Original subtitles

♪♪

♪♪

Hey. We got to play for something.

Well, I'll think of something.

He just wants to win.

He doesn't care what the stakes are.

She's got a fix on you, Frank.

That's why I married her.

Yeah, well, it must be nice

to wake up next to somebody you recognize.

Yeah, it is nice.

♪♪

You're a winner.

What else?

♪♪

♪♪

[ Woman speaking indistinctly over loudspeaker ]

[ Applause ]

Crudup: "'Winning' opened at Radio City Music Hall.

[ Chuckling ] I mean, there were lines.

Yeah, I had to say that I was nervous.

I went up to the closed door into the marquee

and tapped on it, and the usher came over, and I said,

'Is anybody in there?, And he said, 'Yeah, it's full.'

And I explained to him that I was the director,

and he said, 'Do you want to come in?'"

Hawke: James Goldstone, who was the director of "Winning" --

he's kind of a forgotten director.

Gets invited into Paul's house -- first-time director --

and there's Paul Newman and Joanne Woodward

in the middle of their family life.

And they have real family troubles.

And Paul wants to put his life into the movie.

He doesn't want to just make a racing movie.

He wants it to be about relationships, right?

He completely changed the script,

made it completely personal, and fell in love with racing.

The thing I love about the Goldstone transcript

is he's not some big-shot director.

He's so -- he tells the story,

and it's gonna be in the transcript I send,

of being so nervous about when the movie opened

and then the fucking thing was packed.

It was the new Paul Newman movie.

Crudup: "I came in right at the point

where Paul parked his car, walks across the motel parking lot,

and...

and opens the door, and I...

I could feel the breathing of 6,000 people

really watching.

And then I could hear 6,000 people going,

'[Gasps] Oh!'

And not a sound.

And -- And some man's voice from one of the balconies,

you just -- you heard, 'Jesus Christ.'"

♪♪

"That was a moment that we discovered in rehearsal."

Man: Gentlemen, start your engines!

[ Engines rev, crowd cheering ]

♪♪

Crudup: "I needed a series of shots of cars passing Paul,

and so we started out Paul in first position,

you know, 16 cars behind him.

By the time I had done all my shots with the camera car,

Paul was in last place.

Put up the green flag, and Paul was driving a very fast car,

and he put his foot in...

[Laughing] ...and didn't know what was gonna happen.

You know, they're driving with this star.

I had impressed on them over and over again,

'We cannot kill him. He's an amateur.

You're pros,' and Paul started driving it past them,

passing one car after another.

And the safety guy was saying to me,

'I'm gonna put the light up and get them off the track,

They're driving too damn fast,

'cause now they're actually racing.'

We put on the light,

and Paul came into the pit to second position.

He had passed 14 or 15 people,

and this wonderful, sheepish grin on his face.

He knew he wasn't supposed to do it."

♪♪

"You know, he's getting out there, and he's proven --

not how much you get paid,

you know, what kind of prizes you get.

It's about who has control.

You know, yeah, we talked about his mother

and his relationship with his father

when he was a kid -- his father's store.

He got on to the subject of alcoholism,

and his fear was that, you know,

he didn't think he could not drink,

though he'd never be an alcoholic.

Well, he is one, and he could not handle it

if he tried to handle it.

Something in his past with his mother --

I guess, apparently a quite neurotic, compulsive person

that I get this feeling that he fears tremendously

somewhere underneath that he's very much like his mother,

you know, that given the chance, you know,

that he'd lose control."

I'll tell you -- for a squirrel, he looked pretty good,

for an old squirrel.

"Paul -- he wants desperately

to have control of himself.

His mother didn't, and he's always had, you know,

the feeling that, when he left to go into the Navy

and to college, that he was in a terrible pressure cooker,

that he didn't have control."

[ Indistinct conversations ]

♪♪

I can't hear you!

[ Indistinct shouting ]

I can't hear you! What?!

[ Indistinct shouting ]

♪♪

They won't let me talk to him.

Well, you'll just have to stand in line

and wait your turn, Charley.

Crudup: "In preproduction, Paul was working in New York

and was sort of running back and forth to Westport,

and I'd spend the weekends there with him,

and Scott was going through this dreadful period,

and he was kicked out of prep school

and -- and there was something about a car accident.

Paul was trying to repair that relationship."

I've got to start sometime. I'm 16.

You wouldn't even like it.

Well, how do you know unless you try?

Take a sip.

Salud.

Good.

Oh, my God.

Hey!

Look, I'm gonna get drafted in two years.

So you drink when you're drafted. Yeah, but I won't know how.

"I happened to be staying at his house,

and it was in the middle of winter, you know,

heavy snow and had a blizzard.

And Scott had returned home from Pennsylvania,

and I felt...

I don't know -- kind of like a terrible tension --

this beautiful, handsome, young man and his father, who...

didn't know how to reach out..."

"...how to span that thing."

[ Giggling ]

"And at the same time, of course,

we're dealing with the script's relationship

between the racers and the kid and Paul's character

and the Richard Thomas character."

Do you think I'm drunk?

Stephanie: I remember being in my bedroom when I was 8,

and my mom and a friend of hers

were in Scott's bedroom next door,

and all of a sudden, I heard a gasp.

And I went running in, and they had discovered

that Scott was sniffing glue.

So this was at 12 years old.

[ Whistles ]

Crudup: "And I can remember sitting in that pool house

late at night, watching him and Scott work out,

you know, this painful relationship

that wasn't being worked out -- playing pool, drinking beer,

each of them trying and neither knowing how."

You go up the stairs.

You do not drop your clothes on the floor.

You fold them.

You jump into a pair of pajamas,

and you glide very stylishly into bed.

"Oh, in the 'teaching your son to drink' scene,

it didn't have to be discussed between Paul and me.

I was father, and he was a father, so...

it all worked its way down the line

and into the movie."

He's drunk! He's with me!

Crudup: "And when Paul takes Richard Thomas home,

saying, 'He's with me,' it..."

Charley: Goodnight, Mother.

"...it was -- that was a very important line..."

Goodnight, Father.

"...which could have been --

could well have been Paul's, you know, 'cause,

you know, 'cause it came out of those rehearsals."

♪♪

♪♪

You are so lucky.

You sit there, all closed in

by machinery and bolts -- precise things.

There's hardly any room for you.

[ Sighs ]

It must be a nice, safe feeling.

[ Chuckles ]

[ Sighs ]

Eh, you got to learn to trust something.

Might just as well be the seat of your pants.

"There's a part of him that's always standing back,

looking at himself.

I wonder whether some of that isn't that he knows

everyone else is watching him, too,

that they've been watching him for, you know,

30-some-odd years, no matter what he does, and..."

Where's the cab?

"...therefore, he joins them...

observing."

Well, maybe he picked up another fare on the way.

No, if they take the call, they come.

"Anguish.

Anguish between Paul and Scott became a given

in our conversations."

I want to stay with you.

We'll see, Charley.

"We'll see, Charley."

"You get trained as an actor to study

all your own internal reactions, and the thing with Scott

is just the most important thing of his life.

And he stood outside watching that

instead of being able to -- to let loose,

somehow be inside it."

Give you some money. I've got money.

"He saw happening what was happening with Scott.

He saw it.

But he couldn't -- he couldn't get over that wall."

The Hoosier Motor Inn.

Take care.

"And we talked about

how you span that gulf with your child --

the most important relationship you can have."

"And if you're a well-trained actor,

you can watch yourself

abandoning yourself to something.

But a little part of you that's...

that's always censoring."

Kazan: "I think that there are kids who are predisposed,

and I think that Scott was one of them."

Crudup: "I remember such a dance --

dance of death between Scott and his father,

because Scott had -- Scott had learned

that he could really manipulate things,

and I wrote him a long letter, asking him to please communicate

what he was feeling and not stay shut off

from his father or from -- from anyone else

that might be able to help him out,

because Paul was -- he was -- he was just demolished.

But he didn't know where to start or -- or what to do.

And obviously, Scott was -- Scott was desperate."

[ Sighs ]

Charley: My grandmother used to get mad at me

because I slept with the light on all night.

So I finally got a flashlight

and turned it on under the covers.

What were you scared of?

I never really knew.

It went away finally.

♪♪

[ Door closes ]

Just like the car lights.

Well, they come in and go across the ceiling

and down the wall.

Then they disappear.

[ Sighs ]

♪♪

Paul: There's Joanne really as a movie star.

God, what delicious, sweet, innocent days those were,

and I certainly didn't take much advantage of them.

I taught them how to drive well.

That's probably the extent of my parenting.

♪♪

♪♪

Nivola: "The thing about Paul was that

he was very realistic about who he was.

He knew the world of hyperbole and distortion he was in."

Can you get a mob together? After what happened to Luther,

I don't think I can get more than 200, 300 guys.

[ Calliope plays ]

"If you're in a position of being viewed iconically,

you better have a mechanism to take yourself down

to keep the balance.

I think we did that for each other."

♪♪

She picked him clean. He never missed it.

My God, it's like he's expecting a big night.

[ Muttering ]

"Whatever success one of us would have,

the other one would knock it down."

He's waiting for you in the card room.

Let him wait.

"We used to play lots of pranks on each other.

He began to get into racing, and he got really good.

But he talked so much about it that I got sick of it.

So I had a beaten-up Porsche shell

delivered to his porch for his 50th birthday.

He never said anything.

But not long after, I found a crate of molten metal

delivered to the living room of my house.

It dented the floor.

[ Laughs ]

I then had it turned into a really ugly sculpture

and dropped into his garden.

[ Laughs ]

To this day, neither one of us has ever mentioned it."

Just worry about your end, kid.

If we ever get to it.

[ Train whistle blowing ]

Rockwell: That's another great one.

That's another great one. Hawke: Have you ever --

Yeah. Do you remember the card-playing scene in that?

When he pretends to be drunk? Yeah, it's incredible.

He borrows the tie and then wipes his mouth with it.

It's my favorite fucking scene.

It's the best fucking scene.

[ Inhales sharply ]

[ Exhales deeply ]

Sorry I'm late, guys. I was taking a crap.

[ Door closes ] The name's Shaw.

Hamilton: "The card-game scene with Bob Shaw

is really just Paul doing things that I'd seen him do.

And all I did was remind him of the things."

We usually require a tie at this table.

If you don't have one, we can get you one.

Hey, that'd be real nice of you. Mr. Lyman.

Lonnegan.

[ Belches ]

Well, finishes me.

Don't worry about it, pal.

[ Laughs ]

[ Sneezes loudly ]

[ Groans, sniffs ]

Three 10s.

[ Laughs ]

Tough luck, Longhand, but that's what you get

for playing with your head up your ass.

A couple more like that, we can all go to bed early.

Name's Lonnegan -- Doyle Lonnegan.

Woman: You drink too much?

Paul: I don't drink too much now,

but I certainly went through a period when I...

was out of control.

When was that?

'70s.

Hawke: One of your sisters might very easily say to me that,

you know, "Dad was an alcoholic," right?

And then one of your other sisters said to me,

"Oh, that's bullshit."

Can you help me have some insight as to, like --

I kind of -- I'm trying to make sense

out of all this talk about alcohol.

Who said Pop wasn't an alcoholic of us?

[ Laughs ]

[ Snoring ]

The great Henry Gondorff.

Hawke: I think basically at the end of everybody's interview,

everybody kind of agreed that he was a functioning alcoholic.

Nell: Yes. But there was a lot of resistance to it --

just to using that word.

You know, it was -- it was definitely destructive.

It was definitely destructive, you know,

because there were times where he was impossible

and that maybe if he didn't drink so much,

it would have been different.

How does somebody get so much done?

That is a really good question.

Lissy: You know, it's almost more frustrating to live

with a very high-functioning drinker,

because he could go pretty hard,

but he wasn't gonna miss work in the morning,

and he was gonna be on time, and he was gonna be ready.

But you know, before going to work,

He would fill the sink with water and ice

and plunges face in there before he went to work.

And it wasn't until I got older that I realized that,

yeah, when you've been drinking all night,

you want to take some of the swelling down.

Is Lonnegan after you, too?

I don't know.

I ain't seen anybody.

You never do, kid.

Our characters rub off onto the actor.

Probably one of the areas of great discontent

is they probably feel that, as human beings,

there are merely a series of --

a collection of old characters that they played.

I sometimes get that feeling about myself,

that I....

have....

you know, become...

...a series of connectives

between the -- the parts of the characters

that I really like...

and I've strung them together into kind of a human being.

Very interesting.

Linney: "This was in Ojai, and it's up from Los Angeles.

We went up to spend an Easter holiday.

Paul was away on location, and I took the girls and the nanny,

and it was such a great time.

It was a lot of -- you know, we just remember special moments,

and..."

Clea: You know, I think that most daughters feel --

you want to be kind of the center --

the center of your dad's attention, right?

And, you know, Dad had a lot on his plate.

And he also had a lot of kids and, you know, an ex-wife.

And it was complicated,

and, you know, when you're a kid, you don't weigh those.

You know, that doesn't mean anything to you.

What do you feel like is that you're, you know,

you're not important.

And, you know, I guess I felt that way.

Paul: I knew that I didn't want two things

written on my tombstone --

"Here lies Paul Newman, who died a failure

because his eyes turned brown."

[ Laughter ]

And the other one was that I...

[ Laughter ]

...I did not want my children

to lay me in the tombstone and said,

"Here lies the old man who was never part of his times."

[ Jet engine roars ]

♪♪

Belafonte: I know that all of the artists

who sit on this panel tonight feel very strongly

about the war in Vietnam, and you oppose it.

Well, how do you answer people who say to you

that, as a top star, living in the luxury of American life,

that you could turn your back against the nation? Paul: What do you do?

Do you give up your citizenship because you've become an actor?

Woodward: Four little girls, who went to Sunday school that day

and never came back home at all,

but left instead their blood upon the wall

with spattered flesh and bloodied Sunday dress

torn to shreds by dynamite that China made...

Before one was an artist, he was a human being.

Before one was an artist,

he was a citizen of the nation and of the world.

I dip my broom in blood, my mop in blood,

and blame you for this because you are their enemy.

It's hard to blame me because I am here.

So I kill you and you kill me.

My name, like your name, is war.

He presented himself as the man that he was.

He discussed the issue very frankly and openly.

And then an extraordinary thing happened.

The young people took the man...

Man: And Paul Newman became

the political box office smash...

If you have areas where you feel your own rumblings...

Sherman: "You finally know people by what they do.

It's not by what they say."

Clooney: "It's the biggest feeling I ever had in my life,

to be actively involved in being part of my own times."

Sherman: "And Paul has proven to me --

a man, that when I first knew him,

was fundamentally apolitical --

He's become genuinely committed to the most liberal of causes.

And that in itself is not important to me

because I've never confused ethics and politics.

I know some very liberal guys who are shits

and some very conservative people

who are quite good people ethically.

But I think both Paul and Joanne,

they're fundamentally very good people."

Newscaster: Big surprise in the first primary of Campaign '68

has been the strength of Senator Eugene McCarthy.

Paul: You know, I'm fed up with the machinery.

I'm fed up with patronage.

I'm fed up with all of that jazz.

I am announcing today my candidacy

for the presidency of the United States.

Paul: How can you beat the machinery? How can you beat the Kennedy money?

How can you beat the Rockefeller money?

You're looking at a very tired, aging juvenile here.

I really don't...

Clooney: "This thing I'll always remember

about the whole McCarthy campaign

was this cop in New Hampshire.

We were going somewhere with a police escort,

and one of the cops received word the night before

that his son had been killed in Vietnam.

I offered the cop my sympathy, and he thanked me.

Then we stood there.

Finally, I blurted out something.

What did he think about some creep,

some Hollywood peacenik coming in there

and telling him about the war?

The cop said, no, he didn't represent what I was doing.

'Even if a war takes your boy,'

he said, 'it doesn't make it right.'"

Announcer: This is the CBS Evening News with Walter Cronkite.

Good evening.

Dr. Martin Luther King has been shot to death

in Memphis, Tennessee.

Dr. King was standing on the balcony

of his second floor hotel room...

[ Indistinct police radio chatter ]

Man: Do you feel that individuals can really

make a difference in that sort of political process?

I don't know whether they can, but I know they must try.

Thanks to all of you, and now it's on to Chicago,

and let's win this. Thank you very much.

[ Crowd cheering ]

[ Indistinct conversations ]

...died at 1:44 a.m. today. He was...

Newscaster: While supporting the police,

the guard exchange shots with snipers...

Paul: I don't have very much sympathy for the people who --

who honestly feel that history is out of control,

because it's been shown that people can control history,

that they can make fools

out of all the political pundits and all the cynics.

My stepson just had his --

he just graduated from high school,

so I sent him a copy of "Don Quixote."

And I said -- and a copy, also, of Gore Vidal's book,

"Reflections on a Sinking Ship,"

which is -- it's essays about the United States.

And I said, you have your choice now.

You can either go the way of Don Quixote and try to,

you know, to save the world.

And then you read Gore's book,

and you'll see what you've got to save.

And so but all you can do is try, you know...

Ashmanskas: "I think that some people may feel

that their outspokenness could have been harmful.

It's never helpful in a country

as sectarian as the United States,

where everybody is in a state of, you know,

some sort of agony about something."

Newscaster: ...the convention, the stockyards.

I don't want my stepson to be drafted and all of that.

What do you say to him --

your stepson about being drafted? My stepson?

I wouldn't allow him to be.

Ashmanskas: "So many groups that say,

'We will never again buy your products

and go see your films.'

I think it takes a bit of courage to go out there,

and I think they both have it."

I keep hoping, somewhere, as I suppose we all do,

that there must come a moment in time when people say,

"Let us grow up. Let us have some kind of humanity."

Killing one person or...

"I think it evolved when they were young actors.

They were young actors, and young actors

are like young actors everywhere.

It's, 'Me, me, me, me, me,' and then they grew up,

and they became grown people as well as actors.

So it became a little bit, 'Us, us, us,' as well."

Paul: ...simple act of conscience.

We are sorry that it affects other people,

and yet maybe that's the real force of it.

I mean, it is business as usual, and we go about our lives,

and there is no pain in our lives.

And I don't know what war is all about

if it isn't to create pain.

Clooney: "There aren't many smart people who have power,

and you have to use your power to advance truth.

What's money and power worth if you don't do that?"

Newscaster: In other news, actors Paul Newman,

Sidney Poitier, and Barbra Streisand

have joined forces to take on Hollywood,

starting a company called First Artists,

who aspire to give the talent more creative control

in their moviemaking in exchange for lower salaries.

♪♪

Announcer: First Artists present...

All right! ..."Uptown Saturday Night"

"WUSA" -- love it or leave it.

There's a film that you did called "WUSA"

that's just coming out, and no one has told me

what the title stands for, and all day I've been thinking

of things that WUSA stands for, like --

It's the call letters for a radio --

a right-wing radio stations.

Oh, so it has a political theme, more or less.

Oh, yeah.

Stephanie: Please include my favorite quote of my dad.

The best advice he ever gave me was,

"If you're gonna crash, crash decisively."

♪ WUSA ♪

Rheinhardt: Now will leave you with one message,

the big message --

the future of America is up to you.

♪♪

The children of the night --

what beautiful music they make, huh?

Yeah, I think I'm zeroed in to the big pulse.

I can hear all those dirty feet tapping.

They're all delighted upstairs.

They must have big things in store for you.

Yeah, they're very sweet.

I think they've got big things in store for everybody.

I'll see you, swinger.

Man: What makes some actors political and some not?

Paul: Oh, I don't know.

You count up your number of children,

and I think the political commitment somehow with me

grew every time I had another child.

These people are hurting, Reinhardt.

They're hurting, and they don't really know what's hurting them.

We're trying to help them find out.

Oh, well put, Bing.

They need us. We need them.

So we hit the issues -- crime.

The decline of patriotism.

Welfare checks.

Welfare checks. [ Chuckles ]

Rockwell: "'WUSA' was a project Paul brought to me.

He bought the rights to the Robert Stone book,

and Paul, much more so than 'Cool Hand Luke' --

he had a real solid fix on how he wanted to be that guy."

You know, sometimes I feel like

I'd just like to run to water and drown.

Don't.

Don't drown.

Don't let them force you to extremes.

You've got to be like me.

You've got to be a master of disguise.

You chase me to water, I'll grow gills

and disappear into a flurry of fins.

"Paul tries to explain to the character of Joanne

in that film at one point what happened to him.

He tries to explain to her

that he learned to play the clarinet through the nuns,

and he was an exceedingly good musician.

And if you have talent and you have the creative energy,

you have to use it, because if you don't, it rots

and turns against you and ruins you."

...and poisons you, and you sort of die of it.

[ Sighs ]

"And the way he describes it is that he woke up one morning..."

I woke up... "...and he fell off his life."

...and looked down and fell on my life.

Now you think it's easier just being a drunk?

Helps me sleep.

"I just -- I thought that was

a beautiful, brilliant way of putting it."

You got a lot of spite in you, Reinhardt.

"Yeah, well, I think the character came more personally

from who Paul was, because he understood the struggle

that a man has with particular demons inside."

You're not gonna tell me how it is, are you, friend?

♪♪

Woman: Do you feel that the wind has gone out

of the anti-war groups?

Oh, yes.

Almost as though it had been a fad?

That's a very accurate word.

Do you get disheartened?

No, I just get tired.

[ Coughing ]

It's very difficult to sustain your rage.

I mean, if you've been doing it for seven years like I have,

and with apparently no effect, that's the worst part.

God, it's getting heavy, isn't it?

[ Laughter ]

But the young people really found something,

or they merely found something to do.

It was not a long-term political commitment.

♪♪

Man: You know, do you ever worry about the segment of your fans

that you may alienate, who may love you in the movies,

but they don't agree with you politically?

Oh, I don't know.

I guess that can't really be a consideration. Yeah.

Well, one of my favorite memories of Pop was

when he was named number 19 on Nixon's enemies list,

and he was so filled with glee.

It was just exciting to watch how it filled him,

and he considered it an honor.

It's interesting.

I suppose if you offend nobody,

in the final analysis, you have no character.

Clooney: "Audiences hated it.

You know, with the heights that I'd reached

with 'Cool Hand Luke,'

that was the depths I'd reached with 'WUSA.'

I was a pariah. Nobody wanted to touch me in this town.

How could I take the best, most formidable actor in the world

and come out with something that nobody wanted to see?"

All of my favorite actors had given catastrophic performances.

Like, absolutely insensate shit.

Just, like, not an iota of it works.

What do you know about the value of any life,

you crippled freak?

And it's because the ambition to stretch themselves

and their capacity, to me, is heroic.

I fucking love that.

It is -- and, I mean, he got mocked for this performance.

When someone says something that's a drag,

I got to try to say something that's a worse drag!

Sherman: You know, for people who have properly seen "WUSA,"

who are still alive, and you go, "Holy shit, what is this?"

And I feel like he's putting his alcoholism in that movie,

they're putting their relationship in that movie,

and it's a continuation of the vow,

which is, "I'm putting my life in front of you." Right.

"I'm opening up even the dark parts of myself.

♪♪

Paul: That's me trying to be funny.

Not good.

Linney: "From the first time I met Paul,

I always knew he was a drunk.

We always had Christmas Eve dinner,

and Paul would just get drunk and pass out,

leaving me feeling like the last of the great Christian martyrs

at 1:00 in the morning, filling all the stockings

and putting the things under the Christmas tree."

"What a wonderful person I am,

and that shit over there is getting drunk

while I'm being nice and loving and adorable."

Clooney: "My drinking must have driven Joanne crazy.

We drove each other crazy in different ways.

There's a wonderful kind of balance

about things like that --

asymmetrical but equal, like the arms race.

She had all her missiles and land-based equipment,

while most of mine were on submarines."

♪♪

♪♪

Stern: Joanne, if you were doing a biography of Paul

and you were searching for his Rosebud,

what would you be searching for?

Woodward: For what it appears he's searching for --

a kind of peace, serenity --

what his father was searching for.

♪ I... ♪

Hey, that boozing is really

gonna get the best of you, good buddy.

Woodward: Paul has a vast identification with his father.

For years, he was convinced that he was gonna die at 55,

because that's when his father died.

Someday, we'll go to Tibet, and we'll sit on a mountain,

and we'll work it out.

Me too?

Yeah, you too.

I sometimes think that the only peace he really finds

is the peace he used to find in being dead drunk.

Now he finds it in racing cars -- peace and grace.

Grace -- the comfort of knowing he's done something well.

♪ Closer, Lord ♪

♪ We'll be ♪

[ Applause ]

[ Gunshots fire ]

♪♪

[ Gunshots fire ]

[ Crowd screaming ]

♪♪

[ Speaking indistinctly ]

♪♪

[ Screaming continues ]

Let us consider the American way.

The American way is innocent.

In each and every situation, we must display an innocence

that is so vast and awesome

that the entire world is reduced by it.

When our boys drop a napalm bomb

on a cluster of gibbering slants,

it's a bomb with a heart,

and inside the heart of that bomb,

mysteriously but truly present,

there's a fat, little, old lady on her way to the world's fair.

[ Screaming continues ]

Our shoulders are broad and sweaty.

But our breath is sweet.

Americans...

remember, no matter what anyone says, we're okay.

Clooney: "Now, that was the comment

about where we had come to in the world

and that the whole thing was such a mess

that nobody has any answers anymore."

Now, I want you to say that with me.

We're okay!

Come on now.

Say it with me.

We're okay!

Paul: I get despondent, I suppose,

and I despair as much as the next person,

at the size of things and the acceleration of things

and the irreversibility of certain things.

But...

I don't know.

My God, they're interesting times, though, aren't they?

[ Horn blaring, crowd shouting ]

[ Whistle blowing ]

[ Alarm rings ]

Woodward: It was a notably unsuccessful film.

I loved the part.

Aah!

I understood that part.

I don't quite know why.

Linney: "I could never make him understand that I had

the most awful terror

of what might have been happening.

I said, 'I don't care what it is, but I need to know.'

The worst is not knowing when something is wrong,

because you do know.

I know.

My instincts are incredible,

which is obviously why he finally confessed it all."

Woodward: Nobody understands anybody else's relationships.

I mean, you know how you can see

people who are married to people, and you think,

"Why are they married to each other?"

[ Laughter ]

And nobody knows because only the two people

who are involved know what binds that relationship together.

Cavett: Your wife said a lot of interesting things

when she was here. She's not here, is she?

[ Laughter ]

No. No?

[ Laughter ]

That's amazing, I think.

If you were Paul Newman's wife, ladies,

would you let him go out alone like this?

[ Audience shouting indistinctly ]

Man: I'm not sure if it was Johnny or a guest host --

asked Paul Newman if he ever thought about cheating

without taking a beat, he said,

"Why should I go out for hamburgers

when I have steak at home?"

[ Applause ]

Woman: Did you hear what Joanne said?

I heard it. "I'm a vegetarian."

[ Laughter ]

Woodward: That could have ended our relationship.

Woman: Seriously? Yeah.

I mean, what a chauvinist statement.

I am not a piece of meat, for God's sake.

I -- ugh!

I mean, every time that quote pops up,

I want to kill.

Why are you so mean?

Self-defense.

Self-defense.

Nell: You know, the whole, "Why go out for steak when I can --

or why go out for burgers when I have steak at home?"

I mean, that whole line...

Drunk as it gets, aren't you? That's right.

I -- you know, between you and I and the microphone,

those were hard times, you know?

'Cause I can walk out any goddamn time!

I can walk out on anything! I know how it's done!

Lissy: I've always felt, with my mom, it's kind of like

you make your bed, and you lie in it.

You don't think I would?

You know, you have to lie in it.

You son of a bitch.

Well, you know, you take a risk

by having a relationship with someone

who was willing to do that.

If they were willing to do it to someone else,

then it is likely that they would be willing

to do it to you, and I think that any woman

that embarks on that kind of relationship

always has that in the back of her mind.

Nell: I found a book that was written by somebody

he'd had an affair with,

and it was in the drawer in the bathroom.

And I remember, you know, there's a terrible moment there,

where, you know, you realize that your parents --

or your dad is fallible.

♪♪

Woodward: And the suicide scene in it was

one of the most rewarding scenes I've ever done.

It really was some kind of catharsis for me.

[ Clattering ]

[ Music plays, applause ]

♪♪

Talking with the Newmans.

Oh, I almost said "the Woodwards."

[ Laughter ]

Not bloody likely. Listen, it'll help me

an awful lot if you'd do that -- quite a bit.

You must trust him.

You've put your career in his hands now.

You've let him direct you, and you've let him direct

one of your actual children,

and say, you are so good for your age.

[ Laughter ]

No, I'm saying --

[ Laughs ]

There's no way to not sound vapid,

you know, on a talk show, when you send somebody's film

and you have them on as a guest.

But let's take a look at part of "Marigolds."

It's really quite an affecting movie to see.

Here we go.

Yeah, that's some things you never forget, Ruth.

Just little moments you never forget.

In your whole life, you never forget certain moments.

Announcer: Four years ago, he directed her

in the award-winning film "Rachel, Rachel."

Now Paul Newman has directed Joanne Woodward again

in the motion picture

of the 1971 Pulitzer Prize-winning play

"The Effect of Gamma Rays on Man-in-the-Moon Marigolds."

Man: [ Speaking French ]

Man: 1972, you made

"The Effect of Gamma Rays on Man-in-the-Moon Marigolds."

You didn't actually like the part, did you?

Woodward: To say I didn't like it

is the understatement of the year.

I hated it. I hated it.

That goddamn rabbit is gonna drive me straight up the wall.

This house is just filled with rabbit crap.

Everybody has a certain amount of ugliness in them,

but it's very difficult to take all of that ugliness out

and just display it and say, "Here is the ugly me."

As a matter of fact, this entire junk heap

gets a thorough cleaning tomorrow.

I hated the person.

I understood her, but I hated what she was.

Also, my own daughter was playing my daughter,

and in the picture, of course, I was very unkind to her.

That was very difficult for me to do.

Are you all right?

Lissy: It was really, really evident that my mom

was bringing home the character, and Beatrice Hunsdorfer

is a horrible character to bring home.

I'll say something simple.

If you win, I'll say...

"I'm very proud."

[ Sniffles ]

And I'll say, "My heart is full."

That's all right, isn't it?

I don't have to go into a big thing, do I?

No. [ Sniffles ]

I won't even win.

Then I don't think you'd have to say anything.

[ Sniffles ]

"My heart is full."

Classy.

Paul: Each of us have a certain amount of monster in us.

[ Horn blares ]

But we're not called upon to deliver that

8 hours a day and look at it when you go home

and stick your face in the mirror.

So it was just -- it was an actual,

almost organic change that happened...

...with her. It was visible.

It was a physical change. Her whole face changed.

♪♪

Nell: I mean, I'd read the script.

I know what was -- knew what was gonna happen.

I was 13 years old.

And Dad came over, and he said,

"Your mother is going to act very strangely,"

and, you know, to just remember that she's just acting.

And it was --

And her performance was so astonishing...

She's feeling pretty good. Let's not embarrass her.

...when she, you know staggers down that aisle,

that it did --

You can see from the expression on my face,

you know, it was shocking.

My heart is full.

[ Sobs quietly ]

My heart is full.

[ Giggles ]

My heart is full!

Lissy: I think she was channeling,

using as a source for her regret and her sadness and her rage

and whatever she was doing with Beatrice Hunsdorfer

and that she was drawing on a complex relationship

with my father, who was then directing her.

And I think a lot of that rage, you know, and that complexity

was generated from the relationship.

You know, that's part of the complexity that,

to me, it's fascinating.

♪♪

She said it was just one of those things.

Things happen.

♪♪

Well, what if people get married before then?

That's a good question.

♪♪

♪♪

People stay married 'cause they want to, Charley,

not because the doors are locked.

♪♪

♪♪

♪♪

Clooney: "Joanne and I have had our hurdles.

Sometimes Joanne was just as adolescent as I was."

♪♪

♪♪

"It's relativity in all things.

No absolutes.

There's no absolute in truth. There's no absolute in falsity.

There's no absolute in what constitutes a middle way.

Relativity in all things."

I think we could make it now.

♪♪

♪♪

Otherwise...

Otherwise, we just went through the whole painful mess

for nothing.

♪♪

"Orphans grow up late, I think."

♪♪

"At least these two did."

♪♪

Now, if you think we can make it, we can make it.

♪♪

[ Birds chirping ]

[ Intro to "Peaceful Morning" playing ]

♪♪

♪♪

♪♪

♪ I thought I heard the angels, Lord ♪

♪ When I was on the chapel floor ♪

♪ But I'll never be sure ♪

♪ Those old, familiar harmonies ♪

♪ They carried us through New Orleans ♪

♪ In ice water ♪

♪ Smacking kisses ♪

♪ Sour lemon mouthfuls ♪

♪ Of black hours ♪

♪ Seersucker ♪

♪ Powdered sugar ♪

♪ Moon glow ♪

♪ I know when you're with me ♪

♪ That your spirit's gonna lift me ♪

♪ So I never change directions ♪

♪ And I never ask no questions ♪

♪ Oh, I wish I could hear it ♪

♪ 'Cause I still feel the spirit ♪

♪ From the rafters to the ceiling ♪