All language subtitles for The.Last.Movie.Stars.S01E03.720p.HMAX.WEBRip.x264-GalaxyTV

♪♪

♪♪

Ari: Now, don't expect me
to get hysterical

over the life
of one Jewish child,

and don't you get hysterical,
either.

Jewish flesh is cheap, lady.
It is cheaper than beef.

It is cheaper, even,
than herring.

Paul: The only thing
my mother ever liked

about me being a movie star

was how much it impressed
the Jewish half of my family.

I'll teach you
a Hebrew toast.

L'Chaim.

[ Chuckles ]
I know it.

To life.

Good for you.

She was always
intimidated by them.

I'm half Protestant,
half Jewish,

but I've always thought myself
as a Jew...

because it's harder.

And half of them
are Communists anyway.

Yes, and the other half
pawnbrokers.

They look funny, too.

I can spot one
a mile away.

Would you mind
looking into my eye, sir?

Feels like a cinder.
Mm, certainly.

You know,
a lot of them

try to hide
under Gentile names...

but one look at that face
and you just know.

With a little experience,
you can even smell them out.

To quote Theodore Roosevelt,

"On the one hand,
I would stomp it under foot.

But on the other hand,
not so fast."

Convey my respect
to the general.

That I will.

Bit of a Jew himself,
you know.

Not really?
Mm.

On the one hand, what a plague
my appearance has been.

On the other hand,
where the hell would I have been

if I looked like Golda Meir?

I need 50 eggs.

Nobody can eat
50 eggs.

You just said
he could eat anything.

You ever eat 50 eggs?

Nobody ever ate 50 eggs.

Babalugats,
we got a bet here!

My boy says he can eat 50 eggs,
he can eat 50 eggs.

Go!

One...

two...

three.

He's gonna lose a finger,
eating eggs like that.

♪♪

He's eating them,
Alibi.

Ah, he's chewing them.
Just little old eggs.

They're pigeon eggs, that's all.
Fish eggs, practically.

Society Red:
Five...four...

three...two...

one...zero!

[ Indistinct shouting ]

Hold it!
He didn't swallow the last.

Oh, you think so,
huh?

Well,
let's take a look here.

Open that mouth.

[ Cheering ]

Rosenberg:
For me, I looked at Luke

as what legends
are really about.

How does a legend develop?

Did Luke really eat 50 eggs,
or is that what makes a legend?

♪♪

Announcer:
From the Wild West,

the princess traveled
back to the present

to meet Alfred Hitchcock

and the stars
of a new thriller in the making,

Julie Andrews and Paul Newman.

Then they watched
the cameras roll for a scene

in this new Hitchcock film,
"The Torn Curtain."

Announcer #2:
On the shoulders of Paul Newman

as he pursues his
hazardous hobby, go-cart racing.

♪♪

[ Man speaking
foreign language ]

[ Woman speaking French ]

[ Cheers and applause ]

[ Camera shutters clicking ]

[ Camera shutters clicking ]

[ Woman speaking French ]

Announcer #3:
A popular choice with the crowd

as world's favorite actor
and actress,

Paul Newman and Natalie Wood.

It's quite a feat to be
as popular in Great Britain

as you are in Southeast Asia.

It must be the greatest feeling
in the wide, wide world.

[ Camera shutter clicking ]

I want the "Cool Hand Luke"
section to be great.

Well, yeah.

What we've got here is
a failure to communicate.

That's the quintessential
Paul Newman performance,

is "Cool Hand Luke."

I mean, that's just like
Nicholson in "Cuckoo's Nest."

Like,
that is the --

Denzel, "Malcolm X,"
you know,

De Niro, "Raging Bull,"

Paul Newman,
"Cool Hand Luke."

That's what it is
in my mind, right?

Nobody can eat 50 eggs.

Like,
you have a signature,

and he directed them
in his signature.

And then he spent his life
really struggling

to achieve that grace
ever again, you know?

Yeah, yeah, yeah.

It's a guy who's thinking back
on 20 years ago

when he won
the World Series, you know.

Picture Stuart
with his cigar and a whiskey,

and he's saying,
"I went to see..."

What was her name?

Come on.

Alicia Alonso,
right?

Rosenberg: Years ago,
when I lived in New York,

I went to the ballet
with my wife,

and we saw Alicia Alonso,

who had just come out
of an enforced retirement

because she lost her eyesight
and performed a pied.

She just went
across the stage twirling

and never touched the ground.

And I started crying.

Man:
21, 22, 23...

Rosenberg: I don't know anything
about the ballet,

but I couldn't stop weeping.

Man:
...30, 31, 32, 33.

Rosenberg: It's just remarkable
to see someone do so well...

Get out of my eyeballing seats,
you Newmeat dummy.

Rosenberg: In those years,
you know, 1967,

there were two stars
in the world, really,

two superstar sex symbols.

That's Paul Newman
and Steve McQueen.

Paul was a giant. He was it.

It wasn't any Redford
at this point.

He read the script.
He read the book.

And after all,
I was a TV director.

I had no track record
as a -- as a film director,

and he committed to the project
because he liked the character

and he wanted to do it.

♪♪

And Paul,
he didn't play the superstar.

I mean,
he was part of a company,

and he was a guy
in the trenches working.

♪♪

He comes into the situation,
he looks at it, and he says,

"This is the toughest test
these men have to do,

and you --
you can do two things.

You can rebel against the system
by objecting to it,

or you can rebel against
the system by defeating it.

♪♪

You know, that Sisyphus
is a figure of literature

through the century
that is always

the perfect symbol
of frustration.

He's the guy who has to push
the rock up the hill every day,

and every day,
it rolls back down.

♪♪

Camus comes along and made
this startling observation,

which changed my life.

Camus says, "Huh.

Uh-huh. You're all wrong.

Sisyphus was a happy man because
he knew what his job was."

That's it.
That's the end of it.

What do we do now?

Nothing.

Rosenberg: I mean,
that's a remarkable observation

that Camus made,
that Sisyphus was happy

and there must have been a smile
on his face in accomplishing it.

There is a tremendous sense
of accomplishment.

[ Laughter ]

The best thing I can say about
Paul is that working with him,

you feel that it's possible
to achieve that grace.

He always made me feel
that I could get

that one moment of glory.

You know, the one
that Thomas Wolfe talks about

that maybe I could get
that one moment this time,

those golden moments.

[ Projector whirring ]

Melissa:
My dad always described himself

as an emotional Republican,

and I think that's what
he struggled with as an actor,

was trying not to paste emotion
on the outside,

trying to dig in.

♪♪

I wonder if he ever
accessed that emotion

from experiences
he had as a child.

♪♪

I'm leaving the place
to John.

I just...

I just never
give John the...

the kind of, you know,
feeling that I give you,

so I'm -- I'm --

I'm gonna
pay him back now.

Sometimes,
you just...

just have
a feeling for a child.

else you don't.

With John,
I just didn't.

[ Whistles ]

I got to go,
Arletta.

Yeah, well...

laugh it up,
kid.

You'll --
You'll make out.

Rosenberg: I felt that something
had to be done to pay tribute

to the memory
of this crusty old dame

who came out to visit Luke,

and I felt the audience
would feel cheated

if he didn't pay
some sort of tribute to her.

♪♪

This is an inarticulate
guy here.

This is an uneducated guy
that Paul was playing.

I mean, he can't make a speech
about his mother.

One day, I found an old jingle
that was used

by a Southern firm, actually,
that made religious objects.

You know,
get yourself a plastic Jesus.

His mother's dead.

And I told Paul, and God
bless him, it's fantastic.

He said, "Let's do it."

Problem is,
Paul's not a musician.

He had to learn
the chords on the banjo.

I didn't want to do it with him
in cuts, you know?

I wanted to just
slowly come in and...

The point that I'm making here

is I went to the dressing room
at the lunch break,

and he showed me
what he was doing.

And I came out,
and I said to myself,

"It's too, uh...

I mean, he's done it too well."

I hope -- I don't think he knows
this story to this day.

What I had to do with Paul
was disturb him a little.

I said, "Paul, shit,
we got a copyright problem.

You have to reverse
the first line

and the second line."

He said,
"Oh, for Christ's sakes,

all that -- after all
that fucking -- God damn it."

So we roll the camera,
get the sticks, and he starts.

♪ I don't care
if it rains or freezes ♪

Rosenberg:
And it's fucking brilliant.

♪ Long as I got
my plastic Jesus ♪

♪ Sitting on the dashboard
of my car ♪

♪ Comes in colors
pink and pleasant ♪

♪ Glows in the dark
'cause it's iridescent ♪

♪ Take him with you ♪

♪ When you travel far ♪

Melissa:
One scene comes to mind,

and it always makes me cry
and it seems so genuine.

It's in "Cool Hand Luke"
when he's singing --

when he's playing the ukulele
and singing "Plastic Jesus."

I'm not sure what aspects
of his childhood

or his -- or his youth
he was drawing on...

but he seemed to have
tapped into something

in that moment.

Gets me every time.

♪ 'Cause I got the Virgin Mary ♪

♪ Assuring me that I won't go
to Hell ♪

Stern: Did you ever
see Paul cry?

McDonald: No.

♪ Get yourself a sweet Madonna ♪

Never?

Did you ever feel
that he needed comfort?

Did you ever feel called on
to comfort him?

[ Sighs ]

I don't think he left himself
open for that.

♪ Assuring me that I won't go
to Hell ♪

[ Train whistle blows ]

♪♪

Rosenberg:
Paul was born in Cleveland.

At 18, he enlisted in the Navy.

He was a radio gunman,
third class on torpedo planes

in the Pacific in
the Second World War in Hawaii,

Guam, and Saipan.

He was discharged in 1946,

and he attended Kenyon College,
where he was an economics major

until he switched
to English and speech.

And he spent his summers
in Stockton,

because by then, he had decided
he ought to be an actor.

♪♪

Well, tell me about
the stock company,

where you first
met Paul.

How did
all that happen?

Well...

♪♪

...must have read
in the paper

or heard
somehow or another

that the Belfry Players
were having auditions,

and I went
and read for them.

I can't remember the plot,
if there was any,

to "John Loves Mary."

I think John
had a funny sidekick

and something like that,
and that was Paul.

♪♪

Well, what can you tell me about
your first times with Paul?

Do you believe in
love at first sight?

No.

Neither do I.

I believe in confusion.

McDonald: We'd spend
a lot of time together.

We were both there
for the entire summer

and probably through,
you know,

hidden needs of our own
to escape

from whatever
was holding each of us.

We must have decided
we were each other's salvation.

♪♪

Stern: What about
the wedding itself?

I remember
it being very lovely,

lots of snow.

My bridesmaids
wore deep wine

and I think
a deep green velvet.

♪♪

How was Paul?

[ Chuckles ]
I don't know.

I guess he was okay.
It's funny, I don't remember.

I really don't remember.

♪♪

We went from the wedding
to Woodstock.

We were in
a Stockholm theater,

and, you know,
that's when his father died.

♪♪

They --
right as they get married,

Paul's father dies,

so he has to take over
the sporting-goods store

for his father.

And now he's running
a sporting-goods store.

He's like 22,
right?

Stern:
Did you go to the funeral?

McDonald:
Yes. I must have.

Do you remember
that trip?

I remember
I was impressed.

[ Chuckles ]

It seemed to me to be
a very affluent neighborhood.

I remember that I ate
my first lobster.

I remember I had a --
that I had a new dress

and that it was, what,
little knife pleats of taffetta,

and his mother, Theresa,
I'm sure accidentally,

spilled something,
lobster butter,

all over the pleats.

And they were never
the same.

That I remember.

And what about
Paul's reaction?

He was terribly upset.

But I can't really,
in my mind,

separate the upsetment
over the actual death

from the upsetment of having
to fit into the mold

of the Newman-Stern
sporting-goods company.

Why do you think
he was doing it?

Guilt, probably.

I think that his mother
just about fell apart,

that she felt...

truly felt somehow
to keep her going

that she had to some kind of
control over her two sons.

It was very important to her
that they both stay

with the
Newman-Stern Company.

♪♪

I mean, I think his mother
was totally unconscious

of how oppressive
she was.

I remember
where someone --

even someone
as young and naive as me,

thought,
"No, come on."

♪♪

The relatives came to the house
after the funeral.

It was somewhere
around that time.

She was sitting there with Paul
and his brother, Arthur.

She's telling
the story about

how popular
Paulie always was

and how the girls used to
call here all the time

and on and on and on
about how popular Paulie was,

da da da da da.

And then,
I'll never forget it.

She looked over
at Arthur and said,

"And they never called you,
did they, honey?"

Don't be hard
on yourself.

♪♪

I thought, "Gee, what kind of
monster is this woman?"

...my mother.

What do you know?

Hawke: Paul starts
drinking up a storm

because he doesn't
want to be

running this
sporting-goods store,

and he finally gets up the guts
to leave his mom.

And he takes them and he goes
to Yale to study acting,

and it was very upsetting
to the family.

Do you still like me
a little?

I love you,
Mother.

Even when
I'm like this?

McDonald:
I mean, this woman --

she told me that
when Paul was young,

and I don't know
how young anymore,

that he did
this peculiar thing.

He stood on his bed,
rocking back and forth,

hurting himself

or doing something,
something or other,

and she went
to the doctor.

And I doubt it was the child
psychologist at that time,

and this doctor's solution
for this problem

was to get a harness

and put it on Paul
at night

that evidently would fasten
to both sides of the bed.

And I don't know whether Paul
remembers that at the time,

but I remember thinking,
"God, that's awful."

♪♪

Stern: He remembers
being tied down.

Both boys remember
banging their heads.

Ah, that was it,
banging the heads.

[ Chuckles ]
Oh, yes. Wonderful.

The banging
of the heads.

She told me --

She told me
that the doctor told her

that's something
only Jewish kids do.

♪♪

Only Jewish kids?

Mm-hmm.

"Only Jewish kids
do that."

That's fascinating.

I wonder what it was
that drove them to do that,

to just go in there
and bang their heads to the wall

on a fairly regular basis.

I don't know.

♪♪

♪♪

Paul: My mother and I
just didn't get along.

The second year, Joanne and I
were living in New York

in the apartment on 11th Street.

Joanne said, "Why don't you

invite your mother up
for Christmas?"

I said, "Fine."

She came in and said,

"What a beautiful place
you have here, Paul,

all these lovely things,

but you take it all
out of that business,

that terrible business

that's filled with nothing
but bile and pornography.

Oh, what you could have done
if you'd only tried."

♪♪

One day, I was driving
or somewhere in the city.

Suddenly, my mother said,
"I know why your wife hates me.

Because I know she's having
an affair with Gore Vidal."

[ Scoffs ] I couldn't talk.

♪♪

Luke...

What you doing?

I jammed on the brakes,

opened the door, and said,
"Get the fuck out of this car."

Pushed her out on the corner
of 18th Street and Fifth Avenue

and left her there.

We didn't speak again
for 15 years.

What we got here
is a failure to communicate.

[ Gunshot ]

Luke! Luke!

Rosenberg: After the first
screening we had at Westwood,

the lights went on,

and the audience
was absolutely still.

And they came running to me,
you know, the studio,

"They don't like it."

And I said, "Wait a second,
what do you --

what do you want them to do,
applaud?

The hero's just been killed,
you know?

They're gonna go out there
and they're gonna think about it

and they're gonna talk
about it."

Go get him.

Vidal: I think he will be
remembered for something that

in a curious way is very like
Henry Fonda, Gary Cooper.

They are so good,
no one knows they're any good.

And you can achieve a kind of
perfection as a film actor

that the people who --
overexcited types

who believe in the auteur theory
don't notice.

♪♪

♪♪

Ritt: Faith is one of the most
important items in the equipment

of the actor, writer, director.

I have faith in the material
and the people I'm working with,

and that faith is --

that purity,
because that's what faith is --

it's impossible to fake.

And when you have it,
it's a thing of beauty.

You got two ways to go --
put it down or use it.

♪♪

Even if you tie me,
you're gonna be dead.

♪♪

You persuaded me.

♪♪

Vidal: Newman -- oh, yeah,
he was good. He was good.

Cooper -- yeah, he was good.
He was good.

Fonda -- Oh, yeah.

He was always very good.

He wasn't acting, though.

[ Chuckles ]

♪♪

♪♪

Woman: If any of you listening
or live in or around Westport,

they have really,
truly one of

the most enchanting homes
I've ever seen.

It's right on
a lovely pastoral stream.

Just trying to get rid
of my chewing gum.

Well, don't --

please don't put your
chewing gum in my ear, Paul.

[ Chuckles ]

Tell us a bit --
Tell us about your children.

Well, there's six of them,
and they're marvelous children.

What else can I say?

♪♪

I think people
should think so carefully

before they have children

because people are very often
so cavalier about it.

They think of this lovely
little bundle, you know,

without thinking it's going to
grow up to be a gawky teenager

with a lot
of long hair.

And we may still need to be
loved and hugged and kissed,

even if he is
tall and gawky.

♪♪

Man:
How different is it

for a woman to bring up a child
she has not borne

compared to the one
she has?

I mean, I have three
who aren't mine --

I don't have them,

but I have been blessed
with them for many, many years,

and I have three that are --
that I bore.

I could not
in any way say

that I love one
more than the other.

I mean, they're --

As much as any other person
can be yours,

they're mine.

♪♪

Hawke: I guess
I wanted to ask you,

when did you get
that tattoo?

Stephanie: Oh, I got that
about...five years ago.

I got it facing me
on my forearm

because I wanted
to be able

to read it
all the time.

And just as
a reminder,

even though
I don't really need one,

but she...
uh...

Joanne was
one of the best things

that ever happened
to me.

And she gave me
my sisters,

because she
could have been

a different
kind of stepmother

that was
totally uninterested

in keeping up
with Pop's other children.

She embroidered me
pillows.

I have postcards
and letters from her

from all over
the world.

Melissa:
She worked really hard

to make sure
that we were a family,

and I don't think it necessarily
would have happened

the way it did
if it had just been my father.

She advocated to make --
to make us a family,

and it was a complicated --
an obviously complicated family.

Woman: I know two -- two of them
take dancing lessons now,

And I believe they had their
first dancing lessons this week.

And then, of course,
you have the baby.

The dancing lessons,
incidentally,

are really
quite marvelous.

The eldest one
of the second batch is 7,

and she thinks
she's a horse.

She gets in her dance class,
really.

[ Laughs ]

Very good!

Yes, I thought it was
a rather good horse.

♪♪

Ritt: Paul is...

very demanding.

I mean, he has to be.

I mean, I made -- I made
a couple of pictures with him

that were flawed.

♪♪

You -- You know me,
do ya?

I don't think he work--
wants to work with me again,

and I don't --
I don't blame him for that.

From his point of view,
"Paris Blues" was flawed.

I don't think he really liked
any picture we did together,

except for "Hud."

He thought "The Long,
Hot Summer" was flawed.

He thought "Hombre" was flawed.

Woman:
...plays an Apache Indian.

[ Chuckles ]
Get a good look at this hairdo.

Everyone was constantly ribbing
him about looking like a Beatle.

I hope this movie doesn't
make the trend any worse.

Please! Please, help me!

Paul: The theme of "Hombre"
was that ultimately,

the competent people
pick up the tab

for all the incompetent people.

The plot
has all these incompetents

screwing it up until finally,
my character arrives

to save their asses
and gets killed.

It was a good idea.

Lady, up there
in those mountains,

there's a whole people
who've lost everything.

They don't have a place left
to spread their blankets.

They've been insulted,

diseased,
made drunk and foolish.

Now, you call the men
who did that Christians,

and you trust them.

I know them as white men,
and I don't.

Ritt:
He was extremely good in it.

I mean,
it was one of the best things

he's ever done in his life.

I mean, but I think
he thought it was flawed.

Paul: When I see the image
on the screen

of that goddamn
self-conscious movie star

with blue eyes
playing an Indian...

What's that?

How are you gonna
get down that hill?

[ Scoffs ] ...it doesn't
come together for me.

Now, you hold on.

I'm going down this hill
the same way I come up it.

You hear me?
Now, you just hold on.

Just you hold on there.

Ritt: But -- But they were not
like "Towering Inferno."

I mean, [Chuckles] they were not
overt exploitations.

That's what that film was.

Put your arms
around me,

and you tell me
what to do, okay?

I mean, I know he's had
a lot of money pressures.

You know, I get it. I get it.

He's always had enormous hits
with that George Roy Hill.

I mean,
I saw the "Sundance" Film.

It's a very entertaining film.

♪♪

♪♪

Hawke: You probably
have a martini.

You're nervous about
Paul writing a memoir

because you don't think
it's a good idea.

But you know
that your job here

is to be
as honest as possible

and still be
a great best friend.

Right?
Yeah, yeah, yeah.

♪♪

Hill:
When Paul came on set,

I noticed he had a large jar
of underarm deodorant,

the dryness stuff
that he puts under his arms,

and he had
three changes of shirts.

And I didn't ask him about it,
but it kind of made me curious.

And then I realized
that he was so nervous,

he had to change T-shirts
all the time.

This gave me great hope

because I don't trust an actor
who's not nervous.

♪♪

That sultry, hip-swinging,
brooding American male --

that was his persona,
but it wasn't Paul.

When Paul had a chance
to shed that,

he found such joy in it.

Butch: Boy, you know, every time
I see Hole-in-the-Wall again,

it's like seeing it fresh
for the first time,

and every time
that happens...

He was able to play himself
in Butch,

to finally learn to relax.

He didn't have to push,
and I think that role

may have helped him
into what he later became.

What's your idea
this time?
Bolivia.

What's Bolivia?

Bolivia.
That's a country, stupid.

Man: Was it you who, in effect,
gave Redford's career

that nudge upwards,
as it were?

Paul:
That was Joanne's idea.

Ah.
Tell me about it.

I think she read the script
and she said, "It's marvelous,

and the only guy that can
play it is Bob Redford."

Redford: The studio
didn't want me for the film.

They wanted somebody
as well-known as Paul,

and he stood up for me.

I don't know how many people
would have done that

and they would listen to their
agents or the studio powers.

Hill: Actors can sometimes
be a terrible pain in the ass

with their jealousy
of each other,

but on this one, even though
they didn't know each other

before they started,

Bob and Paul
consciously established

a relationship
that was excellent

that included Redford's
having to laugh

at all of Newman's
god-awful jokes.

And Newman had to put up
with Redford showing up

anywhere from 10 to 15 minutes
late all the time.

And he kept telling Paul
to not try to be funny.

"You have to trust
that you are funny."

You're one of the funniest guys
I have ever hung out with,

but never because -- never when
you're trying to be funny.

Hamilton:
Right, right, right.

Bet on Logan.

I would,
but who'd bet on you?

Sundance...

when we're done, if he's dead,
you're welcome to stay.

[ Clears throat ]

Listen, I don't mean
to be a sore loser,

but when it's done,
if I'm dead...

kill him.

Love to.

Redford: Both of us were
fundamentally American actors

with the qualities and virtues

that characterize
American actors -- irreverence.

No, no, not yet.

Not until me and Harvey get
the rules straightened out.

Rules?
In a knife fight?

No rules.

Well, if there ain't
gonna be any rules,

let's get the fight started.

Someone count
one, two, three, go.

One, two, three, go.

I was really rooting
for you, Butch.

[ Chuckles ] Well, thank you,
Flat Nose.

That's what sustained me
in my time of trouble.

Redford: We played on
each other's flaws for fun.

One-upsmanship, but always
with an underlying affection.

I figure we can either fight
or give.

If we give,
we go to jail.

No, we'll jump.
I'll jump first.

No.
Then you jump first.

No, I said.
What's the matter
with you?

I can't swim!

[ Laughs ]

Why,
are you crazy?

The fall
will probably kill you.

Oh!

♪♪

♪♪

Hill: The final scene between
Paul and Bob

was a tremendous
acting challenge.

In the dialog itself,
there is no reference

to the fact that
they had been terribly wounded.

Now, Paul and Bob's
playing of that scene

and finding the right balance
of pain and humor

and -- and hope is, I think,

one of the best
acting achievements

I've ever seen in my experience.

Butch: Australia.

That's your great idea?

Oh, it's the latest
in a long line.

Australia is no better
than here.

Oh,
that's all you know.
Name me one thing.
Name me one thing.

They speak English
in Australia.

They do?

That's right,
smart guy,

so we wouldn't
be foreigners.

Got horses
in Australia.

They got thousands of miles
we can hide out in.

Good climate,
nice beaches.

You can learn
to swim.

No, swimming...
isn't important.

What about the banks?

They're easy.

Easy, ripe,
and luscious.

[ Chuckles ]

The banks or the women?

Well, once you got one,
you got the other.

It's a long way, though,
isn't it?

Ah, everything's got to be
perfect with you.

I just don't want to get there
and find out who stinks.

That's all.

At least
think about it.

Alright.

I'll think about it.

Hey...

if we get outside
and we get to the horses,

just remember
one thing.

Hey,
wait a minute.

What?

You didn't see Lefors
out there, did you?

Lefors?

No.

Oh, good.

For a moment there,
I thought we were in trouble.

♪ Oh, the streets of Rome ♪

♪ Are filled with rubble ♪

♪ Ancient footprints ♪

♪ Are everywhere ♪

♪♪

♪ She promised
she'd be there with me ♪

♪ When I paint my masterpiece ♪

♪♪

Redford: I love Paul,

and I think he's a rare,
rare human being.

♪ Oh, the hours we'd spent ♪

And when you come across
someone like that,

you don't let go.

♪ Inside the Coliseum ♪

He would never do anything
to hurt you.

He would never do anything that
would in any way denigrate you.

If you are a friend of Paul's,
you are safe.

You could go out and rob a bank
and Paul would disapprove,

but it would not affect
his friendship.

When Paul commits,
he is committed for life.

I hope you say that
about me someday.

You know,
I was thinking about you.

[ Laughs ]

That's okay.
Yeah.

♪ The back of my memory ♪

♪ When I ran on the hilltop ♪

Man: Does it seem funny
the man you know at home

as just
an ordinary human being

that other people
become giddy over him?

Woodward: To see someone that
you've known as that nice boy

from
Shaker Heights, Ohio,

who happened to be in the same
play with you, you know,

and you thought, "Well,
he isn't really very talented,

but he's got a pretty face,
so maybe he'll make it."

But then to some,
they see him, you know, emerge,

I think,
by the roles that he plays,

because when I go
and see him in films,

I mean, I get a whole thing
about him, too.

I mean, not that I --
[ Laughter ]

I don't mean to say
I don't anyway, but, you know...

Stephanie:
It was very weird.

I remember being at a very nice
hotel with Nelly

and having some women
come up to us,

and one of them said,

"Can you get anything
from his room that's his?

I'll take a bristle
from his toothbrush."

♪ Masterpiece ♪

♪♪

♪♪

Rachel: Hello?
Are you there?

Anybody home?

Yeah, I'm here.

Well,
what are you doing?

When? Now?

Yeah, now.

Just sitting
in my room.

And...?

Just sitting.

I can't think
of anything to say.

Well,
maybe I can help you.

I'm just sitting here

stark naked
as the day I was born.

[ Chuckles ]

That open any interesting
lines of conversation?

Well...

[ Telephone rings ]

♪♪

Are you, uh...

really naked?

I thought
you'd never ask.

I want you here,
but it just doesn't...

Clea: He -- He needed her in
a way that she didn't need him.

I mean, she was constantly
learning new things

and pushing herself

and doing things
that she was afraid of.

Melissa: She really was
kind of the --

truly herself, free flowing,

and I think he wanted --
he wanted some of that.

And so he married it.

I'm gonna see if I can
get some sleep, okay?

Linney: There was always a sense
that there was a lot going on.

You know, she was a big knitter.
She knit.

What are you doing?
Can I see what you're making?
Oh, yes, this.

Well, actually,
I'm really doing this,

and I'm doing it
for a birthday present.

What's gonna be
in the squares?

A picture of one daughter
and a picture of the other.

Allen: I love the fact --
people used to make fun of her,

but she would go on
to talk shows,

bring her knitting.

She'd be sitting there knitting
while she was talking to them,

and she didn't really care,

like, what anybody thought
about it or not.

She was just kind of very
uniquely her own self, you know?

Linney: But there's something
about knitting in that

each little stitch, like,
leads up to something else,

and then you have
a beautiful sweater.

Man:
When was it dissolved?

Woodward: I don't think
there's a moment when, do you?

I think it's
a gradual progression of things.

I think they say that
one changes every seven years,

every cell
in your body.

Maybe when I was 35

and decided
to take up ballet,

thereby making myself
the oldest --

oldest beginning ballerina
in the world.

36, I went on pointe,
you know.

How to let a work evolve,

how to let your family evolve,
how to let your marriage evolve.

Like, how do you keep evolving?

I think that's why "Rachel,
Rachel" meant so much to me

because it --
you should do things.

You shouldn't say,
"No, it's too late for that."

It's never too late.

♪♪

[ Clock ticking ]

Every time we've ever gone
for an ice-cream cone,

you've ordered vanilla.

That's not
the only kind, Rachel.

There are
30 other flavors,

plus
a flavor of the month,

and there are more people
on this earth

than just you.

Parsons: "Rachel, Rachel"
had just been

a very important experience

in my life progression
as an artist.

I mean, it's an experience
that's so much more refined

and artistic than most.

I mean, it's no good
to break the mold

if you haven't got
anything worth doing.

Woodward:
I had sort of been semi-retired

for a few years
raising children,

and I said, "There's no way
you're gonna get anybody to,

you know, they're not gonna
put this film together for me."

And Paul said,
"No, you really ought to do it.

Let's -- Let's figure out
how to do it."

Reporter:
In 1968, Paul Newman,

famous in front
of the motion-picture cameras,

undertook his first assignment
behind them as director.

Joanne Woodward,
Mrs. Newman in private life,

agreed to star for it.

Paul Newman tells it.

Paul:
She's sitting on a set,

and she appears to do
absolutely nothing.

But there's some
strange motor going on.

♪♪

Parsons: I went to see Paul at
some apartment on the east side.

I'd never met him before, and I
remember thinking, "Oh, my."

[ Chuckles ]
I mean, he was like a Greek god.

Paul: As it became more and more
difficult for me to find parts

that I wanted to do as an actor,
if I read a good script,

I should like to be connected
with it in one form or another.

That's why I directed
the first film.

I'm exactly
in the middle of my life.

This is my last...

♪♪

...ascending summer.

The same year
that he's Butch Cassidy

and, like,
America's Marlboro Man,

they spend their own money
and their own time

on a movie about
a 35-year-old woman

having a midlife crisis.

You know, Joanne --
both Joanne and Paul,

they absolutely loved...

this craft
of storytelling.

♪♪

Man: Did you have any
misgivings at all about being --

to be directed
by your husband,

somebody you're
so very close to?

Did you have
any misgivings at all?

Woodward: I didn't have
any misgivings about it

because
I've never understood

why people always think
that that's so strange.

I mean,
who could direct you better?

I made
a fool of myself!

We're all fools.

You can't be part
of the human race and not be...

Parsons: I don't know where
that kissing scene came from.

I just -- I found it --
I found it very easy to do,

and I remember just before
we shot,

I had an idea that was
very effective, and I --

I just kissed her all over,

and then I kind of
found her mouth and...

♪♪

Oh, Rachel!

Oh!

Oh, I didn't --
I didn't mean that.

I'm sorry!

Oh, please,
now I'm a fool!

Scorsese:
It was a big risk

to make a picture
like "Rachel, Rachel."

People were not -- the
independent films were not as --

you had to really
put yourself on the line,

and in a way,
I think he took this journey.

And it's a long trip to
"Rachel, Rachel,"

and it must be because of her.

She kept Paul on that tightrope
walking and growing

and growing and growing.

Maybe if they hadn't
been together,

maybe if it was a different
kind of situation,

he would not have taken
those -- those risks.

You're a loving person,
Nick Kazlik.

Babe, we've only had two dates.
You don't know me at all.

I know enough.

I know enough
to say that...

I love you.

I want a child.
I...

Woodward: Sandy Meisner,
whom I quote ad infinitum,

said that for an actor,

it takes -- it takes 20 years
to, like a violinist,

not wonder where you have to
put your fingers on the strings,

and Rachel was
a real breakthrough for me

in that respect.

Hold on to me.

♪♪

I think you want to.
Be willing, please.

Please allow
what you're feeling.

♪♪

D'Onofrio: Every day
when you're young,

you have to
keep reminding yourself,

"I'm an artist,
I'm an artist, I'm an artist,"

and then 20 years later,
you're a fucking artist.

If you've applied yourself
all that long,

you're a fucking artist,
man.

♪♪

Melissa:
She knew that her husband,

who was really famous,

deeply believed that she was
a way better actor than he was,

and he did a lot to prove it.

I mean, he worshiped her
as an artist.

Parsons: I do think the film
was terribly taxing for Paul.

He was in a state of shock
the whole time.

But it wasn't hard for me

because I was working
with Joanne Woodward!

Woman: The winner of this year's
Golden Globe goes to...

Joanne Woodward
for "Rachel, Rachel."

Announcer: Joanne received her
second Academy Award nomination

for her portrayal of the title
role in the movie.

Paul:
One thing that I admire,

the thing that I recognize,
is excellence.

Woman: By any reckoning,
it is her best performance.

Paul: I recognize it
in almost anything --

plumbers, museum guides,
limousine drivers, concierges,

waitresses, bank tellers.

I delight in seeing excellence.

"Rachel, Rachel,"
Estelle Parsons.

Stewart Stern for
"Rachel, Rachel."

Woman: Joanne Woodward
for "Rachel, Rachel."

Paul: And unless I have it
for myself,

I'm not gonna be satisfied.

Man:
...was moving up in the field.

♪♪

Acting, that whole real feeling,
eh, I have my moments.

Single scenes, maybe.

I've had maybe a dozen inspired
races in 16 years of racing.

I've won a lot that weren't
necessarily inspired.

It's kind of the way I feel
about my acting.

[ Indistinct announcement ]

Acting, racing,

you're constantly aware
of your own inadequacies,

and I just try to get out there
and do the best I can.

Anything can happen.

But as in all things, you can do
anything you want to

if you're willing
to pay the price.

♪ One day, I'll stop to listen ♪

♪ One day, I'll stop to listen ♪

[ Singing indistinctly ]

♪ Don't forgive me anymore ♪

♪ Find me sleeping ♪

[ Singing indistinctly ]

♪♪

♪ One day, I'll stop to listen ♪

♪ One day, I'll stop to listen ♪

♪ One day, I'll stop to listen ♪

♪ One day, I'll stop to listen ♪

♪ Don't trust the moonbeams ♪

♪ Moonbeams are off the record ♪

♪ Don't count your heartbeats ♪

♪ You heart won't beat forever ♪

♪ One day, I'll stop to listen ♪

♪ One day, I'll stop to listen ♪

♪ One day, I'll stop to listen ♪

♪♪

♪♪

♪♪

♪♪