♪♪
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 every...every 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.
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 ♪
♪ 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.
But...they 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.
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 ♪
♪ 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 ♪
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 ♪
♪♪