The Last Movie Stars (2022) s01e06 Episode Script

1
♪♪
Jennings:
Welcome to "World News."
Announcer: The "CBS Evening News
with Katie Couric."
Good evening.
Movie fans
around the world
are mourning the death
of Paul Newman.
Announcer #2: Lester Holt.
Holt: Oscar winner,
philanthropist,
racecar driver, family man,
Cool Hand.
Auctioneer: Lot number 8,
ladies and gentlemen.
Without exaggeration,
the most iconic wristwatch
of the 20th century.
Woman: His wife gave
her husband a watch
inscribed with a hidden message.
Auctioneer: I think we should
start right away.
And I have a commissioned bid
at $1 million U.S.
[Cheers and applause]
$10 million.
[Cheers and applause]
Ethan: So what does CNN think
about the cut so far?
Alright. "The great takeaway
is that it's clear
we can really
build out a satisfying arc
over the six episodes."
Yay!
The watch auction
they didn't get.
$12.5 million
for Liza Gorey.
$13 million.
Ethan: Why do you think
they don't get it?
Like, see, to me,
it's, you know,
the the the buzzards
feasting on the dead.
You know, like
There's Like, I don't think
shaming the people
that are bidding
on that watch
is what you're trying
to accomplish.
Oh, no, no.
That's not what I mean.
Yeah, I mean,
I want the watch, too.
I mean, I'd love to have it.
So what am I talking about?
You're saying,
like,
"This is how much people
value him."
Auctioneer:
$14 million for Natalie.
Ethan: You can't buy
Paul Newman's watch.
It's his watch.
What makes it beautiful is him.
The watch is nothing.
$15 million.
It's a present from his wife.
For the one and only
Paul Newman.
I mean,
it's it's a private thing
that's now made public in death.
Going once,
going twice.
But it was something real.
And it just makes me think,
but I don't
I guess I don't know
what I think about it.
So I can't make it clear
to the
It is history now!
$15,500,000.
Well, come on, Ryan,
you're my producer.
What do you think?
How should it start?
Like we're on a morning show
with pianos and violins,
and everybody's happy?
Interviewer:
In a business like this,
it is so unusual
to have relationships endure
on any level,
and to have a marriage
like yours
after all these years,
you've got to admit,
pretty incredible.
Melissa:
You know, this narrative,
this really, you know,
they were beautiful,
they loved each other,
it was simple and that's it.
And, you know,
happily ever after.
To a certain extent, I feel
guilty dismantling that story
because I feel like everybody
needs those kinds of heroes,
but at the same time,
I think they deserve
more credit than that.
Shalit: American people
think of Joanne Woodward
and Paul Newman,
and they think
of this perfect marriage.
How far away from that
is reality?
It wasn't easy,
and a lot of it was ugly
and a lot of it was a slog.
But I always think that,
you know, when my dad was
when my dad was dying,
there were a lot of people
in that room,
and they were all people
who loved him.
But I always felt that my mom
should have been the only one
in the room
that maybe in the end,
you know, on the Lonely Island.
I think she was really
the only one he wanted.
♪♪
Ethan: The end of their life
together is just beautiful.
I mean, she was running
a theater company.
She was producing
a lot of new work.
She even got him back
on Broadway.
This play is called "Our Town."
It was written
by Thornton Wilder
and is being produced here by
the Westport Country Playhouse.
Name of the town
Grover's Corner.
Keefe: I picked up the phone
in the bedroom and she said,
"Hey, Annie, it's Joanne."
And I said, "Yep.
Hi, how's it going?"
She said,
"Well, I'll tell you.
Paul just walked in and he said,
'What do you think
if I played the stage manager?'"
The day is May 7, 1901,
just about dawn.
[Rooster crows]
Lissy: He was
he was afraid
He was afraid he wasn't
gonna be able to remember
his lines in a play anymore.
And it had been a long time.
Yes. She was Julia.
She was Julia Percy
before she married Doc Gibbs
in the Congregational Church.
In our town,
we like to know the facts.
Woodman: It was the first time
he had been on stage
since we did a play called
"Baby Want a Kiss"
in 1965, '64.
Interviewer #2:
Which ran how long?
Well, I don't know.
It was a limited run,
but I mean, I think it may
have been more limited.
Clooney:
"My problem is that I just
remember an accumulation
of events."
Man: Surrounding me here
are several of the members
of the Actors
Studio Theater.
"I don't really have
a sense of a beginning."
Miss Geraldine Page,
Mr. Rip Torn
Another thing, I-I think
it gives me an opportunity
to come back to this.
Clooney: "There are people
who have a sense of living
a whole life,
but I just have a sense
of a series of events
attached together
in random ways.
Stick the middle
in the beginning
or the beginning at the middle,
really doesn't seem to make
either sense or difference."
Emily: Do any human beings
ever realize life
while they live it
everyevery minute?
No.
Saints and poets
maybe
They do some.
Letterman: What about it
drew you to the production?
Why did you want to do it
after 35 years?
Well, my wife
is the artistic director.
And, uh
[Laughter]
and I have no idea
what she puts in my food.
[Laughter]
You can't be too careful.
Woman #2: The Westport
production moved to Broadway,
where Newman was nominated
for a Tony.
But it wasn't the first time
he performed in the play.
He starred with Frank Sinatra
in a 1955 musical adaptation
for television.
♪♪
I've married 200 couples
in my day.
Do I believe in it?
I don't know.
I suppose I do.
M married M.
Millions of them.
The cottage, the go-cart,
Sunday-afternoon drives
in the Ford,
the first rheumatism,
grandchildren,
the second rheumatism,
the death-bed,
the reading of the will.
Once in a thousand times
it's interesting.
♪♪
♪♪
♪♪
Here.
There is friendship,
there's conjugality,
and there is amativeness
right here.
It's right
right there.
And they say it's all
in your head anyway.
Let me feel that again.
Jesus, you've got to be
a nymphomaniac
to have a bump
like that.
Charles:
"When I met Paul and Joanne,
it was at the Actors Studio.
They were high-living,
hard-living, young warriors.
They were intoxicated
with this new liberty,
this new freedom of emotion
that they were not
only being allowed to use,
but encouraged to use to
understand the kind of boldness
that they brought to these roles
that electrified American acting
and eventually changed
the technique
of acting around the world.
That's why we worked there.
We were down there day after day
to talk and teach and act
and make fools of ourselves
in an effort to keep alive
this aspect that"
I think we'd better
go back.
"that was the valves
of our heart."
Yes, I do mean that.
I knew you were going
to kiss me today,
but I didn't know
I was gonna kiss you back.
And it isn't going
to happen again.
So don't try to get me off
alone somewhere.
I think you'd like that.
"And that these good people,
you know,
Newman and Woodward,
have survived and gone on
to do good work
despite the pressures
of the world and life.
You know, the miracle
is that anybody survives."
Are you going to row me
back to shore
or am I going to have to
swim back?
Swim.
♪♪
We We were in a meeting
once in the barn
and Joanne excused herself
for a couple of minutes
and and I didn't hear
the door open,
but I turned around
and Paul had come in
and the two of them were just
standing there holding hands.
And I froze that image
in my mind and thought, "God,
if you could ever love somebody
for that long that much,
what must it be like?"
It's
Sorry. It's just
Donahue: "The truth is
that I felt
an enormous rivalry
with Paul.
Although I wouldn't admit
it then, not even to myself.
I was always uncomfortable
that Paul was so much bigger
than I was."
It's legitimate.
I think that there was
a time when I wished
that I didn't stay home
and take care of babies,
and I wanted to be
a big movie star
and all of that.
But, you know, you change.
Janey
before, you know, you said
I always used to ask you
how your day
of school went.
You did.
Do you know something?
You've never asked me
how my day went.
Not once.
Woman #3: Joanne, is there
any one character
that you feel that you can
really relate to personally?
All of them.
I have to, all of them,
because they're all parts of me.
I mean, that's the all
that's the
the joy and the trauma
about being an actor
is that's all you've got is you,
you know.
A pianist has a piano
and a drummer has the drums
and even the ballet dancer
has their toe shoes.
But we have what we are.
And I can leap happily into
my coffin and call it a day.
Lie down, close my eyes,
shut my mouth
and disappear
into eternity.
Easy as that?
Like falling off a log.
Ethan: What I admire in Joanne
is just the actor.
When you're not getting
all these amazing offers,
how do you build a career
through your own work
and through your own energy
and her passion
for these television movies
and the way that she would
throw herself.
[Yelling indistinctly]
And she did a lot of them.
And they're always
about serious subject matters,
whether it's women's rights,
children and drugs,
race relations.
Oh, that's a shame.
Oh, that's
Daniel. Daniel.
Woman #4:
And she would teach, you know,
she taught an acting class
out of their apartment.
And a lot of those actors
worked with her.
Dylan McDermott worked with her,
Allison Janney.
Janney: Joanne Woodward,
I want to thank you
for your encouragement
that gave me the confidence
to think I could pursue
a career in acting.
Woman #4: She just adored them.
She just They were her
They were like,
you know, her children.
Linney: I was right out of
school when I worked with her.
I played some drug addict.
It was a very overly dramatic,
Hallmark Hall of Fame
sort of thing.
But it was my first big job,
really, in many ways.
Did you or didn't you?
No, I didn't!
Charlie got me high
And Joanne, who
very carefully curated
a group of young artists
around her.
She played a politician
and in the office
Their scenes in the office
we're all of her young protégés.
Allison Janney,
Mark Wade.
You know, I was the new kid
on the block.
Has it caught any fish?
Not for 10 years.
[Chuckles]
Well
We won't starve.
Butter and sugar
from Fesco's.
A national treasure.
And I'm so I'm so lucky
that I worked with her
so early
because she instilled
in me things
that I'm realizing even now.
Is that
what I used to say?
All the time.
Well, that was
fairly pretentious of me.
And I can remember having
a conversation with her
that you you have
to love the arts
more than any of it.
You have to love the people.
You have to love the process.
You have to love the ups
and the downs
so that when it is really hard,
you still feel nourished.
And that comes from your
investment outside of yourself
into something bigger than you,
into something
that has a long history.
You are a small part
of the whole machine
and that that perspective
is the starting point.
♪♪
♪♪
Ethan: You know,
I did my first
I did my Broadway debut
with Laura.
"The Seagull" in 1991.
Wade: I saw it.
Oh, my God. No.
Really?
Yes.
Wow.
That's amazing.
Linney: It was really troubled,
and I knew it was troubled
and I knew I was in trouble,
and I called Joanne.
And I was like, "Joanne,
I'm in this production.
I really need help."
So I was in my dressing room
and someone knocked on the door
and, like, a face
leaned in and said,
"Miss Woodward will meet you
in her car in 15 minutes."
So I very quickly get dressed.
I got in her car.
She's like, "Dearheart,
hello, come in."
I went in the car.
She went, "Well
there's nothing you can do."
[Chuckles]
And I
I-I looked at her,
I was like, "What?"
She's like, "Dearheart,
there's nothing you can do."
She's like, "You just have to
learn to get through it."
And that was very valuable.
Woodward:
Sandy always used to say,
"You cannot
you can't be an actor
unless you are willing
to make a fool of yourself
and fail," you know.
And that's true,
of course, of anything.
Joanne always found ways to do
things that excited her
because what excited her
wasn't where it was
or who it was with even.
It was the work itself.
You know, it's the story.
It was the craft,
it was the text.
It was Whether it was
on television
or, you know,
certainly on stage,
because it is so purely about
the craft when you're on stage.
Joanne Woodward keeps
busy on many fronts.
She is an activist,
a supporter of dance,
a director and a wife,
and she is,
above all, an actress.
And she is currently
starring
at Toronto's
Royal Alexandra Theatre
in Tennessee Williams'
classic "Sweet Bird of Youth."
In "Sweet Bird of Youth,"
Joanne Woodward plays
Princess
Wade: I was walking her home
from rehearsal one night
and I was like,
"How do you do that?"
And she said,
"What do you mean?"
I was like, "Every time,
it was brilliant, connected,
full, full emotionally,
and so effortless."
And she looked at me
and she said,
"It's just because
I know I can."
That's like saying,
"I'm the shit."
Linney:
"I've been working on a piece
that I've wanted to do
for a long time.
My mother is now
in a nursing home
and she has
Alzheimer's disease.
I keep trying to figure out
some way
to create this
into a film piece.
I haven't gotten it yet,
but someday.
Anyway that's what
I'm working on now."
-Where's your class?
-Um, lecture hall one.
This way.
It's this way.
[Laughs]
Well
Interviewer #3: Joanne,
I understand that this is
a particularly painful role
for you to play,
because I know that your mother
has Alzheimer's disease.
Was this a difficult thing
for you to do?
Yes. Yes, it was,
because it did
force me to examine
aspects of my own being
that I don't like
to face.
I guess because, you know,
there is some reason
to believe that Alzheimer's
is hereditary.
And, of course,
those of us
who are children
of Alzheimer's victims,
I suppose, have that
haunting us all the time.
Ethan: You know, her mother
had Alzheimer's,
and so she made a TV movie
about Alzheimer's
and played her.
It's a very powerful movie.
♪♪
Doctor: Would you like
a glass of water?
No, thank you.
Woodward: It's always therapy
to do something about something
that you can't change
in any other way.
There's surely no higher praise
for what television can offer
than just to read the names
of the artists
who were nominated
Nominees
for Outstanding Actress
Nominees for Outstanding
Lead Actress
in a Miniseries
or a Special are
Alda: Joanne Woodward,
"See How She Runs."
Woman #5: Joanne Woodward
for "Crisis at Central High."
Woman #6: Joanne Woodward
for "Blind Spot."
Man #2: Joanne Woodward
for "Do You Remember Love."
Joanne Woodward, "Sybil."
And the winner is
Joanne Woodward,
"Do You Remember Love."
Joanne Woodward,
"See How She Runs."
Woman #7: Joanne Woodward
has had nine Emmy nominations.
Woodward: This is such a nice
way to come back to television.
I started out here
about 25 years ago.
Linney: "I seem to be
the only person I know
who enjoys getting older."
Megan: Michael.
You don't want
to come in here.
Michael, if I could
just talk to you.
Shut up!
I don't want to hear it.
I don't want to hear any of it.
[Grunts]
What the hell are you
doing here?!
Details?
Is that what you want?
Clooney: "I suspect right around
the time of 'Absence of Malice,'
I was starting to be
difficult to be around.
I was an in-between person,
not comfortable pretending to be
the college yokel anymore
and I hadn't found
any comfort yet
being inside my own skin.
for everybody
to look at her.
She must have felt like
[Screams]
just raped!
[Screaming]
Field:
He knew he was in transition.
For actors, it's such
a difficult place, you know?
What you do in that transition
is where you're going to
your career's gonna go
or not go.
Charles: "I don't know
what happened to Paul
in the middle years.
I mean, I don't mean
to be judgmental,
but I think for a time,
he lost that youthful edge
of boldness
and 'I don't care.'
The larger the budget,
the more prominent one becomes,
the less able
you are to be a rascal.
That little lawbreaker,
that truant that you once were,
you're becoming part
of the establishment
whether you want to or not.
And as an actor, to begin to
close down any of that ganglia,
those wonderful sensory forces
that are out there
to accommodate
some agreed-upon image
of how you should look,
I mean, it's the worst thing
that can happen to anyone.
And it's what I sense was there
in some
of those middle pictures."
It's not over yet.
Scorsese: It was something
Arthur Penn told me.
He says, "Don't lose
your amateur status.
You have a major machine
behind you and over you
and it restricts your freedom."
He's right.
Announcer #3: She writes
the story that sets him up.
He writes the book
on getting even.
McCarthy: "I, um, I remember
when we were talking
before we began shooting,
and I told him that,
what I thought,
that I, you know, that,
that I thought he had walked
through
the 'Absence of Malice.'
And he looked at me
like I had slapped him.
And I thought, 'Ooh,
Paul didn't really think
he was working in that,
did he?'"
Paul: He's not the cool,
collected type.
He's frightened.
He's, uh, he's an alcoholic.
McCarthy:
"By the end of the second week,
I like to have a run-through,
and I also like the book
to be out of your hands by then.
But he he didn't have
the book out of his hands."
There's there's a story
about Sidney Lumet
saying to Paul Newman
at one of the rehearsals,
like, "Everybody else,
go home."
And he said
Did you hear this story?
It's
He basically said to Paul,
"Here's what's "
McCarthy: "It was
a regular performance.
Very good,
but no real life in it.
And I let everyone go.
And I asked Paul to stay.
And I didn't say it flat out
because you don't want
to discourage
an actor at that point.
But in essence, what I said was,
'What's the matter?
It's not working.'
And he said,
'Oh, it's the lines, Sydney.
I'm having such a goddamn
problem with the fucking lines.'
And I said,
'No, Paul, it's not the lines.'
And he blinked sort of
very rapidly and said,
'What do you think
the problem is?'
And I said, 'Well, I think
you have to make a decision.'
And he said, 'Well, what
do you mean decision?'"
Then I said, 'You have to decide
how much of you
you're going to let us see,
because it is you
that is missing.'"
"He didn't say anything.
And we broke for the weekend
and we came back in on Monday
and it was like
a different actor."
♪♪
"He knows what good acting
is about
and good acting
is about self-revelation.
All good work is
It's tough.
It's hard."
♪♪
Paul: I realized that I still
had a long way to go,
that I had just begun to tap
the complexity of that guy,
the emotional bankruptcy
that he was facing.
Frankie.
Come on, get up.
Get up, Frank.
McCarthy: "The things
I didn't have to say.
Binaca spraying, pan up
with the Binaca.
He sprays his mouth
and walks into the funeral.
Binaca Paul's,
the eye drops Paul's.
The kind of selflessness
of an actor
who's not afraid to expose
the unpleasant side.
What's your image of someone
who needs Binaca?
♪♪
♪♪
Ethan: You know, everything he
was hiding from the world
Rockwell: Wow.
he decided
to put on screen, right?
Yeah. Wow.
I didn't know that
it was that far.
I knew he was a boozer,
but
Wow.
McCarthy: "To stay sober,
he has to keep moving.
That stillness means
he'll lift a glass.
Stillness belongs to the bar,
telling funny stories.
And that
since everything is
If he's gonna do anything
at all,
is 'I'm not going to drink,
I'm not going to drink.
I'm not going to drink.'
It's over, period.
There'll be other cases.
There are no other cases.
This is the case.
There are no other cases.
This is the case.
There are no other cases.
This is the case.
Ashmanskas:
He figured it out.
"The Verdict" from, you know,
as you know, especially,
it's like he was just
It was just, "Ka, ka, ka,
ka, ka," the whole movie.
The whole movie.
Clooney: "We all have our demons
one way or the other.
And I think we all have
great respect for those people
who manage to do
something about them."
'The Verdict.'
I think that there
was a lot of emotional wreckage
that he had to sort out."
You see that?
"A lot of transformations
that he had to go through."
Judge:
Mr. Galvin, summation.
"Lot of recognitions,
discoveries."
"And even there
at the last moment
when he prepared this
long harangue to give the jury,
he had it in his hands
and he finally just chucked it
and said"
[Sighs]
You know, so much of the time,
we're just lost.
Say, "Please, God,
tell us what is right.
Tell us what is true.
I mean, there is no justice.
The rich win,
the poor are powerless.
We become
tired of hearing people lie.
And after a time,
we become dead.
We think of ourselves
as victims.
And we become victims.
We become
We become weak.
We doubt ourselves.
We doubt our beliefs.
We doubt our institutions.
And we doubt the law.
Today you are the law.
You are the law.
Not some book.
not the lawyers.
Not a marble statue
or the trappings of the court.
See, those are just symbols
of our desire
to be just.
They are
They are, in fact, a prayer
a fervent
and a frightening prayer.
♪♪
In my religion,
they say act
as if you had faith.
Faith will be given to you.
If
if we are to have
faith in justice
we need only to believe
in ourselves.
And act with justice.
♪♪
♪♪
♪♪
McCarthy: "There is,
for whatever reason
I wouldn't presume
to know the reason.
I mean, Paul clearly feels
that redemption is necessary."
Woman #8: Among the many causes
to which Newman and Woodward
donate time and money,
none is more poignant
than the Scott Newman Center,
dedicated to the fight
against drug abuse.
We had to do something
in his memory.
The cost of a joint
laced with PCP
is about the same
as a school lunch.
But the effects
are unpredictable
and they are uncontrollable.
My biggest involvement is
with the Scott Newman Center,
which is the center
we established for drug abuse
in California,
and also with the Hole
in the Wall Gang Camp.
Woman #9: The camp is designed
to offer
desperately ill children
a camping experience.
Stahl: After his son died,
Newman became philanthropic,
one of the most
philanthropic actors ever.
Among other things, he built
the Hole in the Wall Gang Camp
in rural Connecticut,
where kids with leukemia
and AIDS come free
in the summer.
And it doesn't look
like a hospital.
No, I'll say that.
it doesn't look anything
like a hospital.
Dickey: "I think this camp
is bound up with Scott.
I mean, what do we have?
Kids whose lives are threatened.
Now, Paul,
he's gonna save some.
He's gonna help save some,
build up their strength
and help them survive.
Boy, you know, every time
I see a hole in the wall again,
it's like seeing it fresh
for the first time.
Woman #9: Half the $8 million
cost of the camp
is coming from the profits
of Newman's Own salad dressing,
popcorn and spaghetti sauce
a food line the actor says
he started on a whim.
Just reminds me of just
the passage of time
and all glory is fleeting.
And when I go to the grocery
and I see his face
on marinara sauce,
there's something really
incredible about that.
You, yourself, make no profit
from the salad dressing,
the spaghetti sauce,
or from the popcorn?
Is that true?
That's right.
What do you do with all
the money that comes in?
We've given money
to our founding hospitals
and cancer
and cystic fibrosis.
His agents and people around him
were like,
"Don't put your face
on the product.
You know, that'll
ruin your image."
We have a new salsa,
which is wonderful with chips,
coming out.
Letterman: And in the beginning,
you would see Paul Newman's face
on lemonade cartons.
And it was sort of a punch line.
"Oh, my God.
Paul Newman is missing."
The top 10 least popular
Paul Newman products.
Allen: I remember
being around people
who liked to be derisive
about him doing this.
And I found myself on many,
many occasions
wanting to just shake them
and say, "Are you crazy?"
Letterman: And least popular
Paul Newman product
There you go.
When I got to realize
what Paul was up to,
it embarrassed me.
The introspection required
to make this decision
I found remarkable.
Now, you have two.
You have Newman's Own,
and then you have
the Newman's Own organic line.
That
that's my daughter's,
and it's
it's going gangbusters.
Yeah.
To think that through
and to put his ego aside,
I thought was astounding.
Man #3: The superstar,
racing-car driver
and Mr. Salad Dressing
is planning
to transform the property
in County Kildare
into a holiday home
for sick children.
Woman #10: He's decided
to create a company
and sort of reformulate
what a company
that makes money can be
and channeled that
into helping people.
Shalit: Salad dressing,
popcorn,
lemonade
and spaghetti sauce.
How are they doing?
Well, they're
out-grossing my films,
I'll tell you that.
The realization is they
actually did that
as a human being.
They're not a god.
They did that as a person.
Letterman:
Close to $150 million?
Paul:
About $125 million,
give or take
a couple of bucks.
That's remarkable.
That's something
Letterman: It's still going
strong, you know.
I just thought the scope
of what this
I said, "This is
This is
This is humanity.
This this is what is required
from the minute
we all draw breath."
Here. Take it all.
Think you used enough
dynamite there, bud?
And it wasn't till later,
far too much later,
I went to the Hole in the Wall
Gang Camp in Connecticut.
And I don't recall
a circumstance in my life
being as moved as I was
by that visit.
And it was just being near
the kids and their family?
What was pulling on you?
The fact
that everything was great,
in spite of the fact that
everything was far from great.
But in that context,
everything was great.
And now I began to see Paul
in a much different light.
And I thought And I did.
I started to cry.
It was powerful.
Man #4: Only an actor as
confident as Paul Newman
would take on a character with
as many flaws as this lawyer.
Man #11: The loser in this case
is a broken-down Boston lawyer
named Frank Galvin,
and he's played in a great
performance by Paul Newman.
Ebert: I thought it was
a great movie.
I think Newman has a real chance
of winning the Oscar this year
for this performance.
Woman #11: Paul Newman
in "Cat on a Hot Tin Roof."
David Niven
in "Separate Tables."
Woman #12: Paul Newman
in "The Hustler."
Maximilian Schell
in Judgment at Nuremberg."
Woman #13:
Paul Newman in "Hud."
Sidney Poitier
in "Lilies of the Field."
Woman #14: Warren Beatty
in "Bonnie and Clyde,"
Paul Newman in "Cool Hand Luke"
and Rod Steiger,
"In the Heat of the Night."
May I have the envelope?
Thank you.
Rod Steiger,
"In the Heat of the Night."
The winner is Sidney Poitier.
Maximilian Schell.
[Cheers and applause]
David Niven.
[Cheers and applause]
Cavett: You know, I didn't
realize something about you
that you have never won,
never won.
Have you thought
of going into a business
you might be better at?
No, but I
Ashmanskas: "I never even heard
Paul mention the Academy Award.
Although everybody else
gets very overexcited
each time he's passed over."
There are many outstanding
performances by actors
in leading roles in this year
of brilliant movies.
The five nominees are
Dustin Hoffman in "Tootsie"
[Cheers and applause]
Ben Kingsley in "Gandhi"
[Cheers and applause]
Jack Lemmon in "Missing"
[Cheers and applause]
Paul Newman
in "The Verdict"
[Cheers and applause]
♪♪
Peter O'Toole
in "My Favorite Year."
[Cheers and applause]
Five outstanding performances.
And the winner is
Ben Kingsley in "Gandhi."
♪♪
♪♪
♪♪
Ladies and gentlemen,
members of the Academy,
you have bereft me
of all words
Clooney: "When I lost the race
at Lime Rock
after having led for 50,
64 laps against the best,
on a non-power course,
it was heartbreaking.
Not because I lost,
but because I don't have
that many races left in me."
This is an Oscar for vision,
for courage,
and for acting and for peace.
Thank you.
Clooney: "Losing that race
was like losing the year."
♪♪
Kazan:
I had one more question for you.
Ethan: What is it?
What are you
What are you learning about
yourself making this?
Like, how does this
make you reflect on on you?
Um
It makes me
-Recording in progress.
-Perfect.
Well, thanks for doing this.
I'm doing really well.
Thanks for, you know,
thanks for signing on
here with me.
I really appreciate it.
I think
we live in a culture
where we're kind of
reinforced daily
that life
is accomplishment.
And yet all of that
is fleeting.
All of it is
I went into
your grandparents' barn,
And, you know,
behind the movie theater,
there's that screen
with all those awards.
For me, they had two
of everything
I ever coveted.
There's four Oscars
on the shelf.
There's her Cannes Film Festival
Best Actress.
There's his Cannes Film
Festival Best Actor.
There's his
Berlin Best Actor.
There's, you know,
her 19 Emmys.
Henry: Right.
And there they are,
just sitting in dust.
I'm staring at it,
going, "Wow.
At the final moment
none of this
means anything.
What matters is you."
So who's got a hug
for a lonely old man?
Peter:
I understood he was famous.
I knew about the movies and
I thought it was really cool.
But it was more that
he was my grandfather.
John:
Did you bring the necessary?
Yes.
If you'll excuse me,
I have urgent business
with these young gentlemen.
The movies
where he's older
are the movies where I really
see him as my grandfather.
Call the cops!
I know hustlers when I see them.
Like "Road to Perdition"
or like
"Cars" came out
when I was
9 or 10 years old.
Break it loose and just
drive it with the throttle.
Did you ever see that movie
"Nobody's Fool"?
I haven't.
I haven't seen it.
You know
what I used to do
when I was your age
and I got scared?
I try to be brave
for exactly a minute.
And the next time,
I try to be brave
for two minutes.
What were you
scared of?
I don't remember.
But, hey
When you get to be my age,
you won't remember either.
Here.
You can time yourself
with it.
The big hand
goes around once,
that'll be a minute.
Goes around again,
that'll be two minutes.
And you can tell how long
you've been brave.
Here.
Thank you.
You're welcome.
♪♪
I really feel like it was such
an amazing do-over for them.
And the fact that I had boys
What's taking you
so long?
I have to pee.
Henry:
What I remember is, like,
him coming over
and flipping burgers.
I saw them all the time.
They lived next door,
so you couldn't avoid it.
But I saw them
all the time.
Woodward:
I have grandchildren now
and we swim together
and we talk.
They listen
and I listen to them.
And it's a moment
in time.
The most important thing
is at 72,
you can take that time.
You can say, "The most important
thing I can do now
is listen to this child
and talk to this child.
And there's nothing
I will do in this day
that will be more important
than this hour
I'm spending with Peter
or with Henry."
Sully:
You want to drive?
Come on over.
Come on. Scoot over.
There you go.
Just be careful
of my bum leg, okay?
Ahh.
There you go.
Put your hands
on the wheel right up here.
Melissa: For my dad,
because he lost a son,
it was really amazing for him
to have two boys.
You know, he was he was
a really excellent grandfather.
Okay.
You're on your own, kid.
Whoo. Wait.
Oh, ho, ho, ho, ho!
Back. There you go.
There we go.
Boy: It's jiggling.
Nah, it's not jiggling.
It's wobbling.
That's what old trucks do.
They wobble.
I like it.
It's a nice truck.
Yeah, it is.
It is kind of a nice truck.
♪♪
Peter: And it was really
difficult when he passed away
because he was
such a big part of my life.
What was it like
in those final months?
I mean, I
looked up to him so much
and loved him so much
that it was really hard to see
in the same way
that it's hard
for anyone to see
someone that they view
as really strong
becoming so weak.
[Cheers and applause]
And it's been weird
to go through that
with my grandmother now,
but so slowly
because in one sense,
I lost her a long time ago,
but in another sense,
I haven't lost her yet.
Hi.
I
I wrote something to read.
♪♪
When did the symptoms
of Alzheimer's
start showing themselves?
Wachtel: Yeah, I watched that
"Do You Remember Love,"
by the way.
My God, I forgot she did that.
But it's so powerful that
years before it happened,
she actually played it.
It's incredible.
It's brave is what it is.
It's like, "This is what
my future might look like.
I'm gonna do this."
Barbara has
Alzheimer's disease.
So with your permission
Yeah?
our friend Dylan Thomas
once told us,
"Do not go gentle
into that good night."
And my friends,
I have tried to rage
against the dying
of the light.
"But now my rage
has long since spent.
Not squandered,
not even proudly
laid upon the bar,
but given out grudgingly
to a dark, unseen creditor
who drags me
into the darkness
for debts
I do not remember."
Clea:
And right after he had died,
Mom went upstairs
to their old bedroom,
and she sat in the wing chair.
Um
And I just sat at her feet,
and I just held her hands.
And we must have sat there
for three hours.
Like, I think that loss
was more than she could bear.
Linney: "It takes such an awful
long time to grow up.
And by the time
you really get there,
usually the people
you're growing up for
are gone."
Listen to the locusts.
[Locusts chirping]
I wonder where they go
when the summer's over.
♪♪
Scorsese: I go
from "Three Faces of Eve"
to "Mr. and Mrs. Bridge."
That's That for me is
is the journey.
James Ivory.
It's a masterpiece film,
it really is.
Man #5: According to my copy,
it says pronounced.
Clooney: "Joanne read the book
'Mr. and Mrs. Bridge.'
You could describe the story as
being about absolutely nothing.
But it's really
about everything.
Is there any more news?
Mr. Bridge,
the club prefers
that everyone
go to the basement immediately.
Please.
Wait! Oh.
Oh!
He won't retreat.
He doesn't know the meaning
of the word.
[Thunder crashes]
Poltermann: "Did they rehearse
together privately or
I mean, in a certain sense,
I guess they could have
even directed themselves
at that point."
McGregor:
"I'll tell you the sense
in which
they directed themselves.
Each of them was calling up,
summoning up people
that I have never met,
that I never knew
who were their models."
There's some here.
Well, thank you very much.
Walter, don't you think
we might be better off
downstairs
in the basement?
India.
Now, look here.
For 20 years,
I've been telling you
when something will happen
and when it will not happen.
Now, have I ever,
on any significant occasion,
been proved wrong?
"Paul was remembering
his father.
Alright.
Shalit: How would you
characterize Mr. Bridge
in the movie?
This coffee is cold.
Paul:
As a very expensive violin
with a lot
of broken strings.
That's very good.
McGregor: "They were creating
their characters
out of people they knew.
These long-vanished people.
Walter says that
Franklin Roosevelt
is ruining this country.
You always vote the way
Walter tells you to.
I haven't
And it's only my own fault,
no one else
that I haven't kept up.
So I do have to depend
on him.
[Sighs] We do depend on them,
don't we?
Ethan: There's a great scene
where she just says,
"I don't even know
what to read."
I don't even know that.
Isn't that awful?
I mean, she's basically
showing the world
her mother
and her mother's generation.
Attention,
Air Corporal Bridge.
Attention,
Air Corporal Bridge.
Get up this very minute
and shave off
that silly mustache.
You are just
like your father!
Exactly!
Poltermann: "Joanne did
an interview and she said,
'There was a time
in my generation
when you formed
your home life
around your boyfriend
or your father or your husband.
It had always been that way
and it was very hard
for women of my generation
to let go of that.'"
What?
McGregor: "Yeah. And I found
that when the film came out,
younger members of the audience
could not imagine
such a situation.
It was simply beyond
their comprehension.
And for that reason, they could
not empathize with Mrs. Bridge.
Who else would I be like
if not my father?
"And I would say, 'Why don't you
ask your grandmothers
about Mrs. Bridge?'"
♪♪
♪♪
♪♪
You're going to
need someone
who can really
look after you.
I have someone
who looks after me.
No. Oh, no,
I don't think so.
I don't think
that's a good idea.
Do you still bet on that
horse race of yours?
What, the trifecta?
Yes.
Has it ever come in?
Not yet.
But you still bet on it.
Well, sure.
I mean, the odds have got
to kick in sooner or later.
Fine. That's exactly
the way I feel about you.
Now, will you please
drive me home?
Paul: I have been asked
on several occasions
to try to explain
what motivated me
to help build
the Hole in the Wall Gang Camp.
I wish I could claim
that it had come
from some extraordinary
religious experience,
an epiphany of some kind,
but it didn't.
I was trying to acknowledge,
I think, luck
what an important part
it has played in my life.
the benevolence of it
Ethan: When I first
went to that house
and I saw on the door
to their bedroom
that strange photograph,
and it says,
"Luck is an art!" you know?
Peter: Yeah.
You know, my
Have you talked to my brother?
He's got that
He's got that tattoo
on his arm, right?
Yeah. Yeah.
So it's in his handwriting.
In his handwriting,
which I think is super cool
and it's kind of
getting faded and
Luck is an art
in the sense
that it matters
what you do with that luck.
How do I want to make myself
a more lucky person?
By putting in the work to be
ready for those opportunities
when I'm offered them.
So, like, luck
isn't really anything.
Luck is just practicing.
[Man whistling]
♪♪
Man #6:
Nine-ball is rotation pool.
The balls are pocketed
in numbered order.
The only ball
that means anything,
that wins it, is the 9.
Now, the player can shoot
eight trick shots in a row,
blow the 9 and lose.
On the other hand, the player
can get the 9 in on the break
if the balls spread right
and win.
Which is to say that luck
plays a part in Nine-ball.
But for some players
luck itself is an art.
♪♪
Ethan: Alright,
can I tell you why
I've asked you to do this?
Because I'm realizing
that inside
"Color of Money"
is kind of the point
of my film.
Wow.
I always found the character
of Eddie Felson
really interesting,
and it had a lot to do,
I think, with a lot of
characters in my other films
in a sense.
He was drawn and pulled by
the same forces in a way,
and Paul Newman called
and was interested
in doing a sequel to
Paul calls up Marty
and says,
"I really want to do a sequel
to 'The Hustler.'
And Marty apparently says,
"Well, what do you have?"
He said, "I got me
and I got you."
You know?
Clooney:
"I sent Scorsese the book.
And he and Richard Price,
the novelist, got together
and they had the conclusion
that the premise was not right.
When at the end
of 'The Hustler,'
George C. Scott tells Eddie,
'Don't ever set foot
in a pool hall again.'"
You'll never walk in
a big-time pool hall again.
"Fast Eddie would have gone
into decline for a while.
Heavy drinking,
heavy fucking around.
But in the final analysis,
because he was a great hustler,
he was kept out
of the pool hall."
That's good stuff.
"He would have gone
into something else.
I thought he should
sell whiskey."
I can get you a case
of this
for less than wholesale.
"A whiskey salesman
who would become
George C. Scott
in his turn."
Kid's got
a sledgehammer break.
I love that movie.
I went opening weekend
and I saw it, you know,
once a week, you know,
while it was in the theaters.
And I've seen the movie
15, 20 times.
Forget it.
I know every line.
Are you a hustler, Amos?
Don't choke now, kid.
It ain't that tough a shot.
You know, just,
you know, the little hustle,
the little sleazy,
you know,
the naked girlfriend in there.
He looks at her
just a little too long.
A little too long.
He's a little
It's a little pervy.
He's a little
drinks too much.
He's a little
He's a hustler, you know.
Two brothers
and a stranger. Okay?
You got two guys
that go to the bar.
Big money game.
Yeah, that's right.
A big money game.
So why don't you take your hands
off the girl and let us play?
Okay, guy?
What do you care
where I put my hand?
Why don't you
mind your own business?
Hey, Gramps,
put your teeth back in.
Get your hands off your daughter
there and pay attention.
You just might learn
something here today.
Ethan: Paul really related
to Eddie Felson.
The idea that to be good
at anything,
you are a little bit
of a hustler.
I put my hands on her,
I'm playing a part.
It's acting.
Your hands are all
over her, Eddie!
I'm acting!
It's acting!
Ethan: You know,
Marty says this great thing,
what he said
to Richard Price
when they were working
on the script, was,
"We're making
a well-tailored suit here."
You are
a natural character.
You're an incredible flake.
But that's a gift.
See, guys spend
half their life
trying to invent
something like that.
But I'll tell you
something, kiddo,
you couldn't find big time
if you had a roadmap.
Clooney:
"He says pool excellence
was not about playing pool.
It's about becoming something."
It's becoming something.
Like what?
A student.
"When you hustle,
you have to be a student
of human moves."
See, all the greats
that I know of
were students
of human
"Wonderfully complicated
and contradictory.
You have to know
when to play above your game."
That's my area
of excellence.
"You have to know
when to play below your game."
Yeah.
"You got to be an actor."
Life is a game
and it is a hustle.
Everybody's got talent.
I got talent.
You think you can play
big money straight pool
or poker
for 40 straight hours
on nothing but talent?
Eddie: He's got the eye,
he's got the stroke,
he's got the flake.
He's got that down cold.
But can he play
flake on and flake off?
I don't know.
He's got to learn
how to be himself
with a purpose.
"The motivations are
just about as clear
as they are in life
a lot of mistakes,
a lot of misinterpretations,
a lot of questions about what
constitutes reality"
I got a hunch, fat man.
I got a hunch.
It's me from here on in.
"a lot of contradictions.
I'm trying to teach the kid
at one minute
how to be his best self
and the next how to hustle
and be dishonest.
Werewolves of London ♪
Ah-hoo ♪
Ah-hoo ♪
Werewolves of London ♪
Clooney: "Showmanship.
Barnum and Bailey.
It's a carnival.
At its most dishonest,
at its most daring,
at its most corrupt,
it becomes closest
to the edge of falling off.
And that's the allure
of the hustle.
It's dangerous."
I saw Lon Chaney Jr. walking
with the Queen ♪
Clooney:
"Very complicated arena.
Sometimes one set of rules
governs conduct."
I'm the best
you ever seen, Fats.
I'm the best there is.
"Next minute, another."
His hair was perfect.
[Cheers and applause]
Clooney: "That's why pool
is not a simple game."
Not bad, my man.
Not bad.
When you leaving town?
Now, right?
Woodward: I admire Paul
more than any man I know.
To see somebody translate
himself from what could be
loosely described
as a callow youth
to a man of such intelligence,
such overwhelming involvement
with the world
and to see him grow up,
I guess that's the nicest thing.
We grew up together.
You know, we were kids
and we were idiots
and all of that,
and we grew up together.
How come you don't
play pool anymore?
I quit.
Actually,
somebody retired me.
Sometimes you get in
with the wrong kind of people,
you know?
But, hey,
that was a long time ago.
Clooney: "See,
at the end of 'The Hustler,'
he had to abandon his talent
or wind up
in a pair of concrete shoes.
So after a while,
it got to be a little bit
like anyone else
who has to quit.
Like racers and jockeys,
athletes.
Got to do something else.
Joe DiMaggio.
And they forget
what happened to Eddie
in 'The Color of Money'
is that he remembers.
He gets re-introduced
to excellence
through the boy, Vincent."
♪♪
Linklater: "Fast Eddie" has
become something he loathed.
You know, he's become
George C. Scott.
Gordon: You got
to be hard, Eddie.
Kind of leeching off others.
And then somehow
you see it well up in him.
And it's the emergence
of his true self.
♪♪
♪♪
He overreaches,
he comes back,
he retools himself.
He goes, you know,
it's the glasses.
He goes into training.
He's willing to work hard.
Joanne Woodward and Paul Newman
will receive
a Franklin Roosevelt
Four Freedoms Award
at the Roosevelt family
Jean Hersholt Award to
my treasured friend Paul Newman.
Woodward: We're all
very self-involved.
Next honorees
have delivered a lot
That's just this country
or maybe the world entirely,
since, as Paul says,
the individual
Paul: And just because
she's had enough courage
to be there,
owns a big chunk of this.
Thanks for a lot of good films,
thanks for a lot of good times,
and thanks for the friendship.
♪♪
Ethan: It was always
fascinating to me
that Paul would always talk
about how lucky he was
when he had the most
tragic thing happen.
But he worked so hard not
to make that mistake again.
Man #7: As anyone can tell you,
the greatest single secret
to success on the casino floor
is knowing how
to play the game.
Clea: At 16, you know,
I kind of let loose
and we call them my ugly years.
It was 16 to about 25.
He was afraid for me.
-Payout odds are
-You know, to be totally frank,
I mean, I think
he was afraid for me
and he had already lost one kid
and he was afraid.
I actually dragged Dad
to therapy with me.
He showed up there
once a week religiously.
He never missed an appointment
for nine months with me.
Never.
He would, like, drive
from sets.
I mean, it was amazing.
And they were
2-hour appointments
and we would cry
and we would throw things.
♪♪
You know,
it was an incredible gift.
And just to know
that I was loved that much
♪♪
♪♪
I'll never forget the phone call
that Gunilla called me
after nine months
after we had kind of gone
through our process.
And she said,
"Your father would like to come
and see me separately.
Would you be okay with that?"
And I said, "Are you kidding?"
♪♪
Clooney: "The humanness of Eddie
is so clear.
He's fucked and his life
is so complicated."
"But nobody ever said anything
was gonna be a pushover."
Clea:
He had to go through so much.
I mean, you know, just with mom
and his relationship
and with Scott's death
and his drinking.
And I think he came
to a really good place.
Ethan: And he says
Newman says in his journal
about that movie,
what he loves about it,
"I want you not to know
who to root for."
Clooney: "I mean,
who do you root for in life?"
"It was never a picture
where you wondered,
'Will they get
the cattle to Denver?'
It's not a big story
point picture.
Linklater:
In the way the film pulls
the rug out
from underneath his victory.
When he does beat Tom Cruise
and then later he comes in,
he's like, "I dumped."
Got a friend to lay
all $4,000 on you,
and then I dumped.
And so the victory
just, foom!
Disappears.
I want his best game.
Look,
if you want his best game,
then go talk
to him yourself.
Clooney: "Eddie was saying
you had the luxury
of fucking around
and living on the edge
and maybe being honest
and maybe not being honest.
I don't have time left
for that anymore.
It's finite."
Eddie, what are you gonna do
when I kick your ass?
Pick myself up
and let you kick me again.
Oh, yeah?
Yeah.
Just don't put the money
in the bank yet,
because if
I don't whoop you now,
I'm gonna whoop you
next month in Dallas.
In Houston, there's nothing
coming up in Dallas.
Houston, Dallas.
And if not then,
then the month
after that in New Orleans.
Oh, yeah?
What makes you so sure?
Hey. I'm back.
[Balls clatter]
Ethan: When I was a kid,
I watched it.
He says,
"I'm back" at the end.
But he didn't win.
No, no, he's back.
He's just in the game.
That's what
It doesn't matter.
I'll see you in Dallas
next week.
I'll see you in Cleveland
the week after.
Doesn't matter.
And the winner is
The winner is Paul Newman.
[Cheers and applause]
Announcer #4:
Ladies and gentlemen,
accepting the award
for Paul Newman,
the president of the Academy
of Motion Picture Arts
and Sciences,
Mr. Robert Wise.
Martin Scorsese
finally won
Paul Newman his Oscar.
He set out to make
a hand-tailored suit,
and he did it.
But the genius of
the whole hustle
is Paul didn't even go
and he didn't even care.
Paul I'm sure
he's listening
is not here tonight.
And this award, Paul,
is long overdue.
The final play, he's not there.
He just dumped it.
Thank you, my dear.
That's right.
Linklater: I love that he wasn't
at the Oscars that year.
That really is him taking
the money out of his pocket
and putting it back
in Tom Cruise's pocket.
Like him saying,
"I didn't do it for that."
Ethan: This is something
from his in his transcript
that I really like.
He says,
"The best races I drive
are the ones where I spin out
early and lose position."
Clooney: "The best races I drive
are the ones
where I spin out early
and lose positions and go back
and I meticulously start
knocking them off one by one.
'Cause if you don't give a shit,
there's nothing at stake.
Nothing to take,
nothing to lose."
"Nothing to lose."
"You just go."
"Your mind is free."
"Your mind is free.
Everything is free."
"Muscles are loose."
And it all becomes
a lark."
And I love that.
I love that, too.
-Wow.
-Amazing.
D'Onofrio:
"Paul has a natural grace
that will put him at ease
on Skid Row or death row
or in the front row
in the Vatican.
I would like to have Paul for
President, Secretary of State,
any public office
that is sufficiently in court."
I was crazy then!
I am crazy now.
D'Onofrio: "This is a business
where others
of his accomplishment
cover themselves
with the honey
of self-importance,
as though they just come back
from the hive.
But never Paul.
He's a modest man,
a professional man."
I built bridges
and hospitals and roads.
Letterman: I remember when
he would be on the show.
You would think, "Oh, you know
who's on the show today?
Jesus Christ is coming."
"Did we send a car
to the hotel?"
"No.
He's getting here on his own."
It was honestly
The renewing of the vows.
What prompted that and what
was that ceremony like?
Nell:
I don't know why they did it.
They were the first people
I ever heard of doing that.
I'd never known anybody
renew their vows.
Clooney:
"Happiness in marriage
is not something
that just happens.
A good marriage
must be created."
Linney: "A good marriage
must be created."
-"It is standing together."
-"It is standing together."
-"Facing the world."
-"Facing the world."
Linney: "It is not looking
for perfection in each other.
It is cultivating flexibility
and a sense of unity."
Clooney: "Cultivating
flexibility, patience
Just doing things
for each other,
not in the attitude
of duty or sacrifice,
but in the spirit of joy."
Linney: "It is having the
capacity to forgive and forget.
It is finding room
for the things of the spirit.
It is a common search."
Clooney: "It is a common search
for the good and the beautiful.
It is not only marrying
the right partner,
it's being the right partner."
Linney:
"It is being the right partner."
Allen: "The renewal vows
was the sweetest thing.
I wept.
I made a complete fool
of myself.
Butthey just looked
so happy.
They both did, really."
McCarthy: "All the girls got up
and Joanne
and they all sang to him.
It couldn't have been
more moving or more charming.
And I was sitting there next to
Paul and Joanne started to sing,
and I don't have to tell you
what his face is like about her.
And and he had his napkin
and he leaned forward like this,
watching her.
And when it all got too much,
he just sat back and draped
a napkin over his head.
That's Paul, isn't it?"
Walter: What is in this box
once belonged to my mother.
In time, you'll
give it to your daughter.
♪♪
Oh.
It's gorgeous.
Oh.
Thank you.
Thank you.
Clea: I was getting married,
and I remember having
a conversation with my parents.
I remember them looking at me
and, you know, saying
basically, like, "When
the relationship is right,
there will be a time where you
wake up in the morning one day
and you look at this person
sleeping next to you
and you realize that you are
committed, no matter what.
Like, this is your person."
♪♪
It doesn't mean
that you won't get angry,
that you won't storm off,
that you won't
But ultimately you're in it
for the long haul and, you know,
you just have to be willing
to work really hard at it.
And there are gonna be times
when it's just frickin' awful.
But ultimately, it will be
your greatest success.
I mean, that's, like, one of the
greatest successes in your life
to have somebody
who goes through life with you
and understands all your foibles
and forgives you
and tolerates
all of your silliness
and then takes incredible joy
in your successes.
♪♪
♪♪
Poltermann: "Do you love Paul
now for the same reasons
that you did
when you first met him?"
Linney: "Oh, I don't think
I loved him.
I don't think I knew
what that word meant.
I was enamored of him.
I was in lust with him.
Loved him?
I don't know.
I don't think I understood
the use of that word,
nor did he.
I think we saw two entirely
different images of each other.
He thought I was very much
in control,
crazed but creative
and all those things,
none of which I felt
about myself.
And I thought of him
as being heroic, smart,
intelligent and handsome.
None of which
he thought about himself."
♪♪
♪♪
Allen: "This Christmas,
he said, 'You know,
I wish I had been a better'
And then he stopped."
"He was putting the lights
on the tree.
And I said, 'Paul,
you were a good father.
We each do
what we think is best.'"
♪♪
"He seemed so relaxed
and dear this Christmas.
Easy to communicate with,
to talk to.
He seemed happy, very happy.
And there was
a vulnerability there
that I had never seen before.
♪♪
♪♪
♪♪
♪♪
[Engine starts]
♪♪
♪♪
[Engine sputtering]
♪♪
♪♪
I may not always love you ♪
But long as there
are stars above you ♪
You never need to doubt it ♪
I'll make you
so sure about it ♪
God only knows what I'd be
without you ♪
Yoo-hoo! Hello!
Ha. Anybody there?
Yoo-hoo!
Ethan:
Tennessee Williams once said,
"The world is violent
and mercurial.
It will have its way with you.
We are saved only by love.
Being a parent,
being a friend."
God only know what I'd be
without you ♪
♪♪
Ethan: We live in a perpetually
burning building.
Make it two dozen.
And what we must save from it
all the time is love.
Ba-ba-ba ba-ba
ba-ba-ba-ba ♪
Ba-ba-ba ba-ba
ba-ba-ba-ba ♪
God only know what I'd be
without you ♪
Ethan: I was told when Paul
went to the hospital
for the last time,
he secretly went up
into the attic
and found a box of stockings,
Christmas stockings,
and, um, he slipped
his old compass
inside Joanne's stocking.
So that her first
Christmas without him,
she would have a present.
God only knows what I'd be
without you ♪
Hello?
God only knows what I'd be
without you ♪
Anybody there?
God only knows what I'd be
without you ♪
God only knows what I'd be
without you ♪
God only knows what I'd be
without you ♪
God only knows what I'd be
without you ♪
God only knows what I'd be
without you ♪
God only knows ♪
God only knows ♪
Thank you.
[Laughs]
Happy Bobby Rose ♪
♪♪
Is drinking off
for yesterday ♪
Are tomorrow's hours
on its way? ♪
I'll always love you ♪
♪♪
I'll always love you ♪
♪♪
I'll always love you ♪
♪♪
It's getting hard
to be realistic ♪
With memories so sharp
and nostalgic ♪
I'll always love you ♪
While I can ♪
I'll always love you ♪
In our time ♪
I'll always love you ♪
Oh, hooo ♪
I'll always love you ♪
♪♪
♪♪
Today is a day
that we're starting again ♪
I try to be good ♪
Oh, whatever that may be ♪
It's always the same ♪
In our time ♪
I'll always love you ♪
While I can ♪
I'll always love you ♪
Oh, hooo ♪
I'll always love you ♪
I'll always love you ♪
♪♪
♪♪
♪♪
♪♪