Timmy shows up for five minutes Tim Salomey Tim? Yes And then

I didn't know that I've got a hole in my Shalomay resume So I think that they I don't remember honestly I think they do stay together John Goodman and Diane Keaton at the end But she's like Yeah

Let's talk about the title for a second Is it it shouldn't it be love comma the coopers? Or is it just like, oh, I love the Cooper's. I think it's supposed to be both. Like, I love the Cooper family. But there's no, no, no, no, no, no, no, no, no, no. I'm not dead yet.

Because the entire movie is narrated by Steve Martin. What? Can you explain, can you guess Steve Martin's relationship to this family? Which is revealed at the end of the movie. He's their doctor. He's their dog. Okay. Bravo. That was worth it. Okay.

2016 Finding Dory. She plays the voice of Dory's mom, I believe. Jenny. I took my daughter to see this last year at Vidyitz and I wept. Good, okay. I just got to say. I thought it was very nice. No, I don't. Okay. But it doesn't need to go in the Diane Keaton Hall of Fame. But, and it's an unnecessary Pixar sequel. Okay. I still wept. Sure. Yeah. That's becoming a bit of a theme with you. But anyway. Well, I like Pixar. What can I say? And I like Pixar sequels and I'm okay with them. 2017 Hampstead started watching this and decided, no thanks. Wow.

You don't care about Donnell Greene Gleason finding love with Diane Keaton and also a bit of real estate and overriding the corporate real estate interest once again a movie about real estate as represented by Leslie Manville. I enjoy Leslie Manville and I did get to see a little bit of her while watching it. I felt that this was an excuse for Diane Keaton to spend three months in England. That seems like a great reason to do anything. It's not going in Okay, red

She's a widow She's playing a lot of widows And loner people at this one 2018 book club Yeah I've seen book club This was a thing It was a big thing

It was a successful movie And I keep saying This reset the future For the kinds of movies that she made But you know like every 10 years She makes another movie Where it was like Don't forget about Diane Keaton

Who's a big star And this was one And this is at a time When the box office is really booming And there are always Alternatives Where it's like This is an underserved audience

for basically women over 50. The movie massively over indexed for women over 50, probably women over 30, to be honest with you. Because... Book Club, and it was based on... They read 50 Shades of Grey. Yes. So it was smart.

Yeah, it's sort of... It's girls' trip aged up. Yep. And, you know, it's not unlike the First Wives Club template where it's just you get together a group of women of a certain age. You like sing together. And she kind of got away from that

and was trying to do rom-coms with some of the greatest male actors. of her generation and they were all quite poor so instead she decides to do this. It's good. It's a big team up too because it's the first time that she works with Jane Fonda and Candice Bergen.

You know, three real megastars in the 1970s coming together and Mary Steenbergin is the fourth as well. Plus Andy Garcia, Don Johnson. You know, I don't remember being very good. I remember being like bad. It's fine. It's not. And if I remember Book Club too more fondly

so we can get to that anyway in a bit. For sure. So it doesn't need to go in. Book Club 2. 2019 Palms. Poms, which you pronounce like, you're just throwing me off. I keep like Palm Frit. Palm Franz

is what I hear when you say it. Palm Fronds? Yes, but it is like Palm like, but it's not like pumfrey. Yeah. Anyway, Poms. Are you correcting me on pronunciation? Chris is the pronunciation problem. Okay, like, I'm fine. I'm like, you know, I... You got French down. I miss as

much as I get right, but that's, That's life. Okay, so I texted you at 10, 12 last night, and I said, right now is when I learned that this movie is not 80 for Brady. Yes, she's not in 80 for Brady. She's not in 80 for Brady, but Jane Fonda is. Correct. Yes. And so I was bringing the book club together. Anyway, this is about, this is another women of a certain age team up together this time at a retirement community because they need to re-discover their love of life through cheerleading. Mm-hmm. She does another dance performance at the end.

Okay. Because the elderly cheerleaders, you know, overcome all the various obstacles facing them. And they're, you know, all that stands between them and cheerleading. And they perform at the local, regional, whatever, championships. So it's kind of bringing on, but for seniors. Okay. And she's front and center, and she does, like, a funny comedy dance thing. Like, she leans into the physicality of all of it.

it is quite funny. Does she look like the Spirit Fingers guy like choreography while doing it? Yes, but that's the point. Okay. It's going in? Not going in. No. 2020 love weddings and other disasters. I think maybe the single worst movie that I saw out of all of them. I was surprised to learn this film existed when I started researching this. So I think it was ultimately

released in December 2020, which should tell you something. Not an idea. And I believe that this has a 4% on Rotten Tomatoes. 4%. I've not. never seen it. That's why I noticed it. One, two, three, four. Okay. And it's low. Stars Jeremy Irons, among many other people whose names I don't remember. And it's really about other people getting married and that he's the wedding planner. And she is there.

I think she gets set up on a date with him. But so first of all, it's asking me to believe that Jeremy Irons is a wedding planner. Oh, she's blind. Sorry, I forgot about that. I was wondering as you were speaking, what are these other disasters? from the title. That's not even the disaster. That's a fact of life. I'm not trying to silence you, but we don't need to talk about this movie anymore. Well, anyway, you asked me to say something about performances in each of the movies.

You did. She's blind. That's something. You know, she's playing a blind person. Did she adequately perform as a blind person? Well, then she explains a whole art project that she does where she, like, she does photography by sound. Oh, sure. That's a thing.

That's fairly convincing. But I would say that. Jeremy Irons as the OCD wedding planner was like the bridge too far for me. So Diane Keaton wasn't really the problem here. Mac and Rita. 2020. Mac and Rita. She plays Rita.

Yes. Mac is her younger self. What? What in the world? With a different name? So this movie is directed by Katie Asselton and this and it's set, it's a girls weekend in Palm Springs. and this young woman, Mac, she's 30s,

and she's just a little bit lost in life. And so... But who portrays her? I have forgotten this young woman's name. I thought that she was perfectly nice, perfectly good. This was a movie that was not good but not incompetent. Elizabeth Lale?

Yeah. Who this? It was not... It didn't... Oh, she's the star of Five Nights at Freddy's. Sure, it didn't work, but it wasn't bad, if that makes any sense. I feel like I watched so many movies that I felt were truly...

Okay. And previously love weddings and other disasters. That this anyway just didn't work, but Simon Rex is in it briefly. And so she goes to, you know, she has some sort of aura reading thing in the desert in a tent with Simon Rex. And then she gets out of the tanning bed and she's her 70-year-old self as played by Diane Keaton, who is honestly the least effective part of the film. She's trying. But Taylor Page, very funny in it. 2023, we're almost done here. Maybe I do.

I did watch this. Oh, this is, this is, oh, sure, reunion with Richard Gear. And also Susan Sarandon and William H. Macy. And this is another one where the young people are getting married and the old people have some things they need to work out. She and Gear kind of interesting in it. It's not their problem, but it's a bad movie. Okay. So that's not going in. Yeah. Maybe I do the big wedding, love weddings and other disasters. This seems to be a theme. She keeps going back to these things. Well, book club, too. They're also going to a wedding.

The next chapter. Book club, the next chapter. And so they're going on a bachelorette trip to Tuscany. And I remember that Diane Keaton, like, gets a full makeover. And she buys all of these fantastic, very-esque Diane Keaton dresses. So that's fun that she gets to do that. And also at a vineyard, I think at the rehearsal dinner, there's a kind of cast movie-wide performance of Laura Brand against Gloria. which is an underrated song in my opinion.

Okay. That's Red. 2024 Arthur's Whiskey. You didn't get a chance to see this film. Did you? I didn't. So I failed this. So that's weirdness to say Red because we have to.

And then 2024, her final feature film Summer Camp. Did you watch this? I did. So this is, well, I said I would do the work. That's great. I did the fucking work. I'm proud of you. This.

I've not seen a collection of consecutive Reds like this in all my time doing this episode. This is another, you know. know, girls trip, but they, it's friends who used to go to camp together and they go back to camp to, to find themselves. Okay. What did you think? I'm not a camp person. And I, you know, neither's Diane Keaton, really. Did you like, did you go to, like, summer camp? Day camp. I never, well, sure. I only did sleep over camp for basketball. I had, okay. I did sleep over. But those, that's training camp. That was only, I was only, I wasn't quite at that level of performance, but that was the only time I slept away.

This is like Sleepaway Camp, which is like, you know, meaningful. You know what I like is the film Sleep Away Camp, which is a wonderful horror film that maybe you should get yourself up on if you're going to talk about teenage sex and death in camp. Well, I think currently I'm not because you scheduled it for while I'm on vacation. That's true. That's when the film's coming out. At some point, well, you know, I saw it in May. Pre-record some thoughts. We'll play them on this episode.

Summer camp's not going in. I don't really think Diane Keaton was a huge summer camp person either. Okay. The Hall of Fame. Yeah. Right now we've got seven greens and two four. six, eight yellows. Okay.

Three of these yellows must be turned green. Okay, so looking for Mr. Goodbar, yes. I fully agree. Looking for Mr. Goodbar, yes. Why don't we just put Godfather in with Godfather part two under the Robert Duval umbrella? I think you have to. Okay. I think it would be incomplete.

But that's fine, but that's just one. Yeah. That's how you guys did it. Is that how we did it? We just counted it as one film? Yes. Am I incorrect on that? No, that is correct.

Okay. Okay. Then let's do exactly that. Listen to that whole episode. Thank you very much for supporting Tracy Lutz. I almost was like, should we call Tracy right now, like, live and be like, what should we put in the day in Keaton Hall of Fame? But he, you know. He and I spoke about whether or not this should be something he should participate in.

But he did say to me, I can at least share this, that he was not very up on a lot of the later films. Right. Well, neither were you. And I still aren't. Okay, so play it again, Sam. Yay or nay? Nay. I say nay.

Manhattan. Yay. I think so. I listen. Now that gets us down to one more spot. Okay. See, I don't. Father of the bride.

Maybe we should. What? I think I, would you rather have Shoot the Moon or Manhattan? Hmm. Because she's, she's the show and shoot the moon. I'm fine with that. But you can't be like, thank you for spending so much time talking about this movie and not put Manhattan in then as a result. That wasn't, that wasn't my decision.

We still have two blues to choose. So you'll do Manhattan as. Blue? Well, that seems problematic. Okay. I was going to say. What do you, Jack, is that, what do you think about that? That's not problematic. Come on. I don't think so either. I really like Manhattan. I've always really liked it as a movie, even though it's got some very funky stuff going on.

So we'll say Father of the Bride is in. Okay. Do shoot the moon instead of Manhattan if you want. Maybe we'll do Manhattan. We've had Annie Hall and Manhattan murder mystery. Like, we have, we have a lot of things here. This is her most significant collaborator. Okay.

And we would have three different registers, I would say. And you're right. And we do also have three Nancy Myers. So. That seems appropriate. Okay. Great. And then maybe shoot the moon as my blue.

Okay. What do you think about that? I'm good with that. And I will. Would you do morning glory as your blue? I will probably do morning glory as my blue. Even though some people say that I've already let that message be known, let me reinforce it. I think this is right.

Okay. What do you think about this? I'll read it off to you. The Godfather One and two Exist in one slot Just cheating, but it's okay Annie Hall

Looking for Mr. Goodbar Manhattan Reds Shoot the Moon is my blue Baby Boom Father of the bride Manhattan murder mystery The First Wives Club Something's got to give

And your blue is morning glory Yeah This feels correct That's right And that's what 30 that represents 30 years of A 50 year career

Yeah and then what happened Watch every one of those movies I mean more than 30 years It's almost 40 years Yeah Nearly 40 years Um And then she made a lot of other movies

What movie of the ones I described Are you most curious about? None of them I like the one with the dog narrator Oh yeah Love the Cooper's Yeah That had a good cast

Yeah Maybe I'll check that out I don't think that you should I would also like to be Full on Rob Reiner Like I'd like to see all the Rob Reiner movies So maybe I'll watch that one

Maybe I do where you said Michael Douglas is a racist real estate agent. Well, he's certainly, yeah, he's insensitive. Yeah. Insensitive. Well, there's a fine line there. Well, it's not really that.

Did you call him a racist or not? It's not really, it's the character. It's not really that fine of a line. Got it. Any closing thoughts on Diane Keaton? Wonderful star of stage and screen. A legend. This is one of the ones where even where I was watching the ridiculous movies.

I mean, sometimes that was a little bit of a chore. But otherwise, this was a delight. And it was a different type of movie than normally we get for a Hall of Fame. Will you be screening the Good Mother at any preschools in the near future? As you know, I don't really organize any preschool events. So I'm just grateful for those who do and I show up and then I don't accuse anyone of anything. Well, that just about does it. We're going to Toronto.

That's what we're doing for the rest of this week. Fortunately, we have pre-recorded an episode about one, I certainly one of my favorite movies of the year. I think one of yours as well. Absolutely. Invite Olivia Wilde's new movie. Go see it. Don't listen to the podcast until you see it. Yeah, we spoke around spoilers for a bit and then really spoiled the movie and got into it because it is really a rich text.

And I've been thinking about writing about this and I'm going to pick your brain about it a little bit when we get off. But I'm thinking about writing about it maybe we can bleed this into the show. The millennial movie masterpieces. Oh, okay. Because that movie is very millennial. Yes. And we're getting to the phase now.

And we've reached our era. Yeah. It's like people are in their 40s and they're making movies. They're making the movies they want to make. Yeah. That's a movie clearly that Olivia Wilde wanted to make for very specific reasons. So anyway, we can give that some thought. And yeah, we'll be crossing the border.

Hopefully they'll let you back in the country. You think they will? I did this morning put my passport in my bag so I wouldn't forget it because like five times. Last week I googled the adapter powerbolt situation. We're all in the clear and ready to go. Good job. Yeah. Do you know what province we're traveling to? Ontario?

Correct. Yeah, I did know that. Yeah. I got to study the provinces for so when I get there, I'm not, what happens? If you don't know, they murder you, what do they do? Yes, very Canadian. They kill you publicly. I'm excited about that.

Thanks for our producer Jack Sanders for his work on this episode. Thanks to Lucas Kavanaugh for the production support. As I said, we will have the invite coming on the show on Friday. I'll see you then.