The Rewatchables - ‘Goodfellas’ With Bill Simmons, Chris Ryan, and Sean Fennessey

Episode Date: January 4, 2022

As far back as The Ringer’s Bill Simmons, Chris Ryan, and Sean Fennessey can remember, they always wanted to be a gangster. We take a seat right up front at the Copacabana to revisit Martin Scorsese’s 1990 classic ‘Goodfellas’ starring Ray Liotta, Robert De Niro, Joe Pesci, and Lorraine Bracco. Hosts: Bill Simmons, Chris Ryan, and Sean Fennessey Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

We've done a lot of great movies in the rewatchables over the last four years, including Goodfellis, which is coming up right now. But if you want to hear all the great movies we've done, nearly 200 in all, you can check out the complete archive only on Spotify. All the new ones from the past couple months are available on every platform, but the complete archives, the rewatchables, only available on Spotify. This episode is brought to you by Adobe Firefly, the all-in-one creative studio with AI-powered image and video generation. Build for today's creative process, Firefly helps you generate, edit, and experiment fast, because the asks aren't getting smaller, and the timelines? Ooh, yeah, still tight. With all the best creative AI models in one place, Firefly brings your ideas to life.

Learn more at Adobe.com slash Firefly. I sold my car in Carvana last night. Well, that's cool. No, you don't understand. It went perfectly, real offer, down to the penny. They're picking it up tomorrow. nothing went wrong. So what's the problem?

That is the problem. Nothing in my life goes to smoothie. I'm waiting for the catch. Maybe there's no catch. That's exactly what a catch would want me to think. Wow, you need to relax. I need to knock on wood. Do we have wood?

Is this table wood? I think it's lamated it. Okay, yeah, that's good. That's close enough. Car selling without a catch. Sell your car today on. Carvana. Pick up these may apply.

We're also brought to you by the ringer.com as well as the Ringer podcast network. coming up Saturday night was for wives Friday night at the copo was always for the girlfriends Monday night was for the rewatchables good fellas is next Billy you did it never ran on your friends and always keep your mouth shut Robert De Niro Ray Leota Joe Peshy good fellas The True Story of Three Decades of Life in the Mafia Raiders starts Friday September 21st

All right Chris Ryan is here Sean Fantasy is here this is the first rewatchables we've done in person, at least for 14 months. I think it was outbreak was the last one we did together, which is, or contagion. Yeah, yeah. I can't even get that right. Look, I'm so rusty already. But yeah, contagion. 14 plus months ago. And we were kind of like, man, I hope, and now, now we're back. Prophetic. That was prophetic. Somehow the studio feels the same. Craig, the producer, is right over there staring at us again. All the equipment worked. It's pretty exciting. Good fellas. The Ultimate Directors film? A pop culture classic?

An inspired idea that paved the wave for The Sopranos? Is this the best movie of Martin Scorsese's career, Sean Fentany? Damn, I probably should have anticipated you were going to start there. Yes, I think it is. I think it's the culmination of everything that he had been leading up to, and everything since feels like almost a response to the heights that he reached in this movie. So yes, I'd be curious what Chris thinks. are? Yeah, perfect Martin's

Croisséz-Corsese movie. Perfect synthesis of his 70s stuff and the early 80s and then also like some of the Hollywood sensibility that he had going forward. So like this is the exact, the exact center point, the median. And it's the perfect movie. I mean, it is it's the first movie I was ever obsessed with, you know?

Really? Really? Makes it probably the most rewarding, rewatchable we've ever done. Like obviously he is like the sort of totem of this pod, but for me it's like this was the first movie that it's the things that I'm obsessed with are the things that happen just off camera or the things that happen in a facial expression or a gesture that a character makes like I've gotten to that point with this movie where the major plot points are hardly even the point anymore it's more about the way bat says you fucking feel strong like I used to say that to guys on my jv basketball team when they would swat my shots out of this solar system so like this is this is a very big deal for me I also think it's the best movie of his career it was upsetting in the moment when it didn't win the Oscar, and then it's, then when he didn't win in,

and it slowly got worse, and then right around the early 2000s when it had become so rewatchable, and you're picking up stuff. The big thing, leaving the theater was the last 20 minutes, was so off-putting the first time you saw it, which was intentional and designed and brilliant,

but, you know, it didn't, it, you just wanted to hang with all these people, and then it goes wrong, and he kind of left the theater like, whoa, you know, you're a little frazzled. and I think it worked against the movie in some weird way. And I remember Dances Wolves

comes out this year too and that same kind of big sprawling movie done totally different. It's like three hours plus. But you left that movie and you felt good and it was like this success story

for Costa and then it just kind of flip. But it's kind of hard for me to believe everybody didn't see this right away that like, wow, not only is this one of the best directors we have, but this is probably the best

he's going to do with with IP. Well, I think it's one of those things where at the time most critics knew. There are some reviews that you read, you read Roger Ebert or Richard Schickle or a handful of big time critics at the time and they're like, this is it, like he did it. He probably made the best movie of the 70s with Taxi Driver. He probably made the best movie of the 80s with Raging Bull.

But this is him returning to the milieu where he feels most comfortable. It's been almost 20 years since he made me. streets. He knows this world better than anybody. He knows how to make this world seem intoxicating, scary, and ultimately full of punishment, really. I mean, everybody in this movie

gets punished. And so you could sense that, like, in the critical community, and especially among fans, it's one of the first genuine hit movies that Martin's Corsezi makes. We think of him now, and he's like, he's kind of a box office titan. I mean, he's made a bunch of movies in the last 15 years that have

grossed $100 million. But that was not, his reputation. In the 70s and 80s, he was a person who made provocative, exciting cinema, but not necessarily a person who was a guarantee to get people to come out to the movie theater. And this movie doubled its budget at the box office. And it kind of also paves the way for him as a really commercial filmmaker, which is really interesting. The Academy, though, is something different. I mean, this show is defined by the number of movies that have not been properly recognized by the Academy. So this feels perfectly in line with that. This is the most upsetting, I think, of all of them. But it's a feel bad movie. Yeah. The last 45 minutes of the

movie are made to make you feel what it's coming like to come down off of cocaine so it's like when you're watching this movie the idea that this would somehow please crowds in a way more than dances with wolves which is like the absolute like every box is checked as like it's a star turn it's a huge titanic like achievement by one person you can sell that idea Hollywood loves westerns hollywood loves these stories of like western expansion and like this sort of that that kind of thing this is actually like the inverse of the godfather it is not supposed to make you feel like these people are relatable or that I understand the journey here. The journey is actually like, it's hollow. And that's what he wanted. He wanted you to feel that way.

We always talk about the nostalgia point with stuff. So this comes out in 1990, which is 18 years after the godfather, 16 years after godfather too. So it's kind of the perfect time where those movies have taken a second life. People who grew up with it are passing it down to. They're now teenage kids, whatever it is. And I do think it got kind of linked to those movies, like, oh, it's a mob movie. It felt a little familiar to Scorsese. I think the diehards were like, I can't wait for this. But it's interesting. Like, I went through all the premiere magazines. They didn't write a piece about it leading up. It was just kind of thrown into the 1990 fall preview. There's a lot of movies that came out that year. It was an amazing movie year. That was the year of, we've covered

it in the past, like Holmalone and Ghost and Pretty Woman. And the big movie that was coming out that December was Godfather 3. And Godfather 3 kind of overshadowed it in so many different ways and there was so much at stake with Godfather 3 and meanwhile the real linear successor of those movies was this movie.

I don't know if Pete, I don't remember enough at the time if people belatedly realized it or if they realized it immediately, but people knew immediately, we did Godfather 3 here that it wasn't great. And I felt like people knew immediately with this movie, wow. But I think

this really the rewatchability really helped with this. I definitely agree. Being able to understand why he made those decisions in the last 25 minutes specifically was the key. It moves too fast for you to appreciate it fully on the first viewing. Like I don't remember when I started to love this movie, but I do remember early on in my life when I would watch it, the exact moment in the movie where I started to feel uncomfortable

or actually like dislike the movie in a weird way. And it's right when Karen visits Henry in jail and she's like, Polly won't talk to me anymore. And I'm like, no, no, no, no. because the whole movie is supposed to be that these people are all friends and hanging out and it's really cool

and the music is amazing right? Like we're all going to be buddies and it's a family and it's like no now it's all fluorescent overhead lighting and people looking bloated and pale and even though now

at this point in my life I'm like the second half might be better than the first half it's almost like Godfather one and two and one movie in that way you know what I mean like that kind of rise and fall

but yeah I mean like it's such a complicated film to digest on the first half well that was what he wanted right he wanted he was more interested in the downfall than the rise because he felt like not only did not want to glorify it, but I think, I don't know, Scorsese is a pretty dark guy sometimes.

I think that's probably what appeal to him. Well, I mean, most of the films that he makes have bummer endings. So it shouldn't be a surprise that a Scorsese movie ends in such a downbeat way. But I think even more than that, a lot of great films have downbeat endings, but they're usually much more operatic. You know, the films of the 70s, the Godfather films, for example, they do have, I would not say that the godfather has a particularly uplifting ending. No. It's pretty dark and pretty brutal.

But the difference is that the scale and the sort of like intensity and the high level nature of those lives lived makes it feel like you're watching something Shakespearean. Goodfellas is, he talks about this. It's about a foot soldier. It's about a regular guy inside of a crime family. It's not about the kingpin. It's not about the boss. It's not even about the boss's second in command.

It's about just a guy, just another guy who found his way into this life. And invariably, people who get into this life, especially at this time in history, they have to pay for the choices that they make. And Scorsese is very much about, like, penance. He has all that Catholic guilt. He has all this religiosity around all this movies. Every crime that's committed essentially gets paid for in this movie. But that's the thing, is you're right.

Godfather ends with Michael taking over the family. and even though you have this pit in your stomach about everything that's happened with it's clearly happening with Kay and everything that's happened his dad and Sonny and everything it's a triumph right like he's taking over the family like even if you're sad about like this kid

who wanted to be a soldier or maybe be a cup become like a congressman or something it still has like a little bit of a positive note at the end I think Goodfellas it's like what was this all even for so that you could live in Arizona or something and eat you know ketchup instead of marinara sauce like this is that

That morning paper is pretty appealing, I guess. Yeah, the other way I was getting... Henry L is supporting local newspapers, that's true. The other way I was going to go with the opening question is, is this the most influential movie the last 35 years? Because I think you make a case it was. You'd think just the little stuff, like I was thinking, we'll get to it later, but the scene when Pesci and Leota are outside the club

because they're about to blow it up, and Pesci's trying to get him to go on the double date. And he's like, come on. She's from the five towns. And they're going back and forth for two minutes. What the fuck is the world coming to? I just never seen that in a movie before. And David Chase is pretty open.

Like, yeah, I'd say all of those scenes are what kind of created the Sopranos. I think Tarantino, I can't imagine how profound the effect of that is. He basically, you know, that was probably the biggest thing. I don't want to say he ripped off, but it was like an homage. But it was the little stuff that the Godfather didn't have. I mean, my favorite part is the Godfather. What we've talked about in the past were when he has that scene with his dad, when they're in the garden

and it's like these human scenes these back and forth Goodfals manages to do that while these guys are just acting abhorrently and abhorrently abhorrently and that's I think been more influential than I think anything we've seen in a movie

in the last 35 years. It's really interesting that a movie like this would be as influential too because it does not really follow any of the rules of movies there's no narrative arc really to the movie there's no like true plot there's not even really a main character

that a certain point in the movie 25, 30 minutes into the movie the voiceover just changes to Karen and you're like, what the fuck? And it's obviously very influenced by 60s European movies and 70s movies the way that it's cut. It's very fast moving and it's him applying

his aesthetic, his ideas about how quickly a movie should move and what a life feels like, especially a life lived this way, onto a lot of those old skills. And so I think this movie and Pulp Fiction coming in a five-year period, basically sets the pace for what modern movies look and feel like. They move a lot faster.

You know, they're a lot chatier. They're a lot more comfortable with voiceover. There are a lot more comfortable shifting perspective to different people. It doesn't just have to be a hero's journey. It's a lot more ensemble stories, a lot of stories shifting from person to person. So I definitely agree it's probably the most influential in part because a lot of people that are, essentially people from your age to my age have just watched this movie a hundred times. Yeah.

So it seeps into your book. at a certain point and you can't help but be influenced by it. But inimitable. Yeah. Only one person could make this movie. Because only one person sees the world quite like this. Like only one person mixes this sort of, like you were saying, this Catholic guilt, but also this like debased drug behavior, this mixture of like 1950s romanticism with like all

the duop, but also with like cream and Harry Nilsen and just being coked out of your mind and driving around in circles in a Pontiac. Like it's that collision of sensibilities. and then when you watch this movie and everybody when I was growing up like in the 90s and it was just like everybody's ripping off Scoreseasy everybody's ripping off Scoress and you actually like watch

Goodfellas and you're like nothing looks like this nothing feels like this nobody knows how to use music this way like everybody's like oh like you're just doing Goodfellas where you put this song over guys walking cool it's like it's not that fuck out of here it's like you don't even know like he's switching three songs

inside of one shot he's like using the song because of what the song means kind of adds like a level of depth to what the action is on screen or it explains the emotion. The Donovan songs the best thing. Yeah, or then he kissed me when they're walking to the Copa. Like, that shot is not that shot

without that song. Like, everything works as of a piece, you know? One of the things I really like about it, too, is even though it is a movie about these really vile people, like almost everybody in the movie does pretty heinous shit. All the way down

to kids, they're doing some really tough. They're breaking the law and they're really defying the system. It's also just a very relatable movie. about like ambition and striving and trying to get what you want. You know, like Henry, it's a careful what you wish for movie. You know, the reason the movie opens with that line for a very specific reason for as long as I can remember. And it's all about aspiration. It's all about trying to get closer to the thing that he sees as achievement, as priority, as comfort.

And he does get everything he wants. But as he's going through it, he has to make a lot of tough choices. He has to do a lot of things he doesn't want to do. and if you can pull yourself out of the kind of criminal elements of it and the kind of like the angry and violent elements of it, it is a relatable story. There's a reason that people like click into this movie so clearly. Well, this is why I think it's the perfect,

it's real partner movie is Wolf, like the movie that is Wolf of Wall Street because I think it's got similar sensibility about basically how to make it in America, but then like it does show you what that costs at the end. And those are basically guys, Henry talks about it a lot. Jordan talks about it a lot in Wolf of Wall Street. It's just like, I don't want to wait in line.

I want to figure out how to get the most while doing the least in my life. And that's different than what Vito Corleone wanted. Like, that's a different idea of what this was all about and what this sort of like the underworld and the family and art thing. Yeah, right? It's more about like, no, we're a bunch of vampires, you know? And this will eventually, our bill will come do. but until then,

we're going to live like live absolutely Bacchanali in lifestyles. A Bronx tale is like the little brother of this movie. The Sopranos is the son

and I don't know what Pulp Fiction is. Pulp fiction and the range of our dog are like the two crazy cousins. Yeah. And everything kind of ties into this.

I mean, just a quick story. So I think I've talked before about when I bought a DVD player and I got a nicer TV in like 96 bar-tending money Like a 28-inch?

No, it's like a sweet. It's like a 48-inch. Is it a Magnavox? It might have been. And DVDs were starting to come out. And I remember making a list of all the movies I hoped would come out on DVD. And Goodfellas was whatever the top of the, it was like Goodfellows and Godfather. So Goodfellas comes out and it was double-sided.

And they would do that sometimes to the DVDs. They would actually, for whatever reason, they would only store like an hour of information or whatever. and then you would have to kind of walk over, eject it, and flip it. And I was so fucking mad, and I had so little going on in my life at the time, right? I'm like this struggling writer. I'm working a thing,

and it was like, getting this Goodfell's DVD was probably going to be the highlight of my week that week. And it was like, what is this? How could they do this to this movie? Of all the movies, to have the double-sided DVD.

Do you remember where the break happened? No, because I actually, it made me, so mad to watch it. I only watched it like once or a day. Everything about it, they did wrong. So when they ran it back in 2004, I remember I handed out Goodfellow quotes for

some football column or basketball comp because I was so excited. It was like, all right, finally you're giving this movie, it's most important movies of my life. Finally, you've given it the respect of a decent DVD. But those were the stakes by the mid-90s. I think this movie very quickly became

the ultimate re-watchable. You could jump in at any time. Do you remember when you first saw it, because I don't have a recollection of my first time seeing it. I saw it in college. Was it in the theater? Yeah. Yeah. So, I mean, to the point that we're making here about how this movie, really over the course of like 10 years,

it became clear that it was like maybe the most important movie, but did you know? It was by the mid-90s you knew. But in 1990, like in September 1990, did you know, like this is it? We got it. No, and I will fully admit, I thought it was amazing but I also thought, like, I thought he went for it

a little too aggressively, especially in the last 25 minutes. And when we left, we're like, man, why did they do the helicopter sequence that way? I was just like... And then it was like... And then your one friend on cocaine was like, I'll tell you why.

No, and even like stuff like the freeze frame stuff, it was like, man, he really put out all the tricks. It was really, you know, he really wanted you to know this was Scorsese movie. And it really wasn't until the block, you know, renting it and watching it again and kind of... It took like three times. That's the thing, though. It's like the best rewatchables are the ones that were, like, pay you back for your scholarship on it, though. The best rewatchables are the ones that were you're like, oh, yeah, you know what? He made a choice to put the bat scene in the first. You know what I mean? Like, rather than start with Henry as a kid. You know, it's like, it's like everything is a choice. Every freeze frame is a choice. Every song is a choice. And like, that's why, like, even now, after seeing it, God knows how many times, I just, I was speechless all weekend, rewatching it. Because I know, I can't believe, like,

Like, A, how nostalgic it is to watch it, because you just remember saying lines of dialogue or like when, you know, when he's driving around and all those songs are playing while he's driving around at the end of the movie and you're just like, oh my God, I can't remember the first time I heard jumping on the fire. This is awesome. But you're also just like, oh, my God, I completely forgot that this is how he does this shot or this is how they do this cut or that spider's behind the bar and that he's in front of the bar. It's like all that stuff. So spiders amazing. And you just, every single time this time. it was like being with an old friend. I found like with De Niro's performance,

it took me 20 years to fully understand that this was probably one of the three most important performances of his career. And I don't think I would have said that even in like 2000 or 2005, but as this movie is now 32 years old or 31 and a half years old for us, De Niro is the one that jumps out to me now

and just all the stuff he's doing. Pesci, I know, is amazing. and he deserved to win the Oscar. But just for where this ranks in the whole De Niro, I was going to do this later, he may as well do this now, where this ranks in the whole, De Niro could do so many different things as an actor.

And this specific guy, he kind of was like a piece of midnight run. There's a little bit of the raging bowl guy. He takes little pieces, but this specific guy, he was like obsessed with being like the real Jimmy, like obsessed. All the research is like De Niro kind of lost his mind

as he was filming this. There's stories that he was calling Henry Hill seven or eight times a day to ask him questions about Jimmy the gent. What did Jimmy really do? How did he hold his cigarette? How did he wear his shoes? With the left hand kind of in this way.

Obsessive about like what he wore. And obsessive about like when to show the tattoos and how his hair should look in 1970. The catch up on the pasta. Yeah, exactly. But it's all human behavior, right? Like there's obviously this incredible amount of mythology around De Niro

as one of the most beloved and accomplished actors in the last 50 years. And at a certain point, comes like self-parodic. It's like kind of a joke. And especially having seen him do comedies for the last 15 years and a lot of mediocre crime movies, you kind of forget what it is that he's able to do. But it's like entirely observational. It's like all, it's the sum of a thousand little choices that clearly, and when you read about it, it kind of like flatters your sensibilities. Or you're like, oh, he was actually making a choice there. Yeah. He did actually see something. He wanted to know how they held shot glasses. Like, and the thing that is

that like, we remember it and it becomes like baked in gestures. Like every, like, I remember of friends being like, oh, you insulted him a little bit. And if people are watching this on camera, I'm doing the little marionette thing that he does when he says that. He decided to do that. He wasn't just like, that's just like a thing. He wanted to know how Jimmy drank. I think it's, I don't know what the competition would be. I think it's one of the scariest characters I've ever seen on screen. I think Jimmy is the cream shot of him smoking. I'm like, that's pure evil. Like, this guy will eventually kill every single person who lives around him to make sure that he comes out on top.

Some good laughing from him in this movie. Different styles of laughing. I have an early Apex Mountain for kicking. I think it's one of the great kicking performances I've ever seen. I had greatest in a moment. I'm going to give you the nominees. I have a bunch of special categories in this. No, no, no, you insult him a little bit.

No, you insult him a little bit. The bat stomping a second man in off the top rope. comes in. They were like the Legion of Doom there. It was like Hawk

following up animal. Everything he says that, you know, it's just like Billy, drinks are on the house.

Egging on Tommy with spider. Oh! That whole thing. You mentioned the slow motion when he's deciding to whack morey which

I just don't know how many actors pull that scene off where, and you can read in the research about the movie where they were just like Scorsese's like

hey, do the slow thing with you. I'm just going to just be thinking about stuff and kind of thinking about how you're going to kill Mori and I'm going to come in and just do your thing. Who else does that? He does a couple of very small things in that sequence.

One, obviously, he takes a drag off the cigarette and it's like Satan is on screen. You're like, this guy is going to really kill everyone here. And then he, he like wrinkles his brow and closes one eye a little bit more than the other. And it's almost like he's sizing up what's the gun he's going to use

or the night. He's also having a separate conversation. Yeah, he's getting to listen to somebody. It's just awesome. By the way, he played Satan already. 1986 in Angelard. So it's like this guy is somehow worse than Lou Cipher.

I forgot about Lewis. His name is Lou Cipher. Two more. The phone booth scene when after Tommy gets whack. I think that's the best explosive De Niro performance he's ever given. The best, because there's two versions, right?

There's heat. where he's whispering the whole movie. You know, you can barely understand what the hell he's saying. And then there's Jake Lamata where he's just over the top and all power. And that is like the most heartbreaking

thing in the movie to me is there's tons of great stuff between Karen and Henry, but when he realizes that his friend has been killed and also that this whole world that they built for themselves is a house of cards and it's all coming down.

And Tommy's gone. And he smashes the phone and then he kicks the thing over. And he like, you know, he does the half cry. It's just crushing. Well, the best part is he's already killed eight of his own friends. So it's like, hey, dude.

Yeah. He's a social fan. You kind of open the floodgates here, buddy? And then the last one is when he's telling Lorraine Braco to go get the Dior Coates. Right down there. No, no, a little further. A little further. No, no, no, no, no.

That way. Those six, I don't know what the greatest one is. I think my personal favorite is the slow motion for those six to near a moment. The slow motion smoking. He does a cupping thing with the cigarette. I just feel like that's a one-on-one. He's the only actor in my lifetime who could have done it. One more.

Maybe Brando. One more jumps out to me, which is when after Henry gets the first pinch and he meets him right after he leaves from the lawyer, he puts his arm around, he puts the money in his pocket, and he says, you just look at the most important things in life. That scene, too, is unbelievable. So he had Midnight Run right before this movie, which is another one of my favorite to Niro. And this is, I don't know if we knew he could give, I'm not going to say these are normal.

performances, but he had kind of gotten the reputation at this point as every De Niro movie was going to be some sort of swing. Like the way Daniel D. Louis has now. Exactly. So that's why Jack Walsh, which when we did the pod, that was such an important one where it's like, oh, here's De Niro just being a likable leading man with sarcastic, playing off Gruden, didn't know he could do this, and then he does this. I think the crucial thing is, and we're going to get to so much half-fast internet research

stuff because we actually did our research in this one. But the... It was fully asked. The fact that he recognized that he was too old for Henry to play Henry. Yeah. And the fact that he still was like, but Jimmy's interesting. Like Jimmy is somebody I want to play. To have Robert De Niro, and we're talking Pete De Niro, be like,

I want to essentially be the third or fourth lead. But top build. But top build. But in the middle of the poster, right? But Jimmy. That's how I want to be like six years from now. Like less work, but I'm still top built. Oh, my God.

We do like Predator 2, and it's just like... I just come in for 10 minutes, but it's still like the real... You just do the ad rates. Some of the stuff, we mentioned how meticulous he was with Jimmy. You said he called Hill several times a day. I don't even know how I would think to ask this, but when they have the pasta seeing it for in the morning, he's like, how would Jimmy eat the pasta? And somebody was like, he'd probably have ketchup.

And if you watch it, he's like spinning the ketchup. Like it's... Disgusting. It's like a thing of pepper or something. he realized speaking of which, if you're talking about Best De Niro moments, I do think we may need to have the hoof. The hoof.

Are you the hoofs? Yeah, you're right. I hit him in his we hit the deer and his poor, what do you call it? The poor. The poor. The hoof. The hoof got caught in the grill. I got to hack it off. Every scene had to have a new outfit.

He decided that Jimmy's motivation was only going to be the next score. So you never really see him interact with women at all in this. There's never some sort of paramour. There's no strip joint scene. There's no flirting. He's not hitting on anyone.

He's not important. Yeah, we don't know. We don't even know who it is. The best one, though. He's a thief. He had the scene when Jimmy hands out money. He didn't like the way the fake money felt. He wanted to feel more like Jimmy, so he asked the guy, the prop master, like, I need real money.

So the guy had to take out $2,000 of his own money, give it to De Niro and then make sure he got all of it back. Because De Niro's a maniac. This fake money didn't feel real enough to me I need real money It's when he's playing craps right? Yeah That's what CR does before every watchable No question

He's like Craig I need real money The 10 best lessons From Goodfellas I wrote down for you guys So lessons from the movie People don't realize Goodfellis has lessons Like life lessons?

Life lessons Okay Okay Lesson number one Do the opposite of this movie Should we think Let's go to a break Before I do the life lessons

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But if you're on the go, new 365 strawberry pretzels make a great sweet snack. That sounds delicious. Get savings with yellow sale signs storewide and everyday low prices on 365 brand items. Enjoy the fresh flavors of spring. Save at Whole Foods Market. Life lessons from Goodfellas. I wrote down 10.

Life lesson number one, don't whack a made man. No, you can't do it. I wouldn't do it. Good tip. You can whack people just, if they're made, don't do that because it'll come back to bite you. But you can whack people. You can whack people just not a made man.

Metaphorically. After you commit a massive heist, don't buy anything fancy. Lay low. Keep it low for a little while. What if I put it in my mother's name? Still. Wait a couple weeks, Sean. I told you lay low.

Lay low. It's in my mother's name. Whenever you need money, rob an airport. It's better than Citibank. Easy enough. Yeah. I think that's changed lately in the last 20 years. I don't know.

Yeah. The pregnantability of airports. Nobody goes to jail. Unless they want to. One of my favorite lines of dialogue this whole movie. Lesson number five, don't make a mob boss

your silent restaurant partner. It's never going to work. Key tip. He's going to steal, steal, he's never going to pay and eventually he's going to blow up the place. To be fair, Polly does say,

what do I know about the restaurant business? He was right. What's the name of your bar going to be again? The bamboo lounge two. The re-bamboo. It was CR Shrimp and Sports. That was the sports bar

I wanted to have in third grade. When they asked me what I wanted to. CR shrimp in sports. What do you want? That's great. I would go there. Wasn't there something like Club Chrissies or something to that you were going to do? Uncle Chrisies?

I think Kevin Clark took Club Chrissy off. He's got Club Chris is out. Don't use Coke if you're also selling Coke. A lot of people miss that step on the wall. But use Coke. But just not if you're selling it. Don't use Coke if you're selling Coke. I'm not judging your Coke use other than that.

I'm just saying if you're selling it, don't use it. This is helpful. So you wouldn't have been a Sandy guy. No. If you really hate someone, shoot them in the face so their mother can't give them an open casket funeral. I've always said that. I've been saying that for years. Good lesson there. Never rat on your friends. Always keep your mouth shut. We've had that. Those guys break that rule so many times. Yeah, I really do. If your new boyfriend pistol whips someone right in front of you, you might not want to end up with him. But what if you were attracted to that? No. That says more about you. Okay. If you're part of a crew,

nobody ever tells you that they're going to kill you. Remember that both of you. That's true, which is, it's funny because we're here obviously to kill Chris. That's why we got together because it's not. Oh, no! And then a bonus lesson, don't get divorced. You just got to make it work. Don't get divorced.

You're not going to divorce? Who's going to make it work? Honey Molly? She'll kill you. Go back home. So those are the lessons. So 1991 Oscars, nominated for six awards. Seems low.

Seems low. Nominated for Best Picture, Best Director. Peschi won for Best Supporting Actor, I think one of the five shortest speeches of all time. He said, it's my privilege, thank you. It walked off. No Leota nomination. No De Niro nomination.

No Servino nomination. Crimes Against Humanity. We'll go in order. Scorsese. Well, first of all, best picture, dances with wolves win. nominees were Awakening's Ghost, Godfather Three, and Goodfellas.

I don't know what to say. Honest question, when is the last time you've watched dances with Wolves? Oh, 20 years? Got to be at least 20 years, right? I think I saw a piece of it on TNT before a basketball game, but yeah. Like yesterday? No, I mean, like, in the last 10 years or so.

When's the Awakening's Pod? I brought this movie up like four or five times. Best director, Costner wins, Coppola for Godfather 3, Scorsesee. Stephen Frere's for the Grifters, Shrewder for a reverse. Sean, do Stephen Freers actually should have won? The Grifters is good.

Is that what you're asking? Amazing. I'm just waiting for you to do like the Zag. It's not Scorsese or Costner. I would have been fine with it. So Scorsese's Oscars history, which Sean knows. Ordinary people beats him Robert Redford. Raging Bull.

Raging Bull. That was terrible. It was the actor who parachuted in off his little actor Mountain and directed a movie and the Academy. He turned out to be a good director. Yeah, I like Robert Redford's movies. He shouldn't have beaten Raging Bull was like an extraordinary accomplishment in the

moment. In the moment people were like, wow. So within about five years, people were like, I was kind of fucked up. And now it happens again. Another actor parachutes out of Actor Mountain makes the thing. And it was almost like the Academy rewarding the actor for like, wow, I didn't realize you could do this. And the conventional wisdom, I guess, going into Oscar night that

was that it was going to be a split. It was going to be a picture director split in Scorsese. He would win director because he was crestfallen about it. Well, they made it up for him with The Departed, which we've discussed on this podcast. And I'm fine with it. Yeah. I'm fine with the makeup call. But I do think if he wins this one, I'm not sure it wins in 06.

You see stuff, though, happening with the Oscars, like, you know, this year, Francis McDormon won or third. You and Wesley talked about that on your show. You know, Mahershal Ali won his second a couple of years ago. Like, people get multiple Oscars that you wouldn't think in a lot of the show. necessarily have that many. And forget about the fact that like Kubrick and, you know, Sydney Lumet and people like that, number one best director, like, Martin's Corseys, he probably should have three Oscars. Like, he is the most significant American filmmaker we've had in, in decades.

So it's weird that they made him wait until he was 68 to get one. And now he's probably only going to have one. Maybe he'll get one for the movie he's making right now. But it's just, it's weird. Yeah, like, MJ won six MVP's and he should have won eight. But he still won six MVP's because people are like, Like, that guy's the best right now. Here's another MVP. It's weird that it was Chris Sisi. All right, so that was travesty number one.

That is top three or four all time. It's a bad one. Then we go to Best Actor. I would argue that that travesty is like why you guys talk about the Oscars so much. It's because of whether or not it's an accurate sort of snapshot of what was a good movie. Well, because all the real Oscar crimes happened to 89 to 94 when people really started following this stuff and caring about this stuff. There were just some heinous crimes every year. And then the internet starts,

and we could whine about it on message boards with people in it. We were off. Two more that came along that kind of kept that energy up, I think, is Shakespeare in Love over Saving Private Ryan, started it all over again. And then I think Crash over Brokeback Mountain revived it. But every seven to ten years,

you get one where you're like, what the fuck are they doing? What just happened? Yeah. Best actor, Jeremy Irons, Wins, Kossner, De Niro, Depardue. Richard Harris, who's, I like the field. But De Niro's nominated for Awakening's.

That's his Oscar nomination this year was Awakening's during the height of people playing characters with something wrong with them. But this is, yeah, this is just exactly what the Academy was valuing at the time. So let me ask you about this, though, because what category should De Niro be nominated in? Because there's very few roles

that I've ever seen in a movie like this, where top build, not the main character, not even the second main character, not even arguably the third main character, include Tommy. So he's this satellite orbiting the movie. I think it should have gone Leota and then two supporting actors for De Niro and Pesche. And I love Sorvino, but he's the one who gets inched out here. All right. Well, let's do Leota first. Liotta has to be in that category.

So Leota, this has to be. This time watching the movie. It's unbelievable. This time watching the movie, I was like Leota is an absolute fucking comet. He's a genius. I could not believe how good he was. And I think that you go into this movie and you go to this movie with like some of the psychological trappings of like this is the role that Al Pacino should make him Al Pacino like the thing that he should have a 30 year career of being the great American

actor after this role. Yeah. And he obviously doesn't but when you go back and he's against two or three of the best actors of their generation some of the best actors we've ever seen but when I watched it this time especially I was like he's blowing people off to screen in this movie. Like he is amazing and I think it's aged

really really well. Yeah, it's like somebody going on the dream team with Bird and Magic and MJ and Barkley, but it was somebody who wasn't an All-Star and they're just hanging with them and doing stuff. Right. But it's not Christian Leitner doing it. You know what I mean? Yeah, yeah, yeah. It's like if they let Drazen Petrovich play on the dream team and you'd be like, where's this guy been?

Right. Like, how does he so seem? I think that this is true of Lorraine and Brocko, too. I think both of them are hang with these people who've been doing this for 30 years. No question. incredibly charismatic. Well, Leota should have been nominated.

Jeremy Irons is really good in reverse He is good. That's not a bad win. It's just circumsandity. Best actress, nobody is getting it. Unless you want to make the case for Lorraine Bracco,

who's in the whole movie, basically. And is the co-narrator of the movie. So with that year, as Kathy Bates wins for misery, Angelica Houston Grifters, Roberts, pretty women, Merrill Street Postcards from the Edge, Joanne Woodward, Mr. and Mrs. Bridge.

Those are actually five good performances. No disrespect to Joanne Woodward. I probably would nominate. blurry and broco there. Yeah, but they always have the old, the legacy, this might be your last movie. It's hard to argue, I mean, but she gets nominated, though.

She's just for best supporting actress. And she loses to Whoopi Goldberg and Ghost. Yeah, I mean, I guess from a pure screen time perspective, is she in the movie significantly less than Kathy Bates is in misery. I don't know, I mean, Kathy Bates is not in the first 10 minutes of misery, and then she's only in scenes

where she's coming into the room, so I don't know. Supporting actor, Pesci wins. Nobody else is nominated. The other nominees were Bruce Davison and longtime companion, which was a good movie. Andy Garcia, we all like that Godfather 3 performance, but not in, hey, you're one of the five Oscar nominees. I think we were like, this is actually like a pretty great performance, but it's hard to see him get this over Sorvino. What am I going to do with this guy? Graham Green for Dance's Wolves, and then the bad one is Al Pacino is Dick Tracy.

I'm fine bumping Garcia and Pacino and putting Sorvino and De Niro. De Niro has to be. De Niro not being on here is like kind of incredible. I don't understand it. The Puccino nomination is bizarre. Yeah. That's like a weird Warren Beatty service or something. I don't know.

Yeah, Warren Bick, because he has other Oscar stuff like Bugsie was another one that did well in the Oscars and there was like this weird gravitational pull with Warren Bady. But at this point, we knew Pacino and DeNner were the two best actors we had. It's so weird to me that Pacino got their respect. I said this to you the other day. I think it's just that De Niro had all of the first. his like award season eggs in the in the awakening's basket you know like the the studio is pushing that performance that was a transformation you know he played a person who was softer sweeter yes yeah it was

uncommon role for him as opposed to you know oh he reunited with the guy he made mean streets with and this is kind of an update on the charlie character or the johnny boy character doesn't really get any like like if you think about Daniel day louis won for gangs of new york right no oh okay I was going to say he doesn't even get a speech like that he doesn't even get like a kind of takeout kind of moment it's all like these little micro moments throughout I hate doing this but let's do it if you had to give that best supporting actor over again

would you give it to Peschi or De Niro? I would give it to De Niro. I would give it to Pesci. I don't think the movie works without Pesci and I think what Pesci does is completely singular I think now this might seem blasphemous but if you put

Pacino in the Jimmy role, it would still work. There is no person you can find who can replace what Peschi does. I think I agree with Sean. Okay. I don't know if Pacino can stay within the lane lines the way the Conway does, the way De Niro does in Conway. It would be a very subdued performance for Pacino. Yeah.

But we saw Pacino give performances like that in the 70s. There's no, there's, Pesci doesn't have a cop. Also, let's have a quorum of the Irishman here. Who do you believe is Jimmy the Gent? the Irishman De Niro or Pacino Puccino is not Irish Right

It's just impossible to see Yeah Yes that is true I'm sure he could do it But I'm just saying it's like When you tell me his name Do you know them look Irish at all Yeah but I just believe

That De Niro is Irish Because you've seen him play it though Because he's so good at play I know Puccino would be like I was having coffee With Johnny roast beef Half an hour ago

All right So this movie was based on Nick Pellege's 1985 book Wise Guy. Do you read it? No, but I did order it. Now I want to read it. I got excited.

I realized I had never read it since college is the book. Can I tell my Pilegi story? Let's do it. Pilegi? It's not Pilegi. Pellegi. Pellegi. So I grew up on Long Island in Huntington Station, across the street from a family called the Natales, Dominic and Angela Natalee.

Beautiful couple, beautiful family. Their daughter, Denise, who was older than me, started dating a guy named Paul Pilegi. Paul Pilegi was Nick Pilegi's nephew. Nick Pellegi would be across the street from my house. We're very close to this family. Did you go over there with a gun and a pistol whip him or you just kind of eyeball them? You touch my sister again. Just brought a little sauce.

But so when this movie came out, I was only eight years old and this movie came out. But to my family, there was a level of awareness. And because of Henry Hill, my father was a narcotics detective in Nassau County. Henry Hill was arrested by a narcotics detective in Nassau County. This movie was threaded into my life. Goodfellas, I told my dad yesterday, we're doing Goodfellas. And he immediately started quoting the Bo-Diedel narcotics detective who arrests at the end of the movie because it was such a part of our life.

It's so in our life. And I meant I... Are you making a cake? Exactly. I'm trying to think of what line. He definitely quoted one of the more intense lines. We call him Fucko. Attica, Dickhead.

Fucko is used by multiple characters in this movie. I don't know. This is a good fucko renaissance in the early 90s. But I'll also say, like, when Goodfellas came out, it was a huge deal. And Wise Guy was a book that was in my house when I was growing up. And it was, I mean, it was a huge bestseller in the 80s. And then obviously, I'm sure we'll talk about My Blue Heaven, but that's also very much related to this, which came out, I guess maybe the year before that, because Nick Pellege's wife, Nora Ephron, who was friends with Henry Hill, wrote a movie that is basically about Henry Hill. It's a comedy about Henry Hill, essentially. Yeah.

And so, you know, that whole world was being captured in such a profound way on screen in a way that, like, it really hadn't before. You know, the Godfather's made up. These stories are not made up. How much, you're an interesting guy. You know, you're into the Kennedy assassination. You got a lot of interesting. I was waiting for that. Are you a big, like, New York underworld historian personally? Do you know much about the Lucchese family or anything? Like, the real life elements of this? It's a hole in my resume. Okay. Maybe that's like for your Twilight. ears, you know? No, it's a hole that I'll be fulfilling at some point. It'll happen. It'll happen. No, it'll happen. Like you'll be joining a crime family? No, it'll be like a

three-month thing where I'll just read all the books. Yeah, all the Peter Moss books. Yeah. It'll need some catalyst, though, like a documentary or something. There's a lot of them about those families. I think the books are really good, though. Like, the books about all the five families are really interesting. I always forget. I always forget forget when I'm watching this movie, that quick, quick

line about Appalachian and Crazy Joe. And I'm like, oh, yeah, this is real. This fucking happened. Well, Pilegy and Scorsese wrote the script. 25.1 million budget made 47.1 million. Our guy, Raj came through. Yes. Four stars. Best in 1990.

Quote, no finer film has ever been made about organized crime, not even the godfather. Raj coming out hot. I think what he wrote, the sentence is right before that sentence. I think sum it up. the feeling that we have. He wrote most films, even great ones, evaporate like mist

once you've returned to the real world. They leave memories behind, but their reality fades fairly quickly. Not this film, which shows America's finest filmmaker at the peak of his form. That was what you opened with.

At him at his best. Yeah, and I think he, I think Scorsese needed this because, do you want to, can we do Scorsese in the 80s now really quick and then we'll do the categories? Because there's a lot of cocaine.

Well, he's done with it by this point. No, but I mean, And that, I think, derailed it a little bit. And then he got it back together. There's Raging Bow. And then what happens after Raging Bull? So I think that these, Chris and I love a lot of these movies from the 80s. We've talked about them a lot over the years.

But it's a series of stops and starts. It's the King of Comedy comes two years after Raging Bull. And while I think it is absolutely one of the best movies he's ever made, it was a failure. It was a flop. People didn't get it. People got mad about it. There was like a fuck you kind of aftermath to that. And that's a real acid-dipped movie, you know, that has a lot to say about fame and what people want out of life.

And it's an interesting movie to pair with Goodfellas because it's about somebody who doesn't get what he wants. It has to commit crime to get what he wants. And then he does. And that movie doesn't work. He tries to mount the Last Temptation of Christ, a book he had been wanting to make for years and years into a movie. And he's about to get it done. And then at the last minute, it gets taken away from him. So he pivots.

He makes after hours. Good movie. Which is a great movie. Yeah. And a really fun movie and a really cool New York movie and a really funny movie. Yeah. But different from a lot of Scorsese movies. And it's small and it's received as a small movie.

It's not a massive hit, but it's very cool. It's very downtown New York. And then he takes a paycheck job and makes one of the coolest sports movies ever, makes the color of money, which, you know, I know it's one of Chris's favorite movies of all time. It's on the schedule. Thank you. October, November is the anniversary. I appreciate it. Yeah.

I rewatch that to prepare for this. And I was like, holy fuck. I might have underrated this one. I watched it recently and was shocked by how good it was. It's amazing. Kind of like staggeringly good. I felt like I just spent the last 20 years underrating it. And so he kind of starts getting his mojo back a little bit after that

because that movie did pretty well. It was obviously a sequel to The Hustler. And Newman wins. So it's like this guy can make things happen for big stars. And also Cruz ascending into his true, true movie stardom. Well, and also Cruz really wanting to work with him. Because now this is the first generation of real stars who have grown up on Scorsese. Here's the coolest thing about doing all the reading for this pod.

Is you see, because of the way movies were made back then, the favor he does here pays him off back here. So it's like working with Cruz, gets him in good with Terry Semmel or whatever it is. I can't remember the exact like Domino Falls. But it was like this whole Mike Ovitz thing about putting Cruz in color of money. And then Michael Ovitz helps him make Last Temptation. Last Temptation is cleared so he could. make Goodfellas, like, all this stuff is like, it's an awesome little chemical exchange. Exactly. It's like a daisy chain of connectivity. So then he does finally get to make the Last

Testimation of Christ in 1988. And it's a fascinating movie. It's a complicated film. It's a, you know, it's a fictional representation of what could have happened with Jesus Christ and what he was thinking at the time of his crucifixion and a lot of other things. It's a little bit different. It falls much more clearly into that like Kundun's Silence, spiritual set-track. It does have some good music. Peter Gabriel. He's basically a marked man after that. It's not...

It's pretty controversial. It's not a hit, and it's an object of derision amongst the Catholic community. People got really mad when that movie came out to. Yeah. And so that, like, it put him on the back heel a little bit. Yeah. And I wonder if he made the choice to make this movie

out of a sense of, like, fear and needing to go to somewhere familiar to return to form because he has to kind of bounce back because it's been a really tumultuous decade for him especially after from like you know 73 through 80 people are like this is the this is our next John Ford this is the next person who goes in a

thing that strikes me the most is that I love after hours and I love color of money and I really like Last Intuition of Christ I just don't watch it as much as those other two movies is the speed of Goodfellas there is like a feeling like he jumps and maybe even creates or starts the 90s. Like, it is how

it's how human brains actually operate. We can move much faster than if you watch after hours, there's some really kinetic sequences, but then there are like lots of parts of after hours that are kind of like, what the fuck is going on here? This guy's like walking down the street again. And like, now it's happening. And Color of Money has some very

slow sequences of Paul Newman just like sitting in a pool hall, you know? And I think that like when you watch Goodfellas, it feels not modern, but maybe more contemporary. And now almost feels faster than what we are even capable of watching. Like if a movie came out that was as fast as Goodfell as now, I would be like, is the filmmaker

on meth. Like, I don't even understand how somebody could work like this. The thing is, though, because it's set in a specific time, not now, I think that helps with the timelessness of it. And that was the case for the Godfather for a while. But now the Godfather, it does feel like a movie that came out a while ago, even though obviously we all love it. This movie, I don't know.

It feels like there's not that much where you. you could say, oh, now that we have, now we have the technology where that wouldn't have happened. Right. It's pretty, pretty 2021-ish. It's the beneficiary of the recent history effect where there are people at the end of the movie who are still alive. It's very similar to like, dazed and confused.

Yeah. They're like, oh, that's the 70s. I know the 70s. The Godfather is the 1940s. You're like, I don't know, do I know five people who are alive in 1940? Well, there's also, there's something about, you know, I would say this for after hours, not as much for after hours, but like, when I, watch Goodfellas and when I watch Color of Money and you see all that like BQE in Goodfellas and all like

the outer borough stuff in Goodfellas and then like it's like New York, New Jersey in the beginning of color of money like that stuff hasn't changed that's still look that's the way the sky looks over the New Jersey Turnpike like that's the way Brooklyn and Queens looks like kind of and that I don't know like just because there's a different like technology and there's different ways of communicating like he just captures that area of the world like perfectly and he obviously knows it by the back of his hand. And my favorite thing about Goodfellas is just like, it's an anthropological

movie. It's just like everything in it is this catalog of like how people lived, how they dressed, how they ate, how they talked, what music they liked, how they got into nightclubs or what they drank at bars. That stuff never changes. That stuff never gets old. How homely their gumars were.

We're going to take a break and then we have a lot to go through the categories. All right. Most rewatchable scene. Wow. So I have movie. I literally have like every scene in this movie. I tried to really narrow it down and go with the obvious ones, but got to shout out the

opening scene just at the top, just because it was unlike anything. And it breaks rules right away where there's foreshadowing and there's narration, which are two things that in the wrong hands always fail. And then you hear him go, as far as I can remember, I always want to be a gangster. And it's just like, even all these years later, when you see that first thing, it's just perfect. Every choice he makes in that and there's mystery and it's like you don't know it's in the trunk and then

they go back and then all of a sudden he's fucking stabbing with the knife and it's just a really crazy way to start a movie that shouldn't have worked and it worked. Freeze frame on Henry's face. As far back as I can remember I always wanted to be a gangster. Rags to Riches

blaring. You hear that brass. I know I'd go for Rags to Saul Bass. And then the title sequence comes on and you're like, what the fuck? I've never seen a movie open this way.

It starts the cognitive dissonance because Tommy stabs, bats, and then Jimmy shoots him, and then he says all he ever wanted, as far back as he can remember, he's always wanted to be gangsters here. Just like, why?

Exactly. Why would you want to be in this situation? And then we fight out. Again, I'm only going with the OGs here. So this is on the fringe when he breaks his cherry. young Henry and they come in and all the guys are waiting for them. It's a shorter scene, but I love that part.

I put that in what stage of that? Henry's first pinch, I wrote down for sure. You're a funny guy. This is, I think, one of the most iconic scenes of the last 35 years. The whole sequence. Outside the bamboo lounge, into the bamboo lounge, introducing all of the guys, the rogues gallery of guys. I had that in what stage the best. Okay.

You want to go to the whole sequence? Yeah. The whole thing. All right, bucket. Let's put it in there. Because this movie is, like, the scenes themselves are pretty short. So, like, the sequences are actually the ones, you know? Well, let me, then we got to go, we got to go with the guys that he introduces.

So, because I had that for what stage your best. Are you going to do a draft of the guys? Well, powering. I wrote everyone down because I love when we meet everybody. We meet in order. Anthony Stabil, Frankie Carbone, Moe Black's brother, Fat Andy. His guy's Frankie the Whop, Freddy No-Nose. And then Pete the Killer, who was.

Sally Balls' brother, Mikey Franchese, and Jimmy two times, but we don't get to meet Mo Black, Nikki Eyes, Joe Buda, Stack Edwards, Johnny Rose Beef. We don't get to meet them yet. So,

favorite nickname, just go. Out of all those. Pete the killer. Pete the killer. Yeah, Pete the killer. Also, I would like to throw in

some of their catchphrases. Obviously, I'm going to get the papers, get the papers wins. Right. But, hey, I wanted to see that guy. I'm going to go see him. What is it like that line? Like there are like all these little lines that those guys do.

And then that the best part about that is that breaks with like, it's like what's the POV here? It's like this weird. It's like a documentary basically. And each line that they're giving is this is how Henry remembers what this guy was like, what he said. And it just creates this sort of like, oh, okay. So this is this guy's memory of these moments in a way. So Chris went with Sally Balls's brother Pete the killer. Who did you go with for best nickname?

It has to be Mo Black's brother, fat Andy. It's not Mo Black's brother. It's not Fat Andy. It's Mo Black's brother, fat Andy. Which is the funniest way to introduce somebody. And then that guy, of course. Oh, yeah, of course, Mo Black. Who's he?

My favorite was Frankie the Wap. I'm half Italian, so I can cover this effectively. Wap is an old school nickname, not complimentary. Diego is the worst Italian thing. Wap's probably second. everyone in this group's Italian and they looked at Frankie and they're like,

this guy is Frankie the Wap. Like, he was so Italian. He's so Italian. They had to call him the Wap, but they're all Italians. Like, how Italian do you have to be

to be nicknamed the Wop in this group? I think an underrated one is Anthony Stabil. What's up, guy? Anthony Stabil is a bigger part of this movie than I remember. Yeah, he really is. Yeah,

he's basically running the bamboo lounge when they're going in and out. Anthony Stabil. So that leads to your funny guy. The story, Big, what do you do in here? I thought I told you to fuck your mother. That's where we're just off going.

And then that leads to the year just funny, you know, the way he told the story. I'm sure we're going to play the clip of that. It's really funny. Really funny. It's funny. It's funny. It's a good story.

It's funny. You're a funny guy. What do you mean? You mean, do I talk? What? It's just, you know, you're just funny. It's funny, you know, the way you tell the story and everything. Funny how?

I mean, what's funny about it? Tommy, no, you got all wrong. Oh, oh, Anthony. He's a big boy. He knows what he said. What you're right. Funny how? What?

Just, you know, you're funny. You mean, let me understand this, because I don't know, maybe it's me I'm a little fucked up, maybe. But I'm funny how. I mean funny like I'm a clown. I amuse you. I make you laugh. I'm here to fucking amuse you. What do you mean funny? Funny how? How am I funny? How am I funny? What do you mean? How am I funny? What the fuck is so funny about me? Tell me what's funny? Get the fuck out of here to Tommy. Your motherfucker. I almost had him. I almost had him. I almost had him. You're stuttering prick yet. Frankie, was he shaking? I wonder about you sometimes, Henry.

You may fold under questioning. So many good moments here. First of all, they ad lib basically everything, and the guys around them didn't know what was going on. Yeah, and they kept it in a medium shot. Rather than being like, we're going to do a bunch of setups. We're just going to do two. So they basically go on back.

They do that whole thing, and the only people that know are Pesci, Leota, and Scorsese. and nobody else in the scene knows what's going on, which is why if you watch, if you've seen this enough times, you're watching the other guys, and they're kind of get dear in the headlights at some point.

They're kind of like, what's happening? Next time you watch this movie, look at Nikki Eyes' face when Pesci is talking, he's like, yeah. And what does he say? No, Anthony, he's a big boy.

He knows what he said. Right. So there's the, I almost had him, you stuttering prick you. You stutter and prick you? I don't know if you'll hold up under questioning.

I don't know who. the greatest thing is because Pesci, this is the most famous scene he's ever had. Yeah, and this fucking happened to him. But Liotta, the way he laughs in this scene, it has to be the best over laughing anyone's done in a movie. He's obviously actually laughing.

The way he's like, he's crying, laughing. It's so fucking funny. But they must have filmed, like, how many takes of this? I don't know how he kept the energy. I wrote down here, Liotta is just as good as Pesci in the scene. He is. Yeah. He's just as good. He's terrified. He's anxious. He's cracking up hilarious. It's a

really, really good. It's not just Peschi. It's memorable because this is the clip they show at the Oscars when Peschi wins and it's been quoted so many times. But the weird, like, he almost looks like a horse or something, you know, the way he like shows his teeth and he looks so weird. And then it

has a great, you think it's over and then he does say, you're a funny guy. It keeps going. Amazing. So, Chris, you mentioned Pesci was working as a waiter. Made a compliment to a mobster, said he was funny. It was not taken well. That became the inspiration. next one

Sonny complains to Polly about Tommy This is an unreal scene Which Scorsese did it again He told Sonny to improvise more lines So Sorvino would be a little confused Because Sorvino thought it was his scene Yeah And so he but he told Sonny like go ahead and have fun with it

And that's why Sorvino looks like a little bit Like what the fuck is going on here It leads to the Paul Sorvino face Which is one of the great faces Where it's just completely blank It's evil but there's something dumb about it Like, it's not, you don't, you're not totally scared, but you should be more, you know, you should be more scared than you are, but there's something soft about his face. There's a, my favorite facial expression in this movie is in that scene.

When he says, Pauli turns to Henry and says, uh, you know anything about this fucking restaurant business? And Henry does this like upside down frown. Like, I don't know, because of course he's been, they've been probably setting this up the whole time where he's like, oh, I guess I could take over the bamboo lounge, you know? Right. Yeah, you're right. He probably pocketed that one. I love when he does that Tommy's a bad kid, he's a bad seed. What am I supposed to do, shoot him?

He was like, yeah, it wouldn't be a bad idea. Paul, I'm real fucking sorry. And then Sorvito, it says the Servino face on him. I like to help you out. Look, what do you want from me? What am I going to do? Tommy's a bad kid. He's a bad seed.

What am I supposed to do? Shoot him? I wouldn't be a bad idea. I'm sorry I said that. I didn't mean to say that. I just mean that he's scaring me. You know, I just, I need help. I help me, please.

You know anything about this fucking restaurant business? He knows everything about it. I mean, he's in the joint 24 hours a day. I mean, another fucking few minutes. It could be a stool. That's how often he's in there. You want me to be your partner? That's what you're trying to tell me.

You want me to be a partner? Yeah, what the fuck you think I'm talking about, Paulie? Please, come on. It's not even fair. No. I also like when people, they capture like an Italian thing that just having been around a lot of Italians in my life. But when somebody's asking for something, but they're also sound like they're insulting. I mean, Sean, I just.

need like 50,000. I mean, what the fuck am I asking for here? I love that. I love that. It's just like so, so many subtle great things. I built in here, I want to give you guys a chance to compare and contrast me and Polly. Yeah. So here are some things.

Like Polly, I only talk to six people I work with. I can make my own sauce. I'm anti-divorce and I don't want to be involved in hard drugs. So that's my four things with Polly. When Tuddy and young Henry are going door to door in the rain with the umbrella to tell Polly a message, I'm like, this is like me downstairs at sunset gower having to come upstairs to talk to Bill about something. I go back downstairs in the rain. So that's it.

If you guys think any more, I can talk about later. Next one, Copa Gabbana scene. How are you doing, Gino? Oh, he's good, good. every time I come here every time you two you work another one of the famous scenes

yeah one of them was two or three famous shots how many exact number of dollars Henry Dole's out and tips during the scene it's 20s right yeah so I'm gonna go like 500 bucks no 600 140 only tips seven guys

now he might have done double 20s but he only tips seven what's your favorite little moment in that shot Well, I mean, the dumbest moment is for some reason they don't go straight in the kitchen. They go all the way around and end up in the same spot if they had just gone three feet straight. I love when they bring the table and it's got the little electric lamp thing on it and they just hustle this shitty table in. My favorite, favorite, favorite thing is every time you two, don't you work? I like also the guy eating the hamburger in the hall.

What the fuck's what I going to do it? all the people when they get into the club though all the people were like hey i'm waiting for a table like you know he's like i know you're waiting to be patient you know but it is like it's like the it's the all-time filmmaker flex right because the characters where they end up they could have just got in the front door if you're a VIP you show up at the front door of a restaurant or a club they let you right in it's just to show this entry into this underworld of entry and to open karen's eyes to how powerful and when you put that song over it i mean people can do flashy shots until the sun comes down And when you put that song over it

and you shoot in the way they do it and it's their relationship starting. That's what falling in love feels like. You're getting brought into a world. There's like music. There's, there's romance to it. And that's like, that's when she basically falls from that

and of course, Bruce. Do you want to do the De Palma thing here? What thing? Oh, from the untouchables? Well, they were rivals. Just him kind of like following up the baby carriage shot. Yeah, he did the Milton Burled him.

De Palma did the steady camp scene in Scorsese pulled it out. was like, watch this and went for like a minute and a half longer. Yeah. I'm sure that that was a motivation. Their friendly rivalry. Well, the rivalry ended in 1990. Because Scorsese won.

Yeah, because Bonfire of the Vanities came out head-to-head against Goodfellas. And it was a four-o final sweep. And De Palma was never the same. De Palma's making Snake Eyes. Yeah, he's done after that. First of all, Snake Eyes, phenomenal movie. Second of all... Stanky's pretty good.

Ryan De Palma's amazing. Come on. Do De Palma better than the Scanekeme? Gorsesey right now. I'm not, well, I'm not going to do that, but I think we need to, this show should put some respect on Brian DePaul. I'm not disrespecting, I'm a giant De Palma fan. I'm just saying it. When we do Carlito's Way and I'm in full Dave Clivefellon. I love Judge to kill. You know, you know I feel about blowout. Yeah. I'm just saying this was, body double. We did Mission Impossible years ago. That's the only one. He, MJ, he, M.J. Drexlered him. He just did. A little bit, a little bit. It was never the same. The Palma never should have done Bonfire of the Ville. manities. That was a huge mistake on his part. He should have done this movie. He would have been better off. Henny Youngman cameo for you, Chris? I asked my wife where she wanted,

my wife said she wanted to go somewhere. I said, try the kitchen. She wanted to go somewhere she never been before. Try the kitchen. Sorry, Meggle that. You know, he fucked up one of the takes of the Steadycam shot. They had to redo it because Henny missed his punchline. Yeah. Henney was one of a kind. It was him in Dangerfield, just like we haven't been able to recreate either of those. You got Henley, Eumman, and Wetton's the worst. No, I haven't.

Let's say it's just tremendously. Well, it's a solid 30 years after he was at the peak of his powers playing himself. That's tough. That's hard to do. Isn't he a scarface too? I feel like he was. I don't remember. Next rewatchable scene.

We've done a couple so far. We still have a few to go. The Sweet Lounge, June 11th, 1970, Queens, New York. Incredible. I'm just, spoiler alert. This is my favorite scene in the movie. Bats. Bats.

I used to call him spit shine, Tommy. Relax. Just breaking your balls a little bit. I'm only kidding with you. Now go get your fucking shine box. Saloo, Tommy. No more shines, Billy. What?

I said, no more shines. Maybe you didn't hear about it. You've been away a long time. They didn't go up there and tell you. I don't shine your shoes anymore. Relax. Well, you, for your friend? What's got into you?

I'm breaking your balls a little bit. That's all. I'm only kidding with you. Sometimes you don't sound like you kidding. You know, there's a lot of people around. I mean, I'm only kidding with you. I mean, I just came home. I haven't seen you in a long.

Time, and I'm breaking your balls, and you're right away you're getting fucking fish. I'm sorry. I don't mean to offend you. I'm sorry, too. It's okay. No problem. Okay, sell it. I'll go home and get your fucking shine box.

Mother fucking, mutt. You, you fucking piece of shit. Wow, yeah, yeah, yeah. Come on. Come on. Come on. Wow. Everything.

This scene is actually not as long as I felt like it was. And I actually timed out. I thought this was like 10 minutes. It's like five. So it features two of my favorite lines that are not the most quoted lines, but Chris mentioned one of them. And of course, Chris, this is why Chris is my brother, is that he used to say this on the basketball court, which is, you know, come on, you feel fucking strong.

When Frank Vincent says that, I was like, this is incredible stuff. And also keep him here. You motherfucker. Come on. Keep that motherfucker here. Keep him here. Come on. Back, facts.

Come on, you fucking feel strong. I'm sorry. Tommy gets a little loaded here. Yeah. Keep him here. Pesci's saying keep him here is the all-time, like, the monster is coming, like, horror movie moment. Another great, I think he says it, so like, you know, like, they're pulling Tommy out and Henry closes the door and he's like, Tommy's like, telling the girl that he's with, he's just like,

don't get upset. Don't get upset. He's like, who wouldn't be upset? You two look like are going to kill each other. It turns out she had every reason to be upset. Thoughts on the bartender. We'd like only see him from the neck down. Yeah. Not sure what that guy was thinking during all this. Well, and you would think that there were not too many incidents like that because famously, that was the place that was supposed to be clean. You know, Henry was not supposed to, there was not supposed to be any mafia business in that bar and restaurant.

So maybe he was more of a civilian type. And what about Bats gets out of jail and he's only throwing a party and it's just a guy with a mustache who looks like he's Sean Penn filming? I don't get the impression Bats is super popular. Doesn't seem like it. Or maybe it's just like,

that's just like they're pre-gaming. Here's the thing is I get to the end of that scene every time a man has been kicked to death. basically. And I just always end it by being like, God, maybe I should buy a bar. So you can murder your enemy? No, it just looks like an amazing place to hang out.

I just want to be able to be like, no, no, no. Drink so on. The house. You got you, you got a little out of order yourself. No, no, no, you insulted them a little bit. I wrote once that, No, go home and get your fucking shine box is my favorite movie put down.

It's just so hard to come back from. it didn't work out for Billy Bats in this case. Or Tommy. Or Tommy. I think it led to multiple murders. So did you guys, do you remember when you kind of first grasped Billy's made? Like, I know that there's VO of it,

but like in the first like few, however many times I watched this movie, I don't think it really dawns on you. No, because Leona says it. He's like this stuff with Billy is bad. Yeah. But like I remember still taking it. It's a testament to how fast the movie works and how you have to use basically every part of your senses and like listen to Henry when

he talks because he's going to tell you this is going to kind of come back on Tommy later. I don't, this is not the first time that Henry has witnessed a murder. It might be the first time he's participated in like, he knows this is bad, but he knows it's bad. Yeah, because you can see in his face, you can see in his face at Tommy's mother's house. You can see in his face when they open the trunk up with the freeze frame on the first shot. You can see that he is upset and scared about the decision that Tommy has made here. Donovan's Atlantis. Great choice.

Top three. When was this song released? March 1969. When is this happening? May 1970. It's genius. De Niro with you. No, no, you'd insult them a little bit.

Just a little bit. Jinks are around the house. Got a little out of all of yourself. I mean, the kids off here, I was hugging and kissing off. He had two men's ladies acting like a fucking jerk. No, no, no, no, no. You insulted him a little bit.

You got a little out of all of yourself. I didn't insult him. I didn't insult him a little bit. No, I didn't insult nobody. Give us a drink. Give us a drink. Okay. Come on, let's have some drinks.

All right. Drinks on the house. Come on. Let me. You have to drink with me. No, no, no, no, no. Back them up. Billy, Billy.

No. drinks are on. The house. Go on. Go on. Go on. Go on. Doniero immediately responding with the,

Pesci's like, I'm sorry, I got bought it on your floor. And De Niro's like, don't worry. I know a place upstate. And then we had the background of the Vincent Pesci and Capri singing group. Capri bailed. And it was Vincent and Pesci. Frank Vincent played Billy Bats. And they had this weird professional partnership.

They were in Reggie Bowl together. They were in this. And things flipped in casino. Frank Vincent got his revenge finally. That's right. With an aluminum bat. Kills him in Petino. So I think this is separate, but we can combine these.

Because we go into the Mother's House, which is another one of my favorite scenes. This is a classic Italian thing. I had my Aunt Chan who I loved who died I don't know 10 years ago but my mom's aunt so she was my great aunt

and she was always cooking I was in the kitchen like she was just like Scorsese's mom in this movie and she was the only person in my life that this literally could have happened I could have stopped by her house at 4 in the morning

I could have had blood on me I could have had two friends could have knocked and Ann Chen would have been like oh come on in I'll make you and then we would have been eating because that's this deep, deep Italian family thing

it's like I have guests I'm now going to cook for you and I just love everything about this season. So do you think that those are leftovers or do you think she's just going from scratch? She fired it up.

I think she had sauce in the fridge and meatballs fired up the pasta fast, got it going. I read that it was pasta and beans. Yeah, I didn't see the beans. I was looking for the beans. It's not something I've ever really eaten before.

That seems like a deep Italian thing. Yeah. Well, it's based, pasta for joules, the combo. To put beans with pasta is pretty weird Italian. Between the hoof and the painting. It's the funny. The painting.

The movie, it's like, this dog's looking this way. This one's looking the other way. This guy's like, what do you want for me? That's beautiful. I like this one. One dog goes, one way and the other dog goes the other way. One is going east and the other one is going west. So what?

And this guy's saying, what do you want for me? The guy's got a nice head of white hair. Look how beautiful with the dog. It looks the same. It looks like somebody we know. Well, also, Pesci and the mom have... One's looking east, one's looking west. They have really good chemistry, though.

It actually seems like it's his mom. And then, as Sean said, Liotas kind of... Just like, Henry, why aren't you eating? And he's, you can see... Showshawks. He's like trying to, you know, get everything. And then you see Jimmy's the ketchup, and he's fucking eating like that. But I love the way Scorsese talks about it.

Because it is... I mean, Pesci and De Niro have been working with Scorsese and have known Scorsese for years. And it's like, my son's friends came over, and we just made them dinner. It is, that's, that's one of my favorite things about the making this movie is not only just the actors, but some of the people working on it,

whether they're dating one another, whether they've just been working with Scorsese. It does kind of feel like it is an extension of a friend group in a lot of ways. You know what I mean? It's pretty magical. It's fun to work with your friends, man. It's more fun than not.

Next one, spider gets shot, spider gets killed. You're going to let him get away with that? You're going to let this fucking punk get away with that? What's matter? What's the world coming to? What the fucking world is coming to? How are you like that?

How's that, all right? What's the fucking matter with you? What is the fucking matter with you? What are you stupid or what? Tom, I'm kidding with you. What the fuck are you doing? I'm combining those, even though there's a scene in the middle when Karen's laying into Henry about going out too much. The Michael Imperioly piece of this, which will be in what stage the best as well,

but it's just so cool to see him as Spider knowing that he's eventually going to have this huge Sopranos thing but when the Sopranos started it was like oh my God it's Spider and he'd been in some Spike movies obviously but this is incredible Pesci My favorite part about this too

is that Tommy and Henry start out as Spider like in the beginning of the movie and like guys bring them along and really shepherd them but they're so fucking evil and like kind of it's like calcified by the time

they're older like they're not helping they're not looking out for the next generation Yeah, they're not like, oh, cool, Spider will give him, like, they're bullying the shit out of Spider. Yeah. So one thing that I really like about this scene, we were talking about, like, you still pick up something new every time you watch it. So this is on HBO Max right now. And before you watch it, there's a 10-minute introduction. From Scorsese.

And he talks about how he was really proud that this movie was made by Warner Brothers because Warner Brothers made these classic gangster movies. You know, they made White Heed and they made all these Jimmy Cagney movies. And then they went on to make a lot of the Humphrey Bogart movies, Petrified Forests, a bunch of those movies. movies. And in this scene with Spider, they make a reference to the Oklahoma Kid, which is the one movie that stars Jimmy Cagney and Humphrey Bogart together, which was also made by Warner Brothers. And like the whole, all of these movies are just part of Martin Scorsese's fascination lineage of movies. What's the best part of that? When De Niro says, Shane. And, and and the look peshy gives De Niro when he's just like, what's the question with Humphrey Bogart? He goes, Shane. He's like, he's like, you clown. How could you make that mistake? They ad lib Most of it Imperiali has some good stuff About how basically

They tried to ad lib As much of the poker as possible Always getting to the part When you got mad at Spider And What am I? A mirage? I love

I was texting you guys about I thought you said you were okay Spider No I thought that's what you said You stuttering prick My bones are all shattered Don't make a big deal Elevate.

Don't make a big fucking thing out of this spider, you little prick. He shot his foot off. And then leading to why don't you go fuck yourself, Tommy. Why don't you go fuck yourself, Tommy? And the arrow goes. Oh, I don't believe what I just heard.

Tommy, you're going to get a live gay with that? It's unbelievable. He throws the money down for Spider. He knows what's going to happen, right? Or is he drunk? No, I don't think so. This is, I'm saving that for unanswerable questions. He shoots them five times. Good shot.

What do you want for me? And then De Niro's maddie's like, you got to dig the hole. And Pesci's going, the fuck cares, I'll dig the fucking hole. He said,

I don't have any lime. You're going to dig the hole. Fantastic. Sean, you love the aiming the gun scene. I didn't have that in rewatchables, but I'll let you. I don't think it's a rewatchable scene,

but I think that scene, let me go back a second the worm turns on the movie right before the spider sequence it's when it's when Polly and Henry are together and Polly asks him about bats and he's trying to he's like you know

the guy that guy that guy right yeah and he's like no no not that guy bats and he identifies it and then Henry lies and he's like he was in the club one night and then we never saw him and that's basically the halfway point of the movie that might have been when the DVD flipped might have been the moment

and from there on out it's all lies. Yeah, he lies to Pauli from their own. And it's all Tommy's derangement. It's like Tommy killing Spider. This is not killing bats who insulted him and who, you know, they had a rivalry. Spider is an innocent.

Spider-Hard, there's no reason for Spider-to-be killed. And so from that moment on, everything that happens is this horror movie, really. Yeah. The same thing with the Karen sequence with a gun in his face. That's a horror movie. That's terrifying what's happening.

Also, Leota in that scene is amazing, talking her down from shooting him in the face. Next scene I have is Jimmy's heist reaction, or I'm sorry, Henry's heist reaction in the shower, where they do the, they rip off the shining with a hand on the thing, which I appreciated. No, no prison, no cuts the garlic this thin? I had him what stage the best. Okay, okay. We can add it, though. Prison? I just wrote prison. Now take me to jail. One of my favorite lines. the guy Johnny Rose Beef

coming in with the pink Cadillac It's a wedding gift, Jimmy. I love that car. Frankie Carbone makes the mistake of buying Mrs. Carbone and Mink. That doesn't go very well. And De Niro's dialed up at that point. Yeah. What did I tell you? What did I tell you?

He's taking it off of her? And everybody's kind of watching and you can see, I like how nobody's like gaping, but they're kind of all having drinks but kind of doing this whole thing. It's really great. next one, De Niro Sizing up Mori in slow motion, which gets set up with Mori,

who I know we're going to get into a little bit, when he's flipping out on Henry, and then Henry kind of settles him down. He says, oh, Henry boy, and they go back into the bar, and that's when it goes into the, what was it, Black Sabbath? No, it's Cream.

Sunshine. When it does the slow motion. This is when the walls are closing in. Once that happens, once you hear that song, it's all paranoia for the rest of the way. you think Chris tells his wife everything are you are you

are you more of a of a of a of a Jimmy or a Mori you think I mean I'd like to think of myself as a Jimmy I know I'm a Mori yeah you are Irish

you're Jimori the game I'll wait till we get to okay because he's a Polly you think he's Polly who are you I'm Henry

you think you're Henry yeah okay I'm half Irish and half not Irish the Mori murder which is set up with De Niro and he's doing some good over laughing by De Niro in the poker scene

and then he's like, it's off, it's off, and you think it's off, and the narration swerves you for being it off, and then they're going to the car, and you're just like, ah, this isn't going to go well. So, I love when Pesci, after he's dead, when Frankie Carbo is kind of rattled. I got a way for the car to warm up. He's like, oh, come on, I got a better shot and let him drive. Come on, what are you doing? Get the fuck out of it. I got a better shot letting him fucking drive. What are you waiting for?

I'm waiting for. The car's cold. The Piorariolio. Get the fuck out of it. Man, why fucking warm it up? So many good throw away lighters in this movie.

Carbone and Tommy, I would have loved him on a buddy movie with just those two. Their adventures. I loved Carbone. All right, the Layla scene

when they found Carbone and the METruck who was frozen so stiff. It took up two days to thaw him out of the autopsy. You want to get nerdy about the filming, the camera,

and the METruck? I mean, not easy to do the steady cam, lower it down, go through thing. I mean, you mentioned that

When you first saw the movie, you were like, oh, he really went for it. And in almost every sequence, like Chris said this at the beginning, in every sequence, camera's always moving. Yeah. The speed of the film changes a lot. Sometimes it's super slow-mo. Sometimes it's just slow-mo. Sometimes the camera moves left and then quickly moves right.

Sometimes it follows a character all the way. Sometimes it stops where you don't think it's going to stop. This sequence, though, obviously, is like much more classical. It was like pure montage showing the fate of these four characters who we know are going to be killed after we see Stacks get his head blown off by Tommy. But it's, it's operatic. They fucking stacks. Felt asleep. They played Layla on the set so that they could time the camera moves to it.

Yeah. I mean, it's just, what do you? Amazing. It's like, first of all, I guess you just knew you were getting Layla. But second of all, the fact that like all of those moves aren't just like some the music supervisor sitting afterwards being like, you know, it would be good here is the second half of Layla. It's like he conceives of this whole thing. It's in the script. He writes like a little handwritten note that says Derek and the Domino's

on it. It's, yeah, it's just a vision that you can't really match. I'm older than you guys. Layla was sitting there for a movie for a good 10 to 15 years before somebody crushed it. That's what I was just going to say. Yeah, he used the sound. No, but I'm saying the piano part. Oh, okay.

Was sitting there at some point for somebody. And of course, it was Corsese who's like, all right, here we go. Tommy gets whacked. Oh, no. I didn't catch this until probably like the 48th time I watched this movie, but it was Polly's brother, Tuddy. It's Titty. Tuddy, yeah.

Tuddy, or Tuddy? Tuddy. What does Tuddy stand for? Theodore? Leads to the De Niro phone booth reaction. And then Michael Bauhaus? Ballhouse. Ballhouse?

Cinematographer? Director of photography? Said they only shot the scene once. They also had to shop. De Niro was so intuitive. They couldn't do it again. Oh, the phone booth part. So the actual execution, my wife pointed this out when we were watching,

she had never really watched it all the way through. We watched it together. And she's pointed out that when they get out of the car, when they arrive at the house, that's where Tommy's going to be made, the camera's so far away. And it's shooting the garage. And you don't see,

nothing is in focus. And you can hear the dialogue between Tommy and the two other guys. But there's something so disorienting and scary about the sort of like uncertainty of what's going to happen. And Tommy's talking a lot. And then obviously they walks into that room and he knows right away what's happening to him. And then they cut back to it later.

And the guy's like, and that's that. And it didn't work. out. We had a problem. Yeah. And then Jimmy melts down, obviously. Didn't happen. An incredible sequence. But again, like, it's a very small choice that's made to shoot so far away. But everything is usually in a two shot or in a close-up.

And that's one that's like 100 yards away. Sean, do you tell your wife, everything? Only about Goodfellas. Last one is the Deer dresses. Right down there. No, no, keep going. So you don't have any of the helicopters. You don't have any of jumping into the fire.

I wrote the 40 minute. I had 11 scenes. I know at some point. I think you missed two. All right. Let's hear it. I also wrote down. Well, I have the co-keys.

I'll like Chris talk about that. But just because I just because of the mustache. I wrote Karen is assaulted by Bruce and Henry gets his revenge. That should have been in there. I don't, I had that in what stage the best. What do you want? Fucko. You want some?

That's obviously. Fucko. That's very memorable. And then I think the wife's scene where the camera's spinning around and showing all the wives and Karen is narrating and she's talking about these women and how ugly they are and how bad their makeup is and that's another portrait of that world that you don't always see, you don't always know those women, you don't always know those women. You don't always see those women in these movies and it's really well done. I got upset. I felt like it was a tough

beat for Italian women that scene. Well, in that life, in that time. I think it was inaccurate. I think in the book they talk about it was even a little, they could have gone a little further with missing teeth and stuff like that. The thing about the co-consum. The thing about the co- sequence is that it actually just replicates the sensation of that of that feeling, I think. You know, and I think it's down to everything from the fact that it, I believe it starts at 650 a.m. He's already high out of his mind running, looking helicopters to him having to jump, to step down on the parking break to avoid getting into the car accident because he's so distracted and like the tension he feels and going to the hospital to pick up his brother and Isaiah

Whitlock's there and he's like, you look like shit, you know, like basically. But my favorite part about all of that aside from, obviously, it's just such a kinetic scene is, you know, the first 25 times you watch it, you maybe don't even think about it, but the amount of different songs that are used in basically recurring ways and it basically sounds like somebody manically spinning a radio dial, which is like you almost imagine that's what he's doing in his car is turning the radio dial. So it goes, Harry Nilsson, the Who, was it memo from, no memo from Turner's not in that scene. It's like the Who Harry Nilsen. It's a part of that sequence. Rolling Stones.

There's two different Stone songs. It's just, he's the best director ever for my money at making you feel what a character is feeling by doing stuff with cameras and sound. So what's your most rewatchable scene? Mine is June 11, 1970. Yeah, I'm going to go with that. I'll agree with you on that. Leading into the mom's off. So Billy Bats.

Billy Bats leading into the mom's house. That's my favorite part of the movie. But I love this entire movie, and I have no favorite part. But if you made me pick a gunpoint. You didn't put anything from Young Henry in here. It's good. I'm just saying you didn't. It's much more montagey.

Most scenes last no longer than a minute. But I do... One, I love every scene that Sorvino is in. Every single scene that he's in is incredible, including during the co-ca is the last conversation that he has a $3,200. Yeah, that is just underval. Unbelievable stuff. I have to turn my back on you now.

That is follow. That's either right before or right after Henry and Karen and Karen tells Henry that she dumped the Coke after he gets out of prison. Why did you do that? And he's screaming and losing his mind and then they collapsed together in the corner of the room. Yeah. So fucking heartbreaking. Unbelievable sequence.

My, I mean, what do you mean? I'm funny, I think is the most reward. Bamboo lounge versus the sweet lounge. One of the lounges. Yeah. Yeah. What's age the best? Mention some of the stuff already, like the opening line, everybody in the club.

The kid who plays young Henry's good. He's great. That could have gone badly. The freeze frame gimmick, which was pretty out there and now is like perfect. And every freeze frame is the perfect time to have a freeze frame to talk about. And Scorsese said he wanted it to mark like a specific point of something where something's about to change. He stole that from Truffo. Yeah.

I was just going to say it's all French new wave. It's good. Tommy asking Henry to go on the double date as they're blowing up. The club mentioned that. The Sopranos connection. So we have Polly Walnuts in the beginning. Younger Polly Walnuts has a couple scenes. You have Christopher, you have Dr. Melfy.

You have 27 actors at all. I love with Polly Walnuts calls the mailman a scumbag. Into the fucking oven you go. Chase said, David Chase said, Goodfell is a very important movie to me. Goodfell is really plowed. that, found that movie very funny and brutal and very real. You know, I always think about Goodfellas when they go to the mother's house the night when

they're eating, you know, and she brings out her painting, and that stuff is great. The sopranos learned a lot from that. You can feel it. The narration is another what's aged the best. As listeners know, I'm anti-narration in most cases. Sometimes it does work. This was one of those times. Jimmy was the kind of guy rooted for the bad guys in the movies.

Like just 40 gems. digging out Billy Bats's corpse still kills me, but the What's Age the best part is vague memory of the trailer. This was actually in the trailer. Like, oh, what's that? An arm, a leg. And just being like, oh, my God,

when is this movie coming out? A wing. Another What's Age the Best. Alec Baldwin's the Neuroimpression because it's basically modeled after this that he crushed on SNL, which it's available. You've got to go look on

YouTube for the Joe Pessu show with Jim Brewer is Pesci. And then De Niro is played by Baldwin, obviously. And then I think they have lethal weapon. They have Mel Gibson and Danny Glover on. And De Niro beats the shit out of them. It's really funny. It's really good. Everyone in Henry's wedding being named

Paulie Peter Mayor of Marie. Yeah. Great stuff. Polly Jr. The scene when he... I should have put this in rewatchable, but when Henry crosses the street to fuck up the prepping guys. Yeah. What do you want, fucko? You want something?

Hey. What are you doing? I swear my fucking mother, if you touch her again, you're dead. What do you want, fucko, you want some? And the guy, and the fucking sound,

his face makes. Yeah. And Balh said that's like the most violent thing he's ever, like they couldn't really do that that much. It's like a real kind of nerdy film thing though, too. That's like one of the only sequences in the film that's like bright green. It's like, this is the suburbs.

It's supposed to be. safe. Most of the movie is red, blue, and black. That scene is green. It's supposed to be like... Underrated is when Henry first meets Bruce at the club, and he gives him the wet fish handshake. Right. You know that guy? Yeah, that fucking guy. I have, for what's age the best, the bad wigs to characters ratio? There's purposeful or unpurposful? Because Mori's purposeful. Mori's purposeful. Frankie Carbone, I can't imagine that's his hair. Pesci... It's not Pesci's Yeah, I don't think Pesci's wig

at one point you can see it coming out of the back you go on down the line there's just some some classic wigs the soundtrack we mentioned

roses are red give me shelter which Scorsese would then use another 20 times my way Sid vicious Morwood's age

the best of food this movie makes me hungry which is weird because people are being slaughtered every 10 minutes but the prison

scene them making everything and Polly slicing the onions with a razor blade and all that. I mean the garlic. Emulsifies in the oil, yeah. And then even at the end

when he's making the Coke meat sauce for his handicapped brother and he's just quickly doing the meatballs, it just kind of makes me want to have Italian food. Every kind of food. Even when Henry goes to meet Jimmy and he realizes that Jimmy's going to have him killed and then he orders an English muffin,

I'm like, I've got to get into a diner. But C.R, you're the king of English muffin. We know this about you funny. Another part. This is, I just, Ray, so Henry gets out of jail. He's been in jail for like six, seven years. His family's life has fallen apart. He hasn't seen his kids in the outside world in like seven years.

Comes in for two seconds. Daddy, you want to see my drawing? Who wants to go to Uncle Paulies? And they're like, me! It's like, who wants to go to your scary uncle? It's over like maybe going to a diner and getting a burger? Well, those kids have already been traumatized by that visit to prison.

Oh my God. But the skinhead getting a blowjob in prison. Right. Yeah, those kids did not turn out well. You mentioned the genius in the last 20 minutes of how crazy it is. Corsese said he wanted the film to infuriate people. I wanted to seduce everybody into the movie and the style and then I wanted to take them apart. And then the last one's aged the best.

This is from a 2009 mailbag I wrote. Question from Ryan G. After Game 4 of the 2009 World Series. What a moment for Ryan G. coming back around here. Not sure if you remember the 2009 World Series, CR.

He said it was a new level of losing for Philly fans. The made man. Remember a good fella's when Pesci thinks he's about to become a made man only to walk into an empty room and get shot in the back of the head?

After Pedro Feliz's home run, Philly fans went from having that momentum to having their season laying in the ground like Pesci in a bloody mess. I had that what's age of best, just Chris's reaction as I read that. Just to see my face? You got your revenge though.

You got your world series. You did, you got it. Yeah. I said my response was the best made man sports movie or sports real life moment ever was Ernest Biner. Because he's running into the end zone with the winning touchdown. And it's like, oh no, he's done.

Any other what stage is the best for you guys? Yeah. Not showing the Lufthansa heist. Which is an ingenious budget save because when you hear Henry describe it, there would be no way to shoot it without it being like this huge set piece because there's so many guys involved,

there's so many little things involved. Also, we'd have to see these guys who are like these goofy characters actually pull off something real. Yeah, I mean, it's... When Henry and Tommy do Air France, and it's just the key, you know, it's fine. But, like, this seems like a pretty elaborate heist,

obviously was the biggest heist in American history for a while. I just remember, like, the... I remember thinking, like, when he's in the shower and Ten Ten Winds comes on and it announces it. And I'm just like, but they're going to show it in flashback or something, right? Like, I have to see the heist. It's got to be here.

But you realize they probably saved like $5 million or whatever it was for not making that. So many, like ingenious choices like that because in reality, it's not really the heist that matters. It's everything that happens after the heist. There are not a lot of scenes that happen in the movie that don't have anything to do with Henry. Or Karen. They're really the people that we are following most closely. And Henry really doesn't have anything to do with the heist.

the connector. He's the guy who sinks Mori together with Jimmy, but it's us staying with Henry, which is also just a really good way to stay inside of Henry's story. I would also say what's age of the best is Karen and Henry's fights, which are, like, I don't

know if they're, like, depending on your relationship, you might not say, like, they're realistic or whatever, but that's how people... How many times have you woken up with a gun your face? This week? No, but I think that the the gutteral way that she

screams at him after she's like lying on the ground and he takes off when he gets her off of him with the gun and she's like I'm sorry and then them in the corner like you pointed out that's that kind of intimacy that they don't they don't like necessarily talk about it in the movie it's just shown to you you know you just see that these people are alone

in an island together. It's also very believable that she's just through everything is just so hot for this guy I mean they're hot for each other like they are still have this, even in that crazy 1980 moment where she's basically his partner at this point, they're still, they're connected, you know, in a way that doesn't seem to be the case

for a lot of other people with their partners in the movie. Any what stage is the best for you? I just think you can't overestimate the music thing. Yeah. Like, it really is, it's like a snapshot of American popular music for 25 years. Yeah. And blended together seamlessly.

And the only time when there's really no music whatsoever in the movie is at the end when he's got a gun to his head when he's going to be arrested. I mean, otherwise, it's just cacophonous the whole time. My favorite soundtrack. 43 songs, apparently.

Yeah. What's age the worst? Mentioned the original Goodfell's DVD. Just 2021, Michael Imperialioli, I think Sopranos Trump's Spider, but I love Spider so much

that it's just weird to have those two those two distinct characters kind of living in separate, universes where the characters overlap. You know, like the collapsing of worlds there? Yeah, there's a cross in the beams element

that's confusing. Henry's Gumar, just not a looker. I just wish they had... Janus? Yeah, I just wish they had upgraded Janus a little bit. 20%. I mean, have you ever seen what Henry and Karen really look like? Yeah, it's a movie. They don't look like Ray Leota

and Lorraine Braco. Yeah. I like my Gumars, maybe, to bring something to table. The names of several... Bill's Guar's would be... Michael Marr. Yeah. That's right after Michael Mann's first dates.

The names of several real-life gangsters were altered for the movie. So Tommy was really Tommy two-gun di Simone. Yeah. Polly was Paul Vario and Jimmy was Jimmy the Jim Burke. Henry Hill said Pesci was accurate except Tommy was massively built. What does that mean? Like downstairs? A big guy.

There were two movies about the heist, which I didn't. know about? I read this last night. Yeah. There was one in 91, right? One was called $10 million getaway in 1991 playing Jimmy. John Maloney. No way. Yeah. Wendell Pierce was stacks and weirdly Mike Star played Frenchie. He just

ran it back, doubled up. It's a double- paychecked it. Apparently not good. And then in 2001, the big heist Donald Sutherland was Jimmy. That one came and went. So there you go. And that. Another would say to where it was BC basketball post-1980 because Henry Hill kind of murdered it.

We were never the same. That was my favorite team growing up, Bat and Holy Cross. So that was a real, they really threw that game, right? They threw a bunch of games. Yeah, it was a big sports illustrator thing. Catch up on pasta, just please out there, what stage is the worst. This hurts. Boogie Nights is kind of ripped off the Janus apartment scene a tiny bit, I feel like.

Along with many other things. Yeah, I know. But that one specifically, when Dirk brings everybody, it's like, it's my dojo. And it's just very on the Janus apartment. corner and it kind of bugs me every time I watch Janice's apartment. I mean, think about the shape and structure of Bucky Nights. It's the same thing. It's like this world through one guy's eyes who's a regular kind of a guy.

But is an outsider. But yes, as an outsider, it's mostly... There's room for both. It's montage, dolly zooms all over the place, slow-mo, incredible soundtrack. Yeah, yeah. I mean, there's like incredible oners going into the club, which is just like going into the Copacabana. I mean, there's so many things that are similar.

Don't get me wrong. Boogie Nights is one of my favorite films of all time, but it is an overt homage to Goodfellas. It is. The Janus definitely. She even says one designer's name a little wrong. Right, right. Like Derek Does.

What is the name of the furniture? Is that the couch she has? Yeah, she talks about the couch and she mispronances it. All right, movie nerd section. One second. I have one other thing that's age the worst. Traffic and cocaine on commercial airlines. Not as easy as it was that, I don't think.

So much harder. She just, like, has a bunch of kilos in her baby bag. Yeah, but the lucky hat. And she's like, I got to go from Pittsburgh. Wasn't actually that easy? I think it was. I don't think they checked your bags. I mean, I honestly don't really remember a whole lot of, like, security before 9-11.

I guess I'm pretty age-wise, I wouldn't remember. How much weight did you move in the 80s? I'll tell you this, and I dated a girl who moved to Chicago, and there was, like, at least two times where last second went to go see her and just, it was, it was, I felt like I could have brought anything on the plane and it would have been fine. Bought the ticket last minute, brought the suitcase, just threw it up over the thing and it could add anything in it. It was so easy. It was kind of alarming. I mean, I believe it. All right. Let's take one more break and then we got to do a movie nerd section.

All right, Sean, movie nerd section. Chris, you can chime in. You can come in like De Niro stomping on Billy Bats. Just five things we got to hit quick. Stomping on Cayae de Cinema. Michael Ballhouse? Michael Ballhouse, yeah. Do you want to just do like 30 seconds on Mike? Sure.

He shot this movie. He's a cinematographer on the film. He's a German guy. It's an unlikely collaborator with Martin Scorsese. This is not the first movie they made together. I think it was the third movie they made together. And he got his start with Rainer, Werner, Foss Bender. I know we'll be doing a lot of five.

Osbender films in the future here on the rewatchables. But, you know, I mean, he shot some of the most well-known classics of world cinema, World on a Wire, bitter tears with Petra von Kunt, some great movies. Comes over to the States in 82. Makes a little movie that Joe Pesci called Dear Mr. Wonderful.

So not the first time he worked to them. And then he works on a movie called Baby It's You, which is produced by Griffin Dunn and Amy Robinson. Saw that movie. John Sales movie. Really good movie. Griffin Dunn and Amy Robinson are getting ready to make after hours.

with Scorsese and I've got this great cinematographer this German guy Uncle Bauhaus and also he's related to Max Ophels

another great filmmaker who Scorsese really admires who PTA really admires who was very famous for moving the camera a lot Ballhaus and Scorsese

are match made in heaven they work together I think on seven more films over the next 15 years and he famously worked really fast and could accomplish

the things that Scorsese wanted to do quickly which of course is really important when you're making a movie that has tons of camera movements. So he's like a key collaborator over the next 15 years of them. Coming up next on first take, Ball House or Gordon Willis?

Chris Ryan's going to weigh in next. Should I do a quick shout out to Thelma Schoonmacher? Scorsesey's longtime editor and she, I think, is like the secret MVP of this movie in some ways, or at least the cutting is the secret MVP of this movie. And she was married to a famous world filmmaker named Michael Powell who passed away. while they were doing post-production on Goodfellas and Scorsesey, like, organized, like, everything for her to go back to England and do the funeral for him and everything, and she came back and finished it.

And, yeah, this is one of the most uniquely and brilliantly edited movies ever made. So many ideas, so much rhythm in the editing, too. Opening graphics? So they're created by Saul and Elaine Bass. Saul Bass, probably the most famous title sequence creator and maybe the most famous graphic designer in movie history, really well known for designing the title sequences for Alfred Hitchcock, Otto Preminger, a bunch of people in the 60s.

He, along with Hitchcock, essentially sketched out the psycho shower sequence. He was a filmmaker himself. He made some movies. He kind of fell into a little bit of, like, irrelevance for 15 or 20 years there. And then James L. Brooks in 1987, called him up and said,

I want you to do the titles for a little movie called Broadcast News. And Saul Bass is back. And what he does is he basically, boils the movie down to its purest idea and communicates it just in the title sequences. And in this movie, it's just those fast-moving titles. It's just momentum. It's like this movie just has an engine

and when it turns on, it just never turns off. Freeze frame, the legacy? I mean, you mentioned it. But going backwards to the 50s, 60s. Yeah, I think there's French filmmakers, Godard and Truffaut, especially, who did the thing that you identified, which is they would basically freeze the camera,

freeze the film on a moment when you want, wanted to think about what the character was thinking about or what was going to come next or why this is like a move that some filmmakers make. It was like a commentary. Should Corey do this with the rewatchables video that goes on YouTube? Right on CR's face. What's he thinking about? There's a lot of famous ones in this one. The most famous one is of the first shot, right, where you see Henry Hill's face and then it freezes and then you see the titles. But the one that I was think about is when Henry and... I think the dad is my favorite one of all the times.

I like that. Yeah. He got the belt in mid-air. There's when he's beating him. There's when the postman's head almost goes into the oven. But the one that I always think about is when Jimmy and Henry are walking, and they're talking about killing Mori. And Jimmy starts to hear the voiceover. And that's when... That's when I knew he was going to have Mori West.

Cocaine helicopter camera stuff. We covered that. But was there... Had anybody done stuff like that before? Well, I mean, had anybody made a sequence like that before? I'm just like a completely basically simulating what it was like to be on cocaine as an actual

20 minute sequence. We're like more like people of flavor like people who try to replicate what it was like to be on a trip like apocalypse now I think very famously tries to like do a lot of that kind of psychedelia. I don't think anyone had ever. I mean there were koki movies before that obviously

but I don't think anything had been like this is what happens when a person has gotten to the end of the rope of cocaine addiction and there's like no real high left. There's just paranoia. I also think it was that's fascinating. because I think they would they did some preview

of it. They did some like focus group work with it and people were writing like literally were writing fuck you on the comment cards and they I think if I remember correctly like then we're like fuck it let's make it even faster and more agitating and more like alarming

so I always love that. It's a punk rock move. We covered Scorses and Niedis and we covered the different colors thing so we're moving to casting what ifs. The Niro was off for Jimmy or Tommy chose Jimmy once he agreed, they secured the money because De Niro was a bigger star than ever from Untouchables and Midnight Run

and they would do it. Did you see the second choice for Jimmy was? It's your guy. Yeah, it's Malcovich. No. In my research, it was William Peterson. Oh, I got Malcovich. Malcovich literally is like I was going through

like a midlife crisis and I wound up doing Aragon instead of Goodfellas. Oh, there's some William Peterson buzz. I can't imagine William Peterson is Jimmy. I don't think that would work. Yeah. Is William Peterson Irish?

I don't know. The Malkovich thing is in the GQ oral history. Okay. The director cast Liotta after De Niro saw him and Something Wild. Scorsese loved him. Leota turns down Harvey Denton Batman, which becomes the biggest movie in 1989 to film this, apparently. Who played Harvey Dent and Batman?

I don't know. Wasn't a huge part. Leota said Sean Penn was also considered for unreal. Did he? He did. Man, so that's essentially what Sean Penn does in state of grace, right? Yeah. I'm happy with Leota.

The Sean Penn and the Henry Hill role is pretty fascinating. That's catching Sean Penn at a really nice point in his career. Jesus Christ. Yeah, it's a tough one. I think that Henry has to be the center of gravity in the movie. And Penn, I think, works best when he's on fire. I think when he's the craziest guy in the room is when he's at his best. Penn, 10 years later, probably could have done a really good Jimmy.

Yes. Not as good as near. Definitely. Paul Sorvino decided he wanted to drop out as Polly because he didn't think he was cold enough, went back forth with the agent, and that night he looked in the mirror because he was brushing his teeth or something, was frightened by the look on his face, and decided that should be Polly's character and the rest was history. There's weird stuff about Tom Cruise and Madonna in this movie.

I don't know what is Urban Lensure or not. I think that that Tom Cruise stuff is documented. Yeah. But it sounds like that was also like you had to offer your movie to Tom Cruise. Just like you had to like basically go through the process of, you know, hey, if Tom wants to do this, great. You know, and then it does seem like he kicked the tires on Madonna a little bit because there was stuff about he scattered her at Speed the Plow, which was on Broadway at that point for the Lorraine Braco thing. Madonna in this movie would have been a mistake. But not it worked.

Too distracting. Too distracting. distracting. Tom Cruise and Madonna, this movie, we're not talking about this movie. Madonna could have played the Gumar. Scorsese. Well, it's funny, though, because Tom Cruise does make a movie that is

in many ways very similar to this movie a few years later at the firm. Which is also about a young guy entering an organization, rising up through the ranks, he learns what it's really like to be a part of these organizations. It's not that dissimilar. Also led to Chris having all his money in the Cayman Island. And then we mentioned my way.

All right. Now we're getting in the good stuff. Best that guy, aka the Joey Pants Award. My God. Disclaimer, Frank Vincent not eligible. Okay. He's Frank Vincent.

I honestly never know like where you're going with this. There was somebody in the last pod where you were like this guy, you're like Charlie Korsmo is Charlie Korsmow. I was like, no one has ever heard that name out loud. Our nominees, Mike Starr is Frenchie. Frank Severo is Frankie Carbone.

Tony Darrow as Sunny. Chuck Lowe as Mori and Walker White as Lois Bird. I have a couple more nominees. Or are you reclosing the nominee, the nomination? You can add a couple JVs. For Joey Pants. Peter Honorati as the Florida bookie that they almost feed to a lion. And Tobin Bell, speaking of the firm,

the assassin from the firm is Jimmy's parole officer. Oh, that's a good one. Yeah. I vote for Mike Stark because I never can remember his name and he's in everything. and I don't think people know he's Mike Star. Is Kevin Corrigan, Kevin Corrigan? The thing is he's so young in this movie.

I don't think it's like, oh, that guy, because he's like young Kevin Corrigan. So I don't know if he qualified. I think... Me and Sean are like Kevin Corrigan's a great guy. Like a movie star. Yeah, it's him and De Niro and then a whole bunch of other guys.

If Kevin Corrigan asked Craig for a cigarette, I don't think he don't know. Would you know who that is? I would. I recognized him, yeah. You did, okay. What about, um, what about Frank DeLeo? Tootty

I mean interesting story What else has he done? He was the He was the bad guy In the Michael Jackson video That Martin Scorsese directed Was it bad? Yeah

It was bad So Scorsese directs You know this whole story? This is a great story Michael Jackson is going to make a video for bad There has to be like an arch film This is like the black and white one right Yeah

I think it's just in the sewers right Isn't it just like in the subway rather And and he needs to cast the villain, so who does he cast? Michael Jackson cast his own manager, who's Frank DeLeo. And then Scores, he likes him so much that he casts him to be in Goodfellas. And then Frank DeLio goes on to be like kind of a character actor while also being the manager of Michael Jackson in the 80s,

which, as you can imagine, is a very lucrative job. And he's pretty good as Tootie. I feel like Tootie is a huge part of the movie. Here's my case for Mike Star. The bodyguard? Okay. Huge part in that. Never knew what his real name was.

Eats the Peppers in Dumb and Dumber. He's murdered by Jim Carrey. He's one of the hitmen. He's in a hundred other movies. He's just one of those guys. I like Mike Star. It's got to be Mike Star. I just like Honorati because you can barely tell it's him

because he gets his face caved in and almost gets fed to a lion. What about Isaiah Whitlock Jr.? Is he has Isaiah Whitlock Jr.? But he's Clay Davis now, right? Yeah, I feel like he's... Okay. All right. He doesn't say she.

in this movie. Vince and Hannah, give me all you got a word for overacting. So Ray Liotta over laughing in the funny guy scene I don't think

is eligible. This has to be Mori, right? It's either Mori or when Leota finds out that the Coke's been flushed. That was everything

we had, Karen! $1,000! Why did you do that? That's pretty good. That's better. That's better. Whenever my life

accidentally puts like too much cumin in a sauce, Why did you do that? That was everything. That was all the cumin we had. That's good. They were definitely going to find it.

It always makes me so bad that he gets mad at carrot. It's like, you put the Coke in the fucking kitchen cupboard. What cop is like, ah, that's too far to reach. I guess you guys don't have any bloated here. No, that's your sugar. Don't look at that. They had a fucking net over this family for a year. And he's like, oh, they never would have found the cocaine in our TV cabinet.

drives me nuts. That's on the Mount Rushmore. Chris Impressions. Karen. Dion Waders Award. That's Bill every time Marcus Smart shoots with 22 seconds left. Marcus!

Oh my God, don't get me started. Dion Wader's Award. Paul Sorvino is Polly. Michael Imperialioli is Spider. Chuck Lowe is Mori. Frank Vincent is Billy Bats. Debbie Mazar as Sandy. Tony Darrow as Sunny.

And there's a whole JV too. I would almost change this award's named to the Frank Vincent Award for Bats. The Dan Waite Slash Billy Bats Award? It's the Billy Bats where it's like one scene and you'll never forget him. I think coming in

third place is Debbie Mazar as Sandy. I like when she trips when she first sees it's really good. That's really good there, like locked eyes. That's really good. I guess who's in second place? I think it's Chuck Lowe. Did Chuck Lowe?

Chuck Lowe also Robert De Niro's landlord. Chuck Lowe comes in hot and he stays hot. He does. In real life. He does. Yeah. Okay.

And then, I mean, Frank Vincent is Frank Vincent. This is Billy Bats' iconic level. It has to be Frank Vincent. Paul Sorvino, I think, is in the movie slightly too much. I agree. Yeah. Imperiali doesn't come in hot. He's amazing in those two scenes.

You wouldn't give him Dion unless he also was Christopher. You know what I mean? It's almost the thrill of seeing him at such a young. young age in such a different like a small role. I think what's great about Billy Bats is this guy is basically in the movie for four minutes, comes in and immediately matches the energy

of these two guys who are having like the best movie performances, basically of their lives, at least in Pesci's case. And he just matches it for four minutes and then leaves. Come on, you feel fucking strong. Recasting couch. Obviously I'm recasting

Janice to Gumar. I got one for you for this. I have Annabelle Shiora. I have Fiorentino. Oh, that's a great one. Yeah, coming off after hours. Oh. Sold.

That's really good. That's better than mine. Halfass internet research. Scorsese read the book. Got fired up. I think that's reasonable to assume. Got fired up. Cole called the writer, told Pilegi,

I've been waiting for this book my entire life, and Puegie allegedly replied, I've been waiting for this phone call my entire life. The rest was history. We talked about the ad-libbing. Henry Hill paid $480,000. The pistol whip scene in that oral history, Mark Evans-Jacob, who played the quivering boy next door,

he said Ray was boiling with rage. He stayed away from me across the street, kept that going for take after take. We tried to keep the aggregate control, but one take got a little too close and I got hit. I was like when that happens. When you destroyed Skip Bayliss on Twitter like eight years ago, You're like, why do we have to do this?

Is that, was your wife like, I'm more attracted to you than ever? I'll hide this tweet for you on your behalf. My wife was like, when you got suspended, we're still getting paid, though, right? I was like, yeah, we're fine. I'm still getting paid. So Scorsese started dating Elena Douglas during this movie, and Lorraine Brocko was married to Harvey Keitel at the time. Scorsese, was he also with Barbara Defina?

Yeah, he was. There's some overlap. He might have... It sounds like he was having... Yeah, it sounds like he was having a good time. Two at the same time. Michael Imperiali broke a glass in his hand, had to be rushed in the emergency room during one of those scenes. Doctors thought it was a gunshot wound to try to treat it.

Then they made him wait for three hours. And then Martin Scorsese apparently told Imperiali, someday he'll be telling this story in the tonight show with Jay Leno. And then it happened. In March 2000, he told the whole story with the caper being Scorsese. He told me I was going to tell this story. The painting was based on a picture from the November 177, National. and Geographic. Only

five actors ever won an Academy Award for portraying real-life killers. Charlie's Theron and Monster. Hannibal Electra's. Oh, no, no. Hannibal Lecter's not real.

Real-life killers. Yeah. Forrest Whitaker. And Idi Amin. And the last king of Scotland? Okay. Estelle Parsons and Susan Hayward and Joe Pesci.

Those are the five. I never would have gotten those. I just found that. Again, half-ass internet research. Scorsese did the great train robbery at the end with the pesche shooting the camera. Explained it 90 years later, same story. Gunshots will always be there. He's always going to be looking behind his back.

So he's got eyes behind his back. It's brilliant. The music editor, Christopher Brooks, said Scorsese had thought about all the songs that when they were appear three years before he shot the film. He wrote it and it's in the Pilegi script. He's like, they would basically go. they would do improv workshops with the actors.

They would take the dialogue that they got out of that they would do the script that in the process of these drafts he would just see Scorsese's draft had like you know

the crystals this song or Darling Love or Leila or whatever and he's picking like fucking songs like memo from Turner it's like he's just got like this rolodex

of American pop music they changed the rule in 2000 that you couldn't be made unless you were full Italian descent they changed it? The five families changed it. Like David Stern made her like the illegal defense? They said a man could be made

in 2000. If the father was of Italian descent and his last name was Italian, you were good to go. So you're not good to go. Not good to go because my mom's side was the Italian side. Scorsese had to remove 10 frames of blood to ensure the R rating. There was an X rating thing going on

with this movie in 1990 about it was so violent. It was going to be an X rating. Chris, how many fucks or derivatives of the word fuck are in this movie. Like 300. I'll say 175. 321. Whoa, good guess. My favorite?

My favorite. Fuck-o? No. And I'm going to start sending this to you guys late at night when something bad happens to the Knicks is, you motherfucking mutt. When Bats starts insulting him and Pesci loses his mind. I'll go home and get your fucking shine box. When like Kevin Hutt

You fucking piece of shit Yeah, yeah, yeah Come on, come on Come on When like Kevin Herder is laying out the next in round one You motherfucker fucking mutt Kevin Hurter Pesci is maybe one of the best cursing Like sweat profanity guys

It's like when they're doing the bamboo lounge And Liot is like You need help reaching anything And Pesci's just like you look like you're decorating a Christmas tree You fucking prick I'm really excited for Apex Mountain. Oh boy.

Scorsese. I believe so. I also believe it is. Can I give one reason why I think so? Yeah. Scorsese's only taken four screenwriting credits in his whole career. Two of them come at the very beginning. I think, who's that knocking on my doors,

at my door's first movie and then Mean Streets? And they're co-written. And he hasn't made a gangster movie in 17 years. And he'd sworn them off. Basically. Yeah. And this was like, you know what? I have to go back.

I have to go back to my past. I have to go back to this world. I have to go back to this community of people that I understand so deeply. And I'm going to write it with the guy who's a journalist. And what makes the movie so special is that it feels real. And it also feels like the craziest movie, movie, movie, operatic movie you've ever seen. And it's blending those two styles specifically from his point of view. So I say Scorsese.

I agree. I agree. The only, like, for the sake of argument, I would make for Departed in 06, is that there haven't been any real hiccups since then. Like, in terms of his perception within the larger, like, you know, pop culture. It's like, from 06 to now, he's like this emeritus, great American film, greatest living American filmmaker, pretty much whatever he wants to get made and can get made. He pushes the envelope with Irishman. He gets this huge budget to make Killers the Flower Moon from Apple.

Like, he can do it. He's gotten television shows made. he gets to make two documentaries every 18 months. Like, you could say that like all of the stress... From a Jew's standpoint, juice-wise,

like, I think from 06 to now we're in the kind of like this incredible twilight. But I would have said, King of New York, if you're going to go Jew standpoint, turn of the 20th century into the 21st century,

it felt like he had it then. Like where he could be like, I'm going to make a movie of Daniel DeLuis and Leo Cabreale. Gangs in New York. Yeah, yeah. Gangs in New York. I'm sorry.

No, yeah. Yeah, I would say that for juice, and I think this for talent. This is artistically, I think this is... I would just... The counterpoint to that is, as I said, he was not a huge box office drop previous to this movie. This movie did well, not amazing, but well, but it also lays the groundwork for five years later. You get Casino, which is his first true blue hit movie, 100 million dollar movie. And it's also an amazing movie.

I hope we do it someday on this show. and that basically the Goodfellas to casino lineage allows for everything else you're talking about. It just would not happen without those movies. It's just like you look at, so 06 departed, shine a light, big deal, Rolling Stones documentary, Shutter Island, did pretty well, right?

Did well, yeah. Boardwalk Empire, six, seven years on HBO, more docs, George Harrison, public speaking, Hugo, whatever, but then Wolf of Wall Street, silence Oscar nominations at least Irishmen yeah I don't know

it's an argument but I think it's it How about gangster movies Because I feel like Good Father is an American movie I think this actually ends them I don't really know how you I know Sopranos comes after this

But this is the capstone Yeah we have to move to TV after this basically That's a very interesting idea That it's almost like the end Yeah I think the Godfather is like The Superior Film But it's also like I'll never be able to

It's an American movie I'll never be able to experience the Godfather in its time whereas Goodfellas, like I said it, like, when I was growing up, Goodfellas was like in my ear all day long. I feel like I've been living with it my whole life. The Scorsese-Depalma rivalry. I feel like this was Apex Mountain, like November

1990. You know? And then it was a 10-8 first round and then a knockout in the second round. The truth is that there is no, I don't think there is a Scorsese without De Palma for one simple fact. Is it De Palma discovered Robert DeNiro?

Yeah. And where is Martin Scorsese without Robert DeNiro? Copa Cabana Would you go Barry Manilow's song or Copa Cabana in this movie? That's a real

litmus test of you as a person If I say Copacabana do you think Goodfellas or Barry Manola? It's good fellas for me. It's good fellas for me. Barry Mano,

that was an amazingly popular song when I was a kid I mean it was on for You a Manolo guy? No, I like that song though. Lola, she's a dancer. Movie gangster names. This is why he'll never be

a made man. Yeah. Movie gangster names, unquestionably the apex. De Niro. This is Midnight Run, the first, and then Goodfellas where they can't get the funding until he agrees to be in the movie. So he's at a different point of his A-listness.

And then this happens and sets up... Awakening's, he has the Oscar-nom. Right? So this era... I got to take a look at the... Awakening's. I think 1990 is his apex. I think late 70s, early 80s,

like you go with taxi drivers. Godfather 2 and Raging Bull and Deer Hunter in there, like that's hard to top. But again, we're talking... I feel like he has more juice now. It's a good argument. Razor-Blading garlic. I have this as Apex Mountain. I've never seen it's done better.

It's a one of one. So good. I don't have anyone in my family who does that. The Levitanza Heist. Is this Apex Mountain for the Lufthansa? For the Liftonza Heist? Yeah. I mean, you mentioned two other movies that nobody's ever heard of.

But what about the actual heist? I don't think this might have trumped the heist, that it became the Heist. that it became the heist in Goodfellas. Had you ever heard of the Liftonza heist before Goodfellas, really? I mean, I saw

at Goodfellas at a young age. But just like, you lived closer to JFK than any of the other people at this table. That's, I live very close to JFK. I don't think so.

But, I mean, I saw the movie when I was nine. Yeah. Joe Pesci? Yes. Mob murder code Just a note for Joe Pesci? You go home alone? You're going to my cousin Viti?

Well, I mean, it probably is just worth acknowledging that little that quarter of time when Joe Pesci was the most important movie star in in America. I had it. And then he did. Somebody made golf for 25 years and then made the Irishman. Yeah.

I mean, I don't know. We just don't talk about this enough. Like I don't, I, in, in, here's what he does. Oh, we did it in lethal weapon too. He, we did a whole thing. Well, we just did a whole thing about it. He was basically done. He was doing like TV movies.

and then Lethal Weapon 2 and then rips off this seven-year run that, go ahead, give it to us. I mean, you just said it. If you guys talked about it, I don't want to repeat, but Goodfell's Home Alone, the Super JFK,

my cousin Vinnie, lethal weapon three, the public eye, Home Alone 2, a Bronx Tale, Jimmy Hollywood with honors casino. And then he goes and plays golf for 20 years.

Yeah. And this like 5 foot six guy from the Bronx is a matinee idol. Yeah. And frankly, in half of those movies, he's phenomenal.

I mean, he's in my cousin Vinny, he's magnificent Scrained Home Alone He's plenty of different person Each one His apex is right around You're right

It probably starts right between Lethal's 2 After this he can do Yeah he can do whatever Mob murder code Justifications Down to three Tell Mike it was only business

Godfather one He's gone and we couldn't do nothing about it Good fellas It is what it is The Irishman Yeah What do you got? I like it is what it is

personally I think I do too I think Scorsese finally nailed it the best than that. It is what it is. That's a good case. Yeah, I like that. Pistol whipping? Apex Mountain.

God, that's so fucking violent. Both pistol whippings. When the fucking gun explodes on bats and it just like shatters because he hits him so hard with it? So they must have edited that, right? So we're supposed to think he like shatters all his teeth?

Smash the barrel out. Yeah. I think it's the Apex Mountain for pistol whipping. Yeah. Like the act of pistol whipping or pistol whipping on film? Pistol whipping on film. Ever since I dropped Apex Mountain of Amsterdam, I mean, Oceans 12, you've been very confused about Apex Mountain. Well, yeah, that's a city with centuries of history.

It's very confusing. Mobster Wigs, no question, yes. Ray Leota has to be yes. We're going to go into him in a second. Prison tomato sauce? Unquestionably, yes. I've never seen anyone make. Yeah.

So great. Lorraine Bracco, yes. Paul Sorvino No, Law & Order, right? Wasn't he on Law & Order? He's been in a lot of stuff. He had a really good career. He was in a movie back when I watched every

TV movie. He was in a movie called Dummy with Lovar Burton. That was, I think, one of the best TV movies ever, and he played a lawyer who was losing his hearing. Oh, no, he's not. He means he's in Law & Order, but it wasn't like a big deal. He was losing his hearing as he was defending this guy for

murder who couldn't speak. LeVar Burton's guy who couldn't speak. And he was amazing in that movie. I think he might have won an Emmy for that. But I don't know. He's just been around forever. I don't even know what his apex was. I just feel like he's been in our lives for 50 years.

I mean, he goes cruising in Reds back to back in 80s. You know, that's pretty good. Yeah. Yeah. You see him wearing the jean jacket. See, we're looking at each other like Ray Leo and Debbie Mays R&R right now. Why do you think I'm throwing this mustache out? Yeah, two guys with blue bandanas in your back pockets.

Oh, my God. We're doing cruising. Henny Youngman, no. The word fuck-o. Yeah. Yeah. 100% yes. Never been used ever better.

Any other Apex Mountains? How about Cuddy Sark? Oh. You don't see a lot of Cuddy Sark anymore. Yeah. You get it tonight and we get some dinner. Yeah, but Cuddy going in the front door and out the back door with the Maytag. I love like seven and seven.

Is that what, that's what Jimmy orders, I think. Yep. I was trying to figure out. This is, can I step on a possibly unanswerable question? Yeah. How drunk is Tommy in this movie? Because there's a lot of time, there's a couple of times where they're like,

oh, Tommy, Tommy's loaded. I'm sorry. Like, you know, you get loaded. Don't, you know, like, they take so many shots in this movie. Yeah. Like, Sean and I were just talking about this yesterday on text. There are scenes where, like,

a guy will do a shot at the table, get up and go to the bar and do a shot as soon as he gets to the bar. Like, that usually for me is like, I'm pretty close to being in the bag of that. That was my 50th birthday party, which I left after two hours. Yeah, you had to,

you have to do like a... Where's Bill? Not the first time I've said Where's Bill at his own party? Fair. He's a-oh. He took the glasses off. I get excited and I want to be a good host.

But how much of this is like if Tommy just has an amstale, things are a lot more calm. You know what I mean? Cuddy and Water is aggressive. Like I've never heard anyone order that my entire life. Yeah.

Is everyone in the movie a functioning alcoholic all the way up until 1975? Jimmy definitely is. But it's also the second half in the movie, at least Henry and everybody around Henry is on cocaine the entire time. Yeah, yeah, yeah. Or pills. I mean, it kind of, it explains some of the aggressive behavior. I don't know if it explains. I mean, there's different kinds of drunks. You know, there's mean violent drunks and then there's more relaxed drugs. Tommy is pretty violent. I would also say Apex Mountain for me for Pittsburgh drug dealers. Mm. Want to see helicopters? Da-da-da-da-da-da-da-da-da-da-da-da-da-da. And that guy makes an incredible comeback in the Irishman, that actor, where he plays the guy who's kind of like, uh,

Trying to go around Harvey Keitel's back. I can't remember what that actor's name is, but that guy's, he's a great that guy too. Redisputting Mayor wasn't in this movie. Picking Nits, biggest one is Leota and Pesci are just too old for their parts. It's crazy to read. Not going to let it bother me, but Pesci is 18 years older than the guy he's playing. Tommy was 28 when he was killed. Yeah.

28. And, you know, you notice this when you've seen a million times. But they, Tommy, young Tommy, is in the movie in the beginning when he gets pinched and he's the little guy. And then we fast forward. Yeah, okay, Henry. Five years. Ray Liotta's like 35 in real life playing a 21-year-old. And then Pesci's like at least 40.

Right. Also playing a 21-year-old. And it's comical? Is it just one more Apex Mountain? Is it Apex Mountain for kid actors who look like their adult counterparts? That's a good one. Because Henry and Tommy. Tommy especially.

It's unreal. That's a good one. Another picking. it's sunny's not discussing the bill in front of all of Tommy's friends with Tommy there's just no fucking way you're doing that ever Tommy's a lunatic

he's terrifying you're you're saying hey Tommy can we can we come over here and talk and call him the next day it's crazy it's a flaw I noticed maybe 37 scenes in another picking it where was the obligatory strip joint scene Scorsese just doesn't deal with that this is one of the only Scorsese movies that has

a sex scene in it right something he does he doesn't not do this a lot just feel like these guys would have been at strip joints, at least a little bit of the time. It's not his thing. But there's also, yeah, there's also like the element of it where I think that this is this turning point. I'm sure that the old Corleone era mobsters went to burlesque shows or whatever, but like, Paul is like, Paul is like, don't do drugs, don't bring drugs around here.

So I think that there is a reticence to get into vice the way that these guys did. You know, they were more like numbers runners and racketeers. Are we okay with the elaborate meals? they were cooking in prison? Like, did they... Was that realistic? Or was that ridiculous? I choose to believe it.

Yeah. It makes it more fun. I mean, the idea of those guys having an absolute blast playing cards and eating pasta every night. Henry and his track suit going around dealing benzos all day.

Jesus. I'll just read what I wrote here for this next one. When Henry pistol whips the neighbor, the neighbor stands there like a mannequin. He's like the guy who fought Jake Paul. Little joke for the guy

people who saw the Jake Paul fight. So they get married and they get like $50,000 in money, but yet they're still living in Karen's mom's house for six months. He's a fucking gangster. He can't buy like a small apartment or... Well, isn't everything about what they're doing trying to hide the fact that they have the money that they have? Right. He says at the end, I never paid my taxes.

I don't have a social security card. He's trying to live off the grid. And one of the great way to do that is to... And all of them, they're all living in like row houses or townhouses. on pretty quiet residential streets. It's not like they have these garish Long Island mansions or anything. Billy Batts has three people that is getting out of prison party. All of them leave him behind with the two people and some semi-rival gang who had a friend say,

keep him here. And those guys say, Billy, I'll see you later. So my thing is, I think Jimmy keeps him there. I think Jimmy is like getting him drunk. Yeah. Because by the time Tommy gets back, Bats is hammered. Bats is slant. I came home, I got fucking mouths to feed, you know, like...

I love that little subtle thing that they identify there that then became kind of like the lifeblood of the Sopranos, which is that, you know, Jimmy and Henry and Tommy are in Paul Vario's crew. They're in Paul's crew. And Bats is in another crew. They might all be in the Lucchese family, but they're... I think they're different families.

Maybe they're different. Maybe he's in a different family entirely, but ostensibly they're all playing for the same team, but the mafia is not like that. You know, the mafia is, they're all trying to break the law, kind of in unison. But there is like these natural rivalries. There is this sense that like these people could rub each other out as much as the police could do the same to them. So it's like a little nuance.

It's like not over explained. Billy Batts. You think it stood for Billy Battalia? Or do you think he hit somebody with a bat? So they called him Billy Batts? I think it's two T. So I think it's Battaglia, yeah. Okay.

I can go with that. So this is another big one for me. after Lufthansa, Jimmy starts whacking people. They find Mr. and Mrs. Rose Beef in the Pink Cadillac and it didn't go well for them.

The Rose Beefs. The Rose Beefs are dead and their new Pink Cadillac. The other people of the highest aren't like... I think that that's supposed to happen in a very compressed period of time. So it's like the Godfather Christing scene all at once?

I mean, the weird thing is that Carbone kills Stacks. He kills Stacks. And he kills Mori. Helps to kill Mori. Johnny Roast Beef shows up in the Cadillac. At no point, Carbone's

like, hey. We should go to Arizona or something. Yeah, let's take a trip. I don't get the impression Carbone's too smart. I don't know if you... It's true. I was like, what's Carbone going to do? His toupee would weigh 10 pounds. I'm going to go to the Iowa Writers program. I don't know what he's going to really get into. Any other

nitpicks for you guys? I have one. How does Karen know that Henry is at Moris when Bruce assaults her? That's a great fucking question. How does he how does she, she's on a pay phone? You think she called Mori's wife? I guess?

Because Mori's wife comes over when she's like, he hasn't come home. But how would Mori's wife know that Henry is at Mori's shop when they're there to get money from Jim? Like, I don't understand that scene at all. It's a great one. The whole payphone concept in general in these mobster movies always falls apart for me where it's like, don't use your phones, but just use the same pay phone every time that they can't trace. Right, right. But the FBI couldn't just trace all the pay phones in a 50-mile. radius. New category

just for this one. Best Senior yearbook quote. Here are nominees for the kids out there. Senior yearbook, Craig, people are graduating now, right? Is it too late to change your yearbooks? No, they just become FTAs. Craig, you just graduated from high school. What was your senior yearbook quote? It's actually one of the ones that Bill's about to read.

Here are nominees. You're a real jerk. You wasted eight fucking aprons on this guy. The way I saw it, everyone takes a beating sometimes. The two greatest things in life, never rat on your friends, always keep your mouth shut. That's actually a fantastic yearbook quote.

What am I, a schmuck on wheels? Every once in a while I'd have to take a beating, but then I didn't care. The way I saw it, everybody takes a beating sometimes. One day the kids from the neighbor had carried my mother's groceries all the way home. You know why? It was out of respect. And then my birth certificate of my arrest sheet, that's all you'd ever have to know that I was alive. That's the one Craig used.

Which one would you use? I think I actually really like the two greatest things in life. Never had, and your friends always keep your mouth shut. It would be a very good senior yearbook quote. Sure. I signed every yearbook that I was asked to sign. What's the fucking matter with you? What is the fucking matter with you?

What are you stupid or what? Tommy, Tommy, Tommy, I'm kidding with you. What are you fucking sick maniac? You feeling strong? What are you a fucking sick maniac is really great? Well, he was a sick maniac. He was. You're not going to get a divorce.

one not on Imale? My yearbook quote in 95 was Karen! Next category. Could this be remade as a 10-episode Netflix show? So obviously sacrilege, but the Lufthansa heist is still kind of sitting there. Wouldn't be, I would watch part one of that. Let me ask you this, though. Would you do the flip side?

Would you do the cops going after these guys? Okay, here's the thing. Such a high degree of difficulty. I mean, this is one of the greatest movies ever made. I'm just asking. I'm just throwing it out there. I say this with no disrespect to the work that my father did for many years

These guys were fucking idiots Like these these A lot of these mobsters There's a reason that the mob has gone very underground In the last 20 years It's because the way that they did business was They paid people To not bust them

It was well known Yeah About the crimes for 80, 90, 100 years What does the cops say to Jimmy in the beginning When he gives them and puts the money in the cigarette boxes? I would tell somebody but who would care Who would listen? Yeah, who would listen Yeah

And once that no longer worked, once there became enough Elliot Ness types and the government got involved and RICO started becoming a big part of prosecuting these guys, it kind of started to fall down. You know, and then you get kind of gangsters who want to be famous like John Gotti and then they also contributed to the downfall of a lot of these systems. So like if you did it from the cop's perspective, I mean, they were wiretapping guys like Jimmy the Gent for five years. and it was well known that he killed all these people. So it probably wouldn't be as interesting as you would want it to be. Probably. My first take thing, should the cops have stepped in earlier

to have saved Frankie Carbone. In the Cadillac. Oh, no, that was the Cadillac. What did he die? Oh, he died in the ice truck. Yeah. The roast beefs died in the Cadillac. Why was these Johnny Ross Beef, you think?

I don't know. We should do a 10 episode Netflix series. He was like a deli? Do you work in a deli initially? I feel like it's either one of two things. It's either because he really liked roast beef or he looked like a piece of roast beef. It's true.

I think he had a deli background. Probably an answerable questions. A deli background. Ray Leota and Lorraine Braco never achieved these heights again. Uh-huh. Mm-hmm. And yet in this movie, they were as good as everybody else in it.

Yeah, as good as like anybody's ever been. So what happened with both of them? I think Lorraine Braco is a little easier to understand because there's harder to find good female parts. I think it's harder to break it as an A-lister. He's got documented pretty personal problems. Like, there's, there's a, in some ways, I think that there are other examples of people having this kind of success where it just becomes, you know, your whole persona is tied to a character.

And he's talked about, like, not a day goes by where somebody doesn't walk up to me and start talking about good fellows. And I think he's come to accept that. But it sounds like he was like, he's admittedly a pretty difficult person to work with, he said, like, especially if he's playing like a gangster or a cop. Like, he's good every five years in something. Copeland marriage story He definitely comes back around

He makes a lot of shit too He made a couple of Bad choices He's good place beyond the pines he's good Very good He made a couple of bad choices From 91 through 95 And whether those were personal or not

The films that he made Were you gonna shit on a unlawful entry here? It's okay No, he did He made bad choices Those of those movies aren't that good I mean Lorraine Brocko is Dr. Melfi though I mean she gets to be a part of

Probably the greatest TV show ever made So it's not like she vanished. She was the Marco Ravaroni of the Sopranos. It's an 83-6ers joke for Chris. I like her. I like her a lot.

But she was 10 years between basically her being in the limel. I mean, she was married to Harvey Kytel in what seemed like a very tumultuous relationship at that time.

Who did she dump them for? Edward James Almost, which is one of the iconic actor-to-actor jumps that's ever been made. That's amazing shit. Kytel just wasn't interesting and intense enough

for Chris. She needed to go one next level. But Leota also is just as good, honestly, in something wild. In the last 30 minutes of something wild when he shows up as Melanie Griffith's husband, and he's just an absolute psycho. He's 1,000% believable. He also made this movie as his mother was dying.

I mean, I think he had a very tumultuous making of this movie. I think it was just like it didn't happen at the right time in his life. It's kind of incredible that Tarantino didn't revive him. You would have thought he was like, he fits all of the check marks on the Tarantino list. He should have been in Jackie Brown. I'm saving this guy. Yeah.

There should have been, like Leota could have maybe done. Or kill Bill or something where. There's still time. Yeah. There's still time. More unanswerable questions. Did the Billy Bats corpse smell ever leave Henry's trunk?

The corpse was six months. I hit a skunk. Six months. He's very, I just think you have to just get rid of the car. That's just one of the things where he could get a new car. You really seems to like that Pontiac GP. It took me back to that moment, too, when the inside of your trunk, if you took the little rug out, was just all metal.

You know, he's hosing down the metal. How much method acting was Leo de during the helicopter sequence? We're guessing some. This is the also, isn't this the origin of the, you know, snort a line of coke and the camera zooms in and your eyes go wide and head snaps back? Yeah. That's the first time we ever saw that, right? Yeah, but that became a Scorsese By the time it's in vinyl

and Wolf of Wall Street Vinyl especially I think it was like Vinyl everyone who did Coke They're getting whiplash Throwing their heads back And he would just go running out the door And do like 50 pushups And then the big one

Was Jimmy actually gonna kill Karen With the Dior dresses? That's a great question I don't I honestly don't know I say yes because Those guys were like They saw her come And they were like

I think that I would assume yes because he doesn't walk her down there. Although you could say, you could say no because he doesn't walk her down there. But like because he's just like keep going, keep going and he's like checking the streets a lot. They shot that at Smith & North. It's set at Smith & Ninth. Yeah.

That's where I used to live. What? Oh, oh yeah. It looks like that. Run into the beach of the movie. What piece of memorabilia would you want from the movie? Pink Cadillac. That's a good one.

With the roast beef sand in it or no? Yeah, they're rotting corpses. That'd be great. No, just a big roast beef sandwich sitting on the driver's seat. I would either love Karen's living room set that they have made special. The rock that opens? I forgot to put that at one stage of best.

The rock wall? Or Henry's crucifix that he covers up and then she's just like, my mother wolf thinks you're Jewish and he's just like just the good half. I have the painting. Yeah. It was the actual painting from the movie.

That's a cool thing. But I maintain that like this movie just makes me, bamboo lounge, sweet lounge, like I want to own a bar. It's just very suspicious of you You want a murder palace Is what you want I just want a cutty sark I want to bring cutty back

It's the best time ever to buy a bar Buy the dip Yeah Who won the movie This is really hard I know that there's an obvious answer But this is really hard We did good time here

This is we still have a chance To be finished less than the actual length of the movie Which we always tried to pride ourselves in Well then I'll just vamp for about 20 minutes About Scorsese some more So Scorsese wins. He wins because this is him in full and it resets the trajectory of his career.

If he does not make this movie, I don't know. I feel certain that we don't have the Irishman, Killers of the Flower Moon, all this stuff into his 70s, and that he has become really like the mascot

of American movies in the last 10 years. the iconography around him, the way that we look at him as like representational of what American movies are. I don't think it, I think he ultimately just becomes someone more like Brian De Palma or who's another, who's Robert Altman,

you know, like these 70s filmmakers who made great movies in the 70s and in the early 80s, but they have, whether they passed away or they've become less relevant or they haven't worked as much, they become more like relics of a time. Martin Scorsese is as relevant as he's ever been right now.

And the reason for that is because he made this movie in 1990. I think that's the key point. And that's why I also had Scorsese because this allows him to ascend out of this generation. That was this famous generation had all these great filmmakers. And this became his Tom Brady second three Super Bowls era that he goes into where he just leaves everybody behind. That's it. And the thing that Sean said before, it's just like to have the best movie of the 70s, 80s and 90s is that's. Well, what about the fact that

two of his biggest rivals, if not the biggest two, released movies the same month as Goodfellas, and he fucking dusted them. Godfather's Three and bonfire of the vanities. And he wiped the floor with both of them, and that was it, and then he's off from that point out. So some people, I feel like you've talked

about this a little bit as a writer. I've certainly felt this as I've gotten older. I look back on what I used to do, and the writing I used to do, the editing I used to do, anything I used to do at work. And I was like, I just had no idea what I was doing. Yeah. And I was just improvising and faking it.

And you get to be a certain age and you're like, oh, this is how you do it. This is how you get successful. That's why he's one of those people, one of the things that makes him so special outside of obviously his eye and his facility with like every aspect of filmmaking is when you watch the behind the scenes clips of Goodfellas and you read anything, Glenn Kennedy's book, you read the oral histories or whatever. He has a vitality and an energy that hasn't dampened. even in this age. He makes movies in a way that I don't think very many people make them. He has like an energy for it.

He has a fascination with making them and he has like a passion. People talk about his reactions to their performances on the set make them feel like what they're doing is meaningful. Because he's just like, yeah, yeah, yeah, yeah, do that again, do it this way.

And that's... Well, he gets a lot of repeat customers too, which I think that... Yeah, but the energy that he has, you know, I think that they're, of course, David O' Russell. A lot of people contribute to why this movie

is the way it is, but it's inimitably his. I think he's clearly the winner. I didn't even debate it. I just, who win the movie?

I just wrote down Scorsese. I was going to throw Jim Gordon out there because he wrote the second half of Lela. You know? It's not a bad one.

Yeah. Probably got a nice check off of that. Well, he's dead, but yeah. Well, at the time. I think there's a, there's a conversation about Pesci. Yeah, there is.

They're very similarly. If this one, wasn't one of the greatest American movies You could talk me into any of the three guys. You could make the argument that De Niro is the weight of this movie. He's like the sort of the specter of evil in it. You could make the argument that his performance

doing the voiceover means Leota is it, because he's the voice of the movie in a lot of ways. And then Frank Vinson being the third. Yeah. I had an exclamation point. An explanation point question based off this last question. Was it weirdly better for Scorsese that he didn't win the Oscar for Best Director for this movie. Because I think it helped with the narrative. People liked the movie so much.

They admired it so much. And people love getting agitated when there's been some sort of injustice. We got to get Marty his Oscar. We got to do it for Marty. Yeah, if he wins the Oscar, it's like, great job. He wins. And that's it. But the fact that he didn't win, I think, is great competitively.

I think it helped with the whole people kind of rallied around how great he was in a way that I don't know if that happens if he just wins. What beat the Irishman? I won't think it was Parasite, right? It was 2019. Okay, so I think you're right.

I think that's a very good point. Thank you. Clearly, there was this sense that Scorsese had not been properly recognized in this time. So everything that happens pretty much from 1980 when you should have won all the way through 2006,

you feel like you're getting the best of everybody. but there's another part of that there's another reason why he has never faded away and that he has remained relevant because he could have stopped after 2006. He could have stopped making amazing movies.

In fact, I look at his movies since the departed and I'm as blown away by those as the other ones. I'm as blown away by Wolf of Wall Street. I'm as blown away by Shutter Island. I'm as blown away.

Movies that I underestimated when I saw them and I go back and I'm like, wow, this is unreal what power he has and one of the reasons for it is what Chris was saying. It's not only that he's passionate about making his movies. It's that he is the,

number one advocate for movies in the world. He is the person who every time somebody puts a camera in front of him, he's like, let me tell you about this movie I love. Let me tell about this movie I love. You know what? This movie is important. Let me tell you about this movie over here. It's frankly inspiring. And people who work in movies love him for that. He fights for it every time. So I'm sure that a part of it is exactly what you said, Bill, which is that people were like, wow, this guy got screwed like in four different movies and didn't get best director. But it's bigger than that because like we talk about the Academy Awards and I care about them a lot. But that shit doesn't matter. Like what matters is that he

loves doing that job and he loves the art forms history. Yeah. And he's always working towards making the best possible version of it. Which is really cool. There's not a lot of people who, like he doesn't take days off. That's really inspiring. Unlike Chris. No, he's been coasting for 14 months and now we're back in person.

Got new facial hair. You film fucking strong now, Chris? That was it. We kept it under the time of the movie. Congratulations, guys. Great to be back. Chris Ryan, Sean Fennon. a pleasure. Craig, Corey, thanks for coming in. Our first post-vaccination podcast, this is fun.

Lethal Weapon 3 next. Proof of life after this, right? Proof for life. Re-proof. Karen!