The Rewatchables - ‘No Country for Old Men’ With Bill Simmons, Bill Hader, and Chris Ryan

Episode Date: July 3, 2019

The Ringer’s Bill Simmons and Chris Ryan are joined by Bill Hader to flip a coin and await their fate as they rewatch the 2008 Academy Award winner for Best Picture, ‘No Country for Old Men,’ starring Josh Brolin, Javier Bardem, and Tommy Lee Jones. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's episode of The Rewr Podcast Network is brought to you by Voodoo, a leading streaming app with a library of over 150,000 titles available to rent or buy. And over 10,000 titles you can watch for free on their ad supported on demand service. Enjoy everything from the latest Hollywood blockbusters to your favorite indie films without subscriptions or contracts. Right now, you can go on Voodoo just for the month of July and watch District 9. falling down. Poetic justice, Tupac.

Yeah, a lot of good stuff there. So check that out. All you have to do is go to voodoo.com slash rewatchables. Sign up. Start watching today. That is vudu.com slash rewatchables. What's the most you ever lost?

Look, I need to know while I stand to win everything. Just call it. Friendo. Can't stop what to come in. This is going. You got supposed to be the ultimate badass? You don't understand.

All right, Bill Hader is here. Chris Ryan is here. We asked Hayter to come on, the rewatchables, and he sent us a long list of movies. Yeah, I did. And we selected this one. Cool. It's a really good movie. But tell Chris Ryan why you have a personal connection to this movie.

Oh, the movie is No Country for Old Men. I would say because the show I do, Barry, we had a, owes a lot to this movie in a way of, like how we shoot action and how we cover things and the no music or the where they put music, you know, I just like that it didn't glamorize violence, but it had a way of also making it cinematic. You know, a lot of times when people say, don't glamorize violence, it's, you know, you do handheld and it's kind of, you know, really hard to watch, disgusting stuff. This was still cinematic, but it wasn't, like, rad. Yeah, it always, it kind of rides on the line,

the whole movie, you're just like, this is so awesome, but also it's so terrifying. Well, yeah, it was a time where you would watch it, and it was so easy to make the violence in this movie. It was a very easy version of it to make it rad and cool and like a gunfight thing. But instead, it does a great job of every time, as someone who watches action movies and stuff, any time I thought there was going to be any sort of violence, I got scared. It was like a horror movie.

Yeah. You just don't want it. Anytime Harvey Byrdam would approach someone, you would go, oh, fuck. You know? Yeah. So when he said that to me, I was like, I was mad at myself. I didn't realize that the vibe of No Country for Old Men and the vibe of Barry, it does feel like they're related in the same family.

Yeah, a little bit. I mean, especially that episode, you know, we've talked about the Ronnie Lilly episode, like not having music. Yeah. But again, it's not like you go, oh, let's do the No Country thing of that. It's more of like, it's like an influence. And I know that they like this movie, Man Escape by Brasson. and they've talked about that

where that movie, and it is just a guy trying to escape from prison. But it's that same thing of just you're just watching methodically what they go through to do it.

The story is almost besides the point in this movie. Yeah. Like you can kind of, you can, if you've read the book or if you pay really close attention of the dialogue, you can figure out like,

okay, there's a cartel, then there's the American side and there's $2 million and he went to Vietnam. And they cut a lot out too. He had of the book, too. I mean, For the movie, they cut a ton of stuff out to streamline it more, where it just really is about these three guys.

Yeah. You know, and kind of they try to get into more of the futility of the whole thing. And it's all process. It's all just like, I have to get the, like, I got to fill up a water jug or I got to cut the nose off the shotgun or whatever. Yeah, or they both get hurt. And then the process. of, I'm going to show you the process of the product of the violence, you know.

I had pitched Bill on me being naked, sewing up my hip when you walked in here, but he shot it down. Yeah, I thought that would be a bummer. So I remember seeing this in the theater and obviously being blown away, but also confused. It was just so much, I hadn't read the book,

and it veers twice in ways that are just so uncommon for movies when we don't see Josh Burland die. You mentioned that in the book of basketball, don't you? Yeah, and then it just ends where it has this Tommy Lee Jones monologue and you're like, all right, what's going to, and then it's like the credits. And you're like, the whole thing is about futility. I feel like the whole movie is just a futility of this is where we're headed guys. And this is where we've always been.

This is where we've always been. This is where we're headed. And what I loved about the Josh Bronwyn thing, which is also in the book. And I were reading the book. And when that happened, I went back. Did I miss something? Wait, I was like, wait, I miss something. Wait, he's dead?

Wait, what? But that's what I loved about it is it starts off as this kind of thriller. But the idea of it is that, you know, and it's in the title, No Country for a Moment. It's that this world doesn't abide by those rules, you know? Yeah. The world, as we know, it doesn't abide by those thriller rules. It's something much darker and more cynical. Yeah.

And I just thought that worked beautifully, yeah, where he just showed. shows up and he's just dead and you're like and the way they shoot it too where it's handheld behind timely jones he's running in and you just see a glimpse of it yeah they pay him this character even follow the whole time he is like trash he's like in the wind he's nothing it don't even get a close up in the face you get nothing it's like oh he's dead now we're moving on and that's the the world you know it's like you can't argue with that you just go yeah oh man this isn't about what I thought it was, but they need to lead you into it. In Corr McCarthy, too, they lead you into it in this way.

And I think those things had a huge influence on Barry in a way. That kind of mindset of taking you in a direction where you go, oh, I know what this is. And it's like, no, there's actually like these bigger emotional fallouts and just the way the world works. I remember leaving the theater and thinking, that's definitely they're going to win the Oscar or get nominated. and a bunch of these guys were nominated,

I did not expect it to be a rewatchable. Yeah. And then when it popped on cable a year later, it immediately became a rewatchable to the point that my wife was like, really? I said, no, no, he just put those suitcase of cash in the... You're watching this? No, no, just 20 minutes.

Chris, when did you know it was going to be a rewatchable? Well, as a rewatchable, I guess, you know, I've watched it a bunch since 2007, mostly because of cable, also just because the Coen's are like some of my favorite filmmakers. This is a really funny one because Cormac McCarthy is one of my favorite writers, like one of my three favorite writers. So I, this is one of the few books that I just like bought the day it came out like it was a record that I was anticipating.

I read it in like a weekend. Pretty soon after that, maybe even right when it came out, they had announced that Scott Rudnett bought it, that Coens were going to make it, and that the three leads were going to be Tommy Lee Jones, Josh Berlin, and Javier Bardem. And that was just one of those where you're like, Yeah, that makes total sense.

It's just the material, yeah, the people, everything just lined up beautifully. It was within like two years, right? 05 and 07. And then pretty soon after the book, I feel like the trailer was out, and the trailer is one of the best trailers I've ever seen. Yeah. And then the movie comes out and you're like, yeah, that's perfect. You guys just shot everything that matter from the book,

cut out the stuff that you could cut. It's still Cohen Brothers, but it's also McCarthy. And the thing that, the movie that I've thought about a lot when I watch it this time with Silence of the Lambs. Yeah. Because it was another example of kind of like these independent-minded filmmakers

taking on some, like somewhat more mainstream pulpy stuff, even though this is stuff that they've done before like Blood Simple. But it was like the same way where you see it and it's got like an iconic villain performance with Bart M& Hopkins

and Jonathan Demi did Silence the Lambs and then it just sort of catches on in a way that nothing he had done before Silence of Lambs that they had done before this really ever captured. I think like the mainstream dream imagination really yeah yeah i mean i mean the the i mean the the the coens before this i mean you had fargo which everyone kind of that was like the one that people got excited about but then it

almost felt too where people because the two movies they made before this were lady killers and um intolerable cruelty which i will say as a massive cohen brothers fan i think or not that i agree with you And I also know that there are movies that they wrote for other people that then they decided like, well, we'll do it. Yeah. You know? And it feels that way. They feel almost like weird assignments or something. And then they do no country.

And it was, it has that feeling of like, nah, man, let's, we got to land this. Yeah. Yeah. Yeah. You know, like they're, they got, it felt more whether they were trying to or not like we got something to prove here, you know. and to the Demi thing, I think, was it married to the mob. It was probably the thing before that,

which wasn't, you know, it's like you get Salas of Lambs. The Sinus of Lambs is a really interesting thing, too, because what I always find works so well about that movie was, you know, when you read that book, the material, it has some humanity in it, but not a lot.

It is much more of a pot boiler. And Jonathan Demi is, for me, all humanity. Yeah. It is just all about, the idea of him doing a movie about a serial killer was, why, that guy? You know, he's such a warm, beautiful person. But it was the perfect combination of things where he then brought into it this weird humanity.

Like, you know, the woman in the well and that character, how strong she is and music and stuff like that. And he didn't, he didn't, nothing about it felt exploitive to me. He felt like even when they're looking at the body of the woman and, and, and, um, and Jody Foster, you know, this was someone's daughter. This was someone, you know, Jody Foster feels for this person. And I never felt like those things were in the Thomas Harris book, you know. Does it make me a bad person that I've gotten almost 30 years of comedy, had a Buffalo Bill or not?

Oh, man, no, no. I mean, I did Buffalo Bill in SNL, yeah. We did the Buffalo Bill talk show, which never got on. Now I feel like in 2019, there would be a back-off. to people enjoying Buffalo Bill? Oh, there was a backlash when the character came out because a lot of gay rights people that said that gay people were all kind of

homicidal maniacs who want to skin women and wear them and all this. What about the people that just like imitating his voice? I know. I mean, Ted Levine. Then you would see Ted Levine in like heat. And he would go, oh, there is that. Oh, okay, Buffalo Bill.

Yeah, he straightened up and became a cop. There's like a couple movies where he plays like a nice, like, offensive coordinator of a high school football team, and you're just like, yeah, but don't you have somebody in a basement well? Come on, man, let's get out there. Hey, you're going to be full back. Oh, wait. The blood side high school football coach.

Yeah. Hey, oh, that's good. Oh, well, you live with her? Oh, that's nice. Wow, that's crazy. She let you live in her house. Oh, that's nice. Remember she, he was in, I think he was in Fast and Furious.

Ted? Levine, yeah. He's like 100 days. I like when he's the sergeant. Yeah. I think he got, I think he wanted to get away from Buffalo Bill,

so he just went the other way and he just started to enforce the law. Yeah. And he's so, I mean, it is one of those performances that he's so good in it. I mean, it stinks that it kind of like,

you know, whatever, like Bell Logosian Dracula or something where it just became so, you know, connected to that character. But he is a great actor. I mean,

I always, when I watched Sonza Lams, I'm like, His performance is unreal in that. You've got to work him into a berry. Yeah. Yeah. People come in.

The movie that launched the rewatchables was Heat. Oh. Because Chris and I loved Heat. And he came on my podcast like three and a half years ago. And I was just like, can we just talk about Heat? Just do. We've now got no point. We're like for the whole podcast.

Chapter 2 of the Heat podcast. Yeah, we feel like it's been three and a half years. I have more thoughts. So we might end up just bringing it back and do it. Yeah. He's one that's kind of like weirdly divisive for some people. Some people love it. Other people think

the Al Pacino performances over the top. Oh, it sure is. Yeah, it's funny. You gotta love it. I go, no, that's why I like it. I go, you can see Tone Loke is not acting in that scene.

He's like, what is going on right now? But no, I think he has one of the best gunfights in any movie. I remember seeing that in the theater and the sound on that, you would never... Oh, the sounds amazing.

Yeah. It sounds like it's happening in a canyon. I talked to the mixers of Barry. how do they get those gunfight? You know, and the guy did research, he goes, you know, they did nothing. He goes, that was what it sounded like in downtown LA or wherever they shot that. And then when they went to mixing stage, what mixers do is they added all the bullet shots and everything. And Michael Mann went, wait, but when we were there, it was like cannons.

It was echoing and all this. Now it just sounds like a movie. And can I hear that again? And they took all that stuff out, and that's why it sounds rad. I had coffee with McCauley a half an hour ago. Pacino, always tiling it up. Oh, yeah, yeah. All right, so Joel, Joel Cohen said the reason he wanted to do this book, or they wanted to do the book, he said it was the idea of the physical work that somebody does that helps reveal who they are and is part of the fiber of the story.

You only saw this person in the movie making things and doing things in order to survive and to make this journey. and the fact that you were thrown back on that as opposed to any dialogue was interesting to us because his whole thing was like there's just no dialogue for large sections of this movie and no music.

But it's riveting the whole time. Yeah, I think that's a thing they're interested in because they've always wanted to make this movie to the White Sea, which is based on this James Dickey book. And I read that script years ago when I was a PA

and someone I knew worked at whatever studio was trying to make it. They just like recently that came up is like they might, do that soon again. I wish they did. But that movie has no dialogue. Yeah, it's just like a guy escaping from a World War II situation. Yeah, he's a fallen pilot World War II and he's behind enemy lines and he's, the whole movie is just him trying to survive and there's no dialogue. And I read the book last summer and it's, it's unreal. I mean, it's just that if they did that, they'd be

amazing. But it, clearly they're fascinated by just, yeah, the work, like what we were saying, like that these two guys, how that shows character and who they are and all these things. And it's, I mean, it is almost like a silent movie. And as a filmmaker, I like watching it because I'm now, when we were doing the Barry Pilot, I would watch that, you know, McCollins and some other filmmakers and especially old movies and you count setups, you know, where you go, okay, they're the camera there. And I go, wow, that whole scene is just two shots, you know. Right.

That scene is four shots, and it was riveting, you know? And it was a good lesson for me going into a television show to think, like, okay, you only have so much time. You have no time. We got to go. We got to go. And think, you're like, no, we can get this in like two shots. Right. With three shots and just, they just have to be the right three shots.

Yeah, the Ronnie Lilly, like, there doesn't seem like there's a ton of coverage in, like, especially when you first meet. No, yeah, it's very by design. But, like, and they storyboard everything. Yeah. So I think they storyboarded the whole movie. So I think it really is a thing of just a lot of thought goes out, goes into like how do you tell this visually, you know. It's like Belichick.

Yeah, Belichick. I think they said that too. We won six Super Bowels. Yeah. You think the Coen brothers saw, wait, you think the Coen brothers saw Castaway and we're just furious that Tom Hanks, there's no dialogue with anybody else for an hour? What the fuck?

And then Harvey Redden was going to be friends with a volleyball. Damn it. I think that the thing is, though, is that the dialogue that is in no country for old men, I have like a page of best quotes. It's like everything someone says is. I didn't even know what to do with best quotes. It's like the script you just hand it out. Like, I don't know.

Actually, I had a lot of trouble doing the categories and stuff for this because it's like, well, best quotes, there's 700. Yeah. Most rewatchable scene, it's like, well, is the first hour count? Yeah, yeah. I'm supposed to pick between moments. Do you, like, we did this a bunch of, two years ago when it was the 10-year anniversary of 2007,

but do you have particular memories of 2007? Yeah, it was an incredible year for movies. I remember this, and there will be blood, and they were shooting in the same town. At the same time, yeah. And so it, and yeah, that Oscars, I sometimes feel like that Oscars was the one that made them go, okay, we need to do 10 nominations,

and we need some happy shit in there. You're actually, I think you're right, Because there was like no country, and our two headliners for no country, and there will be blood. We can't have that again. They changed it for 09, but I think this was the year that it was just so low.

Was this the Dark Night Year? Yeah, that was 2008. Oh, so Dark Night was that, yeah. And that was what, Slum Dog or? Was that Slumdog? Yes. Yeah, so I mean. So the nominees for Best Actor, I'm sorry,

for Best Picture, it was Atonement. No country. There will be blood. Juno Atonement. Michael Clayton. Michael Clayton. Michael Clayton. Like another year. He didn't even get nominated. Zodiac. Didn't get nominated?

What else was this year? I mean, Super Bad and Knocked Up. Yeah, Zodiac was great. What else? I can't imagine. Oh, assassination of Jesse James, which is one of my favorites from that year. Yeah, in a bad Oscar year that would have gotten that. Yeah.

But that was like hardly anybody saw that back then. Yeah. Yeah, I don't think anybody even knew what, like, the title alone. People go, wait, what is this? I feel like that was one of those movies where they were willfully trying to not be that successful with it so then people could talk about what the great movie was. The title, you're almost like sabotaging yourself.

I just remember, I know it sounds so lame because I love that movie, but I know so many people that would just, I would tell them the title. I'm like, oh, do you want to see the assassination of Jesse James by the Cowell of Robert Ford? And they went, no. They go, what? Come on. Like, get over yourselves.

If they just caught an assassination, it probably does twice a road. Or just Jesse. James. Yeah. Or Brad Pitt is Jesse James. The best director, we had Paul Thomas Anderson going head to it against the Cohn brothers. Yeah.

The Cone brothers won. Yeah. I don't, how do you feel about that 12 years later? That's a tough one. That's like the 87 MVP race. This is one of those like heat spurs ones where you're like, yeah, either one of them deserved it. Everybody wins.

Yeah. And then best actor, this is weird. And I had remembered this differently. I thought Javier Bardem had worked. one for Best Actor. It was actually Best Supporting. But Tommy Lee Jones was nominated for Best Actor, and he's in the movie less than than...

Yeah. So they did that whole whatever. So Tommy Lee Jones loses to Daniel DeLewis. The other people in the category are George Clooney, Johnny Depp for Sweeney Todd, which I don't understand how that one happened. And then Vigo Morton's in Eastern Promises. Oh, yeah, Eastern Promises was good, too. Yeah, the fight scene in the shower, the naked fight scene where they're turning.

That was a crazy. Yeah. Crazy. So really good Oscar year, really good movie year. And it was coming off a couple of bad movie years where we kind of needed the monster movie year. And I felt like... Yeah. But that, it is just proves, yeah, in a weird way.

Like, you have that year. And then they go, okay, no, we need... Yeah. We need happiness. So, $25 million dollar budget, 170 million worldwide. Domestically, the third lowest grossing Oscar winner ever. Is that true? Behind Crash and Kurtlock.

Oh, what about Annie Hall? Annie Hall, too. This is half-ass internet research. They won the Oscar for Best Picture, Best Director, Best Supporting Actor, Best Adapted Screenplay. Javier Bardem became the first Spanish actor. Wow. He was also the first one to get nominated. This is one of the ones that Deacons didn't win.

Yeah, no, this was... This is... The Etonography. Yeah, he finally won for a Blade Runner. Before we get to the categories, let's talk about Voodoo. It's a leading streaming app with a library of over 150,000 titles available to rent or buy from the latest Hollywood Bokbusters to your favorite indie films. They've recently launched an ad-supported on-demand service with over 10,000 titles.

You can watch for free, including classic movies and TV shows. That means movies like District 9, poetic justice. I mean, they have so many good ones. My kids like Voodoo. My kids are big fans. Voodoo is the presenting sponsor of our rewatchables podcast, where we're covering some great movies in July, including we're doing it before sunrise and before sunset doubleheader.

You can run it on Voodoo before you turn into that episode. Voodoo is available wherever you watch a TV to make it easy to access all your favorite entertainment with a click of a button. Enjoy it on Smart TV, Roku, Chromecast, iPhone, or Android, or online, no subscriptions, no contracts, just free entertainment. Head to Voodoo.com slash rewatchables to sign up and start watching. and you can get some cool bundles too, like the Fast and Furious.

I have every Fast and Furious movie. They had a nice little deal on that. VUDU.com slash rewatchables. Most rewatchable scene. I mean, I don't fucking know. I mean, you're right. I mean, it is true, like the whole first hour of it. Even I remember reading the book and reading in the bookstore just started just flipping

through it and just kind of reading it. And I read, I sat for 30. 40 minutes just reading that whole open. Yeah, of him hunting, finding the body, finding the money, then laying in bed and because of his own kind of good nature, I'm going to bring water out to that guy.

And then seeing the thing. The guy behind the counter's like, sir? You want to buy that? And then I was like, no, I'm still thinking. I'm not sure yet. But yeah, I mean, that whole sequence is amazing. The gunfight in the town

when the next scene. We're doing the most rewatchable scenes. I'm trying to think of them. Try to stay in line. What I'm telling it. I'm doing it. I'm judging this by if I'm flicking channels and this scene is about to

happen. Does it suck you in? On a scale of one to ten where we're going to be at least an eight for every scene in this movie. Is it like a nine or a ten for like, oh shit, I got to watch this point. Scene number one. I like Brolin when he sees the cars. Just the way that shot and it's super wide.

And he's just like, suddenly there's a car up there and there's like more cars. He's kind of walking with his gun. And then there's dead people. Yeah. And the way he handles it is not like the way the three of us would probably handle it. Or it would be like, what the fuck? What?

He's kind of just like meandering around. But again, that shows character. You go, when I watch it, you go, okay, that guy is like some sort of training. Yeah. You know, but he doesn't. come out and go, you know, I'm a vet. I was in a war, you know what I mean? I was in two tours.

You're like, oh, that guy is moving like a guy who's not afraid and understands. Right. Totally. And he says that and the first time he comes across the car is he's like, you went, you checked your, like, to see if anybody was following you. Yeah. But you'd probably go somewhere where there's shade and then he finds the trees. Yeah. It's just like, his pursuit is so incredible.

But yeah, that, when the car show up. The shade thing was great. He was looking around. He sees the trees and he's just like. Yeah. Do you consider the dog chase as part of? of the scene with the car showing up? No.

Okay. That's a different one. That did not make the cut, but the fucking dog chase... The dog chase is... Yeah, that's insane. My wife was upset that the dog got shot. The next one, Shigur.

How are we saying? Shigour. Shigur. Woody Heraldson calls him like, sugar. Yeah. But Shigur and the gas station guy. Yeah, coins.

Yeah, that's great. And that's when you understand what year it is. Yeah. Because they don't say it's 19. Oh, yeah, 1958, 20 years. Yeah, there you go. See, I figured out, I figured it out from one of the hotels has the HBO. It says free HBO.

I'm like, late 70s, 80. Yeah. But I like, yeah, I read an interview with the ones and they said, we put a pole tab on a beer, and that was that was it. That was how you had to know, like, what year it is. I don't think it's in the book either. I don't think they really make a big deal on what year it is. Yeah. That was when he said, uh, well, we need to know what we're calling.

for here. You need to call it. I can't call it for you. Well, it wouldn't be fair. I didn't put nothing up. Yes, you're dead. You've been putting it up your whole life. You just didn't know it. You know what date is on this coin? No. It's been traveling 22 years to get here. And now it's here. And it's either heads or tails. And you have to say, call it. Well, look, I need to know what I start. stand to win everything. How's that? Just tend to win everything.

Call it. It's like, all right, this guy. And you already murdered two people at that point, too. How good is that guy behind the counter? The guy behind the counter is fantastic. Good old guys. Collection of Cohen Brothers faces, man. It's like those people, like, they just find people who have, like,

such distinctive looks and they put them in just, like, the perfect little. And, again, not to belabor it or whatever, but it's, like, two shots. The whole thing is just two shots, two sides. is like they don't do anything. That's all you got to do. It was great. Scene number three. By the way, you can add some after I ripped through these.

Brolin getting the hidden suitcase out of the air conditioner event. Yeah. Oh, yeah. And the people, he's hearing all of a sudden, their shots and there's murder scene going on. And then he's just kind of, that whole thing, it's a great five minutes. Yeah. It's also set up by one of my favorite.

bits, which is like, do you got any tent poles? When he goes to the sporting good store, he's like, got any tent polls? And he's like, no, I'd have to special order him. He's like, just give me a tent. Which one? With the one with the most poles. I didn't realize till like the seventh time that those three Mexican guys were there to kill Joshua.

Yeah, yeah. I didn't pick that up. Those guys were also in the book, like, following them. There was more of a cartel. presence like, you know, later when they fight in the square, whatever those, the cartel was there. It becomes like a bit

It's like a siege kind of, yeah. Yeah, I'm glad they got rid of that because that was the part in the book when I read it. It was like, wait, that's just so they happen to all show up at the exact same time at night. When I was like, that's so much. The third murder of the Mexican guys is great. The shower one?

Yeah, the shower on. He just closes the curtain. I love it. I love the. way when he shoots the one guy and the guy's arm flies off. Yeah. And then the, the, him going towards the bathroom and how you see in the mirror, the guy look.

And then when he goes like this, and I remember I saw it a couple of times in the theater and every time that would happen, people would go, they would freak out, you know? Like they were nervous for sugar. Come on, get him. They're like, he's in the, he's in the shower. So then, uh, him lying in bed and he finds the marker in the suitcase leading to, I mean, this is, I'm just going to spoil it. This is my pick. There's seven minutes of finding the marker.

The second hotel is goos. Second hotel. Turning the lights off. Getting the gun ready. Waiting. You see the steps. You see the shadow. Shoots the doorks the doorknob through.

Can we talk about that? Let's do it right now. So I remember when we talked about, we did die hard. We talked about this a lot. I'm sure you probably have a take on this. But just how hard it is and how good they are at like making. like making sure the audience knows exactly the physical space, like the dimensions of, okay, if he jumps out the window,

then he's in front of the hotel, but then he's going to go back through the lobby and he's going to go out the back of the hotel. Yeah, yeah. And it's not like you spend a lot of time with, like, establishing shots, but there's something about the way they shoot this scene. And it was a lot, like, there's a lot of scenes in Diehard like this. We're like, I know exactly where he is in this building.

That's so weird. Yeah, geography is so, like, the best, you know, like Spielberg and James Cameron, and Ventura, like a lot of these people that are cast on Bigelow too, like that you always know where the, where everybody is in the space. And you just like, oh yeah,

because usually when somebody jumps out a window in an action movie, you're just like, what? And then they land somewhere and you're like, were you on the 10th floor? Was there a balcony underneath of you? Like, how is this working? And where are you now?

And they'll cut and it's like a different studio back lot or something. But it just makes complete sense. And you're just so enraptured because you know exactly what he has to do to get away. And they do good discoveries in this. So, like, he goes back in the lobby.

And, like, in a mediocre, a decent action movie, they would just show the clerk and his head's going off. And in this, he notices the milk first. He's like, oh, shit, that's a bad sign. Yeah. It's a pretty brave cat. Spilling a milk cup. Damn.

Yeah, but that's not going well. Yeah, that's, like, very, yeah, they love that stuff. They love kind of showing you a thing that seems innocuous, and then it comes back. Yeah, it's for bored. Or they'll show you. They're really good at point of view, you know? It's like in Fargo when William H. Macy goes up and he pulls up to, and he sees that his father-in-law has been murdered.

Do you remember that? Yeah, yeah. And they don't cut to his face or anything. Just the trunk opens up. And it just tells you a story right there. It just tells you, like, they really do for as good as their dialogue is and as specific as their dialogue is. My favorite stuff is that kind of thing where it's like, well, how do you? you visually just tell the whole story,

and you could tell what someone's thinking about and everything without having to, you know, cut, any other movie would cut to him putting the guy in the track. Next one, Woody Harrelson, one-on-one with Shigur. Oh, yeah, really scared. He's going up the stairs. You just see him kind of limping behind him coming around. And there's good Woody in this scene.

There's different versions of Woody in a movie. this is kind of the grizzled beating up, Woody? I feel like he goes four for four in this movie. Oh, yeah. Like, I think he's on, I mean, he's on screen for like 12 minutes and it's so good. He plays scared so well of a guy trying to keep his shit together, but terrified so well on this movie. And also the way he gets it too is so shot.

It comes out of nowhere. Yeah. I have him killing your boy, Fuchs. Oh, yeah. With the accountant staying alive and the ending with, you're going to kill me? That depends. Do you see me?

I didn't even totally know what that means. Yeah. So did he kill that guy or not? I think he lets that guy live. I think he lets that guy live, right? Then the Carla Jean going to see her in the car crash. Yeah, that might be my favorite scene in the whole movie. Because I think that always just kind of,

I think the performances in that and the kind of like what the whole movie is about, for some reason, clicks for me in that moment where she's like, it's not about the coin. You know what I mean? Like Rashid's saying it's not about fate. It's not about chance. It's you. You're going to fucking kill me.

Yeah. You know? And almost our chagher, like Harvey Bred Dem. That's the scene I think that got him the Oscar for the movie because he almost gets a little emotional. Yeah. He's like people always say that. People always say this. Like you kind of see like, I don't.

He's sitting like this. Yeah. He's in the shadows just looking at her. And he feels this like, I can't help this. And she's like, no, yes, you can help this. And he's like, no, you just don't get it. I made a promise. She freaks out a little bit more in the book, I think.

It's like a longer speech she gives. I love how I think both of them are so good. And then the way they did that, I thought was amazing, where he walks out and then just checks the bottom of his shoes. I remember seeing that the year the first time when he checks my shoes, the whole audience went, oh. Yeah. The whole, everybody just went, oh, no.

And, like, that's the way, again, beautiful storytelling. Yeah. You know. Any other scenes you would throw in there? I mean, we could throw in 30 more, but they're clearing omission? I would put the Harrelson and Brulin when Brulin's in the hospital

Yeah And he comes and he's just like You know Was he supposed to be the ultimate badass? Yeah That's not how I'd describe him And also the Tommy Lee Jones Barry Corbin scene

Towards the end Oh yeah When he goes and visits him And it's like shack And you're just kind of like What is this Like why are we doing this scene Like this isn't supposed to be the like

The day new mon of the movie It's like the climax And he just goes and has this Anecdotal conversational with this old retired lawman and like a minute into it you're like oh this is the most profound thing I've ever seen it's just an incredible bit of acting by the two of them too

I would add towards the end I like Shigur getting in the car accent because he gets hurt and again this is so fucking pretentious but I just this is why I like the movie is that they can do these things and they are real kind of but it is the kids helping him it's like the younger generation is the guy

the ones who are going to help the devil. Look at that fucking bull. But you know what I mean, though? It's like the fact that it's kids adds to the narrative. And like the, you know, I just thought that was brilliant. They started arguing about whether they should have both gotten money. Yeah, yeah, yeah. It's a nice call back to like the kids, the guys who Brolin runs into on the border.

Yeah. And they're like, give me the money first. But like these kids are a little bit more innocent. Yeah, they're younger. They don't know. They just like, they just are like, oh, this guy got hurt. You should go help him or whatever. But he's, yeah, he's like the devil.

Yeah. You know? And I just thought that was for a movie called No Country for All Men, I thought that was really smart. And then I really, really, really like the very ending. I end of this movie. I like Tommy Lee Jones is describing a dreamy head. Yeah. And when he says, I woke up and it cuts the black and you just hear a clock ticking.

I knew that whenever I got there, he'd be there. And then I woke up. It's just, that's so good. It's just like, yeah, no, man, this is all. this kind of vision of where I thought I was supposed to be and who my father was and all these things like that doesn't exist and time's running out

and you're like dude that's so rough that was the funniest thing was when I first saw this movie there was a guy and his boyfriend in front of me and it was clear that the guy had told his boyfriend you have to see this movie it's so good and he was really excited and so I'm watching the movie and I'm just totally knocked out by it

and it ends. He goes, so I woke up, and it cuts the, and then credits start, and his boyfriend went, that was fucking terrible. And he goes, you're not giving it a chance. He's like,

fuck you! And then he started screaming at each other. And I was like, oh, man. That's the worst feeling, too, when you're sitting next to you're sitting there, and you're just like, you love it? Do you love it?

You just tell this guy's boyfriend was just sitting there like, I cannot fucking believe you drag me to this. It was just like, fuck you for drag me to this thing. Probably not that. Not together anymore. I don't know. So I'm going for most rewatchable,

I'm going him finding the thing and then the whole... Yeah, the second hotel chase. Yeah, it's kind of amazing. It's fucking... I honestly think it's like one of the best five action scenes

I've ever seen in a movie. The moment when he, the captive bolt shoots the lockout and it hits Brolin. You know it's gonna happen, but just that little bit of him taking the light bulb out in the hallway and it goes dark.

And Brolin's just like sitting there and you're just like, fucking move. Like, oh my God, I know what's about to happen. I always thought, and that's so funny. I didn't think the doorknob was ever going to hit him. I thought I thought there was going to be just a ton of, like, you know, shot just like he was just going to shoot through the door.

So then I'm watching, you hear that, and I'm like, wait, what's he going? And then right when it started clicking, I'm like, oh, he's going to take up. Oh, no. What's age the best? My first thing is the ending, which I was just, I was just, just so shocked that the movie ended the first time I saw it, but now after a million times it's like, wow, this is fucking amazing.

But it was abrupt. It felt abrupt the first time. I think it's age. Most people feel like it. But their movies always have stuff like that where you watch it the second time more than like them and Kubrick, I feel like are the most, like where you see it the first time people go, what? Yeah, it's like this elliptical thing. And then you watch again,

you go, oh, I see what they're going for. The quote where he says, I always knew he had to be willing to die to even do this job, but I don't want push my chips forward and go out and meet something I don't understand. Yeah. You just like sit in the fucking bath and think about that one for like an hour. Question

your life and the choices you've been. The thing that I think is age the best is is this is a Western. Yeah. And it takes it's set in 1980. Obviously all the cartel stuff and the sort of what's happening at the border and the violence

around the border is still like a thing today. But it feels like it could be set in 1880 or 1940. or 1909 or today. And there's just something about it that really gets at, I think, gets it like what all great westerns are, which is essentially contemplating the end of the West,

you know, like the Wild Bunch, or she wore Y'L Ribbon or Unforgiven or any of these movies. They're aware of like the fleeting nature of what they're occupying. And it's really, really, with this, it's like Tommy Lee is just like,

I thought I was going to be this kind of like, this lawman out there that was like protecting people and it turns out I can't protect them from anything. Yeah, he's, but he is behind everything in this movie. He's never, he,

you can tell this story and not mention Tommy Lee Jones. Yeah, he's the narrator of the book. Yeah, and he has, he's behind it the entire time. Yeah. Which is kind of funny. Another one stage the best.

The first two murders are just really good. You're just establishing really quickly that this person is, complete sociopath. Yeah, that guy where he's like, yeah, the roadside guy.

If you were pulled over, especially if you were pulled over in the highway of, West Texas, and a cop car pulls you over it, and a guy gets up with an oxygen take. Yeah,

and you know. And you're like, uh, you know what? All Uber. The title has aged really well. Yeah. I love movies

that are properly titled and also tie into the movie, which is one of the reasons we love heat. It probably wouldn't have done as well if it was the assassination of Lewin Moss. Yeah, yeah. The assassination. Yeah, Lou and Moss on the run from the, yeah, insane, yeah, Anton Sugar.

The movie ends, you're like, you know what? It's no country for Old Ben. I wish someone said that in the movie. God, wouldn't that be funny? Yeah, they'd dance around it. If Tess Harper just said that, we're like, honey, it's no country for all men. Eat your damn eggs.

I had Texas as well. Well, I like this part of Texas. Yeah, Marfa. Like the, just seems like the hottest, worst place you could live in Texas. But, and the people are there forever and there's old school gas stations. I love that. I like when they're in movies. Whenever there's a Western where it's like, you know, everybody has gone out there to get their piece of land and start something.

And then, like, they kind of arrive at the like, why the fuck do we live out here? Part of when, like, when Barry Corbyn's just in that shack looking out on like a dust plane, just kind of like, why is anybody out? here. Yeah. And he was kind of the best version of that thing and now look at him. Yeah. You know, he's like, this is the guy I look up to you. I make coffee once a week.

Yeah, and he just lives in this shit hole and he's just waiting to die. You're like, oh, this is what I have to look forward to. Yeah. Another what's age of best know music. We talked about that, just the art of making a movie. We talked about Tommy Lee driving in the shootout and just how cool that shot. Josh Burlin. Yeah.

Now, he'd been in our lives for a long time. Yeah. Dating back to, I mean, he was a child actor. Goonies. Going all the way through, never really kind of made it as an A-lister, but it was almost like in basketball where you're like, oh, that guy, why isn't he an all-MBA player? He just kind of never put it together.

And then in this movie, he's an A-lister. And it feels like he had always been like one of the biggest stars. It's just like the perfect part. Yeah. I mean, it's one of those things, yeah, it's one of those things where, like, that movie happened. and suddenly, I mean, I was on Saturday Night Live when this movie came out and

he hosted, I think, the next year. Yeah. You know? He actually hosted the show that Sarah Palin did a cameo on. Oh, no way. He hosted at the time the most watched episode of Saturday Night Live because Sarah Palin was in the cold open. And just a great guy, just like such a dude, you know,

and just like, hey, man, whatever, you know. Yeah. Where do it? But I think he had, which I think is good, a lot of those actors or anybody professionally go through some sort of, you know, like a, you know,

it's just, it was a job, you know, it's like you're humbled. You have the right tools to deal with things, you know, you would see people who get like crazy famous really fast as you get like on anything.

Yeah. But he just had like, he was super solid, you know. That's one of my favorite things about SNL reruns is what point of the, the host career, did the hosting catch them in. Yeah. Because you have those, you know, like they showed the Luke Perry one recently when he hosted

902. He was, nine and two, he was hot and he hosted it. But he was a little older. Like, I think he had the sense of what was going on. But like, you know, we've talked about Bieber on this podcast. Oh, yeah. You get those guys who they're just young and famous. Yeah.

And it could go a variety of directions. It could go, yeah, really bad. You guys didn't that way. Yeah. Or you get those ones that it's kind of clear even as they're hosting that this is going to be the greatest week of their life. It's probably never going to be this good again. Yeah. I mean, when Josh came on, he's hosted a couple.

He hosted a couple of times while I was there. Yeah. The first Californians was with Josh. Oh, yeah. We did the Californians. He did that. He also did that. Wasn't it the pregnant Amy Polar and the Texas bar like hitting on people?

Yeah. I remember that. And he did, he and Will Forte and I did a sketch called, fart face, which was, which was, uh, played a total silence and Lauren Michaels just loved it for some reason. And we played it, we did it at dress. It was us as businessman very, and it was a very serious scene where we were like, well, I think you're kind of a fart face. It's like, I'm actually not a fart face. I don't know why you would say that. And it ends with Brolin's character killing himself. And, um, and Wolf Orte and I wrote it. And, uh, we did it at dress and it played a silence. We went, well, that's going to go. And then, you know,

watched episode ever. Everybody in the world is there. I mean, it was that day, it was so highly charged because Sarah Palin was there and all these people. So then we go up and I see that, we saw it got moved up. Lauren liked it so much. It got moved up

because he just liked how committed we were in the scenes. So then we're like, oh, Jesus. So everything's killing, killing. Update goes on. Sarah Palin goes on update and polar wraps. It blows the roof off the place. And me and Brolin and Willer's sitting there in our suits to do fart face next.

And we're like, oh, this is going to be awful. And then I'll never forget this. We get there. We're about to go out. The music dies down. They're counting us off to make our entrance. And Josh Boland is looking up at the crowd. And he goes, well, fellas, let's shut these fuckers up.

It was like the end of the Wild Bunch. It was like, all right, here we go. And it did. It played to total silence. And we were just going like, this is, oh. And my favorite review, I think, Entertainment Weekly, said, FartFace, F, you know, they gave us an FF. It seemed like Bill Hader and Wolf Forte were walking out to do one sketch

and then looked in the trash can and found a sketch called FartFace and went, oh, wait, let's do this one instead. Wow. Fart face. Yeah. Did he have a sense of humor after it, too? Brollin? Yeah.

Oh, he was like, dude. I'm in. Like, that's why I loved him. He was like, I don't give a shit. Like, let's fucking do this and let's commit super hard. And like, I'm going to really cry in it. And I'm going to do the whole thing. That would be a good podcast is just as to know people talking about great failed sketches that just bombed completely.

You could easily do that because there was just going forever. Two more. What's Age the best? The, uh, the theme of the coin toss. Yeah. Just as fate. Yeah. I'm just in it.

I've, I've woven in a couple columns, I think. Yeah. You know, you never know. Just fucking coin toss. I had a friend who saw it who didn't like the movie. He goes, and they clearly stole the coin toss from Two Face. Harvey Dent? I don't think, Coram McCarthy is a big Batman guy.

And then Tommy Lee going on. He was like, what can I steal from Batman? What should he do? What should he do? And you see him turn around, open a closet and it's just filled with comic books. Just like fucking Hellboy dolls and stuff. What does the Riddler have to tell me about the road? Let me see.

And then the Tommy Lee, this thing we mentioned earlier, the I feel overmatched. Yeah. Which is every man's fear is you're going to hit that point where just things are starting to move a little too fast

and you realize you've peaked and it's over. Yeah. Any other what's age the best? I would just say the visual like Deacons is cinematography, the look of the movie. I feel like when you watch, like if you're just watching like Broadchurch one night or like some procedural crime,

like kind of prestige crime show, it just looks like this film is one of the most influential movies of the last 20 years. I agree. I think what Deacons did with it. And yeah, and just like that it's just one of those movies where every aspect of filmmaking is that it's is at top level. Yeah. Editing the sound design, the production design.

And again, I just like the simplicity in which they do stuff. You know, even like, you know, when he, uh, uh, that great shot. where he blows up the car and it goes in so he just creates the diversion so he can get all his supplies or whatever there's yeah just he just does it yeah pull him in and then it blows up in the background and everybody but this it's about him getting his stuff yeah you know um so yeah it's a i think it's a real kind of class you know it's like i can watch it and get inspired and you can learn a lot there's a and there's also like a bunch of shots in there that are basically like David Lean Good in terms of

like the clouds going over the sun like when he's watching the antelope or whatever in the first shot and like all the clouds come across the plane and then like when he's running away from the dog and the lightning is going. Yeah. Where the guys are in the Jeep.

Yeah. One of my favorite shots just because I remember seeing it was when he looks up and you see the when he's at night and he's trying to get the guy water and he sees that someone's already been there and he looks up and you see the one Jeep and he's like, shit, and he looks up. And then there's more people up there and you're like, oh, shit.

I mean, that's pure Hitchcock. Yeah. It really is. Chris's Secret Sauce is cinematography talk. I love it. Who's your guy from the 70s, Gordon? Gordon Willis. Oh, yeah, Prince of Darkness.

What was the one he got left out for the Oscar? Godfather 2, I think. Yeah, Godfather 2 has the same of Michael and his mom, which I would, I will say is a little too dark. You can't really see what's going on. Like, who is that? What is happening? And he's like, Mom. And you're like, oh, okay.

So that's Michael's in there. Who else is in there? Are they about to surprise? The light's about to come on. And it's like, happy birthday. So what's age the best? I'm just, for me, it's the ending just because I had to grow into it. Yeah.

Let's take a break to talk about what CNN is doing. We relive all of our favorite movies here. CNN is doing something really cool this summer. They're premiering their new CNN, original series. series, The Movies, produced by Tom Hanks and Gary Getsman in association with HBO. The movies will focus on a specific decade of films starting at the dawn of U.S. cinema, going all the way through present day. This week, they're kicking Sunday night thing, starting at 9 Eastern with the 80s,

Breakfast Club, Back to the Future, The Terminator. Every week for the next five weeks, the show will focus on a different decade going inside some of your favorite movies with featured interviews ranging from Steven Spielberg to Rob Zombie. all the bases. Check it out. The new CNN original series, the movies, starting this Sunday night at 9 p.m. What stage is the worst? Nothing. This movie... I can't think of a single thing that's a each poorly about this movie. Casting what ifs. Do you have something?

You know what? I will say two things I don't like about the movie and I like this movie. And this is total nitpicky. Sure. Well, we have a nitpick section. Oh, okay. Well, let me... I'll wait. I'll wait. All right, wait. Casting what ifs. Chris probably knows these, but you might not know this. Did you know Javier Bardem? Am I saying that right? Javier Bardam. You got it.

He nailed it. He nearly had to withdraw from the movie. Why? He had issues with scheduling. English actor Mark Strong was put on standby. He said there was like a weekend where he was like, I'm going to be... Yeah. Wow, that would have been interesting.

Tough beat for Mark Strong. Yeah. He's fine. The role of Llewell and Moss originally offered two? Who? James Franco. Heath Ledger. Heath Ledger.

I know Franco read for it. Did he? Yeah. He turned it down to spend time with his new daughter. Do you know who shot Josh Brolin's audition tape? I think we do, actually. I do. Yeah.

Robert Rodriguez. Yeah. Yeah. Yep, I had that one. There's a really funny moment. In an interview with the Coens and Blan, they're talking about it. And the Coen brothers, they were like, I think it's like on Charlie Rose or something. And Charlie Rose is like, what did you think when you got the tape?

And they were like, well, we were wondering who lit it. Like, who shot this? Because it was really well shot. Heath Ledger is, in the Brolland part, is kind of a good what-if. I mean, he clearly could do the Texas thing really. I mean, he could do this Southern thing really well. Definitely in his wheelhouse, this part. Oh, my God.

I don't know. I really like Josh Brole. What I like about Josh Broll and Noel says, I think Heath Ledger and Brokeback Mountain's a phenomenal performance and great. I thought he was an amazing actor. But I like Josh Brolin this. because you hadn't seen him in a while. Right.

And he just felt like the character. And I feel like their best stuff to me is always where you're like, oh, I feel, I'm not going, well, there's Josh Brolin necessarily. I'm going like, God, this guy feels like the character. It's like, oh, man. Gabriel Byrne, like this guy came over from Ireland and he's just like, this is the best he can do for himself. It's funny.

I was going to mention this later, but this feels like the kind of part that Brad Pitt saw and was like, fuck. God damn it. He was getting assassinated at the time. He was getting assassinated by Robert Ford. He would have crushed this part though.

You've grown a little scruffle. But to my previous point, I feel like I'd be like, oh, there's Brad Pitt. I mean, that's the bad thing about being a big movie star is like, how do you? Brolin, I agree. Broan is perfect.

It would not change him. Garrett Dillahunt was in the running for Llewellyn. He auditioned five times. Yeah. but instead became Ed Tom Bell's deputy. So there you go. Deanne Waiter's Award for the biggest heat check in the movie. We already said it.

It was Woody Harrelson. He's in four scenes. Yeah. He crushes it. He hits four three. I would also say Kelly McDonald's in there too. I think she doesn't get a lot. I think she's really good in this movie considering that she's Scottish.

Yeah. And that accent, I grew up in Oklahoma, and I did tell my sister, I'm like, you know, she's Scottish. And she was like, what? Yeah. Like she, I was like, you know, don't you remember train spotting? She's the girl from train spotting. Yeah. No way.

Like she is like girls that I grew up with. Like all the girls I'm with high school with are like that girl. Like, yeah, she's really good at it. Wide-eyed trusting. Just, yeah, just kind of like, that scene on the bus where she's like, why do we got to go? Yeah. You know, it... Your mom's dad.

Your mom's dead. You know, all that. I give, yeah, that she does, she, for someone who did not grow up in the United States, she nailed that. Half-ass internet research. Did you know the title was taken from the opening line of a William Butler Yeats poem? Sailing to Byzantium? Did you know that? I don't know why you're chuckling from William Butler Yates, man.

Fuck yeah, Bill Gates. We mentioned in the book, Carla Jean, her reaction was much crazier. Yeah. They played it differently in the movie. There's a bunch of not really like that essential changes. Like the girlie meets at the pool at the end that Josh Bowlin's character meets at the pool,

she has like a much bigger part in the book. Oh, really? Yeah. They hang out. Yeah, they hang out. They hang out in it. I forget what it happens. I think actually it's like he puts his gun down because he's hanging out with her

and that's how he gets like kind of jumped in the first place. I know. Ethan Cohen said they screened it for McCormick. McCarthy. Yeah, I'm sorry. I wrote McCormick. For Willem McCarthy. For William McCormick.

No, just McCormick. McCormick. McCormick, it was this guy. This guy down the street. McCarthy. I think it's good. He said they said he didn't yell at us. we were sitting in the movie screening room with him

when he saw it, heard him chuckle a couple times, took it as a seal of approval. They just seemed kind of confused what he thought was my takeaway from reading of this? Do you think he played it cool with them? Yeah, it was good. I think he likes it. I think he likes it.

They're also kind of famously tight-lipped and interviews and anything. I can't seem to be too effusive. You mentioned the storyboarding. Deakin said they only shot 250. 50,000 feet of film, usually we'd shoot like 700,000 to a million feet of film.

That's more a week on a judge. Yeah. Seriously, not bashing judge or whatever, but we would improvise so much. Right, you're just filming and filming. That's so little. I mean, that's crazy.

Joel seemed like he had some issues with the parallels to Fargo because he told this delatograph. He said those things really should have seemed obvious to us. It was like shaking his head about it. And then Ethan said, we're not conscious of it to the extent that we ever try to avoid it,

the similar did occur to us. It's reminiscent of our own movies. That's by accident. Those guys do that all the time, though. They always are like, yeah, there's nothing to it. We just told the story. And then, like, you can look at those movies and, like, unpack them in so many different ways. Yeah, I just don't think they're like Bob Dylan or something.

Like, I think they took a page out of that book of, like, that's how you deal with the press. You just kind of say the least amount of stuff. You kind of like you don't want to like have to explain yourself. But I what I also like is that if you look at Blood Simple, Blood Simple is taking place about the same time. They made that 84, right? Yeah, and it's like the characterism, like Blood Simple could be taking place in the next town over,

which I like thinking about. That's really cool. Did you know Josh Burlin broke his shoulder in a motorcycle accident two days after getting the part in the film? Oh, man. And he like lied to them about it. He was just like, yeah, I'm fine. He said he was flying over the car that hit him and thinking, fucking shit, I really wanted

to work with the cones. But they had him shot in the shoulder in the movie, so they were really played up. We mentioned that there will be blood shooting nearby. Apparently there was one time where they set, Paul Thomas Anderson tested the power techniques

of it like an oil blaze and there was this big thing of smoke and they had to stop filming no country for old men. because of the smoke from there will be blood. I also heard a story from somebody who worked on No Country for Old Men who said they were shooting the scene with when Sugar after the car accident

and the kids were and they were working on that and a guy on a 10 speed bike flew through. Get the fuck out of my way! It was Daniel DeLois. No. What? Come on. He said it was Daniel DeLuis on it. This is just, again, this is like, who knows?

I was like, don't you fucking go for best actor, that's mine. But who knows if that is true or not? But, you know, this is just what someone told me that he flew through on a bike and said, get the fuck out of my weight. Imagine just having like a, the one bar in Marfa. And then like Bardem and DDL, Paul Dano and like Tommy Lee Jones are just there. Hey guys.

The shotgun he used was specifically made for the movie, especially the suppressor. did not exist in real life. They invented this. Hopefully they didn't give them a psychopath. I'm glad. I'm glad. Some sort of ideas for this. Can you guess the body count in the movie?

It's like 30? Do you want to go higher or lower, Bill? Lower, lower, boom. 22. Okay. Apex Mountain. This is where we decide if it was the person's apex of their career.

Oh. This exact, when this movie came out. it's when they had the most cachet, the ability to get the most projects done. It just never been better. At their time, at the time. I don't know if any, I mean, the Coins weren't, like I was saying,

they didn't. I think you could make case for Berlin. This opened up, like, a whole A-list path for him. But you could make the argument that Avengers, he's, like, more popular now than ever. Yeah. I mean, he also did, you know, he was nominated for an Oscar for Milk,

I think, the next year. His thing was just more like this movie. happened. I remember milk happened. And then he was George W. Bush and all of his Stone movie and all these, it was just suddenly he was in all these things. He was an American gangster this year too. Yeah. Maybe the George Bush movie was. I don't

know. Cullen Brothers, Fargo? When were they at the peak of their powers? This is probably it because they win the Oscar? I would say this. I don't think they've dipped for it. No, I don't think they've dipped. Yeah, at all. Is this how, where does this rank in like, is this like a top three Cohns for you? Is it outside of the top three?

Oh, yeah. I mean, I think it's, I mean, yeah, there's different eras of them. It's like the early era stuff with, which is, you know, like, raised in Arizona and, and Miller's Cross and Barton Fink, Blood Simple, like, all those I really love. And then it's like Fargo happens and you kind of have like this new, I don't know why. It's not like the move, but they get a little bit sleeker and a little bit like less crazy or something. But after, I think. this and a serious man or the two I like the most of that of this era yeah Javier Braddam

I mean this is one of the most identifiable characters in the last 50 years it's probably this or skyfall in terms of like apex mountain but I think skyfall he's just pretty much great yeah he's he's a great actor yeah yeah he's in a really good movie that came out earlier this year called everybody knows which is with him and penelope cruise and they're like it's a set during a wedding in like a small Spanish village and there's a kidnapping and they have to like find this teenage girl who's been kidnapped from this wedding

and it's just over the course of this weekend it's so good. Is it in the theater? It was out earlier this year, yeah. We directed that. The Iranian filmmaker I can't remember his name off top of the head. Going to the Joey Pantzel word

for the best that guy. There's like seven that guys Oh, ask for Roddy. Oh, cool. There's like seven Colin brothers, that guy in this movie. I don't even know really how to pick. I mean, I love the guy who he flips the coin with

and the gas station. Yeah, I don't even know what his name is, so he wins. He's unreal. I also think the woman at the hotel's really, when she's like, what do you want? Like when she's getting mad at sugar. I like her. Wait, is this is the Joey Pantsor word? Yeah. I would say the kid

who's like, look at that fucking bone, is Caleb Landry Jones. is who's now since been in a bunch of stuff. Oh, that's a teenager, yeah. Yeah. That's a good one. Would this movie have been better

with Danny Treos, Steve Buscemi or Michael Kay Williams? No. Danny Treo that could have worked into this. You really want him in most things, though, right? Treo? Yeah. We try to work him in.

Neil. Neil. You just, he wouldn't need any sort of, he just is so hard-looking, no one would pull over and be like, hey, man, you know, you're okay? All right, before we hit the final third of the pod, let's talk about Luminary really quickly. They've launched a bunch of great original shows

you can only find on their platform, including our little spin-off series to the rewatchables. It's called The Rewatchables 1999. Basically, you know, the cousin of this podcast that dissects some of our favorite movies from 1999, which was an all-time great year. in film. Each episode, much like this show, breaks down a movie of our choice with some highly specific categories and a couple new ones that we came up with. But you'll get the most

rewatchable scene who won the movie, all that stuff. We've already done American Pie, Office Space, The Matrix, Austin Powers 2, a whole bunch of them. You can make sure to check out all the other great podcasts on Luminary like Poetics with Omerie Hardwick, the Luminary app free to download, listen to thousands of pods, including the one you already loved like this one. They have a very easy to use interface, personalized content recommendations, and whether you're in a movies, music, sports, comedy, or more, Luminary. Is it a right show for you? If you love podcasts, check

it out. Get first two months of access to Luminare's premium content for free when you sign up at Luminary.com slash rewatch. After that, 799 per month luminary.combe slash rewatch for two months of free access luminary.com slash rewatch.

Cancel anytime. Terms do apply. The Saul Rubin they knew award for best overacting? I didn't feel like there's any overacting in this movie. I will say a great, great actress, but the woman who plays

Kelly McDonald's mom. Yeah, Carla Jean's mom. Beth Grant. She is a great actor. She's very funny. She's one of the things I think there's a little weak link in this. Yeah, she's doing a lot.

She feels like she's in another movie. Do you know why we name the award after Saul Rubenick? Because of what? True romance. When he finds out Michael Rapaport. Rig. You step me in the heart!

Yeah. Yeah. We still love so, Rubenek. Picking Nits, it's time. Here's my first one. Did they really have suitcase tracking devices like that in 1980? I'm going to say, yeah. I feel like I, well, I feel like I saw those in movies.

We had trackers in 1980? Yeah, I feel like so, yeah. Really? I think so. I mean, yeah, I think it was a little. And I think that. stuff works so well too without having music in it like just the beeping it's yeah it's like from aliens too yeah or any other movie use the tracking device well i just think in real like

you know like every james bond movie has a tracking device pretty much i think the movie cloak and dagger with dabney coleman yeah thomas has one are you sold that woody harrison would have actually found the suitcase just be like hey i betty walked this way here's the thing about this i don't To Bill's point about Tommy Lee Jones always being kind of like behind it It's like I don't these guys They're criminal masterminds

They're just fucking Doing battle in the middle of Texas So it's not like Josh Brolam Was like I have a super secret hiding place I got this. He was bleeding out Yeah And he's like I guess I'm gonna try

And hope that this doesn't go in the river Yeah And get away from this bag It was actually pretty brilliant move Yeah but like if you're Harrelson And you're just tracing back steps And that line where he's like He'll never find me again

He's like it took me three hours to find you You know what you mean? Like, this is not that hard. Yeah. That's all I got for picking nits. What did you have? You said something by you.

The actress. Carly Jean's mom, I thought was another movie. And I think the CG and this is a little, the CG deer, there's some CG, this is really nitpicking. He shoots a deer in it and it's a really CG looking deer. That's the thing in my mind. I'm always like, I just cut away. I get it. Right.

Why do I need to see the deer hop and? Do you know what I mean? Is the dog in the water a CG dog? No, no. That's great dog acting. That's great dog acting. Yeah.

But if you look at the deer, it's pretty, it's like the cow gets hit in a brother. Yeah. Where you just go like, oh, that's not a real cow. But those are one moments that just me being a nitpicking asshole. Yeah. It was like, oh, just cut away from it. I don't need. The only other one I have is when he finds a tracking device, it's a stack of $1.

I think that they put the tracking device in like a dummy device. in like a dummy band maybe. Yeah. Yeah. Yeah. Yeah. Put them in the hundreds. Yeah. Come on, Mexican drug dealer guys.

It's 1980. They were still developing techniques back then. Best quote everything. Could this be remade us? You don't want to go through a couple of them? You can. I have a couple here. Go ahead.

I got here the same way the coin did. Call it. The coin don't have no say. It's just you. I got here the same way the coin did. I would say he doesn't have a sense of humor Wells. Yeah.

What does he say when he talks about he's a psychopath? Oh, Woody Harrison? Yeah, he's just like a psychopathic killer. Yeah. It's like the bubonic plagues after you. He's like the bubonic plague. Ellis saying,

What you got ain't nothing new. This country's hard on people. You can't stop what's coming. It ain't all waiting on you. That's vanity. That was Ellis. honestly I can't say that charm has had a whole lot to do with it when he asks him like you seem like if I've had a charmed existence

and I always always loved when Moss calls for Woody Harrelson in the hotel room and he's like is Carson Wells there and Sugar's like not in the sense that you mean yeah not in the sense that you mean yeah he's like fucking blown away body is sitting in front of the funny and then there's a line that's really really great in the book and Bartham actually, you can't quite understand him if you don't have subtitles on,

but let me ask you something, if the rule you followed brought you to this, of what use was the rule? If the rule you followed, brought you to this, of what use was the rule? Yeah. It's like, I'm going to think about that one for a while.

Do you think they should win the NBA does the coin flips for when two teams are tied for draft position, they should have hobby in the bagel? Yeah, sitting in that, They play some weird Clips now at stadiums, though. I wouldn't be surprised if they started playing that

in stadiums. Because you go and it's like half of 300 playing. Yeah, but with white stripes underneath. I used to have a running joke of the guy operated the video screen trying to get fired by playing the scatman crothers. He plays like zero art for me clips. The crowd's like,

going on? What do I do? I just pile blowing his brains out from Fomel jacket and everybody's like, whoa. Like when a team tanks, it's like, nope! They'll do that when Anthony Davis hurts his hamstring in the middle of the year. They'll just play that at Staples.

Next category. My answer is no, but I do want to play it out a little. Could this be remade as a 10 episode Netflix show? No. Only if it's about Carla Jean's mom. Yeah, it's just Carla Jean's mom and it's like a sketch show. It's like she shot it herself

And by the way I should say that actress is great I've worked I auditioned with her once And she's a great actress What if it was a show called Shagur And that was it It was just

What was just hit Like he just went home And he had a family And it's like Dad ain't help with my homework What happened to your arm And it's like Dundlery mother

Probably Probably in answerable questions I only have one how many murders do you think Anton Chagor committed in his life? Well, he's a profit of destruction. Yeah, profit of destruction means... Over 500?

I mean, he does... He did like 20 in the movie. Yeah, and that in the movie takes place over what? Like a couple weeks? He's just going from contract to contract, right? Yeah. I would say the one nitpick I would have is it just doesn't seem like there's a lot of, like,

tactical response to major crime scenes in this movie. Oh, in Texas? Yeah, it's just like you would probably have some or you would have someone on the, you would have him and the guy at the gas station would have reported it, and they're like, we're on the lookout for a guy who like has a cattle gun and Prince Valia of Herka who will ask you, if this man asks you to flip a coin, say no,

and call the police. I don't have any other answerable questions. I think I also You know what line I like When she says When he I like that moment where she says You don't have to do this

And he goes People always say the same thing What did I say? You don't have to do this I think that's so great Yeah I also kind of like the scene With the old guy

And Timely Jones Where he's talking about The other sheriff guy And the diner Where he's talking about We saw a guy with a Mohawk And they're just kind of Always talking about

That's a very kind of far-go-y kind of thing, you know, but I dug it. When they first come on the crime scene, when Dillahunt and Tommy Lee ride in on the horses and Dill Hunt's kind of like charting it all out and he's like, I figure these guys, jump these guys, and then it's like, whoa, differences.

Yeah. Yeah, whoa, differences. Yeah. Who won the movie? Who won the movie? I have a controversial thing. Humanity. No. I think it's Jones.

Yeah. Which is like he really is like coming in for the save. But this time for some reason, it wasn't Bardem and it wasn't Brolin that jumped out. It was Jones. I was like, he's kind of like the soul of this movie. And without that, it is more of just a cat and mouse. And I was really moved by like his last two scenes.

Yeah. No, I think he's definitely good. If I'm going purely by who wins and like what the movie's about, I guess I'm kind of like it's Bardem. Yeah. Because he's, it's like the cynical, like this coming. and he's like the harbinger of more bad shit that's coming. Yeah. And he gets fucked up, but he's kind of like, you know,

he's still going to go and he did his job, I guess. I wanted to give it to Tommy. I really thought long and hard, but I'm with Bill. Pardon. But I do love Tommy Lee Jones, and I love the stories about Tommy Lee Jones, like how his nickname's One Take Tommy. Oh, my God.

He's just zipping through. He did the dream speech in one take. He did the dream speech in one time. That makes sense that he would just want to get out of there. They were like, how many takes did it take? And he's like, if it took one take, he's like, but I was practicing. He told some interviews. I think it was like W Magazine.

He told that. I love that. Andy did a sketch called One Take Tony, where he's like, I could, my name is One Take, Tony. I'll do everything in one take. And the first take, he fucks out. He totally just never hosted SNL, right? I don't know when I was there, no. He's one of those guys I don't feel like I know that much about.

I think he's in a great. He's in a, do you see Rolling Thunder? Yeah. That movie, he's in that. He's really cool in that movie. He has like one of the best badass lines in Rolling Thunder where, uh, do you remember that movie?

William Devine. It's like in the late 70s early. Yeah, where he comes back from Vietnam. Yeah. And they put it, they put his hand in a garbage disposal and all of this stuff. And, uh,

they kill his wife and kids. A really rough opening first 10 minutes. And then, uh, he's looking for the guys. And then he comes in and Tommy Lee Jones is this kind of war vet who just doesn't know what to do with himself. And he's this great scene where he's with his wife and her family. And he's just with his family and he just has no, I think it's his family. He just has no, you can't relate to them.

And when Divine comes in, he goes, I found the men who killed my boy. And Tommy Lee Jones thinks for a minute and he goes, I'll go get my gear. And you're like, oh my God. You know, and it's, yeah, it's great. I remember he played Gary Gilmore, the Syracur song. Yeah. It's kind of weird to see him young. It was early, early Tommy.

He's really, like, good look. He's really chiseled, like, goodly. Because you expect him to just be born as the guy from the fugitive? Yeah. I don't care. Late 70s, early 80s, I felt like him and Scott Glenn. I never really had him. They were kind of like neck and neck. And then the fugitive, he just did under siege him out.

The fugitive, yeah. He's got Glenn in Apocalypse now. Yeah. Oh, yeah. He's like, you just go, is that Scott Glenn? And then it's like, oh, yeah, he's the guy I went nuts. Yeah, for one, like one shot. You just go, here's the guy I went nuts.

This guy, and he's like, I do. Scott Glenn, the urban cowboy. He was a great bad guy in urban cowboy, too. And then Silverado was the first thing I saw him. Oh, yeah. My dad took me to go see Silverado. Yeah, I feel like they were neck and neck the whole, most of the 80s. Then Tommy Lee just pulled away.

Yeah, with the... Are they younger than Dennis Quaid or older? Is that the same age group? I think they're a little, maybe a little... Probably same age groups. He went to school with Al Gore. He was Al Gore's roommate. Yeah.

Like, they went to school together apparently. Tommy Lee. Tommy Lee, he's, yeah. This movie catches him at a good point in his career, too, where he's exactly the age the character should have been. Oh, yeah. It wasn't like somebody try and put on a little makeup to try to play older. Yeah, no.

He's, yeah. And he is, I think, that kind of guy. He's from the town that Brolin's supposed to be from in the movie. Yeah. No country for old men. A classic. Bill Hayter, you just survived your first rewatching us. Congratulations.

I can't believe I did it. It's grueling. So, so nerve-wracking, guys. Chris Ryan, thank you. Of course. All right, thanks for listening to the rewatchables. Don't forget to listen to all the great podcasts on the Ringer Podcast Network. And thanks to Voodoo, a leading streaming app of the library of over 150,000 titles available to rent or buy.

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