The Diane Keaton Hall of Fame

20:05Sean Fennessey:And that hugely informed the kind of actress that she was. And she talks about this all the time, about being an actor of reactivity, of looking what the other person is giving you while performing and bouncing off of that. And so that's an interesting thing because a lot of actors who use the Meisner method and work that way, oftentimes are only as good as their scene partners. and so in some of her films you can feel her like not being as alive as you want her to be because she's like maybe I'm not having a good time making this movie and then other times you're like well this is the most electrifying scene in movie history that I'm watching right here so it's an interesting thing she did start on the stage she was in the first production of Hair in 1968 she was effectively in the chorus she was like a vocal performer and she talked in many interviews about how she was like, I liked these songs.

20:56Sean Fennessey:I didn't really know what was going on. But then one year later, she gets cast in a Broadway production of Played Against Sam, which was eventually adapted into a film. And she was cast opposite Woody Allen. And that's where they met and started working together and created this very long partnership. And he is the most significant creative collaborator. Yeah. They've made eight movies together over the years. Who's number two? Number two is Nancy Meyers, of course. She wrote three films for her and directed one. Would have liked her to direct one more. With? With Diane. I could have gone, looking, going through the filmography, I was like, I could have gone for one more Nancy and Diane movie.

21:35Yeah.

21:35Sean Fennessey:You know? But then again, instead of the Nancy, instead of Diane, she just used Meryl. Yeah, which I like. I like. I really like it too. Meryl's obviously not the problem in that film. Yeah, okay. There are problems. And then of course, she made three movies with Francis Ford Coppola. Yeah. Three Godfather films. and I don't think she recurred with any other directors. Is that possible? Maybe the book club director? Did the same fella direct both book club movies? I am Googling book club two right now, which I saw in theaters, so I come by this honestly. But yes, yes. Congratulations to Bill Holderman, who directed book club and book club.

22:14Sean Fennessey:That's right. The next chapter, of course. Of course, yeah. She notably did not work with many of the hallowed new Hollywood figures. Never made a movie with Scorsese. Never made a movie with Altman. Never made a movie with Friedkin. She almost made a movie with Spielberg that fell apart, though they have a very interesting connection that I'm not sure if you're aware of. No Kubrick, no Polanski, no Milos Forman. She didn't work with any of those directors. And I wonder if it's because a lot of those people often made movies not set in the modern times. Yeah. And that she was a very modern woman and they didn't necessarily fit into the kinds of films that they were working on.

22:53Sean Fennessey:Okay, what defines her as a star? We talked about her persona and her style. What else do you think makes a Diane Keaton performance? Well, so when she, at the Oscars this year, went in the End Memoriam segment, it was, I believe, Rachel McAdams who introduced her. And she was referenced over and over as a comedian, which I think she was first and foremost. and probably the most celebrated and respected of her generation in terms of people who did comedy. But the way that she did comedy is what made her so special because she understood that comedy is just another vessel to, you know, another way to emotions.

23:38And so she is sort of playing things for laughs, but I wouldn't say that she knows that she's funny but what she is doing is she is processing emotions through absurdity and comedy which many people including myself do as opposed to you know through tears and wailing and and and beating your chest and the and and closing yourself off from the world so I like she does plenty of drama um and I think and is very good in a lot of it but most of her comedy roles also have a lot of drama in them. And I think that they are what she is remembered for when we think of the way that Diane Keaton acts is just like a pathos in being funny that opens it up to everybody.

24:29Sean Fennessey:Yeah. I think she has become a bit underrated as a dramatic actress because so much of her iconography is indebted to those comedy roles. And also because you pointed this out to me, this was a really good note, that she's so similar to De Niro in that De Niro has made a lot of movies in the last 20 years where you're like Robert De Niro made this movie including a movie with her did you watch that one certainly did not okay um and but like we're willing to forgive those movies we don't really think too hard about those movies we're like yeah but he made the deer hunter like it's okay and and for her it's very similar where it's like she you know she made Annie Hall or she made Manhattan or she made you know on down the list that we'll talk about but going back and either re-watching or watching for the first time some of the more dramatic films that she made, I think maybe because some of those movies in the 80s didn't really work.

25:17Sean Fennessey:They weren't financially successful. And she was also kind of pivoting her career a little bit where she starts directing more. Eventually, she has a family. Like, she starts making some of those choices. And you can see her kind of not getting the respect. Also, she's a woman who's just getting older in Hollywood, right? So maybe doesn't have as many opportunities. Or maybe she's going up against the Meryl Streep's and the Jessica Lange's and the Sissy SpaceX and all of her contemporaries who were maybe considered like more heavyweight dramatic actresses. But I loved a lot of the stuff she does in the late 70s and early 80s.

25:49Sean Fennessey:I think she's really, really good in that in some of that more steely material, too. Yeah, but she's the big the big exception for me is Reds, which she's just like electric and and perfectly balanced against Warren Beatty and then against Jack Nicholson. And it's kind of the fulcrum between the two. And there are no laughs in that. Like, that is just straight up. That is, we're saving the world and saving each other in an earnest, dare I say, boomer sort of way. Love Reds. Were you laughing a lot during Looking for Mr. Goodbar? No, but at the end, you're like, what the hell is happening here?

26:25Sean Fennessey:Yeah, no spoilers. You know? But there is something surprising and naturalistic about that performance that, But, you know, in reds, she's like wearing a corset, you know, and she's very good at it. God bless. You ever worn a corset? What do you think? I don't know. I thought maybe for your back, like, you know, I've worn a brace. Yeah. Does that count? You're pretty close. I've never been, you know, stitched in. Tied in? Yeah. Yeah. That's not something. I also don't have many people helping dress me every day. Do you have that? I don't. Okay. I actually, I don't really like it when people like, I don't like having my hair played with.

27:04I don't really like being fussed with in any way. But I did.

27:07Sean Fennessey:We share that. After a C-section, they recommend that you wear a brace to like support. No kidding. Well, yeah, because things are like a little loosey-goosey. And I did sometimes have Zach or like a doula, like pull it tight. So I've had that experience. Must be nice. Yeah. No, it really hurt because I just had surgery. It's fine. Great. Speaking of loosey-goosey, one thing I also noticed in reading some interviews with her is that she was very, didn't think she was a very good improviser and didn't like to improvise, but she did like to be what she called loose with the script. Okay. Which means one of the great things about her as a performer is she has a very particular series of vocal affectations where she gets kind of like startled in the middle of a sentence or stammers or you mentioned crying.

27:51Sean Fennessey:She could just like hit a tear note and then pivot back to seriousness very quickly. And she had a real dexterity with her own emotions and her own like, even like patternistic phrasing within a script. And she talks about this a lot in a lot of interviews about working with Nancy Myers, who's a very, very rigorous writer, who's very Preston Sturgis, where it's like it's every word matters. And she talked about the push-pull of trying to do her thing inside of someone's more tightly woven corset of language. Which, you know, it's the Fincher Sorkin, the people coming, you know, the skills coming against each other is what makes it better.

28:29Sean Fennessey:Which is great. I think she also does that in terms of just behaviors on my rewatches. And even a couple of movies I saw for the first time, there are things that she does on screen. The most famous one that I only noticed because Nancy Meyers Instagrammed about it once was in Baby Boom when she picks up the baby at the airport and then gets out of the car and she holds the baby under her arm like a sack of potatoes. And Nancy Meyers said that was not in the script. that was not something that like Diane Keaton just instinctively knew that that would both be really funny and communicate something about the character.

29:04But there were other ones like...

29:05Sean Fennessey:Not the safest thing I've ever heard. I mean, that's the point. She just inherited a baby out of nowhere. So, and you know, she's a high-flying management consultant or something. Absolutely. Sure. Like we all were in the late 80s. There's another scene in the, what's the Mel Gibson movie? Mrs. Soffel. Mrs. Soffle, when, spoiler alert, at some point she has reason to part with a ring. And the way that she decides just to get the ring, like there's, it's not planned, you know, maybe it's written in the script that she gets rid of her ring, but you can imagine anyone else doing it like this very, like symbolic, you know, like now is the moment has come when I'm.

29:47And she just like tosses it off to the side in a perfect, perfect Diane Keaton way. So she, like, as you said, and some of it's the Meisner method, but she's in the moment and doing her thing.

30:01Sean Fennessey:Yeah. I think charisma is an overused word for movie stars, but she also has a thing where, you know, she fell in love with many of her co-stars. She really, like, a lot of filmmakers became ensorcelled by her. She has, like, she just has something. We use a lot for men, but not that often for women, which I think it's completely accurate here. But she did kind of have that thing in an era of movies, you know, not that movies have caught up, but where like everyone else in this league, in this era was a man, except for Meryl Streep. And she just she had something that brought them all in and made everyone want to look at her.

30:39Sean Fennessey:One thing that I noticed going through some of the films too is that, you know, all the way throughout her career, she's frequently playing the wife or the girlfriend, you know, in some of the best movies of all time. She's stuck with those roles and in some bad movies, she's stuck with those roles. But it does feel like Woody Allen in particular was inspired to just write better parts for her because he's kind of casting her like in Love and Death. She's just like the girlfriend. You know, she doesn't she's very funny in that movie, but she doesn't have like a deep reservoir of complexity. she's just the hot girl that he really wants to be married to and you can feel him like almost challenging himself because he's inspired by her because she is such a a unique person a singular personality that i think because he writes parts that improve her screen persona she then gets to do more challenging things over time too like she gets to kind of transform into the woman who can dress like that yeah confidently on screen and that's also unique um and we can talk about the complicated legacy of these Woody Allen movies too.

31:39Sean Fennessey:I think we probably have to. Yeah. Because she's someone who like stood by him through everything. She always till her last days was like, he was a very special person to me. He gave me extraordinary, I was in love with him. He gave me extraordinary chances. Right. And obviously talking about Woody now is much more complicated than it was some years ago. Okay. The other thing I wanted to point out about her before we go through the list is that she was a film director. Yeah. She directed many movies. She directed music videos. She directed some stuff I did not realize she directed. And that's also unlike the female stars of her era.

32:11Sean Fennessey:I was looking at like the real kind of like rock solid female movie stars of the 1970s. Streep, Faye Dunaway, Jane Fonda, Goldie Hawn, Ellen Burstyn, Ali McGraw, Raquel Welch, Pam Greer, Susan Sarandon, Vanessa Redgrave, Glenda Jackson, Jessica Lange, Sissy Spacek. None of these people directed movies. And maybe they wanted to and they weren't given the opportunity. That's certainly possible. But Diane Keaton... yeah she directed a documentary about the afterlife called Heaven which is fascinating she directed two Belinda Carlyle videos she directed an episode of Twin Peaks excuse me you just you yada yada'd Heaven is a Place on Earth wonderful song and video I make nothing against it she directed a very strange episode of Twin Peaks in season two when things are kind of going off the rails but when you watch when you watch Heaven that documentary which the DP of that movie is Frederick Elms who was David Lynch's DP in the 1980s on a lot of stuff.

33:06Sean Fennessey:And that's a very David Lynch documentary. And then she made this TV movie called Wildflower, which is the first known performance, as far as I can tell, of Reese Witherspoon on screen. Yep. It's also shot by a Polish cinematographer named Janusz Kaminski. Heard of him. In 1992, when Steven Spielberg was getting ready to make Schindler's List, he was looking to work with a new cinematographer, someone who understood that part of the world. And he called Diane Keaton and said, who did you work with on Wildflower, which I saw on the Lifetime Network and really liked. And she said Janusz Kaminski gave him his phone number and Spielberg has made movies with Kaminski ever since.

33:44Incredible. That's an amazing data point. Yeah.

33:46Sean Fennessey:It's just a fascinating thing. So like as a filmmaker, she has great influence on cinema history. So are you aware of her late in life, like interior design Pinterest phase? A little bit, only from you. Yeah. And you know, like I have the interior design book, but she's clearly a very visual person, right? And is clearly very exacting in terms of how she sees the world, what speaks to her, how you put things together. And, you know, film is a visual medium. So it makes sense to me in that way that she's always been drawn to arranging things just so. And then the other thing is that she had kids much later in her life, which I would just, you know, you mentioned everybody else.

34:26I think that it is probably easier to direct films if you're not in charge of having small children.

34:31Sean Fennessey:And it's after Baby Boom when she's sort of like, she realizes in the early 90s that she wants to have a family. She doesn't really think she wanted to have a family before that, right? Yeah, I think so. But I think she adopted like in her 50s, I believe. So, you know, that's how it goes. She's a real one about that too. She's like, it's the hardest thing in the world, raising children. If you read an interview, she's very frank about that. And, you know, after that film Wildflower, which was a TV movie, she did go on to direct two more feature films that were released on Strong Heroes and Hanging Up.

35:00Sean Fennessey:so yeah I mean four Academy Award nominations she of course won Best Actress for Annie Hall I could find a couple of places where she should have gotten more throughout her career many many Golden Globe nominations you know what I didn't see was Amelia Earhart The Final Flight where she played Amelia Earhart did you watch that? I didn't because that wasn't in the red that's a TV movie there's also there was another TV movie late in her career that was only released in the UK so I didn't make it to that what was it called? Arthur's Whiskey Oh, yeah. It is streaming. It is streaming? Okay, well, I'm sorry.

35:33I didn't get there. But otherwise, I think I got to most of the, almost all of it.

35:37Sean Fennessey:I counted 57 feature films, and she had two, four, six, seven TV films. The TV films, some of the things that she made are not available. That's the other thing. Like, I'm looking at Sister Mary Explains It All, for example. I couldn't find that one. A couple things are just not streaming. And when I make a big show about physical media and whatnot, this is a little bit of what I'm talking about. Okay, thank you. Great actors work, not available in the world. Anything you want to say before we start going through the filmography now? I'm excited. I'm nervous. How much, like, what are your preconceived notions right now of what do you think it's going to be in it?

36:12Sean Fennessey:I didn't do this. I didn't pre-Hall. I try to not pre-Hall. I don't either. I don't know what your relationship is to the Woody movies. We've only, you know, like there's, Annie Hall is a forever movie, automatic, whatever. So that goes in no matter what. But the other ones, you could make the case that these are the most important movies of her career. You could make the case that they're not aging well. Sure, yeah. But you can't also, well, you can't put eight movies by one director in a Hall of Fame. I think it's a question of how many do you want to put in, right? Is it two? Is it four? Is it, I don't know.

36:42Sean Fennessey:We're going to find out. So let's begin. Okay. After appearing in Play It Against Sam, she gets cast in her first movie. It's called Love and Other Strangers. Lovers and Other Strangers. Excuse me, Lovers and Other Strangers. It's a romantic dramedy about a young couple and all of the crazy people and their family around them. It's probably best known for launching Richard Castellano, who she would soon co-star with again in The Godfather two years later. He was Academy Award nominated for this movie. She's got a solidly sized part. She's the sister of the lead, Bonnie Bedelia. Yeah. So first of all, Bonnie Bedelia, you waited too long to say that.

37:20Sean Fennessey:So hot. in 1970 she was so hot and continued to be Diane Keaton at that wedding I found myself freeze framing it being like I would like to look at this eye shadow and how can I she's so beautiful she looks very cool I mean she's just not the major part of this you can see that she already is pretty comfortable on screen she has this kind of semi-daffy semi-confident persona pretty much locked down from the first movie which is really interesting the movie itself is pretty forgettable And also, she's again, this is a movie about two people. It's centered around weddings. So two people who are about to get married and then comparing and contrasting all the different relationships surrounding them.

38:01And so she is the married but wants a divorce because her husband didn't remember her birthday. You know, like dissatisfied. It's 1970. You know, the...

38:09Sean Fennessey:Women's live. Exactly. Second wave. Here we go. That's going to be a red, I would say. I agree. And that takes us right to The Godfather. Okay. 1972. Sure. So Godfather, Godfather Part 2, and Godfather Part 3. You want to talk about all of them right now? Well, I thought we could enact the... You say none of them go in. I thought that we could enact the Robert Duvall rule, which is that I believe one and two. And then Tracy also tried to put three in because he made the wise decision to not be in three. Yes, which I thought was entertaining. Diane Keaton did not make that choice. She didn't make that choice.

38:44Sean Fennessey:She appeared in the film. Diane, not a big no person, as I understood it. Well, she had weak spots. I think she was very, and she talked about working with Coppola and the difference between working with Coppola and other filmmakers and what she was able to get away with with other filmmakers and that Coppola was an extremely formal filmmaker. And the sets were very formal and controlled. And the Godfather movies and horror are so interesting to talk about. Long running bit on the rewatchables about how Bill thinks. It's changed over time. So for a while, I remember that because I'm kind of team Bill on this.

39:16Okay, it's a terrible take. No, no, no. So he thinks that Kay doesn't make sense as a character. I think, and I'm supporting this by my friend Meg Spillane and the entire Spillane family, that Keaton is miscast as this. Now, I'm not saying we can't put it in the Hall of Fame.

39:34Sean Fennessey:I find this to be terrible. I find what Bill said to be terrible. I said, find what you said to be. She is the perspectival character. She is the outsider brought into this world. I understand that. A waspy person introduced into the Sicilian way of living in this crime family. And she is, her fluster and frustration and her being, you know, set aside at critical moments in the story is so key to unlock. If she's not in the movie, if a character like that is not in the movie, played by someone like her. So I, the character is essential. the the i just do not believe that diane keaton for all of her fluster and daftiness and you know i don't know what's going on is that that clueless or that weak of a person and and and keaton doesn't play it as someone who's being weak on purpose like keaton does not play it as a i'm pretending not to see what i know is happening so and the movie has organized her around michael closing the door and her being like oh my god can i believe this well yeah i can't because you're Diane Keaton.

40:35You know what's up. And so that's always...

40:38Sean Fennessey:Yeah, that's you bringing it to the movie Ex Post Facto. This is her second film. She did not have a confirmed screen presence at this time. So you have to consider the contemporaneous release of the movie and what we think about her when we watch the movie. And when we're watching this movie, in all likelihood, unless you saw her on Broadway or in Hair, you were like... You just think she's a waspy girl. Yeah. So to me, that makes sense in retrospect, and we can have retrospective opinions all the time. We do it regularly. I was an abortion, Michael, an abortion. That's too loud. But the scene when she can't see them in the kitchen in Godfather 2, she lights out amazing.

41:10And that's why Godfather 2 is so good.

41:12Sean Fennessey:So if you wanted to make the case to me that the Godfather should not go in, but the Godfather 2 should go in. To me, that it was an abortion Michael scene is amazing. Now, it's amazing because it is like, it's surfacing finally the thing that you're thinking while you're watching Godfather 1. In Godfather 1, you're like, this girl can't be this stupid. She has to get out of here. immediately. It's not this. I want to be clear. Love and respect Bill Simmons. Number 16, Limitless. Number one, Devil Wears Prada. On this matter, it is not the character. It is not the script. It is not Diane Keaton, the person who I love and admire.

41:48It is that I think Diane Keaton does not fit the role.

41:50Sean Fennessey:Okay, we're going to yellow The Godfather, which is the funniest thing you could ever do in a Hall of Fame conversation. Well, I would agree in The Godfather 2 then, but that's fine if you want to build up the tension. Where do you stand on plate against Sam? 1972 same year I had never seen it until this last week and this was the one where I was suddenly just like googling you know double breasted blazers here we are I already had this she's already digging into her style oh yeah and she looks but it's also it's not costumey yet she is just dressed to the nines and looks awesome I liked it I mean I too love the film Casablanca and you know based my life on it and were it the 60s and I had the opportunity to write a play and then make a movie that's like making me into Casablanca?

42:38Sure. Great way to spend my time. I don't know if it needs to go in. Yeah.

42:44Sean Fennessey:It's an interesting question. So it's the rare movie starring Woody Allen, not directed by Woody Allen. Herbert Ross directed the movie. It is based on Woody's play that he co-starred with Keaton with three years earlier. It's a very nicely made movie. Owen Roisman shot it. It has all of this like kind of interesting framing because Humphrey Bogart, not played by Humphrey Bogart, plays this kind of angel on the shoulder of the Woody Allen character and who's a film critic who is recently divorced and is being encouraged to start dating again by Humphrey Bogart and also his wife's, his friend's wife.

43:24Sean Fennessey:If we put it in, it would be about like, this is the union point of Allen and Keaton. It's a good movie. I don't know if it's a great film. Right. But it's the play that brought them together anyway. So we're kind of a couple steps. You can yellow it, but I don't think. Well, yellow play it again. Okay. Okay. 1973 Sleeper. Yes. Now, one of my mom's favorite movies. At the time, I think considered a revelation. One of the early Woody Allen movies. a sci-fi spoof satire in which he's cryogenically frozen and awoken many, many hundreds, thousands of years later only to discover an absurd society in which he is operating as a robot to survive.

44:12Sean Fennessey:Diane Keaton, this is where I'm like, he's just writing a part for the girl that he thinks is pretty and funny and not writing for the great Titanic actress, Diane Keaton. And I think this movie holds high esteem amongst people who were alive when it came out. But it was never one of my movies for Woody. And I love many of Woody's movies. And I think that's beautiful for the people that were alive when it came out. So we're just going to Red Sleeper. Do you want to yell at it again? Listen, it was your mom's. It's, you know. Yeah. I'm not going to. We don't need to be rude. No, she's not making this list.

44:44This is our list. This is our Hall of Fame.

44:48Sean Fennessey:It's just that there are other Woody movies that I would want to fight for. So I would just Red Sleeper. Okay. Godfather Part 2, green. I agree. Godfather Part 2 is green. Would you like to just... It was an abortion, Michael. Let me just tell you something about that. I read all about it. Keaton and Pacino were madly in love with each other multiple times over their lives. I know. They got together. They broke up. They got together. They broke up. They both called each other the loves of their lives. That scene in particular, they completely ripped up the day that they were shooting it. I think she said they shot it for like eight hours, that it took a lot of rehearsal to figure out how they wanted to do it.

45:21Sean Fennessey:most of it is Pacino entering psycho silent mode where that you know that image of him with his eyes widening and the camera holds on him a lot while she's giving her performance and explaining what happened to their child I think is great and I've always thought was great but the thing is is that The Godfather you gotta remember is a potboiler it's like melodramatic material I don't have a problem with the script and I you know abortion is a weird word to yell just phonetically, you know, so I understand it, but it was an abortion! Well, women's lib is about being able to say that word out loud, so get on board because I'm here to liberate.

46:00Alright? I don't think in 74 it was. I think that was before you know, it got turned on and then turned off again.

46:07Sean Fennessey:Who turned it off? 1975 love and death. It's not funny, but I can, like Dikey, and I only I laughed my pain. But do you think love and death is funny? this is the Russian one? Yeah. Yeah. Okay. I think it's funny. I don't think it needs to go into the Hall of Fame, but I think it's funny. That's interesting. Okay. Do you want to put it in? Well, this is sort of what I'm talking about with the Woody thing. So Woody is, at the beginning of his career, he's kind of riffing on genres. Right. Right. He's like, oh, I really like Casablanca and Bogart movies. I really like sci-fi. I really like, he and Mel Brooks are doing the, you know, the same thing at the same time in different ways.

46:46Sean Fennessey:Now, Woody eventually evolves out of this approach. he starts doing other stuff he continues to be inspired by like Bergman and Fellini but everything gets a little bit more high minded and then he settles into his own style of just like people in apartments in New York this is I guess this is kind of one of his last I guess like Mad Magazine style movies where he is at the center of one of several Russian novels slash Russian plays what is your favorite Russian novel?

47:22Sean Fennessey:I mean, I've read Crime and Punishment, if that's what you're asking. Okay, that's good. I have it. You know, I've read Brothers Karamazov. Okay. Both of those are in college, and I haven't thought about them since. Did you take a Russian's class? I read some Gogol. Oh, nice. Okay. I did not take a Russian class, Russian lit class. I mean, it's very intimidating. I agree. I've always found it sort of insurmountable, except for Anna Karenina, which I famously have read and thought was quite good. I haven't read Anna Karenina. I would like to one day. I don't know. I mean, as a person who's like very trapped by my own ethical quandaries, I think they're interesting.

47:56Sean Fennessey:Okay. But it's a little late for me, I think, to start digging in. I know. I would like for it to happen for me, but I just, I don't know. I don't know when that's going to happen. I think Woody was at the ripe old age of 25. I haven't watched season four of The Bear, so I'm just not going to get to the great Russian works. If that is really the Thunderdome for you, you're in a lot of trouble with a lot of things. Or season five. What season is it? I don't know. It's season five now, I believe. Yeah. I watched the last one. They yelled at each other at the restaurant at the end, you know, forks closed by Olivia Colman.

48:25I saw it.

48:26Sean Fennessey:Okay. Thanks for weighing in on that. Love and Death, yellow or red? Yellow. Okay. Thank you for yellowing it. We'll return to it. 1976, I will, I will for now. Okay. This is another one I had not seen. Nor had I. I didn't know this movie existed. I didn't either. This is, you got to consider, this is after three Woody Allen movies and two Godfather films. She chooses to make this movie. Yeah, but did you see Elliot Gould in this movie? Well, yeah. I mean, I suspect that's why she wanted to make it. Elliot Gould's a big star at this point. It's a marriage comedy about two people who are kind of going their separate ways in an attempt to salvage their marriage.

49:03Sean Fennessey:They attempt an experimental approach to be a little bit more loose in their arrangement, would you just say? Sort of, but then there are also ground rules. It's fascinating to watch after the invite. And it's, you know, very connected. There's a lot going on there. And this is the time of Bob and Carol and Ted Nallis and this kind of like evolving notions of post-68 free love and what is a modern relationship. But the tone of the movie and the filmmaking are pretty bad, like a pretty dopey. Yes. And it's not very sophisticated, but they both have a lot of star power. Yeah. And they do have chemistry, even though her character in particular, it's so this is 76 when it's released.

49:42But, you know, they go to sex therapy at some point. And there are a lot of jokes at the expense of her prudishness. And she's uncomfortable. And it's not really quite as updated as some of her other characters will be. Or it's reflective of the times.

50:00Sean Fennessey:But he's a premature ejaculator. That is true. That was also an incredible moment for Zach to walk into the room while I was watching it. He was just like, hey, what's going on here? Yeah. And he was like, is that Elliot Gould talking about premature ejaculation? Two things to recommend this movie, which is absolutely red, and there's no chance it's going in. And I didn't even watch this to prepare for the 76 movie draft, because I was just like, what is this? No one likes this movie. One, Paul Sorvino as the lawyer best friend who sings opera throughout the movie and is very entertaining. I really enjoyed him.

50:30Sean Fennessey:Two, Victoria Principal on fire. Yeah. Just very, very, very hot as the woman who lives in the building, the apartment next door. the movie itself I think is very forgettable and there's a reason why we had not seen it before 1976 again Harry and Walter go to New York another film with Elliot Gould as well as James Caan and Michael Caine in this movie heard of them a period drama set I guess turn of the 20th century yeah about two rapscallion criminals who help a famed thief rob a bank rob one of the most what's what's it called when you can't break in to something. Impenetrable? Impenetrable, I guess.

51:10Sean Fennessey:Maybe that's not the word I'm thinking of. But Michael Keane plays the thief. Gould and Khan play the low-level criminal slash vaudevillian entertainers. And Diane Keaton plays a journalist. Yeah. And this movie stinks. It's directed by Mark Rydell. Apparently it had a really good script by W.D. Richter, who went on to write a lot of great movies, directed a couple cool movies too. Yeah. But apparently that script was massacred. Mm-hmm. I think James Caan used to call this movie when he was still with us, Harry and Walter Take a Dump. I should tell you a little bit about its reputation. Also, another shining example of women doing journalism in movies.

51:51Yeah, which is just a very storied, very illustrious group of women setting an example for all of us.

52:01Sean Fennessey:Do you think that's because men are comfortable empowering women in those roles, especially in films in the 1970s, because they think women are always asking annoying questions?

52:14Sean Fennessey:Could be, right? Probably, yeah. What other job would they be doing if they had to have a job? Okay, Harry and Walter. No. No, out. 77, Annie Hall. Yep. Green. Yeah. I forgot how long it takes to get to Annie Hall in Annie Hall. Right. I mean, he's talking about himself for a while, but, you know, it's a Woody Allen movie. You expect it. It's Alvy this and Alvy that for about 35 minutes. And then she shows up. And, you know, I wouldn't say that she's not doing the Diane Keaton persona as much in this performance. If you know what I mean by that. Yeah. Because she's a little bit of like a magic pixie dream girl.

52:52Sean Fennessey:And the movie is very comic, but also played very straight. and like it's often about not just them coming together but them coming apart. So it's kind of an interesting artifact because it informs everything that she does after this but I wouldn't say it's like everything she does. Well it's where it starts and so she I mean she has not she doesn't have anything to play against yet in terms of Annie Hall and I think for the rest of her life she you know she wins an Oscar for this performance like she is Annie Hall you know we're all wearing the ties and the vests and so she and we the audience are watching her against this particular performance.

53:28But this, yeah, this is a little more, you know, again, naturalistic. When they're sparring or when they're doing lobsters, they're just kind of doing it.

53:38Sean Fennessey:Yeah, it almost feels like documentary. It's like handheld camera and everything is, you know, he starts working with Gordon Willis and like his films take on this slightly more elevated artistic feeling. And her performance is terrific. And it's totally like, it's the birth of a major star. I just found it interesting how it's not quite as it's not as dopey as the early stuff or as daffy as the later stuff. You know what I mean by that? Yeah, well, it's, I mean, to our point about Woody Allen as her most important collaborator, which is absolutely true. And they're kind of finding their thing together in real time in this.

54:13And so I think he's creating a situation in which she is learning this whole new mode of performance and of comedy. And then again, you know, as time goes on, you start to iterate on it.

54:24Sean Fennessey:Yeah, I agree. Annie Hall, easy one going in. 1977, the same year she makes Looking for Mr. Goodbar. Now, this is based on a very famous novel at the time about a young single woman who is a teacher who teaches disabled kids, blind kids, deaf kids to learn how to read, write, and speak. And she is interested in exploring her sexuality. Let's just put it that way. Once again, women's lips. Yeah. And I commend her for pursuing these ideas on screen. This is a really unusual movie. Yeah. And it has, like, its reputation has waxed and waned over the years. It's very bracing. Yeah. Because of the ending that you talked about.

55:12Sean Fennessey:And if you haven't seen it, you know, maybe skip over this part. Yeah. And also, I think because of, again, we all grew up with, like, a different Diane Keaton and a different understanding of both sexual freedom and also what's safe to do in New York City at night. Which, again, I'm laughing because I'm, you know, because it's messed up. So I think that it's a cultural artifact, this movie. And as much sociologically as it is in terms of, you know, the cinematography or her performance. But it's fascinating. And that it's Diane Keaton doing it really is essential in a way that I'm like, this should definitely be yellow and maybe it should be green.

55:55Sean Fennessey:I think it's one of her great performances. The movie is kind of uneven. It was not seen for a very long time because it has an extraordinary soundtrack and there were a lot of music rights issues and it's a great snapshot of this combination of disco and rock in New York because she's going to clubs all the time. The stuff that doesn't work for me is there's so much flashback material that's like, here's her trauma. I mean, this is a really unkind way of framing it, but it's kind of like, this is why this woman appears to be a whore like that's it's kind of like really silly the way that it tries to psychologize a woman just wanting to have different kinds of romantic and sexual experiences if you made a movie like that now you wouldn't include any of that stuff you'd just be like this is a woman who's trying to figure her life out and who she's really interested in being with and spending time with and it takes some really gnarly turns but her performance in the movie is great and it is very different basically from like anything else that she does Can you think of another movie that is even like a character that's in a similar vein to this one?

56:53I mean, I'm scrolling through the Redbox era, but the answer is no. There were a couple late period ones where it's a little bluer than I expected, but not to this level. Let's yellow it.

57:06Sean Fennessey:Let's yellow it. For now. I think we'll come back for a green, personally. Even though... Listen, make your calls. Shoot your shot, you know? Well, we got a lot of stuff to get through. Okay. 77 through 82, when she passed, I tweeted this. I was like, this is one of the great runs for an actor in Hollywood history, the films that they have in a row. So 78 is Interiors, another Woody Allen film. Woody's like real foray into Bergman-esque drama. A very straight-laced movie about three sisters and their relationships and their dynamic, their relationship to their parents, to their significant others and to each other.

57:41Sean Fennessey:Keaton plays a poet. Yes. who is the sort of I think she's the eldest and she's sort of like the one to whom the others are compared she's not the narrator but she's the stand in as close as you can be to the observer because she's obviously she's a part of the family and is dealing with a lot of this stuff but it's the other two sisters who are really the one other sister and the parents who are going through it and so she's you know doing the reactivity thing but she's like a little on the sideline yeah Yeah, yeah. And it's a much more somewhat muted performance. The movie is weird. It's like sometimes it's very quiet and other times it's very hysterical.

58:20Sean Fennessey:I like this movie. It is often considered one of Woody's masterpieces. It's not one of my favorites though. I like it, but I sort of have a soft spot for the Woody Allen movies that Woody's not in. Aha, interesting. I'm more than happy to yellow it. No, I don't think we're going to have room for it, but I like it. Okay, all right. So red for interiors. 1979 Manhattan. I guess, do you have to? Do you have to? Well, let's talk about her in it. Yeah. Okay? So the movie is obviously about the Woody Allen character going through this crisis of who should he be dating. And he's very attracted to this young girl, which is part of the reasons why this movie is both famous and infamous.

58:59Sean Fennessey:Very celebrated at the time. A very big hit. One of the most gorgeously filmed movies of the 1970s. Keaton plays the wife of his very dear friend, who's played by Michael Murphy. And they fall in love. Yeah. And they begin an affair. and he thinks that he has kind of found this illicit love in his friend's wife. And there's a very wonderful scene where she tells him that she wants to go back to her husband that I think is like among her best performances. And he's very funny in the scene and doing Woody stuff and she's not breaking. Like she doesn't, that's one of the great things about her as an actress is she never tries to like get on his level comically.

59:39Sean Fennessey:She's doing her own thing. she's she's not the reason to watch the movie it's kind of a weird one for a hall of fame you know it's a very legendary film that has been made complicated by contemporary history right she is more central to the film than Meryl Streep who was also in this movie but I we didn't put it in Meryl's Hall of Fame even though Meryl kind of walks away she only has two scenes yeah but they're great and she's a great counterweight she is everyone is like perfectly cast in what it is. You know, I understand the problems with the film then and now. I mean, that's another interesting thing.

1:00:20I rewatched another, when we get to it, I'll remember.

1:00:24Sean Fennessey:I mean, you're pretty weird about sex even without all the other stuff that's going on. So you're watching it and you're like, hmm, is everything okay here? This is the real, like, the flag is waving and you're like, what the fuck? But that's the point of the movie. And when it's contained to a film, you know, it's, it's what makes it interesting. We were just talking about a big movie that we just saw. And it's a little bit of a, like when an artist tells you something, believe them thing, you know? I mean, totally. I agree. I mean, I guess she's, she's not that central to it. So I will say yellow.

1:00:55Sean Fennessey:We're going to have a lot of yellows that we're going to have to come back to. Annie Hall and the Godfather part two seemed like obvious. And I think this next one is very obvious as well. Reds, which is this mega film co-written and directed and produced by Warren Beatty. It's his epic portrait of Jack Reed, the journalist who was there for, you know, 10 days that shook the world and the Bolshevik revolution and this changing hopeful potential for socialism or even communism around the world or in the United States. and it's this kind of globe-trotting historical piece and she plays Louise Bryant, a writer-journalist at that time and they have this kind of torrid, epic, on again, off again, you're my forever person, but are you, love affair.

1:01:41But also, Jack Nicholson is over here playing Eugene O 'Neill and absolutely just shredding apart everyone's life.

1:01:49Sean Fennessey:Well, it's one of the single greatest movie scenes of all time. If you were mine, I wouldn't. I mean, come on! I know, and she, you know, it's really interesting because she's dating Warren Beatty. Yeah. You can almost feel the real person falling in love with Jack Nicholson in the scene. Yeah. Their performances are so good that they seem like not performances. Yeah. And this is a very different kind of part for her. It's a real performance. She's not relying on any of her stuff either. But it's different from looking for Mr. Goodbar. Yeah. I mean, so much of it is in still shots of her reacting or just looking at the camera and feeling all the emotions and not spoken, which is not really what you associate with Diane Keaton or with the filmmakers she usually works with.

1:02:37You know, very dialogue-heavy gesturing and just been all over the place. But no, she's really emoting and it's all you need in those scenes. It's also lit beautifully.

1:02:49Sean Fennessey:It's an amazing film. One of the craziest things about this movie is that it did not win Best Picture. Yeah. And Beatty won for Best Director, but Chariots of Fire won Best Picture this year. Yeah. Which is fucking weird that that happened. If you haven't seen Reds, I cannot recommend a movie more. It is a big, gigantic porterhouse of a movie. Three hours and just magical. But it's fantastic. So Reds is green. Yeah. Had you seen Shoot the Moon? I had not. Okay. So. Big one for us, I would say. Yeah, this was tough. Tough sit, yeah. This is a movie, one of the harshest and most direct films about divorce.

1:03:28Sean Fennessey:Diane Keaton and Albert Finney play a couple who have three children, four children? Many children, four children. Four, I think. Four children. And when we first meet the couple, Finney is a novelist and journalist who is about to be celebrated with a book award of some kind that is televised. Did you pick up on that? that his children are able to watch. I'm not sure if they're airing book awards on television these days or if they ever did. But the iHeart Podcast Awards. Yeah, we got to get those on NBC. And the movie is about, you know, he's already having an affair and they're falling out of love.

1:04:03Sean Fennessey:And I think their characters in the movie are basically at the period of life that we're at. Yeah. Which is the place where a lot of people end up getting divorced, which is when you have a lot of young kids and you're really stressed about your career and money and does my partner still care about me and who am I in this world? Right. And the movie's super duper frank about their feelings for each other, about what's pulling them away from each other. Albert Finney, you know, I don't know if we're doing the Albert Finney Hall of Fame anytime soon, but he's ferocious in this movie. She's tapping into something a little different.

1:04:35Sean Fennessey:This is the first time where I felt like she wasn't a young ingenue in a movie. Yeah. You know? Well, some of it is just, you know, situational. Right. Yeah, you get saddled with four kids. You're a mom of four, yeah. And she's still, you know, she's in her early 30s, I think, when she makes this movie, right? She's pretty young, but she's made to be playing older in a way. Right. And she's also, I mean, she is a mother in the Godfather movies, or chooses not to be in the case of Godfather 2, that one time. That was her choice. Even though it wasn't legal. That's right. Then or now. And depending on what state you're in, because what a special place.

1:05:15Jersey? Was she in Jersey? I don't really know. I mean, they were in Cuba for all I know. They were in Texas. It's Godfather 2.

1:05:22Sean Fennessey:These are fictional characters. But for the most part, she's not playing people who are saddled with like a quote unquote traditional American domestic life. But by which I mean like a mother, two children. And, you know, this is also, again, 70s, 80s. So that is more a more quote unquote traditional portrayal in movies of what an American woman does. And yes, it feels different. This was tough for me. You know, it was it was one of those. It's not not that it's bad or that she's bad. It was just uncomfortable. It's very bracing if you're a COD, if you're a child of divorce. This movie was released the year I was born.

1:06:01Sean Fennessey:I would say I didn't watch my dad do the things that he doesn't that that Albert Finney does in this movie to his kids. but there's a couple scenes that are really traumatic and really confrontational. I think the ending is kind of a mess and it kind of brought the whole movie down for me a bit. And I thought I had seen it, but maybe I hadn't seen it. I'm still trying to sort through. Maybe I saw like parts of it on cable when I was growing up, but not the whole thing. It's Bo Goldman's first script and he was kind of basing it on something that's interesting to look at. It comes out five years after looking for Mr.

1:06:30Sean Fennessey:Goodbar and it's kind of like a lot of these people that got together in the 70s and they were like, ah, we actually, we shouldn't be together and we're creating hell on earth because we did end up getting together and having kids right and also everyone's gotten a lot less uptight about the the the legal ramifications of this at least that's right and this was at a time when yeah there's just a ton of divorce happening in the United States good film not going in two two globe nominations for Keaton and Oliver Finney you don't think it's going in you think you got yellow it okay you can yellow it okay I think it's a good performance.

1:07:08Sean Fennessey:I mean, I got some other things. What did you think of Peter Weller?

1:07:13I spent the whole time trying to be like, what do I know Peter Weller from? And then what do I know him from? Remind me. He's RoboCop. No, there was something else besides RoboCop. But I was taken aback by that as well.

1:07:25Sean Fennessey:1984, The Little Drummer Girl. Yeah. I hadn't seen this. Well, now you have. But you still haven't seen the TV series starring Florence Pugh, directed by Park Chan Walker. I haven't. Have you read the novel? I haven't. Adapted from a John LeCarré novel. What a crazy movie. So how much of that is just this story seems real crazy and how much of it seems is based on the execution of the themes and characters? I think the execution is like, it goes awry. Sure does. I do think there's some real flaws in the design of the story. Okay. The movie is about an actress, an American actress living in London, who is very, has sympathy towards the free Palestine movement.

1:08:22Sean Fennessey:In the dispute between Israel and Palestine, she's very pro-Palestine. She's going to, you know, rallies and speaking engagements where she's hearing more about this. and this is happening in a world where she's sort of being surveilled by I guess the IDF for lack of a better phrase the Mossad Mossad I think and she gets drawn into their plan to disarm and capture a well-known terrorist freedom fighter whatever however you want to describe this character by flipping her sympathies but because it's known that she is a sympathizer to the movement that she would be able to infiltrate that world. But it's very confusing because she's sort of being like pressured into taking this role.

1:09:14Right.

1:09:15Sean Fennessey:Because why? Like that part of the story like never really lands. And it's an interesting performance for Diane Keaton because she's playing an actress who has to keep giving these performances inside the movie. She's a very batty woman who's like looking for love and she sort of falls in love with this Mossad agent who draws her into the scheme. But then she has to, it's a really weird movie. So two catastrophic things happened in 1984. Number one, Diane Keaton got that perm. And number two, she was given the role of the little drummer girl, which if I thought she was miscast in Godfather, I mean, that's nothing.

1:09:48That's an agree to disagree.

1:09:50Sean Fennessey:I really thought you were going to say, number three, I was born. Well, according to who you talk to. terrible haircut she's definitely miscast she's just out of her so I mean I I am thrilled to have you trying to explain Little Drummer Girl did I get that right yeah more or less but it's it's a really strange story well it's just you know Lecrae writes like spy spycraft movies and this is about uh two competing spy agencies or you know a spy agency and then the objects of their um spying and they're using this young woman and her ideology like as a pawn. And it's about how, you know, like, is anyone right?

1:10:36Is anyone doing, you know, using any, doing anything for quote unquote good? But it's about also her impressionability and the impressionability of young people and about how ideology can be so easy, easily manipulated or can be malleable. And so, you know, when you have a very young Florence Pugh playing that or when it's in a novel, which also, I mean, that's the other thing. It's very hard. It's a very Baroque novel that gets it's hard to be condensed into a film. But I think Diane Keaton is just not vulnerable or believable enough.

1:11:14Sean Fennessey:I feel like she has the flightiness that you would need for someone who would kind of like the thing that I just don't understand. and maybe the Park Chan adaptation will help me make more sense. I'm probably not going to read that novel at this point in my life now, having seen the movie and seen the story. You should absolutely, so you know who plays the agent who recruits her, the Israeli agent? Did Alexander Skarsgård? Yeah, I didn't know that. Yeah, many people are saying he seems like he's in Mossad. Daniel Craig was in Mossad in Munich. Exactly. Thank you for making my point. We keep doing this, Hollywood.

1:11:45Sean Fennessey:Anyhow, I think, I just couldn't, Klaus Kinski is in this movie. I thought he was very, at least entertaining as the sort of chief Mossad strategist who's kind of forcing her to do this work, but not holding her against her will, but like not blackmailing her. Like, there's just something about the mind game that never really clicks in the film. And if that doesn't work, then the movie doesn't work. That is the movie. There are times when I think her performance is interesting. I'm spending a lot of time on this because I'd never seen this movie before, so this is me unpacking it. But Eileen and I watched it together and we were just like, what?

1:12:18Right. Yes.

1:12:19Sean Fennessey:Why? Well, but I'm sorry. Once you see the perm, you're just like, what? I know. She makes a lot of bad choices. The movie, though, the story, Le Carre's story, does still have a tremendous amount of resonance, though. Yeah. Which is the sort of like, the sort of pointlessness of it all. Yes. You know, the sort of you get to this feeling of like, no one can win. And there's, why are we spending all of this time, pain, and life toll on this conflict? Because no one will move one inch. I recommend both the novel and the miniseries. I mean, that's the other thing where that's, I think it's six hours, because again, it's hard to consolidate something this intricate into a movie.

1:12:56And they didn't really succeed.

1:12:58Sean Fennessey:I'm sorry to make you spend so much time on a red. No, no, no. I mean, I'm excited to talk about it. The perm also applies to the second film in 1984, Mrs. Saffel, which she kept. Did you notice that? She still has that perm. It didn't occur to me because I didn't watch them together, but that's a really good point. And that's not a contemporary haircut, as far as I can tell. No, I mean, it's an 80s situation, for sure. By the way, Little Drummer Girl was directed by George Roy Hill. Yeah. You know, people were trying. Just a crazy miss. 1984, Mrs. Soffel, directed by Jillian Armstrong, the Australian filmmaker.

1:13:31Sean Fennessey:And this is a movie about a warden's wife who falls in love with a prisoner. Yeah. And. Well, but who is the prisoner played by? Prisoner is Mel Gibson. In 1984. Very, very handsome Mel Gibson. Once again, it's like a before we knew. Yep. She loves a problematic male co-star. And her brother, his brother, Matthew Modine. Yeah. And they hatch a scheme to escape. And they do escape. Yes. Interesting movie. Not ultimately successful, in my opinion. I think she also, again, just like Little Drummer Girl, this is a challenging part. Kind of sympathizing and believing and understanding this woman. And again, making herself a person who's very vulnerable to the wiles of a dangerous man.

1:14:19Sean Fennessey:And that's like two movies in the same year where she does that. And Shoot the Moon is a little bit of this too. Shoot the Moon is a little bit of like, how did this man get me in this position where I have become a prisoner of my own life? Right. And just thematically, I find that interesting. Because her career takes a different turn, you know? She pivots away from these kinds of parts and becomes more about her own independence. Right. But in this period of time, she's kind of weirdly reflective of the Reagan, like, homemaker Nancy Reagan. Like, this is the vision of women after the 70s. Yes.

1:14:51And also, I mean, again, the roles that are available to you that I think you're either. I'm thinking what Meryl Streep does at this time where she's just like a bad mom or like a mom that failed in like 40 different time periods and 40 different iterations. and Diane Keaton, meanwhile, is just a woman who, you know, got done dirty by all the men around her, but weren't they handsome?

1:15:12Sean Fennessey:They were handsome. Mel Gibson's very hot in the movie. You, like, really get it. And again, there are moments in this movie where I think all of the warden stuff and kind of the establishing, you know, reasons for her wanting to leave make sense, but are stodgy. And once again, you're like, you're Diane Keaton, look at you. Why would you do this, even with this perm? She's married to Edward Herman. Sure. He's a bit more boring for her. Who is also in Reds with her. He is. There's a lot of people keep popping up. Yes. But, you know, once she goes off with Mel Gibson, and like I said, she like throws the ring away, and there are these moments of connection and really just chemistry between her and Mel Gibson where I was like, okay, I see what you wanted to do here.

1:15:57It's not going in.

1:15:57Sean Fennessey:I'm glad I watched it for the historical record, but it's red. 1986, Crimes of the Heart. um now this is our first Sam Shepard I but not our last I I didn't love this one I didn't either this was a now you're you're the southerner here yeah well listen this is just you know this is darker steel magnolias right it is um I mean it's very stagey it's based on a play I have a little bit of Bruce Beresford. He's like a black licorice for me a little bit. I love Tender Mercy is a movie he made, but he made Driving Miss Daisy and Double Jeopardy and a lot of stuff that I really don't like. And this is, I thought, very saccharine and very over-performed.

1:16:48Sean Fennessey:She plays one of three sisters. The other sisters are Jessica Lange and Sissy Spacek, obviously all great actresses. But it's just a lot of like post Tennessee Williams. I mean, there was a whole raft of these in the... Fried green tomatoes was in this mix. Yeah, isn't there an Altman one where they all get back together at a diner? Yeah, yeah, yeah. All the women. And it's just like a lot of Southern women come back for one weekend and often Sam Shepard's there, which you can't complain about. No. And none of them leave the weekend truly fulfilled, but maybe they better understand each other.

1:17:26Sean Fennessey:Yeah. I'd love to know what Tracy Letts thinks about this play because it was a Pulitzer Prize winner, Beth Henley's play. It's just not a very filmic movie. You know, it doesn't really have a lot of style. And I'm not sure Diane Keaton screams Mississippi to me. Just putting that out there. Yeah. It's a good point. Jessica Lange, Sissy Spacek, sure. Yes. Mississippi. And she's doing her best with it. But she's also, she's tasked with doing Mississippi and like sad outcast sister. You know, she's the loser sister. Yeah. I mean, I guess they're all losers in their own way, but she's... They're having some struggles.

1:17:59Yeah, she is the one who just stays at home taking care of people, so...

1:18:03Sean Fennessey:I would make this red. Yeah, of course. Okay. 1987, she has a small cameo as a singer in Radio Days. Yes. A reunion with Woody Allen. That is not going in. That's red. 1987, Baby Boom. Yes. Did you rewatch this? I didn't, But we did it on the Nancy Meyers episode, which I guess is almost five years ago, which is kind of crazy. That's insane. But I like this movie. I think it also features, well, one, this is it, right? This is where it starts. This is the new Diane Keaton. Yes. This is the, she's with Nancy and Charles Shire, her ex-husband and her producing and writing and directing partner for many years.

1:18:42this is so you know new team kind of establishes her and I guess sets the template for all the romantic comedies to come I think so and once again Sam Shepard is here the story is that she is a yuppie in New York and you know career focused and then inherits a baby like you do and she gets elbowed out of her job because they don't support working mothers I'd like to thank everyone here in this room and at home for supporting working mothers. That's right. I do. Yeah, you guys are allies. Thank you. I saw Lucas throw the double thumbs up.

1:19:21Sean Fennessey:You're goddamn right. Good job, Lucas. Not one thumb, but two. Yeah. You want Women's Lib 2.0. But James Peter, who is also working at her company, is not an ally. And so she moves to Vermont, buys a beautiful dilapidated house. for what reason we don't know with the baby and would have avoided that if I were her given what transpires and then has to create a new life which eventually involves hooking up with Sam Shepard the local pediatrician and because all pediatricians and or sports surgeons look like Sam Shepard as you're learning and then becomes an applesauce empire like a starts an applesauce empire yeah and so in the end she can have it all because she has the baby she has a career and she has a really handsome doctor yep and and that kitchen's really good in baby boom also just to to locate it for everyone i re-watched some parts of this last night just to kind of remind myself of its vibe and you know i don't know i don't know if you think this is the most famous scene, but her meltdown in front of the well, in front of the man attempting to fix her well.

1:20:37Sean Fennessey:I think it was one of the funniest things she's ever done. And it's like, it's so unbridled. And it's so, you know, she's very tight in a lot of movies. That's the thing about her, right? That neurosis that you're talking about. And she kind of like lets go and she starts melting down in front of this guy. And she's very funny despite melting down. And like, you can very gestural, very like making a lot of noises, like stuff like that. and the person that she reminded me of most was Albert Brooks you know that there's like a certain kind of comic person on screen who can get away with this who we like when they do this and it's interesting she works with Meg Ryan a little later in her career and like she's trying to get Meg Ryan to give a Diane Keaton performance and she can't get her to do it which is really interesting but she's great in this I think this is obviously a green it has to be and a big hit and like kind of like set the template for really the rest of her career and you know And again, it's like it is reflective.

1:21:29I find this fascinating to watch, you know, like my mom in 87 was also like in corporate America trying to be like it is another time capsule. And what it reflects is not realistic or ideal in either case. But it's amazing stuff. Really fascinating. If you haven't seen it in a while, it's a really rich text.

1:21:51Sean Fennessey:Same year she directs that movie Heaven, which I think is worth checking out. I think you can see it for free on YouTube or Canopy right now. I, of course, bought the Blu-ray. It's 85 minutes. It's just a reflective documentary in which she interviews regular people and asks them what they think happens when you die. And it's intercut with this hyper fast moving series of images and sequences from early movie history. And she uses it as it's almost it feels like like a precursor to YouTube or TikTok or something the way that it's edited together. It's really interesting and not at all what you would expect from her.

1:22:25Sean Fennessey:I just as an artifact of her life and interest I think it's very much worth checking out not going in the Hall of Fame 1988 The Good Mother what the fuck yikes right okay let's talk about it really quick because it's not going in it's red The Good Mother it's directed by Leonard Nimoy who of course was Spock on Star Trek and he directed two Star Trek films in the 1980s and then he directed a movie called Three Men and a Baby which was a big hit in 1987 and they were like this guy knows how to make movies with little kids let's give him this movie and this movie is about a woman who is divorced who has custody of her six-year-old daughter and they have a very close relationship and the mother played by Dan Keaton is like a little socially awkward and she meets a man played by Liam Neeson and they fall in love.

1:23:09Sean Fennessey:They fall in love and she discovers her sexuality. They have a very physical relationship. Then one day, you guys know about this movie? You know what happens in this movie? No, no idea. I have never heard of this movie. Okay. One day, Liam Neeson's in the bathroom. Uh-huh. And a little girl, Molly, goes in the bathroom. Yeah. And it's pretty, it's not shown explicitly, but made clear that he reveals to her his private parts. Right. And that she maybe touches them. But doesn't she, isn't she curious? She's curious. Yeah, of course. Yeah. He's not forcing her to do anything. Right. But she's six.

1:23:48Sure.

1:23:49Sean Fennessey:And. I mean, yeah, listen. The reason that this happens is because Keaton and her daughter take a bath earlier in the movie and he's present for that. Yeah. And he thinks that Keaton's character is trying to live a slightly more evolved vision of like comfort with our own bodies. Right. But then this leads to the six-year-old sharing this information with her birth father. Right. Who becomes outraged. And then it becomes just. And then it's like Kramer versus Kramer. Yeah. You know?

1:24:17Sean Fennessey:What a weird movie. and played very straight the whole time. The whole time it's a crisis drama. You know, it is like... Yeah. There's no levity. There's no, you know, no evolved parenting whatsoever. Certainly no evolved legal systems. No. Is it... Who are the... Who are the lawyers? I'm trying to remember who played the lawyers in the film. I think it's Jason Robards and... Shoot. Who is... Oh, and Joe Morton are the two lawyers. Crazy, strange film. Ralph Bellamy's in this movie. It's an artifact of a different time, of a panicked time in our culture. This is not something I would do. In any direction.

1:25:03Sean Fennessey:There's not a thing done in this film I would do. I mean, I think that I agree across the board. But this is an interesting one. I mean, I think this would be unwise. and basically everything everyone's doing. But I don't know what to do. My kids just run into my room while I'm getting dressed now. Well, that happens, of course. Well, sure, but like at what age am I going to be like is, you know. But don't be like, come over here and touch this. I mean, that's true. That's not, come on. Yeah, I agree with you. Okay. I agree. But that's the provocation. We can move on from the good mother. 1990, the Lemon Sisters.

1:25:41Sean Fennessey:I watched this on YouTube yesterday. Okay. I rented it from Vidiotz. Did you really? I did. Good for you. supporting our local video store. I thought it sucked. It's really bad. Now, it's a little hard to judge this one. But her clothes are so good. And I want to dress just like her, even though she is playing, once again, the saddest of three friends, not sisters, in this case, who lives in Atlantic City and is maintaining her dead father's quote-unquote TV museum, which is just a bunch of stuff that was on a 50s or 60s TV show Once Upon a Time. Yes. These three women who are friends, Carol Kane and Catherine Grody, are like a musical trio.

1:26:32Sean Fennessey:Elliot Gould in this movie again. Yeah. But now they've cast him as dad, Elliot Gould. It happens so fast. I was like, this was only 10 years ago. I know. Well, that is what happened to his star in a lot of ways, you know? other than one day you wake up and you're Rachel Green's father on television. I didn't think this was very good either. However, this is a somewhat early Miramax movie that was shelved for like two years and effectively killed Joyce Chopra's directing career who made Smooth Talk in 1984, which is a very good movie adaptation of a Joyce Carol Oates story. And then like Joyce Chopra like never made another feature film.

1:27:07Sean Fennessey:So let's just say for the sake of argument, Harvey Weinstein did this. I was going to say. It's red. Put you and she together. Also, notably features Diane Keaton singing and dancing, which we'll come back to. Yes. Not the first time we've seen her on screen doing this, but she does it a bunch. Yeah. Just like Meryl. Mm-hmm. 1990, The Godfather Part 3. I think it's red. I think it's red. I think she actually gives a good performance and definitely doesn't embarrass herself in this. Yeah, but what are you going to do? What are you going to do? 1991, Father of the Bride. Yeah. Okay. So we already have Baby Boom.

1:27:40And she is, though she... Wow. What?

1:27:42Sean Fennessey:Don't keep going. This is great. So I think this is one of the great films of my lifetime. Is this really her movie, though? It's not her movie. You know, once again, it was July 4th this past weekend. So we all posted the George Banks, a.k.a. Steve Martin, hot dog and hot dog one speech, which we just have not resolved. It's the six and eight. Yeah. Well, now for me, it's five and six. Oh, yeah. Five and six. Well, you know, for him, I think it's eight and 12. Oh, OK. OK. Listen, they're doing it on purpose. They're doing all sorts of permutations. Of course they are. It's like the Apple, you need a new cord thing 35 years before Apple or whatever.

1:28:19It's absolutely infuriating. Incredible, incredible performance. And then that scene does lead to he's arrested by the grocery store cops. And Diane Keaton as his wife, Nina, comes to bail him out of jail. And they have like a nice moment. She is a good foil and she's a good mom, but the movie is called Father of the Bride. That's right. She also looks so hot in it.

1:28:46Sean Fennessey:She's pretty young when she makes this movie. She's my-ish age, which is like, that's tough when I realize that. The way she's being styled, and I'm sure she has some say in this, but you know, the color of her hair. She lets her hair go a little gray. She's not fighting to be a glamorous va-va-boom star. No, she wears a suit for the wedding. And she's very willfully being a mom. and kudos to her for that okay so Father of the Bride is red I'm stunned we can't yellow it just like out of yeah out of respect but I thought you would maybe make the case for Father of the Bride part 2 because that's more of her film we're not there yet but we'll come to it okay well yellow Father of the Bride out of respect for all the fathers out there have you watched that movie since Alice showed up on the scene since I became a father of a daughter and maybe one day a bride.

1:29:40Yeah.

1:29:40Sean Fennessey:Uh, nope. Yeah. Fucking get ready. Bill made me do that rewatchables when I was like seven months pregnant. Just like crying on a Zoom. That's the best. It was wonderful. It's just an absolutely beautiful movie. A masterpiece. 1993 Manhattan Murder Mystery. Now this is a beloved movie. I was, I mean, if we're going to make the case, how many woodies do we have right now? We just have one? I think just Annie Hall. A lot of yellow. I like this because it's a different phase of Diane Keaton, but it still also keeps the Keaton and Woody Allen thing. And she's as much the star of it as he is. It's very funny.

1:30:24What a great pantsuit.

1:30:25Sean Fennessey:I think it's green. Okay, great. Me too. I mean, this is kind of a daffy comedy about two people who think that there are terrible murders happening in their building living in New York City. It's kind of a little bit of a like, what if these people stuck together and 20 years later they became the slightly annoying couple who live next door to you in New York. You know, very. Aspirational in that way. Yeah. Very, very annoying sort of person if I didn't watch them in a movie, but very happy to be watching them in a movie. Okay. That was easy. 1993 again. Look who's talking now. She's the voice of Daphne.

1:30:55Yes.

1:30:56Sean Fennessey:Did you see that movie? I did. I think I saw this in theaters. I think I did too. Is Daphne one of the dogs? Daphne yeah right dog you're right that's what they yeah I mean good job okay red 1995 she directs but does not appear in Unstrung Heroes yes which is based on the true story of Franz Lids who is a journalist and writer and he it's a story about his own life where his mom became very sick and his father who was a brilliant man sent him to go live with his uncles so in the movie it's Andy McDowell's his mom, John Turturro's his dad. Maury Chaikin and Michael Richards play his uncles. And I'm doing this all off of memory.

1:31:40Sean Fennessey:Wow. And it's pretty sentimental. This is going to sound weird because there's a lot of problematic people throughout her career, but Michael Richards is very good in this movie. And the two uncles are very eccentric. Maury Chaikin's character is sort of a hoarder. Michael Richards' character is a little bit of a conspiracy theorist um but it's mostly about a young boy it's cool that she adapted this franz is not a huge fan of the movie of his own life uh it's a little complicated not what you want um i don't think this is going in i agree 1995 father of the bride part two two no four years later four years sure so to catch people up father of the bride part one steve martin and diane keaton's daughter George and Nina Banks' daughter Annie gets married.

1:32:31Sean Fennessey:Yeah. Kimberly Williams. I think you'll find she's now Kimberly Williams Paisley. I won't acknowledge that. You're in this Pete Sampras era? Yes, that's right. Were they together? Oh yeah, for years. Like when Sampras was like really... So Bridget Wilson came in and dropped the elbow and ended it? I think so. That's nice. I would allow that to happen too. So now she's married and she and the freelance technology consultant, which is code for unemployed, are expecting a baby. And it turns out that George and Nina are as well. And so they are pregnant. They're almost identically pregnant. Also, George has sold the perfect home in San Marino, but that's actually in Pasadena, that the first wedding was held at.

1:33:20And so now he has to figure out how to repurchase his home and also how to be a dad in his mid 40s. but this is most memorable for a scene in which Kimberly Williams Paisley and Diane Keaton with gigantic baby bumps are led in prenatal aerobics by Martin Short do you remember this scene?

1:33:39Sean Fennessey:of course well it's literally the only thing I thought about for six months each time I was pregnant trying to do any sort of movement and I just yeah and it's just like now you got this you know I mean it's the original you got this mama but played for laughs so that scene is very good the movie is quite charming not as magical as the first I'm not going to fight for it here we can yellow it but what happens if you accidentally get pregnant at 49 I think I think we call K from Godfather 2 and we go to the right it would be a challenge because Van Keen's 49 when she makes this movie I mean science is amazing as are people who carry children you know so like anything's possible it's not possible in the cards for me that's just really not i don't i can't do it again okay i'll do it i'll carry the baby you think you could carry the child you just like i mean putting aside like basic basic like violent biology questions or physique do i have the strength well and the temerity back i don't think i mean if you're thinking i was gonna say yes i wasn't I can barely carry a beach umbrella at this point in my life.

1:34:53Sean Fennessey:Okay, I don't think that movie's going to go in, but that was a sterling explanation. However, we're about to get to 1996 First Wives Club. Okay, let me just, I'm not going to yuck your yum, but First Wives Club, very beloved, and a massive hit. Very important movie in her career. And I think that kind of sets the template for most of the 21st century in terms of like the style of movie that she starts making, not the persona per se, but the style.

1:35:21Sean Fennessey:Why don't you speak? Go ahead. We're waiting. Pregnant pause. Well, we've yellowed many superior films. Sure. You know what I'm saying? Superior in what way? From the perspective of a 43-year-old man who hosts a movie podcast. In a cineast sort of way? Yeah. I mean, look, my mom got divorced in 1994 and this movie came out in 1996. And she was like, this film matters. I would say of all of the text messages I get from people who think that I have any say over what is ever scheduled on the rewatchables, this is number one requested by like a mile. Everyone is just like, when are you going to do First Wives Club?

1:36:06Why? And I'm like, well, there are a number of reasons that I don't have an answer to that.

1:36:12Sean Fennessey:Give us 12.

1:36:16so it is so popular and we do consider box office and there is sort of, you know, baby boom. And then into the father of the brides and into first wives clubs, she's kind of suddenly at what, almost 50, the center of like box office filmmaking for the first time.

1:36:33Sean Fennessey:One of the biggest female stars of the time. Now it's a, it's a team up movie though. It's kind of the Avengers of middle-aged female movie stars, Goldie Hawn and Ben Midler. But listen, who is front and center for You Don't Own Me? She is. It's Diane Keaton. So that clip alone, which is wonderful, to me puts this in the Hall of Fame. I think you got to do it. I think you have to do that over Father of the Bride and Father of the Bride Part 2, personally. I understand. Wow, that's so interesting. I anticipated it going in. I understand that Manhattan is a quote unquote superior film. Okay. Does it honor women in the same way?

1:37:12Sean Fennessey:Does it honor women? Does it? Put that on the poster of the first wives club 4K. Do any of these movies exist in 4K besides like The Godfather? Manhattan, I'm sure. No, none of the Woody movies are available in 4K. I guess maybe Annie Hall is available in 4K, but not in the U.S. I mean, you can imagine there's some concern about promoting the Woody films these days. I don't think any of these movies are in 4K. Is there a Nancy Meyers film on 4K? I'm looking for Mr. Goodbar is Vinegar Syndrome put out a beautiful edition of it. That's really good. Because what happens to her in that movie? Yeah.

1:37:46Sean Fennessey:Well, maybe that's why. Something's Gotta Give comes to 4K later this year. Okay. That's exciting. Yes, it is. Especially because it was never released on Blu-ray. It is only available on DVD. I think that's correct. You know, I think that maybe the gatekeepers are finally opening their eyes. Maybe they've been listening to you. I guess. First Wilds Club is green. Great. 1996 Marvin's Room. Yes. Which we recently discussed on the Meryl Streep Hall of Fame. um this Diane Keaton gets an Oscar nomination for this film now I didn't revisit this this time either so you'll have to remind me about this movie so she's the sick one right and she's like the nicer one and so Meryl is taking up more space but Diane Keaton is kind of more the I didn't rewatch it for this I only rewatch it for Meryl and I remember being impressed by her And being like, oh, you don't normally see Diane Keaton like this, certainly after the run from Baby Boom on of playing big, broad comedy.

1:38:46Right. And like it's softer and emotional and she's surrounded, you know, it's Leo, it's all of these big people. But I don't, it wasn't memorable enough that I'm like, we actually have to put it in.

1:39:00Sean Fennessey:Yeah, I've only seen it once. I remember thinking it was perfectly fine. it's probably a little bit of the thing where she's got the first wives club and Marvin's Room in the same year and she's like back back you know she's not playing the fifth lead of the father of the bride part two like she is at the absolute center of movie culture and she's playing someone with leukemia and that's the kind of thing that you know affords some sympathies when voting time comes around I would read it you know I think it's even though it's an Oscar movie it doesn't it's not a big one I'm fine with that The Only Thrill we both watched for the first time for this podcast which is yet another film with Sam Shepard.

1:39:34Sean Fennessey:This is her third movie now with Sam Shepard. Yes. Crimes of the Heart and Baby Boom. And she plays a middle-aged woman who falls in love with this guy and they talk a lot about movies. Yeah, they do. And also about distributions. So I texted you when he was explaining a Sony Betamax player to her. Yeah. So you could watch movies at home. Yeah, I never had a Betamax at home. I obviously didn't either but I was just like, wow, this is the only time I want to hear anyone talk about physical media at home distribution is when it's Sam Shepard. And then the movie kept going. She has to move. They don't really talk anymore.

1:40:13Other people find love. I guess. It's not going in.

1:40:17Sean Fennessey:This movie is a soggy piece of bread. That's red for the only thrill. 1999's The Other Sister. Yes. She plays the mother of a disabled girl who falls in love with a guy and memorably portrayed by Juliette Lewis and Giovanni Ribisi and parts that would never be played by those actors in 2026. I turned this off because I was just so uncomfortable. That's not going in. Another problematic artifact of Diane Keaton's filmography not going in. That's red. It's a sweet movie. It's got its heart in the right place. It's just not they shouldn't have done this. Yeah, they just shouldn't have done that. 2000 Hanging Up.

1:40:53Sean Fennessey:This is a movie that she both co-stars in and directs. Yes, that I saw in theaters because I support women directors and I have the entire millennium plus one year because 2000. We're proud of you for that. This was did not this transpired in the previous millennium but that's okay. Plus one year. The movie is based on Delia Efron's novel and which I is it something of a of a autobiographical piece or is it entirely created? I don't know how much is inspired by their actual father but it's co-written. I think that they're I mean they're always borrowing as we know. A lot of specific. Yes, right.

1:41:28Everything is.

1:41:29Sean Fennessey:The movie's co-written with Nora Ephron and directed by Keaton. And it's like the Ephrons are a little drunk. You know what I mean? It's like someone who doesn't quite have all their faculties. I mean, it's a, to me, fascinating artifact because, you know, you have the Nancy Meyers, Diane Keaton track in the 90s, and then you've got the Nora Ephron, Meg Ryan track. and both have something to do, like aesthetically with Woody Allen, but they're exploring them in different ways. Kind of like deconstructing the Woody Allen idea. Yeah. And so, but they're kind of, they're running parallel. And then this all comes together.

1:42:16I know. And it's too confusing when it's all together. It doesn't quite work.

1:42:21Sean Fennessey:The movie is not good. Yeah. There's a very good Walter Matthau performance in this movie as a father. who is losing his marbles. He's just very funny. He's very funny. It's his last performance. Star Diane Keaton, Meg Ryan, and Lisa Kudrow. It's not a good Meg Ryan performance. It's not a good Meg Ryan performance. Diane Keaton doesn't have a whole lot to do. Both she and Lisa Kudrow are kind of sidelined for most of the movie. It's mostly Meg Ryan's movie. But this is kind of when things are kind of slipping a little bit for Meg Ryan, I would say. Yeah, this is after... You've Got Mail is 98.

1:42:49Yeah. And then, yeah.

1:42:51Sean Fennessey:So yeah, I would say it's red. Okay. Even though she directed and stars in it. 2001 Town and Country is... Okay, this is when I have to start clicking through every single one to remember which is which. I got you up until... I'm going to basically check out of this podcast circa 2008. Okay. Well, I think everyone's... Oh, this is the one that's written by Buck Henry. This is one of the craziest movies of all time. I'm like, this is insane. This movie's insane. So it wasn't originally written by Buck Henry. He was paid millions of dollars to rewrite it during production. And he famously talked about buying a home with the paycheck he got from rewriting this movie, which stars Warren Beatty it's his last movie until rules don't apply which you famously loved I certainly do I love Warren Beatty I also love Gary Shandling I also love Diane Keaton Goldie Hawn I like Goldie Hawn I wouldn't say I love Goldie Hawn nothing personal it's like that's the thing where you like that's what I like about you but also I think that's a wrong taste but you're a little resistant to the to the Daffy Blonde thing and thank you you know because it's not my speed yeah but also she's very talented she's Goldie Hawn yeah I know she's beloved just not really my thing the movie this movie's terrible this movie is entirely about how boomer men's central preoccupation is their own dick that's the whole movie is like these guys are only interested in what they're able to conquer sexually yeah but it's set in this like farcical world of 60 year olds who are like obsessing over whether they're cheating on someone or being cheated on.

1:44:29Sean Fennessey:And it's super overwritten and silly and not funny. It's farce school, but there's nothing funny about it. It's really bad. It's a famous huge bomb. He's an architect. So they're hopping from like fancy place to fancy place. And like the crown molding in every home is spot on. And then no one's alive behind the eyes. Production design and costuming is fantastic in this movie. Everything else sucks. a movie cost like 125 million dollars yeah and it's basically just a it's quite bad not going in it's red okay plan B didn't see it hold on 2002 oh I saw this when it came out but I didn't revisit it okay this is a sequel to that scene from the Godfather part 2 no she kind of joins the mob sort of by accident and then Paul Sorvino is also in it this I remember and this is where a reunion with Paul Sorvino and some of the hats come in.

1:45:23Sean Fennessey:I think this movie has been kind of deleted. Right. Like it's not really available in too many places. I guess it was released on DVD but it does not have a big footprint. It's definitely and this starts to happen more and more where this is going to come up again. Actually, you know what I don't have on my list here but maybe I should have? What? I think I skipped over Running Mates. You know about Running Mates? No. It's another movie that has been kind of deleted and I don't know why it's actually not listed here but 1993. It's directed by I am, oh, oh my goodness. Who is the director of the film?

1:45:55Sean Fennessey:I can't remember. It's Ed Harris and Meryl Streep, or Ed Harris and Diane Keaton. He's playing a senator. She's playing a woman who he meets and they fall in love and it's unclear if they can be together because he's a public person. And I tried to - Directed by Michael Lindsay Hogg. Michael Lindsay Hogg, thank you. 1992. Yes. I don't know why it's not on the list here. It should be on the list, but I couldn't find it. I just couldn't watch it. Well, I obviously couldn't. I didn't know that it existed. Yeah. And there are a few movies like this where in her career, they're just really hard to track down.

1:46:25Sean Fennessey:I'm sure there's a DVD copy or VHS copy of Running Mates floating around somewhere, but you never hear about that movie. Michael Lindsay Hogg absolutely owned in the Peter Jackson Let It Be. Well, yeah. He shot the original Get Back footage. No, I know. But then he's just in. It's really good stuff. It is. Plan B is red. 2003 Something's Got a Gift. Is there anything you need to say about this other than its greenness? You're on the record. That's true. I am on the record. I think it's another example of, like, this is clearly where Nancy Meyers logs on the most. And I think it is, if not literally autobiographical, like the most autobiographical of hers, the most Woody Allen-esque of hers.

1:47:05So it uses what, you know, Diane Keaton learns in that tradition. I think, you know, it's well known that they had dialogues about how much improvisation or how much of Diane Keaton she could bring to the script. But it works beautifully. and it would have been hard not to pick Keanu Reeves for me personally but you know it works out in the end

1:47:27Sean Fennessey:well it's a wonderful way of like closing up the Reds thing you know where Eugene O 'Neill walks out on her and they're both kind of devastated in Reds and this movie they get to be together and they're so wonderful together the Hamptons doctor turns out to be quite handsome who would have thought you didn't marry a doctor I noticed yeah it's interesting something's got to give us Green, of course. And you know, she gets an Oscar nomination for that. She should, but I think it's the only Oscar nomination for Something's Gotta Give. I don't think Screenplay was nominated. I think you're right. Which I think is a mistake.

1:48:01Sean Fennessey:She said that she's effectively playing Nancy, but one thing to keep in mind and I've been told this by a couple of people now, is that one of the reasons why, maybe starting circa 1990 through this period is Diane Keaton was simultaneously a very established star in Star Persona and also very particular about how she wanted to appear in movies. She doesn't make a lot of period movies. She's often wearing Diane Keaton clothing. Very notable. She looks, as you pointed out at the top of this conversation, like herself a lot. And that was important to her. This one, you know, Something's Gotta Give is a combination.

1:48:33This famously launched Coastal Grandma 25 years later, which is just wearing Gap clothes in neutral colors. But that's okay. Welcome, teens. So funny, though, because again, she's like 56.

1:48:45Sean Fennessey:She's not that old. No, it's true. Like, that's 12 years older than me. So to be like, coastal grandma? Am I getting close to coastal grandma age? And Famous is nude in this film and looks hot. She does. And that's, it's a quick shot. You know, they do it. It's tasteful. Maybe I paused it. Why not? What's wrong with that? I mean, this is from TikTokers. Who I think don't know that what something's got to give is. That's great. That's beautiful. 2005 The Family Stone. A lot of people like this movie. I don't care for it. What do you think? I find myself rewatching this like every Christmas at some point.

1:49:22It's just on. And then I'm like, oh, no, I got to get to the point where Sarah Jessica Parker says like incredibly racist things at the dinner table. And then I got your favorite part. Well, no, but that dinner table scene. And then I got to get to the part with Claire Danes showing up. I got to get to the part with the strata, you know, and then I'm like, wow, I've seen this movie. Then, you know, Luke Wilson is like pretty hot and getting stoned in the attic. Could have been Harrison Ford. You know, it's like...

1:49:51So, and I think about this movie way more than I should for it being a not very good movie. And she's pretty mean in it. She's another mom of five or six kids, I think. Including Rachel McAdams. Rachel McAdams, pretty mean to her. This is a nice moment at the end with the framed photograph. I don't know. I guess it's not going in, but I think it's been...

1:50:12Sean Fennessey:You'd like to leave Manhattan on the sidelines and get the family stoned in? Listen, I did my homework for this, so I'm prepared. I'm just going to say, you know, we've got quite a few movies left to go. We're going to have to move quickly through... Okay. You always do this. Sorry that I spent hours and hours. I'm not trying to wrap you up. I'm just going to say... I just wanted to count up how many greens we had. Okay. Okay? Hold on. Hang in there, Mama. one, two, three, four, five, six, seven greens right now. And I know you have at least one more green on your mind as we go through this. Yeah, but we can talk about that.

1:50:47I'm not going to say that we need to put that above Manhattan. Okay.

1:50:50Sean Fennessey:I just want to say, I did see 2007's Because I Said So. Okay. And I think it's one of the most deranged films in her filmography. Here's the plot of this movie. Diane Keaton is the mother of three girls. Yes. Yes. Father's out of the picture. Who are the three girls? Lauren Graham. Yes. Who's married, happily married. Piper Perabo. Yes. Who I can't tell if she's married or not, but she's got a very active sexual life. Doesn't she get married? Yes. Doesn't it start with both of their weddings? Is it her wedding? I think they both get married. I think at first it's Lauren Graham's wedding, then Piper Perabo's wedding.

1:51:24That would be right. Because it's, you know, they're setting a precedent.

1:51:28Sean Fennessey:The third daughter is played by Mandy Moore. And Mandy Moore can't be older than 23 years old in this movie. No. And the whole movie is premised around this. Diane Keaton desperately needing this 23-year-old girl to get locked down. Right. To get married. Because she needs an order in her life because she's an aspiring caterer also. Okay. You know, or I'm sorry. She's 23. They're treating it like it's like 1500s. I mean, I agree with you. What are the fucking sexual gender politics of this movie? So Diane Keaton goes about this by auditioning prospective suitors for her daughter. and she rejects Tom's Everett Scott from that thing you do.

1:52:06Sean Fennessey:No, she thinks Tom Everett Scott is like the best choice and he's a D-bag architect. Right. And Gabriel Macht comes in and this guy's a fucking charming music teacher who's teaching like elderly people and eight-year-olds how to play the guitar. Yeah, yeah, yeah. And Diane Keaton's like, no, no, no, he's not okay. This movie is fucking deranged. It's one of the most like - You just can't compare like the presence and the chemistry of Gabriel Mock to Tom Everett Scott. I'm sorry. But who's your preference? You prefer Tom Everett Scott? I just, listen. You are sick in the head. No. This movie is the most flashing green light of Gabriel Mock of all time and they're like, what do you consider Tom?

1:52:45Also, she's banging

1:52:46Sean Fennessey:both of these guys throughout the movie. Well, that is her right because it is 2007 and the women are liberated. But both men find out about this and they're like, you whore. Like, this is the craziest movie. this movie was not made in like 1984. It was made 18 years ago. This is one of the ones where I was like this is a lot bluer than I need it to be for Diane Keaton talking to her three adult daughters about sex. Well, there's a scene in which Mandy Moore vividly recalls the exact experience of having an orgasm to her mother. Yep. Is that something you would do? No. Okay. It's very strange.

1:53:20I don't think that it should go in.

1:53:22Sean Fennessey:Okay. It's red. I just don't think Gabriel Macht has a lot of chemistry. You know? I watched this movie and that's when I was like, Amanda, I might need you to take over for 2010 through 2024. Okay, I did. So, Mama's Boy. Didn't see this. Yes. So, this is a movie starring Diane Keaton and John Hader? Yeah, Hader. Hader, yeah. And then who is her boyfriend? Oh, yeah, and sure, then Jeff Daniels. So basically, John Heater is an older Napoleon Dynamite, but weirder, less charismatic and won't leave home. Weirder than Napoleon Dynamite? Well, like, he just doesn't have the riz, you know? And Napoleon Dynamite, whatever you want to say about him, like he has the riz.

1:54:05He had riz? Yes. They made a whole movie about him. Wow. So he doesn't have riz. Would you vote Napoleon Dynamite? No, but you're rooting for him. And you're not really rooting for John Keeter. Even though, so Anna Faris plays his love interest. And she works at a, I don't know, she's an aspiring musician. So Anna Faris gives a very funny, half-assed musical performance. You know, forever and always, justice for Anna Faris. Diane Keaton just tries to get her lazy son to move out of her house. And then things go right. It's not going in.

1:54:40Sean Fennessey:Okay. Oh my God. Did you see Mad Money? No. Okay. Mad money. So what happens is, is when I Google these, then Mad Money, you know, they're all borrowed from more familiar. So the SEO is really not, I just lost my shoe. Things are going. Okay. Hang in there. This is what it takes to host this show. Do you know who directed Mad Money? And, uh, Elon Musk. Halle Curry. Oh, I knew that. Um, the writer of Thelma and Louise. This stars Diane Keaton, Queen Latifah, and Katie Holmes. And, uh, and then who is her husband? Who is her husband? It's Ted Danson. Okay. Um, and Ted Danson, you know, squanders the family finances.

1:55:20So Diane Keaton gets a job at the Federal Reserve, I think some sort of financial institution. And she sees how they dispose of money. and she's like, well, that isn't fully disposing of the money. So I'm going to hatch a crime plan with Queen Latifah and Katie Holmes and we're going to steal all the shredded money. I'll be honest, I tuned out a little bit during the specifics of this, but it's okay. But it's sort of, you know, like a Langley Mission Impossible 1996 heist except not at all thrilling and doesn't make sense. And then they do get a lot of the money back and then they get caught. but then it's okay.

1:55:59Not going in.

1:56:00Sean Fennessey:It's not going in. So you're going to do that for all of these movies? As many as I can remember. I saw Smother. So Smother is another TV movie that, and it's another one of a mom and a son and the dynamic is unusual in that it's... How so? Well, in this case, Dax Shepard has a very overbearing mother played by Diane Keaton. Liv Tyler is in this movie as well as the person that Dax Shepard is romantically involved with and someone else who I thought was too good for this. Anyway, it's not good because Diane Keaton just like can't let go and so now she's just, she's kind of in weird mom territory.

1:56:37Yes.

1:56:37Sean Fennessey:Well, it's two movies in a row that are very similar so that's also read. Okay, that's read. I mean, 2010 is Morning Glory. Morning Glory, which I think is a wonderful film. Kind of one of the last like classic romantic comedies starring Diane Keaton and Harrison Ford as newscasters past their prime who are brought in to rehabilitate a morning show that is produced by Rachel McAdams with the help of her boyfriend, CBS producer, not CBS producer, though it is effectively CBS, 60 Minutes-esque producer, Patrick Wilson. Your boy. My boy. Your boy. So it's very, it's charming, funny, written by Alene Brush McKenna.

1:57:19It's mostly focused on Rachel McAdams, but Diane Keaton is playing kind of like the, like over the hill, but with it like a little daffy a little mad very funny chemistry with Harrison Ford also gets annoyed when he completely steals her show as he does I don't think it has to go in

1:57:38Sean Fennessey:I see the floor to you it can be yellow or it can be blue I like this movie but haven't seen it in 16 years let's just yellow it and it can be my blue out of respect though like people now when they ask me for recommendations of little scene romantic comedies they're like not morning glory we know so maybe my work there is already done Okay. 2012 Darling Companion. I did see this movie. Okay, which one is this? I've never seen it before. This is Lawrence Kasdan. Kevin Kline. Oh my God, I forgot. Yes. Yeah, this movie's kind of a mess. Yeah, so the dog. Diane Keaton sees a dog on the highway that's been gravely injured while she's with her daughter, played by Elizabeth Moss.

1:58:16Sean Fennessey:They pick up the dog, they adopt the dog, and then the dog becomes a part of their family. Yeah. They go on a vacation after their daughter's wedding and a log cabin vacation, I guess, with their in-laws. And the dog runs away and disappears. And then the whole movie is about the search for the dog. That's the darling companion. Or is it? Is it the love in our lives that we need to rediscover and relight the flame? It's true. And the film answers that question thuddingly. It was quite boring. I didn't really like it very much. So that's red. It's not going in. I didn't see The Big Wedding. So The Big Wedding is a remake of a Swiss-French film.

1:58:51So maybe you should check it out.

1:58:54Sean Fennessey:I just want to say. Yeah. I'm really pleased with what the Swiss are doing. Big problem is we're on a plane. Well, in the World Cup. Okay. Because, you know, my grandfather born in Switzerland. Yeah. You've made us aware. Your immediate family and friends. Yes. Incredibly aware. Yes. Everyone's aware. The Swiss matches while we're on a plane tomorrow. So the TVs need to work. Well, just stream it. If the TVs don't work, then you just stream it. Then the Wi-Fi's got to work. Wi-Fi's got to work. Okay. Can't miss that. I have to watch like three David Cronenberg films, but that's what you'll be doing.

1:59:28Just watch one. Yeah.

1:59:29Sean Fennessey:I don't need to know one. No spoilers. Go ahead. So this is De Niro's in this one. Yeah. We got to get home for the USMNT match, by the way. I know, Katherine Heigl. I made a Seyfried. Topher Grace. And so it's another one of these things where there's weddings, you know, a young couple is being married and then Diane Keaton plays one of the parents who is having to make amends with or conceal parts of her own relationship in order to make things OK for the next generation. It's supposed to be funny. It's not really. I think she's married to De Niro. Yeah. And then and then some other things might happen.

2:00:10it's not particularly amusing and it should not go in.

2:00:13Sean Fennessey:Okay. Right. Okay. And so it goes. I mean, I saw all of these. I watched every, so this one, so this was, this is the Rob Reiner. Yes. I wanted to watch this. This is Michael Douglas. And I just didn't have time to watch this and Rob Reiner. And he, this is, this is on Netflix right now. Michael Douglas is a real estate agent, a racist real estate agent. Racist. Yeah. He says many offensive things. and is kind of profiling all the couples who come to look at the home that he's selling, which, spoiler alert, turns out to be his own home. And then Diane Keaton's his neighbor. And then Michael Douglas, in a sort of baby boom grandfather situation, inherits a grandchild.

2:00:57Not inherits, but like his estranged son drops him off. And Diane Keaton forms a relationship with the daughter, with the grandchild, and then with Michael Douglas. And then I can't remember if they sell the house. and they do end up together.

2:01:11Sean Fennessey:Here's the thing. The goal of these segments are not for you to entirely recap the film. So Red, okay, I'm going. Give us something about the quality of her performance and whether or not it should go in. She's just kind of on the side. Also, how funny is it when in these movies they come out at the end of these people's careers and it's like, and so it goes. What does that mean? Well, that's why I'm Googling all of them because I can't remember. Give this film a real title. Okay, Five Flights Up. She starts with Morgan Freeman and this is about gentrification and also real estate. Weird. What a year, 2014.

2:01:41Sean Fennessey:She's really interested in this. Well, because gentrification is innately tied to real estate. And where do you stand on gentrification? This is the one where I sent you the screenshot of the painting because Morgan Freeman is a painter. Oh, sure, yeah. And he's working on a portrait of Diane Keaton that is revealed at the end of the movie. Yeah, great. The movie. And this is a 2014 film, so I don't think the painting is AI. I think someone has sort of like painted a photograph of Diane Keaton. But were it made today? To look like a painting of her. But it is clearly what has been fed into all of the large learning machines in order to create the art that we see all around us in films.

2:02:18It's a horrifying sight. She's fine in it. I mean, a lot of them, she's just kind of showing up and like, you know, doing one or two Diane Keaton like vocal tics. And one moment where she's like, well, I didn't really think it was going to happen like that. And she brings in like 30 minutes of emotion and you're like, why did you want to do this? Not going in. Love the Coopers. This is another ensemble thing. This is Christmas. Okay. I watched all of them. Okay. Okay. So this is one where it's Christmas and she's the matriarch of the family and they're going to split up.

2:02:56Sean Fennessey:They're completely coming apart at the seams. Kickoff is in one hour. I know. I'm sweating. but I said I would be Redbox Captain and I do my homework so here I am so they don't want to spoil Christmas with a divorce so they go through it who doesn't want to spoil it? Diane Keaton and her husband played by John Goodman John Goodman I love John Goodman listen it's a stacked cast Alan Arkin you've said listen like 40 times Amanda Seifert again Olivia Wilde Jake Lacey Olivia Wilde and Jake Lacey are she's single for reasons that pass understanding. June Squibbs in this. Timmy shows up for five minutes.

2:03:37Tim Chalamet. Young Timothy Chalamet. Tim? Yes. And then... I didn't know that. I've got a hole in my Chalamet resume. So I think that they... I don't remember, honestly. I think they do stay together. John Goodman and Dan Keaton at the end.

2:03:52Sean Fennessey:But she's like... Let's talk about the title for a second. Yeah. Shouldn't it be Love, The Coopers? Or is it just like, Oh, I love The Coopers? I think it's supposed to be both. Like I love the Cooper family, but there's no punctuation here. I'm not dead yet because the entire movie is narrated by Steve Martin. What? Can you explain, can you guess Steve Martin's relationship to this family? Which is revealed at the end of the movie. He's their doctor. He's their dog. Okay. Bravo. That was worth it. Okay. 2016 Finding Dory. She plays the voice of Dory's mom, I believe, Jenny. I took my daughter to see this last year at Vidiot's and I wept.

2:04:38Sean Fennessey:Good. Okay. I just got to say, I thought it was very nice. No, I don't. Okay. But it doesn't need to go in the Diane Keaton Hall of Fame. Okay. And it's an unnecessary Pixar sequel. Okay. I still wept. Sure. Yeah. That's becoming a bit of a theme with you. But anyway. Well, I like Pixar. What can I say? And I like Pixar sequels and I'm okay with them. Okay. 2017, Hampstead started watching this and decided, no thanks. Wow. you don't care about Donal Gleason finding love with Diane Keaton and also a bit of real estate and overriding the corporate real estate interest once again a movie about real estate as represented by Leslie Manville I enjoy Leslie Manville and I did get to see a little bit of her while watching it I felt that this was an excuse for Diane Keaton to spend three months in England that seems like a great reason to do anything it's not going in okay red she's a widow She's playing a lot of widows and loner people at this one.

2:05:33Sean Fennessey:2018 Book Club. Yeah. I've seen Book Club. This was a thing. It was a big thing. It was a successful movie. And I keep saying this reset the future for the kinds of movies that she made. But, you know, like every 10 years she makes another movie where it's like, don't forget about Diane Keaton, who's a big star. And this was one. And this is at a time when the box office is really booming. And there are always alternatives where it's like this is an underserved audience for basically women over 50. The movie massively over-indexed for women over 50, probably women over 30, to be honest with you.

2:06:02Because book club. And it was based on, they read Fifty Shades of Grey. Yes. So it was smart. Yeah, it's sort of, it's girls' trip aged up.

2:06:09Sean Fennessey:Yep. And, you know, it's not unlike the first wives club template where it's just you get together a group of women of a certain age you like seeing together. Yes. And she kind of got away from that and was trying to do rom-coms with some of the greatest male actors of her generation. And they were all quite poor. So instead, she decides to do this. It's good. It's a big team up, too, because it's the first time that she works with Jane Fonda and Candace Bergen. Right. And, you know, three real megastars in the 1970s coming together. And Mary Steenburgen is the fourth as well. Plus, Andy Garcia, Don Johnson.

2:06:42Sean Fennessey:You know, I don't remember being very good. I remember being like, bad. It's not. It's fine. It's not. And if I remember book club two more fondly, so we can get to that in a way, in a bit. For sure. So it doesn't need to go in. 2019 palms. Palms, which you pronounce like you're just throwing me off. I keep like palm free. Palm fronds is what I hear when you say it. Yes, but it is like palm like, but it's not like palm free. Yeah. Anyway, palms. Are you correcting me on pronunciation? Chris is the pronunciation problem. Okay. Like I'm fine. I'm like, you know, I, I, you got your, you got French down.

2:07:22I miss as much as I get right, but that's, that's life. Okay. So I texted you at 10, 12 last night and I said, right now is when I learned that this movie is not 80 for Brady.

2:07:34Sean Fennessey:Yes. She's not in 80 for Brady, not in 80 for Brady, but Jane Fonda is correct. Yes. And so I was bringing the book club together. Anyway, this is about, this is another women of a certain age team up together. this time at a retirement community because they need to rediscover their love of life through cheerleading. She does another dance performance at the end because the elderly cheerleaders, you know, overcome all the various obstacles facing them and they're, you know, all that stands between them and cheerleading and they perform at the local, regional, whatever championships. So it's kind of bring it on, but for seniors.

2:08:15and she's front and center, and she does like a funny comedy dance thing. Like she leans into the physicality of all of it, and it is quite funny. Does she look like the Spirit Fingers guy, like choreography while doing it? Yes, but that's the point.

2:08:29Sean Fennessey:Okay. Not going in. Okay, not going in. 2020, love weddings and other disasters. I think maybe the single worst movie that I saw out of all of them. I was surprised to learn this film existed when I started researching this. So I think it was ultimately released in December 2020, which should tell you something. Not a deal. And I believe that this has a 4 % on Rotten Tomatoes. 4%. I've never seen it. That's why I noticed it. 1, 2, 3, 4. Okay. That's low. And it stars Jeremy Irons, among many other people whose names I don't remember. And it's really about other people getting married and that he's the wedding planner and she is there.

2:09:10I think she gets set up on a date with him. But so first of all, it's asking me to believe that Jeremy Irons is a wedding planner. Oh, she's blind. Sorry, I forgot about that.

2:09:20Sean Fennessey:I was wondering as you were speaking, what are these other disasters from the title? That's not even the disaster. That's not a disaster. That's a fact of life. I'm not trying to silence you, but we don't need to talk about this movie anymore. Well, anyway, you asked me to say something about her performances in each of the movies. You did. She's blind. That's something. You know, she's playing a blind person. adequately perform as a blind person? Well, then she explains a whole art project that she does where she does photography by sound. Oh, sure. That's a thing. That's fairly convincing, but I would say that Jeremy Irons as the OCD wedding planner was the bridge too far for me.

2:09:58So Diane Keaton wasn't really the problem here. Mac and Rita?

2:10:01Sean Fennessey:2022, Mac and Rita. She plays Rita. Who's Mac? Mac is her younger self. What?

2:10:12what in the world with a different name so this movie is directed by Katie Asselton and it's set it's a girl's weekend in Palm Springs and this young woman, Mac she's 30s and she's just a little bit lost in life

2:10:27Sean Fennessey:but who portrays her? I have forgotten this young woman's name I thought that she was perfectly nice perfectly good this was a movie that was not good but not incompetent Elizabeth Lale? Yeah. Who dis? It was not... Oh, she's the star of Five Nights at Freddy's. Sure, it didn't work, but it wasn't bad, if that makes any sense. I feel like I watched so many movies that I felt were truly... And previously... I like Katie Islet. Love Weddings and Other Disasters. That this, anyway, just didn't work. But Simon Rex is in it, briefly. And so she goes to... You know, she has some sort of aura reading thing in the desert, in a tent with Simon Rex.

2:11:08And then she gets out of the tanning bed and she's her 70-year-old self as played by Diane Keaton, who is honestly the least effective part of the film. She's trying, but Taylor Page, very funny in it.

2:11:21Sean Fennessey:2023, we're almost done here. Maybe I do. I did watch this. Oh, this is, this is, oh, sure. Reunion with Richard Gere and also Susan Sarandon and William H. Macy. And this is another one where the young people are getting married and the old people have some things they need to work out. She and Gere are kind of interesting in it. It's not their problem, but it's a bad movie. Okay, so that's not going in. Yeah. Maybe I do the big wedding, love weddings and other disasters. This seems to be a theme. She keeps going back to these things. Book Club 2, they're also going to a wedding. The next chapter.

2:11:57Book Club, the next chapter. And so they're going on a bachelorette trip to Tuscany. and I remember that Diane Keaton like gets a full makeover and she buys all of these fantastic Berry-esque Diane Keaton dresses so that's fun that she gets to do that and also at a vineyard I think at the rehearsal dinner there's a kind of cast movie-wide performance of Laura Branigan's Gloria which is an underrated song in my opinion okay

2:12:23Sean Fennessey:that spread 2024 Arthur's Whiskey you didn't get a chance to see this film did you? I didn't so I failed this so that's we're going to just say red because we have to. And then 2024, her final feature film, Summer Camp. Did you watch this? I did. So this is, well, I said I would do the work. That's great. I did the fucking work. I'm proud of you. I've not seen a collection of consecutive reds like this in all my time doing this episode. This is another, you know, girl's trip, but it's friends who used to go to camp together and they go back to camp to find themselves. Okay. What did you think?

2:13:01I'm not a camp person and I you know neither is Diane Keaton really did you like did you go to like summer camp

2:13:08Sean Fennessey:day camp I never well sure I only did sleepover camp for basketball I did sleepover well that's training camp that's different that's serious well I don't I wasn't quite at that level of performance but um that was the only time I slept away at camp this is like sleepaway camp which is like you know you know what I like is the film sleepaway camp which is a wonderful horror film that maybe you should get yourself up on if you're gonna talk about teenage sex and death and camp Well, I think currently I'm not because you scheduled it for while I'm on vacation. That's when the film's coming out. At some point.

2:13:36Well, you know, I saw it in May.

2:13:38Sean Fennessey:Pre-record some thoughts. We'll play them on this episode. Summer camp's not going in. I don't really think Diane Keaton was a huge summer camp person either. Okay. The Hall of Fame. Yeah. Right now we've got seven greens and two, four, six, eight yellows. Okay. Three of these yellows must be turned green. Okay. So looking for Mr. Goodbar, yes. I fully agree. Looking for Mr. Goodbar, yes. Why don't we just put Godfather in with Godfather Part 2 under the Robert Duvall umbrella? I think you have to. Okay. I think it would be incomplete if we didn't know that. But that's fine, but that's just one.

2:14:08Sean Fennessey:Yeah. That's how you guys do this. Oh, is that how we did it? We just counted it as one film? Yes. Am I incorrect on that? No, that is correct. Okay, then let's do exactly that. Listen to that whole episode. Thank you very much for supporting Tracy Lutz. I almost was like, should we call Tracy right now, like live, and be like, what should we put in the day in Keaton Hall of Fame? but he you know he and I spoke about whether or not this should be something he should participate in but he did say to me I can at least share this that he was not very up on a lot of the later films right well neither were you and I still aren't okay so play it again Sam yay or nay nay I say nay Manhattan yay I think so listen now that gets us down to one more spot okay see I don't father of the bride maybe we should what I think I would you rather have shoot the moon or Manhattan?

2:15:02Hmm.

2:15:02Sean Fennessey:Because she's she's the show and shoot the moon. I'm fine with that. But but you can't be like, thank you for spending so much time talking about this movie and not put Manhattan in then as a result. That wasn't that wasn't my decision. We still have two blues to choose. So you'll do Manhattan as blue? Well, that's that seems problematic. OK, I was going to say. What do you Jack? Is that what do you think about that? That's not problematic. Come on. I don't think so either. I really like Manhattan. I've always really liked it as a movie, even though it's got some very funky stuff going on. So we'll say Father of the Bride is in.

2:15:38Okay. Do shoot the moon instead of Manhattan if you want. Maybe we'll do Manhattan. We've got Annie Hall and Manhattan Murder Mystery. Like we have a lot of things here.

2:15:46Sean Fennessey:This is her most significant collaborator. Okay. And we would have... Three different registers, I would say. And you're right. And we do also have three Nancy Meyers. so that seems appropriate okay great and then maybe shoot the moon as my blue okay that seems fair what do you think about that I'm good with that and I will would you do morning glory I will probably do morning glory as my blue even though some people say that I've already let that message be known let me reinforce it I think this is right okay what do you think about this I'm gonna I'll read it off to you the godfather one and two exist in one slot just cheating but it's okay Annie Hall looking for Mr.

2:16:25Sean Fennessey:Goodbar, Manhattan Reds, Shoot the Moon is My Blue, Baby Boom, Father of the Bride, Manhattan Murder Mystery, The First Wives Club, Something's Gotta Give, and Your Blue is Morning Glory. Yeah. This feels correct. I think that's right. And that's what? 30, that represents 30 years of a 50 year career. Yeah, and then what happened? Watch every one of those movies. I mean, more than 30 years. It's almost 40 years. nearly 40 years and then she made a lot of other movies what movie of the ones I described are you most curious about none of them I like the one with the dog narrator oh yeah that was a good one yeah that had a good cast yeah maybe I'll check that out I don't think that you should I would also like to be full on Rob Reiner like I'd like to see all the Rob Reiner movies so maybe I'll watch that one maybe I do where you said Michael Douglas is a racist real estate agent is that real cool well he's certainly yeah he's insensitive yeah Well there's a fine line there Did you call him a racist or not?

2:17:27It's the character It's not really that fine of a line Got it

2:17:32Sean Fennessey:Any closing thoughts on Diane Keaton? Wonderful star of stage and screen A legend This is one of the ones where even where I was watching the ridiculous movies I mean sometimes that was a little bit of a chore but otherwise this was a delight and it was a different type of movie than normally we get for a Hall of Fame. Will you be screening the good mother at any preschools in the near future? As you know, I don't really organize any preschool events. So I'm just grateful for those who do. And I show up and then I don't accuse anyone of anything. Well, that just about does it. We're going to Toronto.

2:18:11Sean Fennessey:We are. That's what we're doing for the rest of this week. Fortunately, we have pre-recorded an episode about certainly one of my favorite movies of the year. I think one of yours as well. Absolutely. invite olivia wilde's new movie see it don't listen to the podcast until you see it yeah we we spoke spoke around spoilers for a bit and then really spoiled the movie and got into it because it is really a rich text um and i've been thinking about writing about this and i'm going to pick your brain about it a little bit when we get off but i think i'm thinking about writing about and maybe we can bleed this into the show the millennial movie masterpieces oh okay because that movie yeah is very millennial yes and we're getting to the phase now we've reached our era Yeah.

2:18:51Sean Fennessey:It's like people are in their 40s and they're making movies. They're making the movies they want to make. Yeah. That's a movie clearly that Olivia Wilde wanted to make for very specific reasons. So anyway, we can give that some thought. And yeah, we'll be crossing the border. Hopefully they'll let you back in the country. You think they will? I did this morning put my passport in my bag so I wouldn't forget it. Very smart. Because like five times. Last week I googled the adapter power bolt situation. We're all in the clear and ready to go. Good job. Yeah. Do you know what province we're traveling to?

2:19:20Sean Fennessey:uh, Ontario. Correct. Yeah. I did know that. Yeah. Um, I got to study the provinces for, so when I get there, I'm not, what happens if you don't know, they murder you. What do they do? Yes. Very Canadian. Kill you publicly. Uh, I'm excited about that. Thanks to our producer, Jack Sanders for his work on this episode. Thanks to Lucas Cavanaugh for the production support. As I said, we will have the invite coming on the show on Friday. See you then.

2:19:50Thank you.