WEBVTT 00:00:00.000 --> 00:00:02.859 Picture this. The engines are absolutely deafening. 00:00:03.160 --> 00:00:06.040 The smell of high octane fuel and vaporized rubber 00:00:06.040 --> 00:00:08.560 is just thick in the air, almost choking you. 00:00:08.820 --> 00:00:10.839 Oh yeah, that visceral track smell. It is totally 00:00:10.839 --> 00:00:13.699 unmistakable. Exactly. And strapped into the 00:00:13.699 --> 00:00:17.059 incredibly tight, brutally hot cockpit of a purpose 00:00:17.059 --> 00:00:20.120 -built racing machine, tearing down the asphalt 00:00:20.120 --> 00:00:24.109 at well over 100 miles an hour is an 81 -year 00:00:24.109 --> 00:00:27.170 -old man. 81 years old. Yeah. Doing over 100 00:00:27.170 --> 00:00:29.789 miles an hour. That is just intense. Right. The 00:00:29.789 --> 00:00:32.429 G -forces are violently throwing him against 00:00:32.429 --> 00:00:35.490 his harness with every single turn. I mean, the 00:00:35.490 --> 00:00:37.429 physical toll just to keep the steering wheel 00:00:37.429 --> 00:00:40.710 steady at those speeds is staggering for an athlete 00:00:40.710 --> 00:00:43.009 in their 20s, let alone an octogenarian. Oh, 00:00:43.009 --> 00:00:45.469 absolutely. It requires an insane level of physical 00:00:45.469 --> 00:00:47.649 conditioning. But, you know, the man under that 00:00:47.649 --> 00:00:50.189 helmet isn't just any random thrill seeker pushing 00:00:50.189 --> 00:00:52.950 his luck, is he? Not at all. He has an Academy 00:00:52.950 --> 00:00:55.609 Award sitting on his mantle at home. Wow. Yeah. 00:00:56.149 --> 00:00:58.409 He has generated over half a billion dollars 00:00:58.409 --> 00:01:01.310 in charitable donations, and he possesses a face, 00:01:01.689 --> 00:01:04.250 specifically a piercing pair of blue eyes, that 00:01:04.250 --> 00:01:07.430 essentially defined Hollywood cool for half a 00:01:07.430 --> 00:01:10.040 century. The juxtaposition of those elements 00:01:10.040 --> 00:01:13.140 is just jarring. You have this refined, globally 00:01:13.140 --> 00:01:16.359 recognized movie star risking his life in an 00:01:16.359 --> 00:01:19.299 arena where fame offers absolutely zero protection. 00:01:19.700 --> 00:01:21.439 We are, of course, talking about Paul Newman, 00:01:21.760 --> 00:01:24.579 and welcome to today's Deep Dive. For you listening, 00:01:24.819 --> 00:01:26.939 our mission today is to move far past the standard 00:01:26.939 --> 00:01:29.920 Wikipedia summaries and the basic IMDb pages. 00:01:30.099 --> 00:01:31.939 Yeah, we have a massive stack of sources for 00:01:31.939 --> 00:01:34.219 this one. We're looking at deep biographical 00:01:34.219 --> 00:01:36.980 records, granular racing telemetry and statistics. 00:01:37.450 --> 00:01:39.769 financial breakdowns of his philanthropic empire 00:01:39.769 --> 00:01:42.409 and rigorous film analyses. We really want to 00:01:42.409 --> 00:01:44.629 unpack the actual mechanisms behind his evolution. 00:01:44.790 --> 00:01:46.409 Like, how does a man navigate from the rigid 00:01:46.409 --> 00:01:48.890 discipline of classical theater to becoming the 00:01:48.890 --> 00:01:51.469 defining cinematic anti -hero of his generation? 00:01:51.609 --> 00:01:54.090 And maybe more importantly, how a fiercely guarded 00:01:54.090 --> 00:01:57.390 private identity and a total refusal to compromise 00:01:57.390 --> 00:02:00.469 his personal values allowed him to live multiple 00:02:00.469 --> 00:02:03.370 highly authentic lives in an industry that is 00:02:03.370 --> 00:02:06.500 built entirely on illusion. Exactly. So for you 00:02:06.500 --> 00:02:09.879 listening, in an era of carefully managed personal 00:02:09.879 --> 00:02:13.240 brands, Newman offers a total masterclass in 00:02:13.240 --> 00:02:16.199 living an authentic, multifaceted life without 00:02:16.199 --> 00:02:18.780 compromising your core values. He completely 00:02:18.780 --> 00:02:22.300 rejected the curated, focus -grouped existence 00:02:22.300 --> 00:02:25.479 that defines modern celebrity. He really did. 00:02:25.759 --> 00:02:27.960 And to understand how he conquered Hollywood 00:02:27.960 --> 00:02:30.599 on his own terms, we have to bypass the studio 00:02:30.599 --> 00:02:33.740 backlots and look at his foundation. His roots 00:02:33.740 --> 00:02:35.759 are anchored in the wooden boards of the stage 00:02:35.759 --> 00:02:38.919 long before cameras were ever involved. Right. 00:02:39.000 --> 00:02:41.599 This was an environment where the craft of acting 00:02:41.599 --> 00:02:43.699 wasn't about building a person brand at all. 00:02:43.919 --> 00:02:47.300 It was about the grueling, unglamorous work of 00:02:47.300 --> 00:02:49.740 actually becoming a craftsman. And that foundational 00:02:49.740 --> 00:02:51.840 work started remarkably early, didn't it? It 00:02:51.840 --> 00:02:54.180 did. It instilled a very specific type of discipline. 00:02:54.319 --> 00:02:56.879 He grew up in Shaker Heights, Ohio, and by the 00:02:56.879 --> 00:02:58.780 time he was 10 years old, he was already performing 00:02:58.780 --> 00:03:01.139 at the Cleveland Playhouse. Wait, at 10 years 00:03:01.139 --> 00:03:03.180 old? Yeah, at 10. He played the court jester 00:03:03.180 --> 00:03:04.979 in a production of St. George and the Dragon. 00:03:05.379 --> 00:03:07.180 He was part of their curtain pullers children's 00:03:07.180 --> 00:03:09.300 theater program. Oh, wow. So he was immersed 00:03:09.300 --> 00:03:12.449 right from the start. Exactly. And when a child 00:03:12.449 --> 00:03:15.389 is immersed in a structured theatrical environment 00:03:15.389 --> 00:03:17.990 like the playhouse, they aren't just memorizing 00:03:17.990 --> 00:03:21.370 lines. They are learning spatial awareness, the 00:03:21.370 --> 00:03:24.590 rigid hierarchy of a production, the absolute 00:03:24.590 --> 00:03:27.169 necessity of hitting your marks. And the reliance 00:03:27.169 --> 00:03:29.449 on your fellow actors, I would imagine. Yes. 00:03:29.629 --> 00:03:32.090 The collective effort becomes completely ingrained 00:03:32.090 --> 00:03:34.969 in their psychology. It builds an architectural 00:03:34.969 --> 00:03:37.870 understanding of performance. And he pursues 00:03:37.870 --> 00:03:41.110 it with an almost academic rigor later on. After 00:03:41.110 --> 00:03:43.370 his service in World War II, which, by the way, 00:03:43.370 --> 00:03:45.110 we will definitely explore the psychological 00:03:45.110 --> 00:03:47.949 impact of later, he attends Kenyon College. Right. 00:03:48.110 --> 00:03:50.689 He graduates in 1949 with a Bachelor of Arts 00:03:50.689 --> 00:03:53.110 degree in both drama and economics. Drama and 00:03:53.110 --> 00:03:55.310 economics. I know it feels like a bizarrely perfect, 00:03:55.430 --> 00:03:57.750 almost prophetic combination of skills. It really 00:03:57.750 --> 00:04:00.370 does, especially considering he eventually becomes 00:04:00.370 --> 00:04:02.870 an Oscar winning actor who hacks the corporate 00:04:02.870 --> 00:04:05.509 world to build a massive charitable business. 00:04:05.710 --> 00:04:07.979 Yeah. The economics degree certainly came in 00:04:07.979 --> 00:04:10.080 handy later, but the drama degree was really 00:04:10.080 --> 00:04:12.659 just the beginning of his formal education. After 00:04:12.659 --> 00:04:15.539 Kenyon, he throws himself into summer stock theater. 00:04:15.860 --> 00:04:18.350 Oh, summer stock. He toured with the Belfry players 00:04:18.350 --> 00:04:20.870 in Wisconsin and the Woodstock players in Illinois, 00:04:21.110 --> 00:04:23.970 right? Exactly. And summer stock is notoriously 00:04:23.970 --> 00:04:26.829 punishing. It is the blue -collar trench work 00:04:26.829 --> 00:04:29.170 of the acting world. You are typically putting 00:04:29.170 --> 00:04:32.149 on a new play every single week. Every week. 00:04:32.250 --> 00:04:34.589 That is a brutal turnaround. It is. That means 00:04:34.589 --> 00:04:37.170 while you are performing one show at night, you 00:04:37.170 --> 00:04:39.389 are rehearsing the next show during the day. 00:04:39.750 --> 00:04:41.870 And you're probably helping to build the sets 00:04:41.870 --> 00:04:43.670 and sew the costumes in between, right? Yep. 00:04:43.930 --> 00:04:46.769 You're surviving on no sleep, sheer adrenaline, 00:04:47.009 --> 00:04:49.449 and a desperate need to keep the audience engaged. 00:04:49.829 --> 00:04:52.850 It totally strips away any vanity. It forces 00:04:52.850 --> 00:04:55.829 an actor to develop an expansive toolkit just 00:04:55.829 --> 00:04:58.329 to survive the schedule. But the real structural 00:04:58.329 --> 00:05:00.769 shift in his acting DNA happens when he leaves 00:05:00.769 --> 00:05:03.129 a stint at the Yale School of Drama. Which is 00:05:03.129 --> 00:05:06.509 the absolute pinnacle of classical academic theater 00:05:06.509 --> 00:05:09.370 training. Exactly. He leaves Yale and moves to 00:05:09.370 --> 00:05:11.529 New York City to join the actor's studio under 00:05:11.529 --> 00:05:15.000 Lee Strasberg. Now, this is the epicenter of 00:05:15.000 --> 00:05:17.639 the method. We hear that term thrown around a 00:05:17.639 --> 00:05:20.120 lot today, usually when an actor refuses to break 00:05:20.120 --> 00:05:22.500 character for six months or does something eccentric 00:05:22.500 --> 00:05:25.819 on set. But what did method acting actually mean 00:05:25.819 --> 00:05:28.579 for Newman in the early 1950s? Well, at that 00:05:28.579 --> 00:05:31.639 time, it was a revolutionary departure from classical 00:05:31.639 --> 00:05:34.779 acting. Classical theater, the kind Newman studied 00:05:34.779 --> 00:05:37.980 at Yale, was largely about presentation. Like 00:05:37.980 --> 00:05:40.689 external technique. Yes, exactly. how to project 00:05:40.689 --> 00:05:43.410 your voice to the back row, how to stand to catch 00:05:43.410 --> 00:05:46.209 the light, how to mimic the physical gestures 00:05:46.209 --> 00:05:48.310 of anger or sorrow so the audience could read 00:05:48.310 --> 00:05:50.329 them clearly. Right, very technical. But Lee 00:05:50.329 --> 00:05:52.790 Strasberg's method, which derived from the teachings 00:05:52.790 --> 00:05:55.990 of Konstantin Stanislavsky, completely inverted 00:05:55.990 --> 00:05:59.040 that. It demanded internal psychological realism. 00:05:59.279 --> 00:06:01.740 How so? Strasburg taught techniques like sense 00:06:01.740 --> 00:06:04.060 memory, where an actor recalls the sensory details 00:06:04.060 --> 00:06:07.300 of a deeply personal emotional experience and 00:06:07.300 --> 00:06:10.240 maps that genuine internal feeling onto the characters 00:06:10.240 --> 00:06:12.920 given circumstances. Okay, so instead of pretending 00:06:12.920 --> 00:06:15.420 to be sad by frowning and lowering your voice, 00:06:15.819 --> 00:06:18.759 you are mentally resurrecting the specific smell 00:06:18.759 --> 00:06:21.160 of the hospital room the day your grandfather 00:06:21.160 --> 00:06:25.360 died. Yes. Exactly that. You allow that real 00:06:25.360 --> 00:06:28.800 raw grief to physically manifest in your body 00:06:28.800 --> 00:06:30.759 while you deliver the playwright's lines. That 00:06:30.759 --> 00:06:33.620 sounds exhausting. But Newman was suddenly in 00:06:33.620 --> 00:06:36.480 a room with Marlon Brando, James Dean, Geraldine 00:06:36.480 --> 00:06:38.899 Page. I mean, a whole generation of actors committed 00:06:38.899 --> 00:06:42.100 to unearthing these ugly, uncomfortable psychological 00:06:42.100 --> 00:06:45.000 truths. And Newman applied his intense blue collar 00:06:45.000 --> 00:06:48.879 work ethic to this internal excavation. His mastery 00:06:48.879 --> 00:06:51.139 of this combination, the external projection 00:06:51.139 --> 00:06:53.519 of classical theater and the internal rawness 00:06:53.519 --> 00:06:56.939 of the method led to his Broadway debut in 1953. 00:06:57.079 --> 00:06:59.120 Right, in William Inge's play Picnic. So he has 00:06:59.120 --> 00:07:01.819 this incredibly solid, critically respected foundation 00:07:01.819 --> 00:07:05.160 on the stage. But his transition to film is shockingly 00:07:05.160 --> 00:07:07.439 clumsy. It really was. His very first Hollywood 00:07:07.439 --> 00:07:10.680 movie is a 1954 historical. epic called The Silver 00:07:10.680 --> 00:07:14.120 Chalice, and it is a spectacular flop. Oh, it's 00:07:14.120 --> 00:07:16.120 rough. The dialogue is wooden. The sets look 00:07:16.120 --> 00:07:18.860 cheap. And Newman himself felt his performance 00:07:18.860 --> 00:07:22.060 was entirely forced and unnatural. He was so 00:07:22.060 --> 00:07:24.199 humiliated by the final product that he actually 00:07:24.199 --> 00:07:26.180 took out an advertisement in a Hollywood trade 00:07:26.180 --> 00:07:28.980 paper formally apologizing for his performance. 00:07:29.300 --> 00:07:32.019 Wait, he bought an ad. Taking out an ad to apologize 00:07:32.019 --> 00:07:34.660 for your own movie is basically unheard of. Right. 00:07:35.160 --> 00:07:37.759 But it points to his deep -seated identity as 00:07:37.759 --> 00:07:40.360 a craftsman. He felt he had violated the standards 00:07:40.360 --> 00:07:42.399 he built at the actor's studio and in summer 00:07:42.399 --> 00:07:45.019 stock. He knew the work was bad, and his ego 00:07:45.019 --> 00:07:47.920 couldn't simply brush it off. That is fascinating. 00:07:48.110 --> 00:07:50.990 But, you know, the trajectory of his early film 00:07:50.990 --> 00:07:54.449 career is completely impossible to analyze without 00:07:54.449 --> 00:07:56.889 confronting the massive, complicated shadow cast 00:07:56.889 --> 00:07:59.709 by James Dean. Yeah, they were exact contemporaries 00:07:59.709 --> 00:08:02.029 running in the same New York circles, pulling 00:08:02.029 --> 00:08:04.709 from the same method acting toolkit. And they 00:08:04.709 --> 00:08:06.810 were constantly competing for the same oxygen 00:08:06.810 --> 00:08:08.790 in the industry. They were often submitted for 00:08:08.790 --> 00:08:12.589 the exact same roles. Like East of Eden. In 1954, 00:08:12.990 --> 00:08:15.509 Newman actually did a screen test alongside James 00:08:15.509 --> 00:08:19.029 Dean for Ilya Kazan's film East of Eden. Newman 00:08:19.029 --> 00:08:21.250 tested for the role of the good brother Aaron 00:08:21.250 --> 00:08:24.269 while Dean tested for the volatile brother Cal. 00:08:24.569 --> 00:08:26.810 But Dean secured the part and Newman was passed 00:08:26.810 --> 00:08:29.910 over for Richard Davalos. The industry clearly 00:08:29.910 --> 00:08:32.269 viewed them as two sides of the same coin. But 00:08:32.269 --> 00:08:35.450 everything fractures in 1955, when James Dean 00:08:35.450 --> 00:08:38.169 dies in a catastrophic car crash at the age of 00:08:38.169 --> 00:08:40.730 24. It's just a massive tragedy. And suddenly, 00:08:41.149 --> 00:08:43.429 Hollywood has a pipeline of projects tailored 00:08:43.429 --> 00:08:47.169 for a brooding, intense, method -trained star, 00:08:47.669 --> 00:08:50.250 and the star is gone. The psychological weight 00:08:50.250 --> 00:08:52.690 of stepping into those specific voids must have 00:08:52.690 --> 00:08:55.110 been immense for Newman. It was a very literal 00:08:55.110 --> 00:08:58.009 succession. He stepped directly into Roll's earmark 00:08:57.870 --> 00:09:00.809 for Dean, he replaced him in a live television 00:09:00.809 --> 00:09:03.309 adaptation of Hemingway's The Battler playing 00:09:03.309 --> 00:09:06.629 a battered, punch -drunk boxer. And the raw physicality 00:09:06.629 --> 00:09:08.750 he brought to that role really proved he could 00:09:08.750 --> 00:09:11.570 carry a film. It did. That directly led to his 00:09:11.570 --> 00:09:14.269 breakthrough casting as the real -life middleweight 00:09:14.269 --> 00:09:17.809 champion Rocky Graciano in the 1956 film Somebody 00:09:17.809 --> 00:09:19.809 Up There Likes Me. Which was another project 00:09:19.809 --> 00:09:22.909 originally developed for Dean. Exactly. He followed 00:09:22.909 --> 00:09:24.850 that by playing Billy the Kid in the left -handed 00:09:24.850 --> 00:09:27.809 gun, which, you guessed it, was, again, a role 00:09:27.809 --> 00:09:30.070 meant for Dean. But the interesting thing is, 00:09:30.230 --> 00:09:32.649 Newman doesn't just mimic James Dean's trademark 00:09:32.649 --> 00:09:36.269 keen -age angst. He takes that method intensity 00:09:36.269 --> 00:09:39.049 and begins to age it up. Right. He evolves it 00:09:39.049 --> 00:09:43.110 into the definitive 1960s anti -hero. The evolution 00:09:43.110 --> 00:09:46.149 is stark when you look at his 1961 role as fast 00:09:46.149 --> 00:09:48.450 Eddie Felson in The Hustler. Oh, fast Eddie. 00:09:48.690 --> 00:09:50.809 If we look at the mechanics of the traditional 00:09:50.809 --> 00:09:53.529 Hollywood hero up to that point, think John Wayne 00:09:53.529 --> 00:09:57.009 or Gary Cooper. The hero is morally unambiguous. 00:09:57.070 --> 00:09:59.129 He does the right thing. saves the day, gets 00:09:59.129 --> 00:10:02.250 the girl. But Fast Annie Felsen completely shatters 00:10:02.250 --> 00:10:05.610 that mold. He is an arrogant, self -destructive, 00:10:05.809 --> 00:10:09.009 small -time pool hustler. He's driven by a toxic 00:10:09.009 --> 00:10:12.149 combination of massive ego and deep insecurity. 00:10:12.210 --> 00:10:14.389 He literally ruins the lives of the people who 00:10:14.389 --> 00:10:16.169 care about him just to prove he's the best in 00:10:16.169 --> 00:10:18.450 a smoky underground pool hall. He is incredibly 00:10:18.450 --> 00:10:21.570 flawed, yet Newman plays him with such magnetic, 00:10:21.870 --> 00:10:24.889 almost predatory charisma that the audience is 00:10:24.889 --> 00:10:27.450 entirely complicit. We want him to win the pool 00:10:27.450 --> 00:10:30.269 game even as we watch him lose his soul. And 00:10:30.269 --> 00:10:33.450 that specific tension reaches its absolute zenith 00:10:33.450 --> 00:10:37.629 in 1967 with Cool Hand Luke. Oh, Cool Hand Luke 00:10:37.629 --> 00:10:40.330 is the masterclass in Newman's specific brand 00:10:40.330 --> 00:10:44.139 of anti -heroism. He plays Luke Jackson. a decorated 00:10:44.139 --> 00:10:46.779 war veteran who was sentenced to a brutal Florida 00:10:46.779 --> 00:10:49.240 prison camp for a petty crime. Cutting the heads 00:10:49.240 --> 00:10:51.759 off municipal parking meters while drunk, right? 00:10:52.080 --> 00:10:55.019 And once inside the camp, he simply refuses to 00:10:55.019 --> 00:10:57.419 submit to the arbitrary sadistic authority of 00:10:57.419 --> 00:10:59.379 the guards. Let's talk about the mechanism of 00:10:59.379 --> 00:11:01.620 his acting in this film. There's a brilliant 00:11:01.620 --> 00:11:03.659 quote in the sources from the late film critic 00:11:03.659 --> 00:11:06.399 Roger Ebert that highlights a major shift in 00:11:06.399 --> 00:11:08.659 cinematic history. What did Ebert say? Ebert 00:11:08.659 --> 00:11:18.419 wrote, That observation cuts right to the core 00:11:18.419 --> 00:11:22.059 of Newman's technique. Up until then, even anti 00:11:22.059 --> 00:11:23.980 -heroes were performing their rebellion for the 00:11:23.980 --> 00:11:26.799 audience. They wanted to be understood. But Newman 00:11:26.799 --> 00:11:29.879 played Luke as completely self -contained. Take 00:11:29.879 --> 00:11:33.320 the famous egg eating contest scene, where Luke 00:11:33.320 --> 00:11:35.860 bets the entire camp he can eat 50 hard boiled 00:11:35.860 --> 00:11:38.200 eggs in an hour. Oh, that scene is legendary. 00:11:38.519 --> 00:11:41.240 Newman plays the physical agony, the nausea, 00:11:41.379 --> 00:11:44.220 the sheer absurdity of the task with a stubborn, 00:11:44.500 --> 00:11:48.039 quiet internal engine. He isn't doing it to inspire 00:11:48.039 --> 00:11:50.179 the other prisoners. No, he's doing it because 00:11:50.179 --> 00:11:52.919 the system says it's impossible and his nature 00:11:52.919 --> 00:11:55.870 dictates he must push against the system. He 00:11:55.870 --> 00:11:58.129 allowed the character to be distant, stubborn, 00:11:58.590 --> 00:12:01.190 and ultimately self -destructive without ever 00:12:01.190 --> 00:12:03.370 begging the audience for sympathy. I look at 00:12:03.370 --> 00:12:05.710 his journey from the Cleveland Playhouse to Cool 00:12:05.710 --> 00:12:08.470 Hand Luke and it strongly reminds me of a classical 00:12:08.470 --> 00:12:10.649 musician learning to play jazz. Oh, I like that 00:12:10.649 --> 00:12:13.669 analogy. How so? Newman's time learning Shakespeare, 00:12:13.889 --> 00:12:16.230 his rigorous classical training at Yale, his 00:12:16.230 --> 00:12:18.690 mastery of blocking and voice projection, that 00:12:18.690 --> 00:12:20.950 is him learning to read sheet music and play 00:12:20.950 --> 00:12:24.070 the scales perfectly. You cannot play the brilliant 00:12:24.070 --> 00:12:26.970 improvisational jazz of a rule -breaking anti 00:12:26.970 --> 00:12:29.929 -hero like Coolhand Luke without first mastering 00:12:29.929 --> 00:12:33.330 those classical rules. A bad actor mumbling and 00:12:33.330 --> 00:12:35.850 slouching on camera is just boring. Yeah, it 00:12:35.850 --> 00:12:38.490 just looks messy. Exactly. But Newman knew exactly 00:12:38.490 --> 00:12:41.350 which theatrical rules of posture, projection, 00:12:41.389 --> 00:12:44.169 and pacing he was breaking. And that deliberate 00:12:44.169 --> 00:12:46.870 deconstruction is what creates the magnetic tension 00:12:46.870 --> 00:12:49.970 on screen. The jazz analogy works perfectly because 00:12:49.970 --> 00:12:52.549 the improvisation is supported by an unseen, 00:12:52.970 --> 00:12:55.789 rigid architecture of theory. He knew the rules 00:12:55.789 --> 00:12:58.649 so intimately, he knew how to subvert them for 00:12:58.649 --> 00:13:01.200 maximum psychological impact. And because his 00:13:01.200 --> 00:13:03.960 foundation was built on craft rather than vanity, 00:13:04.460 --> 00:13:06.980 he possessed a rare willingness to let his characters 00:13:06.980 --> 00:13:09.799 physically degrade on screen as he aged. He didn't 00:13:09.799 --> 00:13:11.899 desperately cling to his youth. Which brings 00:13:11.899 --> 00:13:15.759 us to 1982 and the verdict. He plays Frank Galvin, 00:13:15.860 --> 00:13:18.340 an alcoholic washed up ambulance chaser in Boston 00:13:18.340 --> 00:13:20.820 who takes a medical malpractice case just to 00:13:20.820 --> 00:13:22.519 secure a quick settlement. But he accidentally 00:13:22.519 --> 00:13:24.940 rediscovers his conscience along the way. Yes. 00:13:25.500 --> 00:13:29.039 He is in his late 50s here and he actively leans 00:13:29.039 --> 00:13:32.080 into the decay. The physical choices he makes 00:13:32.080 --> 00:13:35.179 in the verdict are just astonishing. Roger Ebert 00:13:35.179 --> 00:13:37.299 actually noted this as a milestone. He wrote 00:13:37.299 --> 00:13:39.480 that this was the first movie where Newman truly 00:13:39.480 --> 00:13:42.399 allowed himself to look old and tired. Ebert 00:13:42.399 --> 00:13:45.740 described moments where Newman's face sags and 00:13:45.740 --> 00:13:48.580 his eyes seem terribly weary, giving the audience 00:13:48.580 --> 00:13:52.080 an old, bone -tired, hungover, trembling protagonist. 00:13:52.220 --> 00:13:54.539 He completely strips away the trademark smirk. 00:13:54.840 --> 00:13:57.360 He breathes heavily. His hands physically shake 00:13:57.360 --> 00:13:59.539 when he pours his morning whiskey. The audience 00:13:59.539 --> 00:14:02.000 physically feels the weight of a wasted life 00:14:02.000 --> 00:14:04.419 in his posture. It's the ultimate rejection of 00:14:04.419 --> 00:14:07.259 movie star vanity. And the industry finally rewards 00:14:07.259 --> 00:14:09.779 that relentless dedication to craft. They finally 00:14:09.779 --> 00:14:13.399 do. In 1986, 25 years after he originated the 00:14:13.399 --> 00:14:16.080 role, he returns to play an aging, fast Eddie 00:14:16.080 --> 00:14:18.519 Felson in Martin Scorsese's The Color of Money. 00:14:18.659 --> 00:14:20.799 And he finally wins the Academy Award for Best 00:14:20.799 --> 00:14:23.000 Actor. It was such a long overdue validation. 00:14:23.220 --> 00:14:25.340 I mean, he'd been nominated so many times for 00:14:25.340 --> 00:14:28.419 Cat on a Hot Tin Roof, The Hustler, Hud, Cool 00:14:28.419 --> 00:14:30.960 Hand Luke, Absence of Malice, and The Verdict. 00:14:31.159 --> 00:14:33.559 Winning for a character he had created decades 00:14:33.559 --> 00:14:37.320 earlier, now layered with the cynicism and regret 00:14:37.320 --> 00:14:40.120 of old age, proved that his internal engine for 00:14:40.120 --> 00:14:42.740 character development just never stalled. His 00:14:42.740 --> 00:14:46.159 dedication to the work is undeniable. But this 00:14:46.159 --> 00:14:48.480 is where the story gets wild. This relentless 00:14:48.480 --> 00:14:50.960 immersion into character preparation accidentally 00:14:50.960 --> 00:14:53.379 triggers one of the most fascinating second acts 00:14:53.379 --> 00:14:56.039 in American public life. Right. How a classically 00:14:56.039 --> 00:14:59.059 trained Oscar winning actor somehow transforms 00:14:59.059 --> 00:15:02.720 into a legitimate championship winning professional 00:15:02.720 --> 00:15:05.039 race car driver. And to be abundantly clear to 00:15:05.039 --> 00:15:07.320 you listening, we're not talking about a wealthy 00:15:07.320 --> 00:15:09.700 celebrity taking his Ferrari to a country club 00:15:09.700 --> 00:15:12.980 track on a Sunday. No, we are talking about sanctioned, 00:15:13.159 --> 00:15:15.840 highly dangerous, elite level endurance racing. 00:15:16.120 --> 00:15:18.299 The genesis of the second career is actually 00:15:18.299 --> 00:15:20.700 a direct result of his method acting approach. 00:15:21.279 --> 00:15:24.379 In 1968, Newman is cast in a film called Winning, 00:15:24.559 --> 00:15:26.179 which was released the following year, where 00:15:26.179 --> 00:15:29.019 he plays a professional driver. and true to form, 00:15:29.539 --> 00:15:32.299 he completely refused to fake the driving against 00:15:32.299 --> 00:15:35.269 a rear projection screen. To understand the visceral 00:15:35.269 --> 00:15:38.029 reality of the character, the fear, the focus, 00:15:38.210 --> 00:15:41.190 the physical demands, he enrolled in the Watkins 00:15:41.190 --> 00:15:43.850 Glen Racing School in New York to train properly. 00:15:44.049 --> 00:15:46.649 And the experience completely rewires his brain. 00:15:46.870 --> 00:15:49.090 He later admitted that auto racing was the very 00:15:49.090 --> 00:15:51.250 first thing he ever found that he had any natural 00:15:51.250 --> 00:15:53.870 grace in. That is a staggering admission from 00:15:53.870 --> 00:15:56.929 a man who was globally celebrated for his graceful 00:15:56.929 --> 00:15:59.730 screen presence. Right. He becomes utterly obsessed. 00:15:59.830 --> 00:16:02.110 My absolute favorite detail from the sources 00:16:02.110 --> 00:16:04.899 is how he manipulates the Hollywood system to 00:16:04.899 --> 00:16:07.620 fund his new addiction. Oh, the television loophole. 00:16:07.840 --> 00:16:10.320 Yes. Explain how he did this. Well, by 1971, 00:16:10.840 --> 00:16:12.840 Newman had explicitly stated he had absolutely 00:16:12.840 --> 00:16:15.139 no interest in doing television. He was strictly 00:16:15.139 --> 00:16:17.919 a feature film actor. A movie star. Exactly. 00:16:18.159 --> 00:16:21.019 Yet he agreed to host and narrate a made for 00:16:21.019 --> 00:16:23.600 TV documentary called Once Upon a Wheel, which 00:16:23.600 --> 00:16:26.159 explored the history of auto racing. And the 00:16:26.159 --> 00:16:28.919 only reason he took the job turning down far 00:16:28.919 --> 00:16:31.539 more lucrative film offers in the process was 00:16:31.539 --> 00:16:33.779 because the production provided him with a legitimate 00:16:33.779 --> 00:16:37.000 excuse to spend intensive one -on -one time with 00:16:37.000 --> 00:16:39.519 professional driving instructor Bob Bondurant. 00:16:39.759 --> 00:16:42.519 Bondurant himself confirmed that Newman treated 00:16:42.519 --> 00:16:45.240 the documentary as an elaborate excuse to get 00:16:45.240 --> 00:16:47.779 high -level driving lessons paid for by a production 00:16:47.779 --> 00:16:50.539 company. He was hacking his own massive celebrity 00:16:50.539 --> 00:16:53.279 to feed his passion. I love that. But when he 00:16:53.279 --> 00:16:56.120 felt he was finally ready to compete, He desperately 00:16:56.120 --> 00:16:58.440 wanted to leave the celebrity at the door. Yeah, 00:16:58.480 --> 00:17:00.700 when he entered his first professional race in 00:17:00.700 --> 00:17:04.180 1972 at the Thompson International Speedway in 00:17:04.180 --> 00:17:07.519 Connecticut, he actively avoided the press. He 00:17:07.519 --> 00:17:09.519 even registered under the name P .L. Newman. 00:17:09.980 --> 00:17:12.039 He didn't want the Hollywood circus. He wanted 00:17:12.039 --> 00:17:15.079 to be evaluated entirely on his telemetry, his 00:17:15.079 --> 00:17:17.720 lap times and his racecraft. I really want to 00:17:17.720 --> 00:17:19.700 push back on the psychology of this for a moment. 00:17:20.099 --> 00:17:22.220 We spent all this time analyzing how acting is 00:17:22.220 --> 00:17:24.980 an entirely subjective art form. A brilliant 00:17:24.980 --> 00:17:27.680 performance can be ruined by a bad editor, a 00:17:27.680 --> 00:17:29.920 misguided director, or just a critic waking up 00:17:29.920 --> 00:17:31.940 on the wrong side of the bed. That's very true. 00:17:32.170 --> 00:17:35.329 So do you think Newman became addicted to auto 00:17:35.329 --> 00:17:37.730 racing specifically because it is the ultimate 00:17:37.730 --> 00:17:40.089 objective environment? Oh, absolutely. Because 00:17:40.089 --> 00:17:42.490 the stopwatch does not care how famous you are. 00:17:42.890 --> 00:17:44.890 Physics does not care about your blue eyes. If 00:17:44.890 --> 00:17:47.789 you enter a corner too fast, you crash. It is 00:17:47.789 --> 00:17:51.170 a ruthless binary reality. That is the exact 00:17:51.170 --> 00:17:54.269 mechanism driving the obsession. For a man who 00:17:54.269 --> 00:17:56.170 was deeply uncomfortable with the subjective 00:17:56.170 --> 00:17:58.890 adulation of fame, you know, being told he was 00:17:58.890 --> 00:18:01.329 a genius or a sex symbol by people who didn't 00:18:01.329 --> 00:18:04.779 really know him. The brutal objectivity of the 00:18:04.779 --> 00:18:07.140 racetrack provided a psychological sanctuary. 00:18:07.460 --> 00:18:09.539 A sanctuary where the rules actually make sense. 00:18:09.700 --> 00:18:12.680 Yes. In a race car, there is no ambiguity. You 00:18:12.680 --> 00:18:15.299 cannot charm a tachometer. The track demands 00:18:15.299 --> 00:18:18.099 absolute physical presence, hyper -focused spatial 00:18:18.099 --> 00:18:20.119 awareness, and a totaled surrender to the laws 00:18:20.119 --> 00:18:22.579 of physics. It offered him a tangible, measurable 00:18:22.579 --> 00:18:24.900 truth that Hollywood could never provide. And 00:18:24.900 --> 00:18:27.180 the telemetry proves he wasn't just participating, 00:18:27.460 --> 00:18:30.849 he was dominating. The statistics are wild. He 00:18:30.849 --> 00:18:33.569 becomes a fixture in the sports car club of America, 00:18:33.750 --> 00:18:36.450 the SCCA circuits, eventually securing four national 00:18:36.450 --> 00:18:39.829 championships. Four. And the pinnacle of his 00:18:39.829 --> 00:18:42.650 driving career and the absolute proof of his 00:18:42.650 --> 00:18:46.869 elite skill comes in 1979 at the 24 hours of 00:18:46.869 --> 00:18:49.430 Le Mans. Which is arguably the most prestigious 00:18:49.430 --> 00:18:52.069 and grueling endurance race on the planet. It 00:18:52.069 --> 00:18:54.410 really is. You were driving at the absolute limit 00:18:54.410 --> 00:18:56.910 of the car's capability through the night, dealing 00:18:56.910 --> 00:18:59.900 with exhaustion. changing weather, and highly 00:18:59.900 --> 00:19:02.700 varied track conditions. And Newman co -drove 00:19:02.700 --> 00:19:06.380 a Porsche 935 for Dick Barber Racing. The Porsche 00:19:06.380 --> 00:19:09.839 935 is a notoriously difficult beast to tame. 00:19:10.420 --> 00:19:13.019 It had massive turbo lag and required incredible 00:19:13.019 --> 00:19:15.019 physical strength just to muscle through corners. 00:19:15.240 --> 00:19:17.440 And Newman and his team finished second place 00:19:17.440 --> 00:19:21.349 overall. Let that sink in. He is in his mid fifties 00:19:21.349 --> 00:19:23.930 wrestling a turbocharged monster around a French 00:19:23.930 --> 00:19:25.869 circuit in the middle of the night and he takes 00:19:25.869 --> 00:19:28.029 second place in the world's biggest race. It's 00:19:28.029 --> 00:19:30.190 unbelievable. He also deepens his ties with the 00:19:30.190 --> 00:19:32.410 automotive world by racing for Nissan and Datsun 00:19:32.410 --> 00:19:34.369 in the Trans Am series. Nissan even released 00:19:34.369 --> 00:19:36.809 a special edition Skyline named in his honor 00:19:36.809 --> 00:19:40.230 in Japan. They did. But honestly, the most staggering 00:19:40.230 --> 00:19:43.589 aspect of his racing career is his sheer defiance 00:19:43.589 --> 00:19:46.940 of biological aging. His longevity on the track 00:19:46.940 --> 00:19:49.619 completely defies medical logic. Give us the 00:19:49.619 --> 00:19:52.740 numbers on that. Well, in 1995, he entered the 00:19:52.740 --> 00:19:56.359 24 hours of Daytona. He was 70 years and eight 00:19:56.359 --> 00:20:00.640 days old. And his team won their class. 70 years 00:20:00.640 --> 00:20:04.470 old? Yes. At that moment in time... It made him 00:20:04.470 --> 00:20:07.029 the oldest driver to be part of a winning team 00:20:07.029 --> 00:20:10.509 in a major sanctioned auto race. He joked that 00:20:10.509 --> 00:20:12.430 he would quit racing the moment he embarrassed 00:20:12.430 --> 00:20:14.890 himself, but the stopwatch just never gave him 00:20:14.890 --> 00:20:17.910 a reason to stop. He raced deep into his 80s. 00:20:17.950 --> 00:20:20.829 Deep into his 80s. At the Lime Rock Park circuit, 00:20:21.349 --> 00:20:23.769 he won a race driving a Corvette that proudly 00:20:23.769 --> 00:20:26.589 displayed his age 81 as the car number. He took 00:20:26.589 --> 00:20:28.710 a pole position in his final professional race 00:20:28.710 --> 00:20:32.150 at Watkins Glen in 2007 at the age of 82. And 00:20:32.150 --> 00:20:34.549 the sources note that even in 2008, the year 00:20:34.549 --> 00:20:37.009 he died of lung cancer, the track at Lime Rock 00:20:37.009 --> 00:20:38.970 was closed for him so he could take a few final 00:20:38.970 --> 00:20:42.470 laps. Even then, heavily impacted by his illness, 00:20:43.170 --> 00:20:46.109 he reportedly drove at nine tenths of his best 00:20:46.109 --> 00:20:49.089 historical lap times. That is just raw, undeniable 00:20:49.089 --> 00:20:52.670 talent. And he didn't just drive. He fundamentally 00:20:52.670 --> 00:20:54.890 understood the business and logistics of the 00:20:54.890 --> 00:20:56.950 sport. He translated the rigorous discipline 00:20:56.950 --> 00:21:00.039 of his acting career into team ownership. In 00:21:00.039 --> 00:21:04.180 1983, he partnered with Carl Haas to form Newman 00:21:04.180 --> 00:21:07.259 Haas Racing. They became a dominant force in 00:21:07.259 --> 00:21:10.019 open wheel racing. Under his co -ownership, the 00:21:10.019 --> 00:21:12.759 team won eight Drivers Championships in the Champ 00:21:12.759 --> 00:21:15.299 Car Series. They employed legendary drivers like 00:21:15.299 --> 00:21:17.980 Mario Andretti and Nigel Mansell. He just had 00:21:17.980 --> 00:21:20.339 this incredible eye for talent and understood 00:21:20.339 --> 00:21:22.880 exactly how to build an infrastructure for success. 00:21:23.220 --> 00:21:25.619 Now, the compounding success of his film career 00:21:25.619 --> 00:21:27.859 and his racing ventures provided him with an 00:21:27.859 --> 00:21:30.119 enormous global platform and immense personal 00:21:30.119 --> 00:21:32.440 wealth. Huge wealth, yeah. But this is where 00:21:32.440 --> 00:21:34.759 the story pivots from an impressive biography 00:21:34.759 --> 00:21:37.559 into something historically unique, because Newman 00:21:37.680 --> 00:21:40.579 a crushing moral obligation to redistribute that 00:21:40.579 --> 00:21:43.019 wealth. He didn't build a bigger mansion, he 00:21:43.019 --> 00:21:45.279 built a mechanism to give it all away. Right, 00:21:45.559 --> 00:21:48.079 and this philanthropic drive was obviously fueled 00:21:48.079 --> 00:21:51.299 by his core values, but it was catalyzed by a 00:21:51.299 --> 00:21:53.900 devastating personal tragedy. Yeah, to understand 00:21:53.900 --> 00:21:56.480 the massive scale of his philanthropy, we have 00:21:56.480 --> 00:21:58.640 to examine the darkest moment of his private 00:21:58.640 --> 00:22:01.680 life. Newman had a son, Scott, from his first 00:22:01.680 --> 00:22:04.299 marriage to Jackie Witt. Scott was trying to 00:22:04.299 --> 00:22:06.400 navigate his own acting career, appearing in 00:22:06.400 --> 00:22:09.180 films like The Towering Inferno, but he struggled 00:22:09.180 --> 00:22:11.359 deeply with substance abuse. And in November 00:22:11.359 --> 00:22:14.599 1978, Scott died from an accidental drug overdose. 00:22:14.759 --> 00:22:18.119 It is an unfathomable loss. The grief could easily 00:22:18.119 --> 00:22:20.339 have caused him to retreat entirely from public 00:22:20.339 --> 00:22:24.059 life. Instead, he channeled that profound localized 00:22:24.059 --> 00:22:26.519 grief into a mechanism for systemic prevention. 00:22:27.019 --> 00:22:28.940 He founded the Scott Newman Center, which was 00:22:28.940 --> 00:22:31.579 dedicated to drug abuse education and prevention. 00:22:31.859 --> 00:22:33.710 And he didn't just write a check to an existing 00:22:33.710 --> 00:22:36.490 hospital. He established a proactive organization 00:22:36.490 --> 00:22:38.829 to ensure other families wouldn't experience 00:22:38.829 --> 00:22:41.769 the same trauma. This marks a definitive shift 00:22:41.769 --> 00:22:45.150 in his psychology. He begins to actively leverage 00:22:45.150 --> 00:22:48.690 his fame and resources to hack the systems around 00:22:48.690 --> 00:22:51.289 him for the public good, which leads directly 00:22:51.289 --> 00:22:54.599 to the invention of the salad dressing. the famous 00:22:54.599 --> 00:22:57.920 salad dressing. In 1982, Newman and his close 00:22:57.920 --> 00:23:01.099 friend, the author A. E. Hochner, inadvertently 00:23:01.099 --> 00:23:05.220 launched what we now know as Newman's Own. The 00:23:05.220 --> 00:23:08.259 origin story is incredibly folksy. They were 00:23:08.259 --> 00:23:10.579 literally mixing batches of Newman's personal 00:23:10.579 --> 00:23:13.460 recipe for oil and vinegar dressing in a bathtub. 00:23:13.619 --> 00:23:16.140 In a bathtub? Bottling it in old wine bottles 00:23:16.140 --> 00:23:17.940 and handing it out to neighbors in Connecticut 00:23:17.940 --> 00:23:20.410 as Christmas gifts. And the local demand for 00:23:20.410 --> 00:23:22.890 the dressing became so intense that they realized 00:23:22.890 --> 00:23:25.250 they had a commercially viable product on their 00:23:25.250 --> 00:23:28.049 hands. However, Newman was deeply uncomfortable 00:23:28.049 --> 00:23:30.230 with the idea of profiting off his celebrity 00:23:30.230 --> 00:23:33.329 face on a grocery store shelf. So he and Hotchner 00:23:33.329 --> 00:23:36.250 engineered a radical corporate structure. They 00:23:36.250 --> 00:23:38.970 decreed that 100 percent of the post -tax profits 00:23:38.970 --> 00:23:41.170 and royalties generated by the company would 00:23:41.170 --> 00:23:44.390 be donated to educational and charitable organizations. 00:23:45.259 --> 00:23:47.579 We really need to pause and examine the mechanics 00:23:47.579 --> 00:23:51.420 of this because it is revolutionary. Today, the 00:23:51.420 --> 00:23:54.500 concept of a social enterprise or a B Corp is 00:23:54.500 --> 00:23:56.539 everywhere. Right. You buy a pair of eyeglasses, 00:23:56.619 --> 00:23:58.759 the company donates a pair. You buy a tote bag, 00:23:58.819 --> 00:24:01.619 they plant a tree. It's standard corporate social 00:24:01.619 --> 00:24:05.400 responsibility. But Paul Newman essentially invented 00:24:05.400 --> 00:24:08.160 the modern conscious capitalism model decades 00:24:08.160 --> 00:24:10.359 before it was taught in business schools. He 00:24:10.359 --> 00:24:13.740 really did. He built a highly competitive, profitable 00:24:13.740 --> 00:24:17.099 consumer goods corporation whose sole function, 00:24:17.440 --> 00:24:20.099 its only reason for existing, was to generate 00:24:20.099 --> 00:24:22.799 capital to give away. He weaponized capitalism 00:24:22.799 --> 00:24:25.720 for charity. The scale of what that mechanism 00:24:25.720 --> 00:24:28.740 achieved is staggering. The product line expanded 00:24:28.740 --> 00:24:31.200 from salad dressing to pasta sauces, lemonades, 00:24:31.480 --> 00:24:33.940 popcorn, and pizzas. Because the overhead was 00:24:33.940 --> 00:24:35.920 managed so efficiently and the marketing relied 00:24:35.920 --> 00:24:38.220 heavily on the organic goodwill of his face on 00:24:38.220 --> 00:24:40.559 the label, the profit margins were substantial. 00:24:40.779 --> 00:24:43.799 And as of 2021, Newman's own has donated over 00:24:43.799 --> 00:24:47.799 $570 million. Over half a billion dollars generated 00:24:47.799 --> 00:24:50.400 entirely from the condiment aisle, distributed 00:24:50.400 --> 00:24:53.660 to thousands of charities worldwide. It's unbelievable. 00:24:54.019 --> 00:24:56.660 And he didn't stop at funding other people's 00:24:56.660 --> 00:24:59.750 charities. He recognized specific gaps in care 00:24:59.750 --> 00:25:01.869 and built new infrastructures from the ground 00:25:01.869 --> 00:25:04.509 up. Like in 1988 when he founded the Hole -in 00:25:04.509 --> 00:25:07.089 -the -Wall Gang Camp in Ashford, Connecticut. 00:25:07.329 --> 00:25:09.289 Named after the outlaw game he led in the film 00:25:09.289 --> 00:25:11.650 Butch Cassidy and the Sundance Kid. Exactly. 00:25:12.009 --> 00:25:14.470 And the psychological design of the camp is brilliant. 00:25:14.690 --> 00:25:17.170 It was built specifically for children suffering 00:25:17.170 --> 00:25:20.309 from cancer, sickle cell anemia, and other life 00:25:20.309 --> 00:25:22.130 -threatening illnesses. These are children whose 00:25:22.130 --> 00:25:24.990 entire lives are regimented by sterile hospitals, 00:25:25.289 --> 00:25:27.579 painful treatments, and constant monitoring. 00:25:28.180 --> 00:25:30.180 Newman wanted to create an environment where 00:25:30.180 --> 00:25:32.440 they could simply be kids, where they could, 00:25:32.599 --> 00:25:35.789 in his words, raise a little hell. But to achieve 00:25:35.789 --> 00:25:37.730 this without compromising their medical safety, 00:25:38.190 --> 00:25:40.650 the architecture of the camp cleverly disguised 00:25:40.650 --> 00:25:43.670 state -of -the -art medical facilities as rustic 00:25:43.670 --> 00:25:46.690 old Western log cabins. The doctors wore casual 00:25:46.690 --> 00:25:48.789 clothes. The medical interventions were hidden 00:25:48.789 --> 00:25:51.529 entirely within the play. He completely removed 00:25:51.529 --> 00:25:54.289 the stigma of the illness. And that single camp 00:25:54.289 --> 00:25:57.349 evolved into the Sirius Fund Children's Network, 00:25:57.809 --> 00:26:00.450 expanding globally with camps in Ireland, France, 00:26:00.650 --> 00:26:03.730 Israel, Hungary and beyond. He also saw the global 00:26:03.730 --> 00:26:05.980 water crisis. and co -founded the Safe Water 00:26:05.980 --> 00:26:09.519 Network in 2006 to build sustainable, safe drinking 00:26:09.519 --> 00:26:11.859 water infrastructure in underserved communities 00:26:11.859 --> 00:26:15.460 in India and Ghana. This same unifying moral 00:26:15.460 --> 00:26:18.380 compass drove his lifelong engagement in political 00:26:18.380 --> 00:26:20.750 activism, too. And we should note for you listening, 00:26:21.089 --> 00:26:23.089 we are just looking at the historical record 00:26:23.089 --> 00:26:26.049 here in partially reporting his actions. Right. 00:26:26.069 --> 00:26:28.589 We aren't validating or endorsing the specific 00:26:28.589 --> 00:26:30.869 political platforms. We are simply looking at 00:26:30.869 --> 00:26:33.529 how his core values drove his public engagement. 00:26:33.950 --> 00:26:36.390 His actions were deeply enmeshed in the major 00:26:36.390 --> 00:26:38.490 social movements of the 20th century. He was 00:26:38.490 --> 00:26:40.730 a lifelong Democrat that we occasionally supported 00:26:40.730 --> 00:26:43.950 independents like John B. Anderson in 1980. But 00:26:43.950 --> 00:26:46.630 he wasn't just a donor. He was physically present. 00:26:46.970 --> 00:26:49.170 He attended the historic March on Washington 00:26:49.170 --> 00:26:53.130 for Jobs and Freedom on August 28th, 1963. He 00:26:53.130 --> 00:26:55.630 was also boots on the ground at the very first 00:26:55.630 --> 00:26:59.230 Earth Day event in Manhattan on April 22nd, 1970. 00:27:00.109 --> 00:27:02.630 He recognized the impending environmental crises 00:27:02.630 --> 00:27:05.549 long before sustainability was a mainstream talking 00:27:05.549 --> 00:27:08.490 point. During the volatile 1968 presidential 00:27:08.490 --> 00:27:11.210 election, he threw his considerable public weight 00:27:11.210 --> 00:27:14.190 behind Eugene McCarthy's campaign for the Democratic 00:27:14.190 --> 00:27:16.680 nomination. McCarthy was running on a platform 00:27:16.680 --> 00:27:18.960 heavily focused on opposition to the Vietnam 00:27:18.960 --> 00:27:22.299 War, a stance Newman fiercely shared. Newman 00:27:22.299 --> 00:27:25.279 even served as a McCarthy pledged delegate representing 00:27:25.279 --> 00:27:28.660 Connecticut at the chaotic 1968 Democratic National 00:27:28.660 --> 00:27:31.640 Convention in Chicago. He later became a vocal 00:27:31.640 --> 00:27:33.920 advocate for the nuclear freeze movement in the 00:27:33.920 --> 00:27:37.259 1980s, pushing for nuclear disarmament. And his 00:27:37.259 --> 00:27:40.619 highly visible activism made him some very powerful 00:27:40.619 --> 00:27:43.160 enemies. Because of his vocal opposition to the 00:27:43.160 --> 00:27:45.960 Vietnam War and his campaigning, Newman was placed 00:27:45.960 --> 00:27:49.859 19th on President Richard Nixon's infamous master 00:27:49.859 --> 00:27:52.200 list of political opponents. The enemies list. 00:27:52.359 --> 00:27:54.400 The enemies list. And when the list was made 00:27:54.400 --> 00:27:57.539 public, Newman didn't hire a crisis PR firm to 00:27:57.539 --> 00:28:00.539 rehabilitate his image, did he? Not at all. He 00:28:00.539 --> 00:28:02.940 publicly bragged about it, calling his inclusion 00:28:02.940 --> 00:28:05.059 on the list his greatest accomplishment. Which 00:28:05.059 --> 00:28:07.599 perfectly encapsulates his internal fortitude, 00:28:08.000 --> 00:28:10.339 we highlight these political activities to demonstrate 00:28:10.339 --> 00:28:12.720 the mechanism of his character. There was no 00:28:12.720 --> 00:28:15.900 compartmentalization. The man who refused to 00:28:15.900 --> 00:28:19.000 fake his driving in a movie, who demanded internal 00:28:19.000 --> 00:28:21.900 truth in his acting, who gave away every cent 00:28:21.900 --> 00:28:24.660 of his corporate profits, was the exact same 00:28:24.660 --> 00:28:27.700 man engaging in public discourse. He operated 00:28:27.700 --> 00:28:30.960 from a unified, unyielding set of core values, 00:28:31.599 --> 00:28:35.200 which forces us to ask. Where does that unshakable 00:28:35.200 --> 00:28:37.400 internal compass come from? It's a great question. 00:28:37.599 --> 00:28:39.460 How does a man who was practically worshipped 00:28:39.460 --> 00:28:41.920 as a cinematic deity maintain zero Hollywood 00:28:41.920 --> 00:28:43.900 ego? To answer that, we have to look closely 00:28:43.900 --> 00:28:46.579 at how his personal identity was forged by early 00:28:46.579 --> 00:28:49.180 experiences of prejudice, the trauma of war, 00:28:49.420 --> 00:28:51.759 and a deeply grounding 50 -year partnership. 00:28:52.000 --> 00:28:53.920 Yeah, to understand the man beneath the celebrity, 00:28:54.000 --> 00:28:55.960 you really have to examine his heritage. His 00:28:55.960 --> 00:28:58.680 father, Arthur, was Jewish, the son of Hungarian 00:28:58.680 --> 00:29:01.259 and Polish immigrants. And his mother, Teresa, 00:29:01.380 --> 00:29:03.250 came from a Roman Catholic family. family in 00:29:03.250 --> 00:29:05.529 Slovakia, though she later embraced Christian 00:29:05.529 --> 00:29:08.490 science. Right. He was raised in this mixed household 00:29:08.490 --> 00:29:10.950 in the affluent suburb of Shaker Heights, Ohio, 00:29:11.230 --> 00:29:14.450 during the 1930s and 40s. In his memoirs, The 00:29:14.450 --> 00:29:16.950 Extraordinary Life of an Ordinary Man, which 00:29:16.950 --> 00:29:19.970 were compiled and published posthumously, he 00:29:19.970 --> 00:29:22.529 spoke with raw honesty about feeling a strong 00:29:22.529 --> 00:29:24.910 sense of otherness during his youth. Specifically 00:29:24.910 --> 00:29:27.750 stemming from his half -Jewish heritage, the 00:29:27.750 --> 00:29:30.630 societal mechanics of the era were deeply exclusionary. 00:29:30.759 --> 00:29:33.299 The sources recount that the stigma of being 00:29:33.299 --> 00:29:36.500 Jewish was palpable in his community. Newman 00:29:36.500 --> 00:29:38.819 noted that his background explicitly, quote, 00:29:39.079 --> 00:29:41.200 got in the way of my sitting at the A table. 00:29:41.539 --> 00:29:43.859 He was formally excluded from joining a high 00:29:43.859 --> 00:29:46.160 school fraternity because of his Jewish roots. 00:29:46.779 --> 00:29:49.200 He learned very early that society operates with 00:29:49.200 --> 00:29:51.799 invisible prejudice boundaries. And he carries 00:29:51.799 --> 00:29:54.460 that acute awareness of bigotry with him into 00:29:54.460 --> 00:29:56.859 adulthood. When he enlists in the United States 00:29:56.859 --> 00:29:59.319 Navy during World War Two, the prejudice follows 00:29:59.319 --> 00:30:02.279 him. He recounted getting into a brutal, bloody 00:30:02.279 --> 00:30:04.920 fight with a fellow sailor during training simply 00:30:04.920 --> 00:30:07.240 because the man used an anti -Semitic slur. He 00:30:07.240 --> 00:30:10.039 refused to passively accept the bigotry. Never. 00:30:10.660 --> 00:30:14.019 And his military service also embedded a profound, 00:30:14.099 --> 00:30:17.200 dark sense of mortality that stripped away his 00:30:17.200 --> 00:30:20.119 tolerance for superficiality entirely. He initially 00:30:20.119 --> 00:30:23.039 enrolled in the Navy V -12 pilot training program 00:30:23.039 --> 00:30:26.039 at Yale. He wanted to fly. However, he was dropped 00:30:26.039 --> 00:30:28.390 from the program. For years, he claimed it was 00:30:28.390 --> 00:30:30.390 due to color blindness, but he later admitted 00:30:30.390 --> 00:30:32.910 the truth. He simply couldn't comprehend the 00:30:32.910 --> 00:30:35.609 complex, high -level mathematics required to 00:30:35.609 --> 00:30:37.730 pilot the aircraft. So because he washed out 00:30:37.730 --> 00:30:39.630 of pilot training, he was reassigned to train 00:30:39.630 --> 00:30:42.289 as a radio man and tail gunner in torpedo bombers. 00:30:42.849 --> 00:30:45.990 And that reassignment alters his destiny in a 00:30:45.990 --> 00:30:49.390 terrifying way. In the spring of 1945, his aviation 00:30:49.390 --> 00:30:51.730 unit is ordered to deploy to the aircraft carrier 00:30:51.730 --> 00:30:54.789 USS Bunker Hill in the Pacific just before the 00:30:54.789 --> 00:30:56.960 invasion of Okinawa. But right before they are 00:30:56.960 --> 00:30:59.420 scheduled to fly out to the ship, the pilot of 00:30:59.420 --> 00:31:02.019 Newman's specific aircraft develops a severe 00:31:02.019 --> 00:31:04.720 earache. The medical officer grounds the pilot. 00:31:05.180 --> 00:31:07.480 And because the pilot is grounded, Newman and 00:31:07.480 --> 00:31:09.799 the rest of his specific crew are forced to stay 00:31:09.799 --> 00:31:12.559 behind at the base. While the rest of their squadron 00:31:12.559 --> 00:31:15.640 flies ahead to the bunker hill, just days later, 00:31:15.859 --> 00:31:18.779 the carrier is struck by a massive, devastating 00:31:18.779 --> 00:31:21.740 kamikaze attack. Hundreds of crewmen are killed, 00:31:22.180 --> 00:31:24.140 including the other members of Newman's unit 00:31:24.140 --> 00:31:26.890 who had flown ahead. He is spared entirely by 00:31:26.890 --> 00:31:29.329 the random biological chance of another man's 00:31:29.329 --> 00:31:32.549 earache. It's chilling. He also witnessed a separate 00:31:32.549 --> 00:31:35.230 horrific accident where his close friend was 00:31:35.230 --> 00:31:37.910 killed instantly by an aircraft propeller on 00:31:37.910 --> 00:31:40.640 a carrier deck. You synthesize those experiences, 00:31:41.119 --> 00:31:43.480 the survivor's guilt, the visceral trauma of 00:31:43.480 --> 00:31:46.640 war, the firsthand encounters with systemic prejudice, 00:31:46.880 --> 00:31:49.440 and you suddenly understand exactly why a bad 00:31:49.440 --> 00:31:52.079 review in a Hollywood trade magazine meant absolutely 00:31:52.079 --> 00:31:54.619 nothing to him. He knew what real life and death 00:31:54.619 --> 00:31:56.680 stakes looked like. He knew how fragile existence 00:31:56.680 --> 00:31:59.880 was. That understanding made him fiercely protective 00:31:59.880 --> 00:32:01.960 of his true identity. And that protectiveness 00:32:01.960 --> 00:32:04.259 was tested early in his career. When he was gaining 00:32:04.259 --> 00:32:06.900 traction in the industry, the studio system tried 00:32:06.900 --> 00:32:09.579 to sand down his edges to make him a more palatable 00:32:09.579 --> 00:32:12.880 all -American commodity. Yes. He was considered 00:32:12.880 --> 00:32:16.000 for the lead role of Terry Malloy in the legendary 00:32:16.000 --> 00:32:19.420 film On the Waterfront, a role Marlon Brando 00:32:19.420 --> 00:32:22.619 ultimately defined. The incredibly powerful producer 00:32:22.619 --> 00:32:25.900 Sam Spiegel pulled Newman aside and explicitly 00:32:25.900 --> 00:32:28.579 told him to change his name. Spiegel said Paul 00:32:28.579 --> 00:32:31.000 Newman sounded too Jewish and would alienate 00:32:31.000 --> 00:32:33.740 audiences. Sam Spiegel was a kingmaker in Hollywood. 00:32:34.180 --> 00:32:37.420 For a young actor to defy him was basically career 00:32:37.420 --> 00:32:40.559 suicide. But Newman doesn't even blink. He fires 00:32:40.559 --> 00:32:42.539 back at Spiegel asking, what do you want me to 00:32:42.539 --> 00:32:45.700 change it to, SPUman? SPUman, I love that. He 00:32:45.700 --> 00:32:48.839 wields sarcasm as a weapon to shut down the bigotry. 00:32:49.099 --> 00:32:51.819 He absolutely refuses to erase his heritage for 00:32:51.819 --> 00:32:53.980 a paycheck. He later stated that he actively 00:32:53.980 --> 00:32:56.359 identified as a Jew because it's more of a challenge. 00:32:56.799 --> 00:32:59.099 He invited the friction because it kept him honest. 00:32:59.279 --> 00:33:01.539 That fierce autonomy extended directly into how 00:33:01.539 --> 00:33:05.099 he structured his personal life, too. In 1953, 00:33:05.240 --> 00:33:07.480 while he was grinding away as an understudy on 00:33:07.480 --> 00:33:10.079 the Broadway production of Picnic, he met a fiercely 00:33:10.079 --> 00:33:12.279 talented young actress named Joanne Woodward. 00:33:12.619 --> 00:33:14.420 They reconnected a few years later when they 00:33:14.420 --> 00:33:17.180 were cast together in the film The Long Hot Summer. 00:33:17.619 --> 00:33:19.640 And after Newman finalized the divorce from his 00:33:19.640 --> 00:33:23.619 first wife, he and Woodward were married in 1958. 00:33:24.539 --> 00:33:27.299 It becomes one of the most creatively and romantically 00:33:27.299 --> 00:33:29.559 enduring partnerships in the history of American 00:33:29.559 --> 00:33:32.539 cinema. They are married for 50 years right up 00:33:32.539 --> 00:33:35.000 to his death. but they don't do it by playing 00:33:35.000 --> 00:33:37.900 the Hollywood game. No, they make a highly strategic, 00:33:38.099 --> 00:33:41.119 deliberate choice to extract themselves from 00:33:41.119 --> 00:33:44.200 the Los Angeles ecosystem. They take their blended 00:33:44.200 --> 00:33:46.960 family, his three children from his first marriage 00:33:46.960 --> 00:33:49.220 and the three daughters they have together, and 00:33:49.220 --> 00:33:52.690 move across the country. to a quiet wooded estate 00:33:52.690 --> 00:33:55.269 in Westport, Connecticut. They were pioneers 00:33:55.269 --> 00:33:57.990 of the Hollywood exodus. They were among the 00:33:57.990 --> 00:34:00.789 first truly massive stars to completely remove 00:34:00.789 --> 00:34:02.789 themselves from the industry's physical orbit. 00:34:03.029 --> 00:34:04.950 They immersed themselves in a normal community, 00:34:05.230 --> 00:34:07.990 engaged in local preservation efforts, and built 00:34:07.990 --> 00:34:10.530 a sanctuary far away from the paparazzi and the 00:34:10.530 --> 00:34:12.949 studio executives. I really want to analyze the 00:34:12.949 --> 00:34:16.050 impact of that geography. Looking at the sheer 00:34:16.050 --> 00:34:19.690 volume of his nuanced, risky performances, Do 00:34:19.690 --> 00:34:21.989 you think the physical distance living in the 00:34:21.989 --> 00:34:24.329 woods of Connecticut actually protected the integrity 00:34:24.329 --> 00:34:27.110 of his talent? What do you mean? Well, by refusing 00:34:27.110 --> 00:34:29.489 to attend the industry parties, by avoiding the 00:34:29.489 --> 00:34:32.429 constant echo chamber of agents and publicists, 00:34:32.769 --> 00:34:35.349 did he secure the mental freedom necessary to 00:34:35.349 --> 00:34:38.070 take bigger, weirder risks when he finally did 00:34:38.070 --> 00:34:40.829 step onto a movie set? Oh, geography is absolute 00:34:40.829 --> 00:34:44.250 destiny in this case. In Hollywood, an actor's 00:34:44.250 --> 00:34:46.730 reality is constantly distorted. You are continually 00:34:46.730 --> 00:34:50.329 evaluated by your latest box office Gross. Surrounded 00:34:50.329 --> 00:34:53.050 by sycophants who validate your worst impulses 00:34:53.050 --> 00:34:55.389 and pressured to maintain a specific brand. Right, 00:34:55.389 --> 00:34:58.050 it's a bubble. But retreating to Westport, Newman 00:34:58.050 --> 00:35:00.610 completely insulated his psychology from that 00:35:00.610 --> 00:35:03.630 toxic noise. He grounded his daily reality in 00:35:03.630 --> 00:35:06.289 his marriage, his children, his local community, 00:35:06.429 --> 00:35:08.809 and his philanthropic logistics. Because his 00:35:08.809 --> 00:35:10.989 real life was incredibly full and secure, he 00:35:10.989 --> 00:35:13.550 didn't require the desperate neurotic validation 00:35:13.550 --> 00:35:16.809 that destroys so many actors. Exactly. When he 00:35:16.809 --> 00:35:19.730 went to work, it was just work. This emotional 00:35:19.730 --> 00:35:22.130 security absolutely allowed him to play deeply 00:35:22.130 --> 00:35:25.030 unlikable characters, to age naturally without 00:35:25.030 --> 00:35:27.389 surgical intervention, and to focus entirely 00:35:27.389 --> 00:35:29.789 on the craft rather than the maintenance of his 00:35:29.789 --> 00:35:32.210 fame. And the anchor of that security was Joanne. 00:35:32.809 --> 00:35:35.050 Their creative partnership was a powerhouse. 00:35:35.449 --> 00:35:37.989 They acted opposite each other in 16 different 00:35:37.989 --> 00:35:40.409 films. And he stepped behind the camera to direct 00:35:40.409 --> 00:35:44.510 her in the 1968 film Rachel, Rachel, guiding 00:35:44.510 --> 00:35:47.789 her to an Academy Award nomination for Best Actress. 00:35:47.980 --> 00:35:50.400 The depth of his devotion to her was legendary, 00:35:50.900 --> 00:35:53.659 and he famously utilized his dry wit to deflect 00:35:53.659 --> 00:35:55.800 the constant media probing into their marriage. 00:35:56.039 --> 00:35:58.940 Oh, the hamburger quote. Yes. When a reporter 00:35:58.940 --> 00:36:01.179 once aggressively questioned him about the temptations 00:36:01.179 --> 00:36:03.440 of being a Hollywood sex symbol and his reputation 00:36:03.440 --> 00:36:06.179 for absolute fidelity, he delivered the iconic 00:36:06.179 --> 00:36:08.760 line, why go out for a hamburger when you have 00:36:08.760 --> 00:36:11.440 steak at home? The press loved that quote because 00:36:11.440 --> 00:36:14.400 it's clever. But I actually think a different 00:36:14.400 --> 00:36:16.880 detail from our sources is far more illuminating 00:36:16.880 --> 00:36:19.159 about the reality of their bond. Which one? During 00:36:19.159 --> 00:36:22.400 a deeply candid profile on 60 Minutes, he stripped 00:36:22.400 --> 00:36:25.360 away the fairy tale mythmaking. He admitted that 00:36:25.360 --> 00:36:27.400 they were normal human beings who had intense 00:36:27.400 --> 00:36:30.059 arguments. Right. He recounted a specific instance 00:36:30.059 --> 00:36:32.460 where, after a massive fight, he dramatically 00:36:32.460 --> 00:36:35.280 packed a bag, stormed out the front door, and 00:36:35.280 --> 00:36:37.880 vowed to leave. He walked outside, circled the 00:36:37.880 --> 00:36:39.820 perimeter of the house, and then quietly knocked 00:36:39.820 --> 00:36:42.010 on the door to be let back in. And when Joanne 00:36:42.010 --> 00:36:44.630 asked him why he came back, he admitted he had 00:36:44.630 --> 00:36:48.010 absolutely nowhere else to go. His entire universe, 00:36:48.329 --> 00:36:50.710 his complete sense of home was contained inside 00:36:50.710 --> 00:36:54.090 that house with her. It's a remarkably vulnerable 00:36:54.090 --> 00:36:57.030 admission. It demystifies the Hollywood romance 00:36:57.030 --> 00:36:59.190 and replaces it with something much stronger. 00:37:00.070 --> 00:37:02.590 an irreplaceable partnership. It reveals a man 00:37:02.590 --> 00:37:05.510 who, despite the Oscars, the adoring fans, the 00:37:05.510 --> 00:37:08.289 racing trophies and the global empire, knew exactly 00:37:08.289 --> 00:37:10.769 where his actual purpose resided. He understood 00:37:10.769 --> 00:37:13.230 exactly what he stood to lose and he organized 00:37:13.230 --> 00:37:15.690 his entire life to protect it. That brings us 00:37:15.690 --> 00:37:17.429 full circle on our mission today. Let's pull 00:37:17.429 --> 00:37:20.630 all these threads together. Paul Newman was emphatically 00:37:20.630 --> 00:37:23.670 not just a fortunate guy who won the genetic 00:37:23.670 --> 00:37:26.409 lottery with a great jawline and blue eyes. Far 00:37:26.409 --> 00:37:29.570 from it. He's a rigorously disciplined, stage 00:37:29.570 --> 00:37:32.769 -trained craftsman who continually evolved the 00:37:32.769 --> 00:37:36.530 mechanics of film acting to both the modern cinematic 00:37:36.530 --> 00:37:39.690 antihero. He was a legitimate, physically fearless 00:37:39.690 --> 00:37:42.150 professional athlete who mastered the brutal 00:37:42.150 --> 00:37:45.230 physics of endurance auto racing, achieving podium 00:37:45.230 --> 00:37:47.469 finishes at an age when most people are terrified 00:37:47.469 --> 00:37:49.809 of driving on the highway. And he was a visionary 00:37:49.809 --> 00:37:52.730 pioneer of conscious capitalism, utilizing the 00:37:52.730 --> 00:37:54.929 machinery of a massive corporate enterprise to 00:37:54.929 --> 00:37:57.219 funnel hundreds of millions of dollars. directly 00:37:57.219 --> 00:37:59.739 to those in desperate need. But the through line 00:37:59.739 --> 00:38:02.280 connecting the actor, the racer, and the philanthropist 00:38:02.280 --> 00:38:05.639 is the private man. He was anchored by an unbreakable 00:38:05.639 --> 00:38:08.639 personal integrity forged by early trauma and 00:38:08.639 --> 00:38:11.159 prejudice and sustained by an absolute devotion 00:38:11.159 --> 00:38:13.320 to his family. So for anyone listening right 00:38:13.320 --> 00:38:15.719 now trying to navigate a world that constantly 00:38:15.719 --> 00:38:18.460 demands you pick a single lane and curate a pristine 00:38:18.460 --> 00:38:21.579 brand Newman's life is the ultimate counter argument. 00:38:21.670 --> 00:38:24.710 It really is. He proves that holding fiercely 00:38:24.710 --> 00:38:28.050 to your core values allows you to pursue multiple 00:38:28.050 --> 00:38:30.570 wildly different passions, whether it's breaking 00:38:30.570 --> 00:38:32.869 hearts on screen, blowing out engines at Lamans, 00:38:33.190 --> 00:38:36.289 or selling salad dressing, without ever diluting 00:38:36.289 --> 00:38:38.909 your authentic self. He dictated the terms of 00:38:38.909 --> 00:38:41.880 his own existence. He never allowed the external 00:38:41.880 --> 00:38:45.880 machinery of fame, politics, or business to override 00:38:45.880 --> 00:38:48.679 his internal moral compass. Which leaves us with 00:38:48.679 --> 00:38:51.199 the final, highly provocative thought to carry 00:38:51.199 --> 00:38:54.719 with you. We have just spent the last hour dissecting 00:38:54.719 --> 00:38:57.760 a life built on aggressive, stubborn authenticity. 00:38:58.269 --> 00:39:00.630 But imagine if Paul Newman were born 60 years 00:39:00.630 --> 00:39:02.289 later. Oh, that's an interesting thought experiment. 00:39:02.530 --> 00:39:04.889 If he were starting his career today right now 00:39:04.889 --> 00:39:07.570 in our hyper -managed, PR -driven, algorithm 00:39:07.570 --> 00:39:10.250 -obsessed culture, would the modern Hollywood 00:39:10.250 --> 00:39:12.630 machine even allow him to become the complex, 00:39:12.690 --> 00:39:15.230 risk -taking figure we've just explored? Probably 00:39:15.230 --> 00:39:18.559 not. Could a newly minted handsome young star, 00:39:18.900 --> 00:39:22.480 a studio executive in the eye today, flatly refuse 00:39:22.480 --> 00:39:25.079 to change their ethnic sounding name, demand 00:39:25.079 --> 00:39:27.679 to perform their own highly dangerous stunts, 00:39:28.000 --> 00:39:30.340 abandon the Los Angeles networking scene to live 00:39:30.340 --> 00:39:32.900 in the woods of Connecticut, and risk their multi 00:39:32.900 --> 00:39:35.260 -million dollar life in race cars every single 00:39:35.260 --> 00:39:38.510 weekend? Or would the corporate system Simply 00:39:38.510 --> 00:39:40.929 crush that authenticity before it ever had a 00:39:40.929 --> 00:39:43.309 chance to bloom. It forces you to wonder how 00:39:43.309 --> 00:39:45.670 many fast Eddie Felsons we are entirely missing 00:39:45.670 --> 00:39:48.489 out on today because the industry demands compliance 00:39:48.489 --> 00:39:51.110 over character. It is a deftly sobering question 00:39:51.110 --> 00:39:52.889 regarding the state of modern culture and an 00:39:52.889 --> 00:39:55.050 essential one to ponder. Absolutely. Keep digging 00:39:55.050 --> 00:39:57.050 into these stories. Keep living authentically 00:39:57.050 --> 00:39:58.929 and we will see you on the next Deep Dive.