July 31, 2026

A Script By: Budd Schulberg - On the Waterfront

A Script By: Budd Schulberg - On the Waterfront

Before it was a film, it was a script. Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explore their...

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Season 7
Before it was a film, it was a script.

Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explore their process, what influenced them, and how they inspired some of the iconic cinema we enjoy today.

This month, we have someone we like to think of as the "Authority on the Golden Age of Cinema" join Brad to discuss a classic. Robert Burnett reflects on Budd Schulberg's Oscar-winning screenplay for On the Waterfront!

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WEBVTT

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Welcome to a film By presents a script Buy I'm

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your host.

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Brad Kozo.

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On a script By, we break down some of Hollywood's

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most famous screenplays and examine why these scripts are considered

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among the greatest ever written. Today, we are heading to

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the crime ridden, rotten front of nineteen fifties New York

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as we dive into On the Waterfront, a screenplay by

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Bud Schulberg. Now, most people associate On the Waterfront with

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Marlon Brando's unforgettable performance as Terry Molloy or director Elia

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Kazan's controversial place in Hollywood history following the Huach heating hearings.

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But before there was a film, there was a script.

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It's a screenplay that grabs you from its opening moments

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and never lets go through the story of a washed

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up prize fighter caught between loyalty and conscience. Schulberg pulled

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back the curtain on the corruption, fear, and organized crime

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that controlled the New York City's waterfront. More than seventy

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years later, On the Waterfront remains one of the most

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powerful examples of character driven story telling ever put on screen.

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This is a script By.

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Let's turn the page. Welcome to Episode six of a

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script by On the Waterfront, a screenplay by Bud Schulberg,

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story about brothers, corruption, lost dreams, and the difficult journey

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from looking the other way to finally standing up for

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what's right. I remember the first time I saw On

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the Waterfront. It was in the late nineteen nineties when

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the AFI released its Lissa the one hundred Greatest American Films. Now,

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my original plan was start at number one hundred and

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worked my way up, but that lasted about five minutes.

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Now I jumped right into the top ten, and I

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started watching the films that I hadn't seen yet. You know,

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On the Waterfront was ranked I think number eight, and

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it immediately stood out to me because I knew the

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film's reputation, I knew Marlon Brand news famous. I could

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have been a contender speech, but I wasn't prepared for

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really how powerful the story was. And what I discovered

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was much more than a crime drama. I mean, it

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was deeply human story about guilt, loyalty, redemption, and finding

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the courage to do the right thing when everyone around

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you is telling you to keep your mouth shut. But

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as always, before we get started, I wanted to introduce

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my guests. He's appeared on Docking Base seventy seven, a

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film buy and Deaf Dave. This is my first chance

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getting to meet him. I'm very happy that he is

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doing this. Welcome to the show, Robert Burnette, Robert, thank

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you so much for joining me today.

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How you doing.

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I'm doing well. Thank you, and thank you for having me.

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This is so prestigious to be on the same episode

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of something that's new.

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I love that, Yeah, and I love having new people.

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It's just it's a great way to even talk to

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people about it and actually even meet new people and stuff.

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And everyone I've met has been just dynamite.

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Yeah.

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Now, this was my first time reading the screenplay, even

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though I mean I'd seen the film many times. Do

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you remember when the first time you saw it? Like,

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what was your reaction then? I mean, what do you

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think today? And looking specifically at the script, what do

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you think makes Schulberg's writing a hold up? More than

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seventy years later?

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Well, I actually saw the film in film school. When

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out film school film class. When I was in college,

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I took a lot of film courses and I had

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never seen this one, and honestly, I had not seen

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it since and over the years somehow it has sort

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of blended in my mind with street Car Named Design.

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So I kept waiting for you know, Stella and all

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that stuff because they felt I was like black and

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White and Brando and Carl Malden, that whole you know,

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a milieu. And I was like, oh, this is a

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completely different film that I remember, because I kind of

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blurred them over the years. When I saw it originally,

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I was more of a fan of old school Hollywood

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and the whole method thing, and the brutality of it

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was shocking and powerful, which is wasn't intention that I

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did not take to it in a way that I

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might have to like one of the thin Man movies

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or something else that were more in my wheelhouse at

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that time. Reading the script, it was fascinating to get

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a hold of it from you thank you, and and

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read it through and then watch again, and so much

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of what we see is on the page. I mean, yes,

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the performance is amazing. The location shooting is just amazing,

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even even for today. I mean it's so and really

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add some much to the film. They could not have

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done this on a back lot for the same way,

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but it was all there. It was all there in

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the script. I had to be brought to life. So

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Kazan and his cohorts managed to pull it off in

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a really great way. Yeah.

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Well, let's get into some of our writer's background.

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The origins of On the Waterfront.

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They all started with a Pulitzer Prize winning series of

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articles titled Crime on the Waterfront, written by journalist Malcolm

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Johnson in nineteen forty eight. Those articles exposed the corruption, violence,

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and the code of silence that controlled New York socks.

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Those stories caught the attention of director Elia Kazanne, at

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the time very famous for Like You Said, a street

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card named Desire and Panic in the Streets, as well

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as death of a salesman playwright Arthur Miller, who initially

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planned to develop the project together.

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Now.

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Miller's version, titled The Hook, focused on corruption along the Waterfront,

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but the screenplay never really moved forward because everything changed

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in the early nineteen fifties when both men were called

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before the House of Unamerican Activities Committee, Miller he refused

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to cooperate, while Kazan chose to testify. The decision ended

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their friendship and effectively ended their collaboration on the whole

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Waterfront project. But Kazan then turned to Bud Schulberg, who

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had also testified before Huach. Together they returned to the

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Waterfront story, but Schulberg took a hands on approach to

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the material. He spent months interviewing real long shortmen, priests, investigators,

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and waterfront residents, gathering the stories, slang, in the experiences

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that would shape the screenplay. The result was a script

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that felt authentic because much of it was rooted in reality.

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I mean, through Termulloy's story, Schulberg created a powerful drama

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about corruption, conscience, and the courage to take stand up

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and tell the truth now. Because both Kazan and Schulberg

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had testified before Huach, some critics have argued that On

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the Waterfront serves as a defense of their actions, not

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a lot.

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Himself. Often embrace that interpretation.

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However, many historians and great filmmakers like Martin Scorsese have

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rejected and that direct comparison, arguing that Terry malloy exposing

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murder and corruption on the Waterfront is fundamentally different from

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the circumstances surrounding the Hugh Acme hearings. Regardless of where

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one stands in the debate, the screenplay's themes ultimately extend

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far beyond the politics of the nineteen fifties. Robert, before

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reading the screenplay, were you aware of the world, real

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world history that was beyond the creation of it?

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And do you.

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Think known about the whole Kazam Miller split changes?

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Is that you know? Do you do the film differently?

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Though?

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Well, yes, I did not know about the real life circumstances.

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Upon watching the film again, it does seem almost documentary, Like,

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I mean, you can believe these these are real things

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that are recurring, some sci fi thing. Realized there are

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no giant ants, there never will be giant ants. You know,

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the capital is safe in this case, you could, I

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could totally get it. Yeah, this absolutely could be based

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on something real. And then I discovered it was a

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fun sidebar to this. Miller, like any great artist, does

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not let a good idea go to waste and developed

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a stage play called A View from the Bridge that

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he put out a couple of years after this. It

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is based on his notes from when he was working

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with Kazan and it deals with a longshoreman in Brooklyn

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and the trials and tribulations of his family relationships that

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Miller took it in a different direction. It touches on

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immigration and family drama and stuff. But yeah, so so,

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and of course listeners to the other podcast will know

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I always have to drop in Broadway, so boom, there

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it is. But yeah, Miller did not let this idea

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to go to the side. Even after the success of

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this film, he wrote his own play and it's been

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revived in number of times. But it's one of the

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most most produced Broadway shows and it is maybe not

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as well known as if Death of a Salesman from Millner,

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but it is definitely one of his strongest things. So

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we have two great works of art that both came

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out of those same articles and that creative, creative little pool.

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At the time, Wow, that's great. I did not know that.

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That's that's fascinating.

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Now now I'm even more fascinated that I didn't you know,

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didn't know that. But yeah, great material for that. Yeah,

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oh wow. Well, we're going to take our first ad break,

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but when we come back, we will get into the

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first ten pages and act one of On the Waterfront.

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Welcome back.

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We are talking on the Waterfront, a script by Bud

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Schulberg and dissecting the first ten pages. Now, one of

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the things that immediately stood out to me was how

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efficiently Schulberg.

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Establishes the world of the story. Within the first ten.

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Pages, you know exactly where you are, who the major

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players are, and how the Waterfront operates. Curely impressive is

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that Schulberg rarely stops the story to explain a character. Instead,

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we learn who people are through the way others talk

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about them. Johnny Friendly's power, Joey Doyle's courage, Terry Malloy's reputation,

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and even the fear that grips the docks or all

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revealed naturally through dialogue and behavior. By the end of

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the opening sequence, the audience understands the rules of this

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world without ever feeling like they've been given an exposition dump.

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One thing I noticed while reading the screenplay is that

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some of the Waterfront slide can feel a little heavy

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on the page. Terms like cheese eater, dummy up, and

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change up or shape up appear so frequently that in

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the hands of lesser actors the dialogue might have felt

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forced or kind of overwritten. But that's where the collaboration

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between screenplay and performance becomes so important. Brando Steiger Carl Malton,

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Lee J. Cobb, and the rest of the cast. They

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make that language feel natural. They don't sound like actors

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recite reciting colorful dialogue. They sound like people have lived

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on these docks their entire lives. It's a reminder that

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a screenplay isn't the finished product on the page. Schulberg

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provides the language and the rhythm of the waterfront through

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their performances. The actors transform that language into something authentic.

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Reading these opening pages, I was really surprised by how

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much of the story's DNA is basically present right up front.

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The corruption, the fear, the.

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Loyalty, the guilt, even you know, Terry's internal conflict are

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all right there at the very beginning. You know, looking

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at the first ten pages, what do you think the

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writer Schulberg does really well that keeps that audience invested

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right away?

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Well, I see it as we start off with with

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you know, the Macro was with giant shot of New

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York and the ship and all this, and we just

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kind of panned right in, not pan, but go go

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right into this into this world. And to your point

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that there aren't really explanations. It's not an old school

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thing where It's like here's the star entrance and here's

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here's him saying, good to see your wife, you know,

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I mean, you just these random people are popping in

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and out. It keeps you a little disoriented, which I

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think adds a little bit to the danger. There is

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this sort of foreboding and this sort of the characters

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all just seem tense and anxious and sort of sort

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of like and not fearful exactly, but and and so

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you get that right away. And of course the location

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filming adds so much texture, as does uh Leonard Burns's music,

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which is a little overpowering sometimes but but you yeah,

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it's it is. I'm I'm a huge fan of him,

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and I think this is I'm glad he went to

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the one film score because this one was just I

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think too much for the film. And the film's a lot,

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but this is like that it kicks yeah hard. Yeah,

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but but he did a great symphonic sweep from it.

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It's great to listen to on his own. But with

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this film, I wanted to hear the dialogue. I want

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to hear all those those all those shape ups and

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dummy ups and all that. But yeah, I just think

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that all of a sudden, we're just thrust into this

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environment and something is going on, and Terry is so

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kind of anxious that we see him walking along and

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he's kind of shifting his eyes and looking uncomfortable, and

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you're like, okay, I want to know what is he doing,

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what's going on, and which of these people are going

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to be the main players, which people are the background with,

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you know, So you just get dropped right in and

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you kind of I don't say you have to figure

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it out, because the exposition is very clearly yeah, but

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it is not. It's so dense that it feels more

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real probably than it would have if it had been

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fewer actors soundstage, you know, and and less just overlapping

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riverfront guys talking and just this specific, you know, necessary

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lines of dialogue.

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Yeah.

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Yeah, well, let's dig into act one. The first act

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of On the Waterfront opens with one of the screenplay's

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most important sequences, the murder of Joey Doyle. What's interesting

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is that the screenplay originally spends more time on the

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mechanics of the murder.

257
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We see Joey trapped on the.

258
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Rooftop and understand exactly how the gangster is closed in

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on him. The finish film trims much of this material,

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and I think it's a smart choice. What we don't

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see is often more powerful than what we do see.

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Joey's death immediately establ establighes the rules of this world,

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speaking out as consequences. Everyone knows who is responsible, and

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nobody is willing to say a word. The screenplay also

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introduces Terry's central conflict much earlier than many viewers may realize.

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Terry didn't kill Joey Doyle, but he helps lure him

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to the roof. When Edie later says, I want to

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know who killed my brother, the next scene cuts directly

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to Terry.

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In that moment, Schulberg at Kazan.

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Tell us that Terry's real battle won't be against Johnny Friendly,

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it will be against his own conscience. We also learned

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that Terry benefits from the very system Joey was trying

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to expose because he's Charlie's brother in part of Johnny

275
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Friendly's inner circle. Terry gets easy jobs and special treatment

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00:15:15.320 --> 00:15:18.480
on the docks. That makes his eventual choice more meaningful

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because he's risking the only security he's ever known. Act

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one also introduces two important symbols. First is Terry's pigeons,

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which represent freedom, innocence, and escape from the corruption below.

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The second his father Barry's journey after Joey's death. Edie

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challenges him for standing on the sidelines while violence continues

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on the waterfront. It's a moment that quietly begins Barry's

283
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own redemption arc. Finally, Act one establishes the screenplay central theme, silence.

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Everyone knows what's happening on the docks, but fear keeps

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them quiet. The question driving the rest of the story

286
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becomes simple, can Terry molloy fire and the courage to

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speak up? Act one does a tremendous amount of heavy lifting.

288
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It introduces the world of the waterfront, Terry's guilt, code

289
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of silence, and even the beginning of both Terry and

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Father Barry's redemption arcs. What stood out to you the

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00:16:17.360 --> 00:16:21.440
most about Hall Schuberg establishes the story and its themes

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00:16:21.919 --> 00:16:24.039
in the opening act.

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With me, it was the character of Edie. I mean,

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she's sort of the through line who pulls all the

295
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characters together. I mean her conversations with Terry and Father

296
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Barry as well. She challenges both of them and even

297
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through her grief, she is still trying to do the

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right thing and hold people accountable. And she's a very

299
00:16:47.799 --> 00:16:50.919
strong woman character. I mean, even Restink could have been

300
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the pretty blonde who just kind of wasts through and

301
00:16:53.559 --> 00:16:56.200
does whatever. But Edi is I don't want to say,

302
00:16:56.200 --> 00:16:58.120
the catalyst for a lot of the story, but I

303
00:16:58.159 --> 00:17:01.240
feel like she's the engine for a lot of the

304
00:17:01.320 --> 00:17:04.079
transitions that the characters make in this because she is

305
00:17:04.519 --> 00:17:09.839
constantly asking those questions. Of course, early on in the beginning,

306
00:17:09.880 --> 00:17:12.279
we do hear the phrase don't ask no questions, and

307
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I'd said, I think more than once by different characters. Well,

308
00:17:15.640 --> 00:17:18.160
Edie's asking questions. She's asking who killed my brother? And

309
00:17:18.240 --> 00:17:20.319
who's responsible? And what about this? And what are you

310
00:17:20.359 --> 00:17:22.359
going to do about it? And what do you know? Father,

311
00:17:22.519 --> 00:17:24.039
father Barry, what are you going to do about it?

312
00:17:24.079 --> 00:17:26.319
And that's not good enough. I mean, she is definitely,

313
00:17:27.079 --> 00:17:29.000
like it said, kind of the engine for a lot

314
00:17:29.119 --> 00:17:32.759
of the action in the thing in the film. And

315
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I think that if she had just been the girlfriend

316
00:17:36.880 --> 00:17:42.319
character or the grieving sister who then drops out of

317
00:17:42.359 --> 00:17:44.960
the movie after that scene, it would not have had

318
00:17:44.960 --> 00:17:47.839
the power it had. But for me, that that was

319
00:17:47.880 --> 00:17:49.640
it what's your take on that.

320
00:17:50.720 --> 00:17:54.160
She she's part of the glue that has to kind

321
00:17:54.160 --> 00:17:58.319
of put everything together. She pulls it out of pulls

322
00:17:58.359 --> 00:18:01.119
it out of Terry. You know, it's and like I said,

323
00:18:01.279 --> 00:18:03.720
it's got to be can't just be a pretty girl.

324
00:18:03.759 --> 00:18:07.720
I mean, luckily they got a not only a very

325
00:18:07.799 --> 00:18:13.559
beautiful woman, but a Stella Adler actor, studio trained, you know,

326
00:18:13.759 --> 00:18:16.880
actress who can you know, stand up with the best

327
00:18:16.880 --> 00:18:17.559
of those guys.

328
00:18:18.279 --> 00:18:20.559
So oh yeah, it's like it.

329
00:18:20.720 --> 00:18:24.200
Almost seems like it's a just a colorful girl part.

330
00:18:24.279 --> 00:18:26.039
It's not so much more than that.

331
00:18:26.240 --> 00:18:27.839
Right, Well, he said, if you took her out of

332
00:18:27.839 --> 00:18:30.240
the film, you would lose so many plot points or

333
00:18:30.400 --> 00:18:32.960
so many plot advancements because she I think she really

334
00:18:32.960 --> 00:18:37.240
does drive a lot of Terry's actions as well as

335
00:18:37.359 --> 00:18:42.039
Father Barry's. I'm going to mention as well. You probably read,

336
00:18:42.039 --> 00:18:46.200
but the scene with Edie and Terry where she drops

337
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her glove and he picks it up and is putting

338
00:18:48.160 --> 00:18:50.599
it on his hand and all that was not in

339
00:18:50.599 --> 00:18:54.160
the script and was something that occurred during a rehearsal.

340
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Brando continued the scene, both of them being method actors

341
00:18:58.400 --> 00:19:00.920
and studying it with the Schusberg and all that. He

342
00:19:01.000 --> 00:19:03.400
just kept going and picked it up, but rather than

343
00:19:03.440 --> 00:19:06.200
handed back, he was putting it on and fondling it

344
00:19:06.240 --> 00:19:09.119
and doing all this business. And she just went with it.

345
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And because Anne was so impressed with it that they

346
00:19:11.640 --> 00:19:14.920
ended up shooting shooting it that way even though it

347
00:19:14.960 --> 00:19:18.119
was not scripted. So uh yeah, but it's a lovely

348
00:19:18.200 --> 00:19:21.680
moment for those two characters that without dialogue, without even

349
00:19:22.240 --> 00:19:25.559
Schulberg's input, they were able to create more depth of

350
00:19:25.599 --> 00:19:27.920
their characters. I thought it was a lovely, lovely moment

351
00:19:27.960 --> 00:19:28.799
in the film.

352
00:19:29.319 --> 00:19:32.960
Yeah, and it it is one where kind of is

353
00:19:34.359 --> 00:19:37.599
uh not really the script, but it makes that scene

354
00:19:37.880 --> 00:19:41.279
so much better. And I liked that you have debunked

355
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the myth that it was while they were shooting that

356
00:19:45.200 --> 00:19:47.839
he put on the glove, you know, and it wasn't.

357
00:19:47.960 --> 00:19:51.640
It was during a rehearsal, and that's that The big

358
00:19:51.680 --> 00:19:53.880
myth is, Oh, it just happened why they were shooting,

359
00:19:53.880 --> 00:19:56.400
and it just happened like now, it happened during rehearsal,

360
00:19:56.880 --> 00:19:59.000
and then they they knew they were doing it the

361
00:19:59.039 --> 00:20:01.480
second time and people say no, no, no, watch how naturally

362
00:20:01.480 --> 00:20:03.359
they're like no, they're they're just that good.

363
00:20:04.160 --> 00:20:05.359
Yeah, exactly.

364
00:20:07.319 --> 00:20:09.599
Well, we're gonna take our second and final break. But

365
00:20:09.720 --> 00:20:12.119
when we get back, and when we come back, we're

366
00:20:12.119 --> 00:20:14.880
going to dive into act two and three of On

367
00:20:15.000 --> 00:20:18.000
the Waterfront. Welcome back to a script by we are

368
00:20:18.039 --> 00:20:23.279
talking on the Waterfront, and we're talking act two. As

369
00:20:23.319 --> 00:20:27.039
the story moves into Act two, Schulberg expands the understanding

370
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of the waterfront and the people who live there. One

371
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of the screenplay's greatest strengths is that even minor characters

372
00:20:33.640 --> 00:20:38.680
feel authentic. Characters like Pop Doyle, Ko Dugan, Tommy Collins,

373
00:20:38.839 --> 00:20:42.119
Moose and many others don't feel like movie characters. They

374
00:20:42.200 --> 00:20:46.559
feel like people Schuberg Schulberg actually met while researching the docks.

375
00:20:47.279 --> 00:20:49.960
Through these characters, we gain a deeper understanding of life

376
00:20:50.160 --> 00:20:54.279
as a long shortman, work is never guaranteed. Men gather

377
00:20:54.359 --> 00:20:56.920
at the Shape the Shape Up hoping to be selected for.

378
00:20:56.920 --> 00:20:58.119
A day's pay.

379
00:20:58.279 --> 00:21:01.400
Speaking out can cost you your livelyhood, and everyone understands

380
00:21:01.440 --> 00:21:05.839
that survival often means staying quiet. As Terry spends more

381
00:21:05.880 --> 00:21:08.160
time with Edie and Father Barry, his view of the

382
00:21:08.200 --> 00:21:12.240
waterfront begins to change. For perhaps the first time, he

383
00:21:12.319 --> 00:21:14.880
starts seeing the human cost of the corruption He's spent

384
00:21:15.039 --> 00:21:19.680
years accepting. The people suffering under Johnny Friendly's control are

385
00:21:19.759 --> 00:21:23.119
no longer strangers. They are the people he knows. Z

386
00:21:23.119 --> 00:21:27.519
Actuo progresses, the pressure begins to build from every direction.

387
00:21:28.359 --> 00:21:31.920
Edie challenges Terry's sense of right and wrong. Father Barry

388
00:21:31.960 --> 00:21:36.960
pushes him toward accountability. Johnny Friendly expects loyalty. Charlie wants

389
00:21:36.960 --> 00:21:41.680
to protect his brother while still serving the organization. Terry

390
00:21:41.720 --> 00:21:45.359
finds himself caught between two worlds, and it's becoming increasingly

391
00:21:45.440 --> 00:21:48.559
clear that he won't be able to remain loyal to both.

392
00:21:49.039 --> 00:21:51.799
By the end of Act two, the conflict is no

393
00:21:51.880 --> 00:21:55.519
longer simply about who killed Joey Doyle. It's about whether

394
00:21:55.640 --> 00:21:59.880
Terry molloy can continue living with himself if he remains silent.

395
00:22:00.960 --> 00:22:04.039
Act two is where the Waterfront stops feeling like a

396
00:22:04.039 --> 00:22:07.440
backdrop and starts feeling like a real community. Through characters

397
00:22:07.480 --> 00:22:12.680
like pop Ko, Father Berry, and Mutt, Schulberg shows us

398
00:22:12.680 --> 00:22:16.759
the human cost of corruption. Now, what part of the

399
00:22:16.759 --> 00:22:24.880
Waterfront world felt the most authentic and memorable to you.

400
00:22:23.039 --> 00:22:26.039
Well, the glib answer would be the background people that

401
00:22:26.079 --> 00:22:29.720
they actually pulled from, the people who were actually there,

402
00:22:29.720 --> 00:22:32.599
but that they did use a lot of non actors

403
00:22:32.799 --> 00:22:36.000
in those crowd scenes and things, which gave it a

404
00:22:36.079 --> 00:22:40.039
nice cinema veritary quality. But no, I just loved all

405
00:22:40.079 --> 00:22:42.799
the supporting characters because you know, God, I always say

406
00:22:42.799 --> 00:22:45.599
this about old films, God bless character actors. You know,

407
00:22:45.960 --> 00:22:49.119
in a line, in a shot, in a line, in

408
00:22:49.119 --> 00:22:53.440
this scene, their appearance, they waste their manner. They could

409
00:22:53.440 --> 00:22:56.519
give you this person's whole backstory and their whole whole

410
00:22:56.519 --> 00:22:59.920
thing without having to talk about it. You just knew,

411
00:23:00.200 --> 00:23:02.599
knew this guy. You know this guy, you know that woman,

412
00:23:02.720 --> 00:23:07.160
you know this beaten down you know longshoreman, whoever they are.

413
00:23:08.240 --> 00:23:10.960
And I love character actors, but and this is what

414
00:23:11.000 --> 00:23:13.839
I loved about this was you. I felt like, at

415
00:23:13.880 --> 00:23:15.599
any moment it could be like a you know, choose

416
00:23:15.640 --> 00:23:17.759
your own adventure thing, and you could have just followed

417
00:23:17.799 --> 00:23:20.640
another character because they were so vivid and real, even

418
00:23:20.640 --> 00:23:23.839
though they had bits of dialogue and were not essential

419
00:23:23.880 --> 00:23:27.359
to the through line of the plot with our trio

420
00:23:27.440 --> 00:23:29.839
of main characters and the brother and so on. But

421
00:23:30.960 --> 00:23:34.319
I just loved them. I thought they made it made

422
00:23:34.359 --> 00:23:36.720
it feel real, even though they were a bunch of

423
00:23:36.799 --> 00:23:40.480
fantactic character actors. About the only part of the film

424
00:23:40.519 --> 00:23:44.640
I did not like was in this sequence when the

425
00:23:45.640 --> 00:23:48.440
foreman is giving out the little coins or chips or

426
00:23:48.440 --> 00:23:50.519
whatever he's giving out for people so that they can

427
00:23:50.559 --> 00:23:53.359
have a shift that day. And that scened just for

428
00:23:53.400 --> 00:23:56.680
some reason, and it, you know, might have been completely

429
00:23:56.680 --> 00:23:59.200
what actually happens, but it just did not seem It

430
00:23:59.240 --> 00:24:01.920
seemed a little overwrought and a little contrived compared to

431
00:24:01.960 --> 00:24:05.839
everything else in the film. But but I just thought otherwise,

432
00:24:06.119 --> 00:24:10.480
everything about that just seemed completely real. And I did

433
00:24:10.480 --> 00:24:12.200
watch Sue a second time trying to see if I

434
00:24:12.200 --> 00:24:15.640
could pick out which were the actors and which were

435
00:24:16.119 --> 00:24:18.920
the extras. They just picked up on locations said come

436
00:24:19.279 --> 00:24:22.079
fill in the crowd, and it was these actors just

437
00:24:22.079 --> 00:24:25.920
blended right in so beautiful. Kao was great. I loved

438
00:24:26.039 --> 00:24:28.359
the actor who played Ko. He was just I want

439
00:24:28.440 --> 00:24:32.279
like a spinoff, you know, movie for him. But probably

440
00:24:32.319 --> 00:24:32.839
what happened.

441
00:24:32.839 --> 00:24:36.440
Now, now we're going to dig in to Act three,

442
00:24:36.839 --> 00:24:41.680
the pressure to choose. If Act one establishes Terry's guilt

443
00:24:41.960 --> 00:24:45.519
and Act two awakens his conscience, then Act three is

444
00:24:45.559 --> 00:24:50.160
where the pressure becomes impossible to ignore. By this point

445
00:24:50.160 --> 00:24:53.799
in the story. Everyone wants something from Terry. Edie wants

446
00:24:53.799 --> 00:24:56.200
the truth, Father Barry wants him to do what's right.

447
00:24:56.759 --> 00:24:59.119
Jimmy the Golden Warrior looks up to him and is

448
00:24:59.160 --> 00:25:03.599
it example, Charlie wants to protect him. Johnny Friendly demands loyalty.

449
00:25:04.039 --> 00:25:07.200
Every direction Terry turns, someone is pulling him toward a

450
00:25:07.200 --> 00:25:07.960
different future.

451
00:25:08.680 --> 00:25:08.839
Now.

452
00:25:08.880 --> 00:25:12.920
What makes Actory so effective is that Terry can no

453
00:25:13.000 --> 00:25:16.079
longer remain in the middle. Throughout the screenplay, he has

454
00:25:16.119 --> 00:25:19.079
tried to avoid choosing sides. He wants to keep his

455
00:25:19.119 --> 00:25:23.000
friendship with Johnny Friendly, maintain his relationship with Charlie, and

456
00:25:23.119 --> 00:25:26.039
still earn the respect of eating Edie and Father Barry,

457
00:25:26.759 --> 00:25:30.599
but the story has been steadily removing those options. The

458
00:25:30.680 --> 00:25:34.039
pressure reaches its breaking point in the famous taxicab scene

459
00:25:34.079 --> 00:25:37.720
between Terry and Charlie. While the scene is remembered for

460
00:25:37.799 --> 00:25:40.799
the I could Have been a Contender speech, its real

461
00:25:40.880 --> 00:25:44.400
purpose is forcing Terry to confront the truth for the

462
00:25:44.440 --> 00:25:48.680
first time. He openly acknowledges that what was taken from

463
00:25:48.759 --> 00:25:52.079
him and the role Charlie played in it. The scene

464
00:25:52.119 --> 00:25:55.319
marks the moment when Terry stops making excuses for the

465
00:25:55.319 --> 00:26:00.640
people around him. Charlie's death shortly afterward removes Terry's last

466
00:26:00.920 --> 00:26:06.039
connection to Johnny Frientley's organization. Any possibility of remaining neutral

467
00:26:06.319 --> 00:26:09.799
that disappears. The choice Terry has been avoiding for the

468
00:26:10.000 --> 00:26:13.480
entire film is now directly in front of him. The

469
00:26:13.599 --> 00:26:17.319
final act becomes a battle for Terry's soul. Will it

470
00:26:17.440 --> 00:26:20.920
continue protecting the system that has controlled his life, or

471
00:26:21.000 --> 00:26:24.039
will he finally stand up and tell the truth. By

472
00:26:24.079 --> 00:26:30.000
the film's conclusion, Terry chooses conscience over comfort, truth over loyalty,

473
00:26:30.279 --> 00:26:33.839
and self respect over fear. The final walk to the

474
00:26:33.839 --> 00:26:37.200
warehouse is more than a physical victory. It is the

475
00:26:37.240 --> 00:26:41.240
moment Terry molloy becomes the man Joey Doyle hoped The

476
00:26:41.279 --> 00:26:45.119
Waterfront could produce all along. That's what Act three is

477
00:26:45.119 --> 00:26:48.519
really about, not the testimony, not even the taxi scene.

478
00:26:49.000 --> 00:26:53.440
It's about Terry finally realizing that not choosing is itself

479
00:26:53.519 --> 00:26:58.039
a choice, and the screenplay systematically removes every place he

480
00:26:58.079 --> 00:27:01.680
can hide until he has to decide who he wants

481
00:27:01.720 --> 00:27:06.759
to be. Now, Act three is really about choice. Every

482
00:27:06.799 --> 00:27:11.000
major character is asking something of Terry, and eventually he

483
00:27:11.200 --> 00:27:13.200
has to decide who he wants to be.

484
00:27:14.359 --> 00:27:17.160
What do you think, what do you think.

485
00:27:17.799 --> 00:27:21.359
Ultimately is the one thing that broke the camel's back?

486
00:27:21.400 --> 00:27:23.720
What was the one that made it make his choice.

487
00:27:25.000 --> 00:27:27.279
I don't know if it broke the camel's back. But

488
00:27:27.480 --> 00:27:30.359
once again, I'm gonna go team eighty with this. I

489
00:27:30.400 --> 00:27:36.039
think for me, she is something different. She's a way out.

490
00:27:36.200 --> 00:27:39.519
She is not part of the masculine the world of

491
00:27:39.559 --> 00:27:43.000
the dogs. She's not in friendly its gangs, She's not involved.

492
00:27:43.000 --> 00:27:45.799
I mean, she's not part of Yes, her brother worked there,

493
00:27:45.839 --> 00:27:48.160
but she had not part of that world in the

494
00:27:48.240 --> 00:27:50.759
same way that all the rests of the characters have

495
00:27:50.759 --> 00:27:54.960
all these connections. I think it is no mistake that

496
00:27:55.039 --> 00:27:58.720
Shilberg made her basic basically the only female character in

497
00:27:58.759 --> 00:28:01.240
the film. I mean, there is the grieving mom in

498
00:28:01.279 --> 00:28:03.039
the beginning, and there's a few other women pop up

499
00:28:03.079 --> 00:28:07.000
here or there. But I think that that she is

500
00:28:07.079 --> 00:28:10.559
something that is not in that bubble on that dock.

501
00:28:10.759 --> 00:28:14.160
She is a way out for him. So he takes

502
00:28:14.160 --> 00:28:19.079
her advice to heed, and uh realizes that she's his

503
00:28:19.160 --> 00:28:24.319
only chance he needs to he needs to expand beyond

504
00:28:24.640 --> 00:28:27.240
just what he has been doing and the people he

505
00:28:27.279 --> 00:28:31.200
has been seeing. I don't know that if there was

506
00:28:31.319 --> 00:28:33.079
a you know, a sequel if they would be together.

507
00:28:33.319 --> 00:28:37.759
But I think that just as a symbol, she was

508
00:28:37.799 --> 00:28:40.279
just kind of like she's something different, She's a change,

509
00:28:40.480 --> 00:28:44.039
and that gave him the idea that maybe I could

510
00:28:44.079 --> 00:28:47.400
have that and not what I have had. That's my take.

511
00:28:48.119 --> 00:28:53.160
What and this one's just my curiosity question. What do

512
00:28:53.200 --> 00:28:56.599
you think in your mind happens the next day?

513
00:28:58.839 --> 00:29:01.759
I don't know, And that's one reason why it's a

514
00:29:01.759 --> 00:29:04.880
great film. I mean, you know, so many movies end

515
00:29:04.920 --> 00:29:08.599
with some kind of dramatic, fabulous thing that makes you

516
00:29:08.640 --> 00:29:11.599
want to stand up and cheer or cry or whatever

517
00:29:11.720 --> 00:29:15.480
that cathartic you know, emotion is. But yeah, there is

518
00:29:15.519 --> 00:29:19.000
always that question of what next, And yeah, I don't know.

519
00:29:19.119 --> 00:29:22.359
I mean, I I'm afraid that what would happen is

520
00:29:22.400 --> 00:29:25.759
that they would all just settle back, and we could

521
00:29:25.799 --> 00:29:27.519
come back ten years from now and it would be

522
00:29:28.240 --> 00:29:30.480
them all older. A few of the old Coots are

523
00:29:30.480 --> 00:29:32.920
dead now, you know, maybe there's a new mob Boston

524
00:29:33.000 --> 00:29:37.319
Town and nothing will have changed. That that is my belief.

525
00:29:37.440 --> 00:29:41.319
But I'm gonna want to believe that. You know, he

526
00:29:41.359 --> 00:29:44.519
and Needy, they don't move far. He stays on the docks,

527
00:29:44.519 --> 00:29:47.400
but he at least gets a little integrity, maybe gets

528
00:29:47.440 --> 00:29:52.079
some respect of his own. You know, that's my hope.

529
00:29:52.240 --> 00:29:54.519
But I had not really thought about it till you ask.

530
00:29:55.440 --> 00:29:58.240
I actually think the other way.

531
00:29:58.359 --> 00:30:02.880
If he doesn't go straight to witness protection, he's in

532
00:30:02.920 --> 00:30:05.079
that he's in the harbor the next day.

533
00:30:05.920 --> 00:30:07.880
Oh well, that that would also be dramatic.

534
00:30:09.400 --> 00:30:16.359
I honestly don't see him lasting very long. I just yeah,

535
00:30:16.519 --> 00:30:18.039
in my opinion, I was like, they're not going to

536
00:30:18.160 --> 00:30:20.720
let him just walk right back into work.

537
00:30:21.680 --> 00:30:24.119
But so many of the characters who had stakes in

538
00:30:24.200 --> 00:30:27.599
the whole death at the beginning of that we're no

539
00:30:27.680 --> 00:30:29.759
longer part of. I mean, they we're no longer around.

540
00:30:30.240 --> 00:30:33.960
They were either you know, turned in, they died. That

541
00:30:34.039 --> 00:30:37.759
whatever had happened, the the symptom had been shaken up

542
00:30:37.799 --> 00:30:39.480
a little bit. I mean, there were still people who

543
00:30:39.480 --> 00:30:42.200
are going to hold grudges and remember and take sides,

544
00:30:42.839 --> 00:30:46.839
but I feel like the the corrupt system that was

545
00:30:46.920 --> 00:30:50.559
kind of in place before was shaken enough that maybe

546
00:30:50.559 --> 00:30:54.440
it wouldn't snap back into place. One can come an optimist.

547
00:30:54.559 --> 00:30:56.079
I'm an optimistry of cestimist.

548
00:30:56.400 --> 00:31:01.640
There we go, Well, we have broken down all three

549
00:31:01.880 --> 00:31:06.039
acts of on the Waterfront. Now we're gonna go beyond

550
00:31:06.119 --> 00:31:09.039
the page, and our first section on Beyond the Page

551
00:31:09.119 --> 00:31:13.519
is foreshadowing symbols and setup. One of the reasons On

552
00:31:13.559 --> 00:31:17.119
the Waterfront continues to reward repeat viewings is the amount

553
00:31:17.160 --> 00:31:20.920
of setup in symbolism Bud Schulberg quietly plants throughout the screenplay.

554
00:31:21.440 --> 00:31:25.240
The most obvious. The most obvious example is Terry's pigeons.

555
00:31:25.720 --> 00:31:28.960
On the surface, they're simply a hobby, but they also

556
00:31:29.079 --> 00:31:34.759
represent freedom, innocence, loyalty, and the life Terry wishes he had.

557
00:31:35.119 --> 00:31:38.720
The rooftop becomes his sanctuary, a place removed from the

558
00:31:38.759 --> 00:31:42.400
corruption of the docks below. By the end of the script,

559
00:31:42.680 --> 00:31:47.079
the fate of the pigeons mirrors Terry's own journey. Another

560
00:31:47.160 --> 00:31:51.759
reoccurring figure is Mut, the homeless longshoreman who drifts in

561
00:31:51.839 --> 00:31:54.920
and out of the story. While he functions a little

562
00:31:54.920 --> 00:31:57.559
bit as comic relief, at times, he also serves a

563
00:31:57.599 --> 00:32:01.359
deeper purpose. Mutt is a constant reminder of what happens

564
00:32:01.359 --> 00:32:04.200
to people who are chewed up and discarded on the

565
00:32:04.240 --> 00:32:08.000
waterfront system. In many ways, he acts as Terry's conscience,

566
00:32:08.279 --> 00:32:09.400
appearing throughout.

567
00:32:09.039 --> 00:32:12.039
The story as Terry struggles with his own moral choices.

568
00:32:12.720 --> 00:32:16.920
Then there's Joey Doyle's jacket. After Joey's death, the jacket

569
00:32:16.960 --> 00:32:20.240
passes from character to character, almost like a physical symbol

570
00:32:20.279 --> 00:32:24.960
of its unfinished fight. Whether worn by Ko Dugan, Edie,

571
00:32:25.240 --> 00:32:28.839
or eventually Terry himself, the jacket serves as a reminder

572
00:32:28.880 --> 00:32:33.160
that Joey's quest for justice didn't die with him. Schulberg

573
00:32:33.200 --> 00:32:35.640
also plans one of the screenplay's most important ideas in

574
00:32:35.680 --> 00:32:39.960
the early conversations between Johnny, Friendly Charlie, and Terry. After

575
00:32:40.039 --> 00:32:44.279
giving Terry special treatment and on easy job, Charlie reminds him,

576
00:32:44.599 --> 00:32:47.440
you've got a real friend here, kid, don't forget it.

577
00:32:48.119 --> 00:32:52.400
Johnny responds, why should he forget it. It's a simple exchange,

578
00:32:52.519 --> 00:32:55.240
but it establishes the debt Terry feels.

579
00:32:55.240 --> 00:32:56.079
He owes Johnny.

580
00:32:56.519 --> 00:32:59.759
The rest of the screenplay is essentially Terry deciding whether

581
00:32:59.799 --> 00:33:04.839
that loyalty is worth the cost. Finally, Father Barry's redemption

582
00:33:05.359 --> 00:33:10.240
is quietly foreshadowed after Showy's death, when Edie challenges him

583
00:33:10.480 --> 00:33:13.839
for standing on the sidelines while violence and corruption continue unchecked.

584
00:33:14.359 --> 00:33:18.440
Barry has no real answer, but the accusation stays with him.

585
00:33:18.839 --> 00:33:21.960
It seems like a brief confrontation, and Act one eventually

586
00:33:22.039 --> 00:33:25.279
comes the foundation of Barry's transformation into one of the

587
00:33:25.279 --> 00:33:30.160
story's strongest moral voices. These details they seem small when

588
00:33:30.200 --> 00:33:33.559
they first appeal, but each one will pay off later

589
00:33:33.640 --> 00:33:37.079
in the screenplay. The reminders that great screenwriting isn't just

590
00:33:37.119 --> 00:33:40.839
about what happens next, It's about preparing the audience for

591
00:33:40.920 --> 00:33:41.960
what happens next.

592
00:33:43.240 --> 00:33:43.920
Looking back at.

593
00:33:43.880 --> 00:33:46.599
The screenplay as a whole, what piece of any of

594
00:33:46.599 --> 00:33:50.559
the foreshadowing and symbolism do you think Schulberg used most

595
00:33:50.880 --> 00:33:55.880
effectively The pigeons, the jacket, the father, Barry, or just

596
00:33:55.960 --> 00:33:57.359
any something else you saw.

597
00:33:58.319 --> 00:34:01.119
Well, I'm going to there is so much to choose from,

598
00:34:01.480 --> 00:34:03.839
which again it makes it such a dense fabric, and

599
00:34:04.119 --> 00:34:06.400
it is so rewarding because you can kind of follow

600
00:34:06.440 --> 00:34:10.559
different strands each time. But I think absolutely the pigeons,

601
00:34:10.639 --> 00:34:12.960
and I'm going to take your idea one step further.

602
00:34:13.000 --> 00:34:15.960
You were saying, oh, they represent freedom and and and

603
00:34:16.039 --> 00:34:19.360
you know, and and light and you know, air versus water.

604
00:34:19.440 --> 00:34:21.880
There's all these different things. But the thing about homing

605
00:34:21.920 --> 00:34:25.960
pigeons is they keep coming back to this where they left.

606
00:34:26.719 --> 00:34:29.800
They they're not free they're trained to come back and

607
00:34:30.079 --> 00:34:33.519
back back into their cage at the end of their flight.

608
00:34:34.000 --> 00:34:36.440
And I think that that is the symbolism, is that

609
00:34:36.440 --> 00:34:39.920
these homing pigeons, sure they can fly, but they are trapped.

610
00:34:40.000 --> 00:34:43.280
They basically are trapped in this cycle of fly free,

611
00:34:43.559 --> 00:34:46.880
do your little thing, but you come back and you

612
00:34:46.960 --> 00:34:49.519
get locked up in that cage again at the end.

613
00:34:49.599 --> 00:34:51.119
And I think that that, to me, is where the

614
00:34:51.119 --> 00:34:57.679
symbolism is so profound, and that's something that seems innocent,

615
00:34:58.119 --> 00:35:00.880
and you know, obviously pigeons and doves or symbols of

616
00:35:01.119 --> 00:35:03.800
peace as well, but seems so innocent, and that does

617
00:35:03.920 --> 00:35:07.079
end up causing this whole death. And this whole plot

618
00:35:08.239 --> 00:35:11.440
works off of the idea that Terry has been given

619
00:35:11.480 --> 00:35:13.639
this bird to try and get back to Joey and

620
00:35:13.679 --> 00:35:16.840
get Joey on the roof. But but no, I think

621
00:35:16.880 --> 00:35:21.320
absolutely the pigeons because because they oh, yeah, to go

622
00:35:21.400 --> 00:35:24.599
with your your bleak, your bleak sequel. The pigeons will

623
00:35:24.639 --> 00:35:26.360
wait for that because like I said that, they they

624
00:35:26.800 --> 00:35:28.800
they fly, fly fire, and they're free, and then they

625
00:35:28.840 --> 00:35:30.519
come right back and they are locked up in that

626
00:35:30.599 --> 00:35:35.440
cage again and uh, stuck there until some other opportunity

627
00:35:35.440 --> 00:35:39.440
comes along, which could be absolutely all of our characters stories.

628
00:35:40.239 --> 00:35:43.000
Yeah, and the whole thing of you know, singing like

629
00:35:43.079 --> 00:35:46.679
a pigeon, you know, by testifying and everything, and the

630
00:35:46.679 --> 00:35:50.280
way he talks about them, the way the way he's

631
00:35:50.280 --> 00:35:53.280
he goes from tough guy to sensitive.

632
00:35:54.119 --> 00:35:56.679
Uh, you know, like a father, you know.

633
00:35:57.039 --> 00:35:59.079
One of the things that don't don't put spill and

634
00:35:59.119 --> 00:36:02.679
Bill any water, because I want to catch cold very much,

635
00:36:02.880 --> 00:36:06.679
very parentcy very so. Yeah, I mean dead on the

636
00:36:07.000 --> 00:36:11.719
pigeons exactly. Well, let's go into dialogue and subtext. One

637
00:36:11.760 --> 00:36:13.559
of the things that makes On the Waterfront such a

638
00:36:13.599 --> 00:36:17.440
powerful screenplay is that Schulberg's dialogue is rarely just dialogue.

639
00:36:17.639 --> 00:36:22.800
Beneath almost every conversation is a deeper meaning about power, loyalty, fear,

640
00:36:23.000 --> 00:36:27.000
or conscience. One of the screenplay's most famous speeches comes

641
00:36:27.000 --> 00:36:29.320
from Father Barry after the death of k O Dugan.

642
00:36:29.840 --> 00:36:32.599
Standing in the ship's hold, he tails the workers. Some

643
00:36:32.719 --> 00:36:36.119
people think the crucifixion only takes took place on the cavalry.

644
00:36:36.400 --> 00:36:37.440
They better wise up.

645
00:36:38.119 --> 00:36:40.599
Barry then compares the deaths of Joey Doyle and Ko

646
00:36:40.719 --> 00:36:43.920
Dugan to modern day crucifixions on the surface. It's a

647
00:36:43.960 --> 00:36:46.920
religious speech, but beneath it, Barry is reframing the tires story.

648
00:36:47.119 --> 00:36:49.360
He's telling the workers that remaining silent the face the

649
00:36:49.360 --> 00:36:52.599
corruption is not simply a labor issue or a criminal issue.

650
00:36:52.760 --> 00:36:56.719
It's a moral issue. Schulberg also uses dialogue to reveal

651
00:36:56.719 --> 00:37:00.320
the system that controls the waterfront. Early in the SCLA,

652
00:37:00.679 --> 00:37:02.360
Johnny Freenly rewards.

653
00:37:02.000 --> 00:37:03.639
Terry with easy work.

654
00:37:03.440 --> 00:37:07.280
And special treatment. Another powerful moment comes when Father Barry

655
00:37:07.280 --> 00:37:10.559
tries to convince the long Shortman to testify the working

656
00:37:10.679 --> 00:37:13.920
editions are bad. They're bad because the mob does the hiring.

657
00:37:14.239 --> 00:37:16.360
The only way to break the mob is a stop

658
00:37:16.559 --> 00:37:20.119
letting them get away with murder. The logic is simple

659
00:37:20.159 --> 00:37:25.960
and direct, yet no one answers him that silence is.

660
00:37:25.880 --> 00:37:26.800
The real dialogue.

661
00:37:26.800 --> 00:37:31.239
In the scene, the workers understand exactly what Father Barry

662
00:37:31.280 --> 00:37:36.280
is saying, but fear prevents them from responding. Throughout the screenplay,

663
00:37:36.360 --> 00:37:39.599
Schulberg repeatedly shows that the greatest weapon John Ley Friendly

664
00:37:39.599 --> 00:37:44.039
possesses isn't violence, it's fear. The screenplay is filled with

665
00:37:44.159 --> 00:37:44.960
similar moments.

666
00:37:45.039 --> 00:37:47.400
Characters rarely say exactly what they mean.

667
00:37:47.800 --> 00:37:51.000
Terry and Charlie they use boxing to talk about betrayal.

668
00:37:51.760 --> 00:37:55.639
Johnny Franlely uses friendship to enforce control, Father Barry uses

669
00:37:55.679 --> 00:38:00.599
religion to challenge corruption. Even Edie's questions often fores terarity,

670
00:38:00.639 --> 00:38:04.159
confront truce he's trying to avoid. It's a reminder that

671
00:38:04.199 --> 00:38:08.280
great dialogue isn't simply memorable lines, it's the meaning hidden

672
00:38:08.360 --> 00:38:08.960
underneath them.

673
00:38:09.360 --> 00:38:11.320
A few screenwriters understood.

674
00:38:10.840 --> 00:38:16.119
Subtexts better than Schuelberg. When you think about on the

675
00:38:16.159 --> 00:38:20.119
dialogue and on the waterfront, which exchange or speech stands

676
00:38:20.119 --> 00:38:21.639
out the most to you? And what do you think

677
00:38:22.519 --> 00:38:25.760
he's he's really saying beneath the surface of the words.

678
00:38:26.480 --> 00:38:29.119
Well, you mentioned Father Barry's sermon, which was the first

679
00:38:29.159 --> 00:38:31.920
thing I thought of when when I heard the question.

680
00:38:32.559 --> 00:38:37.079
But Edie, I keep talking about D eighty eight has

681
00:38:37.119 --> 00:38:39.079
a lot of great lines. I love when she she

682
00:38:39.159 --> 00:38:41.280
asked them, isn't everybody part of somebody else?

683
00:38:42.519 --> 00:38:42.719
You know?

684
00:38:43.079 --> 00:38:46.360
And and she also has the great jab at Father

685
00:38:46.440 --> 00:38:48.679
Barry about well, was there ever a saying who hid

686
00:38:48.760 --> 00:38:52.559
in a church? She she has some kind of zingers

687
00:38:52.719 --> 00:38:59.599
and yeah, yeah, exactly yes. And I think that it's

688
00:38:59.639 --> 00:39:06.000
interesting because I feel like he he doesn't Schulberg doesn't

689
00:39:06.000 --> 00:39:08.239
write a lot of sub subtext. In my opinion, I

690
00:39:08.280 --> 00:39:12.360
feel like everybody is pretty earnest and pretty direct in

691
00:39:12.400 --> 00:39:14.599
what they're saying. I mean, some of the gangsters and

692
00:39:14.760 --> 00:39:16.920
and and tough guys kind of beat around the bush

693
00:39:16.960 --> 00:39:20.159
a little bit. Uh. They don't overtly threaten and stuff,

694
00:39:20.199 --> 00:39:23.599
but I think it is most of their dialogue is

695
00:39:23.639 --> 00:39:27.000
pretty straightforward, which I think gives it that realistic quality too,

696
00:39:27.719 --> 00:39:31.960
Unlike say Miller, if Arthur Miller's come through with this, Miller's.

697
00:39:32.000 --> 00:39:35.559
Miller's plays are very poetic, and the speech is not

698
00:39:35.880 --> 00:39:40.719
entirely naturalistic. It can be a little lofty. And these

699
00:39:40.760 --> 00:39:44.880
people almost nothing I heard sounded like it was written.

700
00:39:45.360 --> 00:39:47.840
It wasn't the writer going, oh that's a great line.

701
00:39:47.960 --> 00:39:50.039
I just I just that's a singer that's going to

702
00:39:50.079 --> 00:39:52.639
be in a five top hundred quotes. I mean, it

703
00:39:52.880 --> 00:39:57.119
just sounded like real people talking. So I think maybe

704
00:39:57.360 --> 00:40:05.079
for me, Schulberg's genie was writing reality and then clearly

705
00:40:05.639 --> 00:40:08.880
the subtext. The actors could play the subtext, but he

706
00:40:08.920 --> 00:40:12.800
didn't write write it that way. He wrote it very naturalistically,

707
00:40:12.840 --> 00:40:15.960
which is kind of different from from Tennessee Williams street

708
00:40:15.960 --> 00:40:18.559
Car Name Desire, where the language is Bowery and poetic,

709
00:40:19.039 --> 00:40:23.840
or Arthur Miller, who also got very wordy and very

710
00:40:24.920 --> 00:40:28.880
The metaphors is pouring out, and these guys are just everybody's.

711
00:40:28.960 --> 00:40:32.239
To me, seems like they're speaking very plainly. They may

712
00:40:32.280 --> 00:40:34.719
not be telling the truth or the whole truth, but

713
00:40:34.800 --> 00:40:40.199
that they The actual dialogue Schulberg wrote is very naturalistic

714
00:40:40.320 --> 00:40:44.119
and very believable, even though it may be working. What

715
00:40:44.159 --> 00:40:46.440
they're saying may be working against what the scene means

716
00:40:46.639 --> 00:40:47.840
or what is.

717
00:40:49.039 --> 00:40:52.920
All right, we're going to go page versus screen now.

718
00:40:53.000 --> 00:40:57.079
Unlike some classic movies that underwent massively rise steering production,

719
00:40:57.679 --> 00:40:59.679
Sholberg's script remains.

720
00:40:59.760 --> 00:41:00.679
Large ually intact.

721
00:41:00.800 --> 00:41:05.440
However, there are some several notable differences. The screenplay spends

722
00:41:05.480 --> 00:41:08.320
more time on Joey Doyle's death, we see the mechanics

723
00:41:08.320 --> 00:41:11.199
of the murder more clearly, and spend additional time with

724
00:41:11.360 --> 00:41:14.920
Joey trapped on the rooftop and the finish film. Becausean

725
00:41:15.039 --> 00:41:17.559
trims much of this material, the result is a sequence

726
00:41:17.559 --> 00:41:21.199
that feels so much faster and more suspenseful, and ultimately

727
00:41:21.480 --> 00:41:24.360
more powerful because it leads more to the audience's imagination.

728
00:41:25.320 --> 00:41:28.840
Charlie's death is another sequence that receives more attention on

729
00:41:28.880 --> 00:41:32.199
the page than it does on screen. The screenplay provides

730
00:41:32.239 --> 00:41:36.119
additional details surrounding the aftermath, while the film moves more

731
00:41:36.239 --> 00:41:40.840
quickly towards Terry's emotional reaction and the consequences of the murder.

732
00:41:41.199 --> 00:41:44.719
But the biggest difference between page and screen isn't found

733
00:41:44.719 --> 00:41:48.559
in what was cut. It's found in the performances. Perhaps

734
00:41:48.599 --> 00:41:52.400
the most famous example, as we talked earlier, is the

735
00:41:52.400 --> 00:41:56.800
glove scene. You know, that moment, not in the screenplay,

736
00:41:57.159 --> 00:42:00.559
but during rehearsal. You know, as we said before, is

737
00:42:00.599 --> 00:42:03.760
that you know that happened, and then they decided to

738
00:42:03.800 --> 00:42:08.960
film it, and now it's considered this memorable and intimate

739
00:42:09.000 --> 00:42:10.400
scenes in the entire movie.

740
00:42:10.480 --> 00:42:12.639
You know, the taxicab scene.

741
00:42:12.800 --> 00:42:16.400
Another example. You know, the words on the page are powerful,

742
00:42:16.440 --> 00:42:21.559
but what transformed it into the cinema's most famous moments

743
00:42:21.760 --> 00:42:27.519
is the performances. You know, Brando's hesitation, Steiger's reactions, the pauses,

744
00:42:27.719 --> 00:42:31.519
the body of language, and the emotion beneath the dialogue

745
00:42:32.079 --> 00:42:36.679
elevate the material, you know, beyond what can be captured

746
00:42:36.719 --> 00:42:40.639
on the page. But more than most screenplays we've discussed

747
00:42:40.760 --> 00:42:45.039
on a script by on the Waterfront feels like an

748
00:42:45.119 --> 00:42:49.639
actor's piece. You know, Schulberg provides the foundation, but the

749
00:42:49.639 --> 00:42:54.480
film reaches another level because I mean casign Kasemble, he

750
00:42:54.800 --> 00:42:58.639
assembled a cast cable of finding the humanity between the

751
00:42:58.679 --> 00:43:02.360
between the lines. I mean, the screenplays exceptional, but the

752
00:43:02.400 --> 00:43:06.760
performances are what make it, I guess, legendary. After reading

753
00:43:06.760 --> 00:43:09.920
the screenplay and watching the film, where do you think

754
00:43:10.039 --> 00:43:12.119
the performances add.

755
00:43:11.840 --> 00:43:15.000
More or the most to his writing?

756
00:43:15.639 --> 00:43:20.400
Was their particular scene that became something greater on the

757
00:43:20.400 --> 00:43:22.719
screen that it did appear on the page.

758
00:43:23.400 --> 00:43:27.000
I'm going to say all of it. Yeah, the performances

759
00:43:27.039 --> 00:43:31.360
just lifted it. I so wish that I could, you know,

760
00:43:32.519 --> 00:43:34.639
delete part of my brain. I would love to read

761
00:43:34.679 --> 00:43:38.239
the screenplay without having seen the movie and see what

762
00:43:38.320 --> 00:43:42.679
kind of impact it has because reading it afterward, what

763
00:43:42.800 --> 00:43:45.079
I was as I was reading, what I was remembering

764
00:43:45.079 --> 00:43:49.800
were the performances, not the dialogue, you know it was

765
00:43:49.880 --> 00:43:52.599
it was the cinematography. It was the whole, the whole thing.

766
00:43:52.920 --> 00:43:55.239
And you know, some screenplays you can read them. You

767
00:43:55.239 --> 00:43:57.199
get all the laughs, you get all the tears, It's

768
00:43:57.239 --> 00:44:00.199
all there on the page, in the dialogue, and in

769
00:44:00.280 --> 00:44:02.960
this several of the pages. I just try and kind

770
00:44:02.960 --> 00:44:05.800
of tune out the film and just kind of read

771
00:44:05.800 --> 00:44:08.119
through them, and they're just the kind of almost matter

772
00:44:08.159 --> 00:44:12.719
of fact exchanges that out of context and without the performances,

773
00:44:12.760 --> 00:44:15.400
it would would not be very interesting or even be

774
00:44:15.880 --> 00:44:22.119
maybe clear. But so the performances were to me elevated,

775
00:44:22.159 --> 00:44:25.039
all of it was. I was not surprised when I

776
00:44:25.119 --> 00:44:27.440
dug into Souldberg a little bit more. He didn't write

777
00:44:27.519 --> 00:44:30.840
very many screenplays, which I mean, if you're going to

778
00:44:30.880 --> 00:44:32.639
write only one, this is a good one to write.

779
00:44:33.159 --> 00:44:35.199
But uh, and he did a good job with it.

780
00:44:35.280 --> 00:44:39.239
But but he was not primarily a screenwriter like Billy

781
00:44:39.280 --> 00:44:41.679
Wilder or Ben Hecht or so many of them in

782
00:44:41.679 --> 00:44:46.239
that period. Who who were writers writers? Your comment, by

783
00:44:46.280 --> 00:44:49.599
the way, about the cutting at the beginning of the

784
00:44:49.599 --> 00:44:52.519
film with Joey's death or not not filming it, I

785
00:44:52.519 --> 00:44:56.000
should say, but being longer on the page. I was

786
00:44:56.239 --> 00:44:58.679
fantasizing when I was reading along and thinking about it.

787
00:44:58.960 --> 00:45:01.599
How you know, if if Hitchcock had done this film,

788
00:45:01.679 --> 00:45:07.840
it would have been like a fifteen minute segment following Joey, Joey, Joey, Joey, Joey,

789
00:45:08.320 --> 00:45:10.639
and then he would have been pushed off the building boom,

790
00:45:10.960 --> 00:45:13.559
there were our titles, camera or whatever, and you're like, what,

791
00:45:13.840 --> 00:45:15.920
like you would think you were watching the Joey story,

792
00:45:15.960 --> 00:45:18.119
and all of a sudden you did get shoved off

793
00:45:18.159 --> 00:45:20.760
a roof and we skid over to a completely other film.

794
00:45:20.800 --> 00:45:23.039
That would be the kind of perverse thing that Hitchcock

795
00:45:23.039 --> 00:45:26.400
would have done. So Kazan was smart to shorten that

796
00:45:26.480 --> 00:45:29.880
up because Joey was, to use Hitchcock's phrase, he was

797
00:45:30.000 --> 00:45:34.280
the what is Hitchcock's word, I'm banking out, not the

798
00:45:34.320 --> 00:45:39.280
red herring, the uh I'll think of it later. Hitchcock

799
00:45:40.159 --> 00:45:44.079
the mcguffin, the mcguffin. Joey with the mcguffin, he was

800
00:45:44.119 --> 00:45:46.400
the little the little thing you had to have to

801
00:45:46.440 --> 00:45:49.639
get the story moving. But Hitchcock would have made a

802
00:45:49.639 --> 00:45:54.159
meal of it and dragged it out far longer, and

803
00:45:55.199 --> 00:45:57.440
needed needed that to happen to get our story going.

804
00:45:57.480 --> 00:46:01.599
But at any rate, circling back to your actual question,

805
00:46:02.239 --> 00:46:05.800
I think that Schilberg it wrote a great screenplay. But

806
00:46:05.840 --> 00:46:08.400
I think that it is the performances as well as

807
00:46:08.760 --> 00:46:12.719
the cinematography and all of it that that every scene elevated.

808
00:46:12.719 --> 00:46:16.159
I don't think there's anything that I said, thought, well,

809
00:46:16.239 --> 00:46:19.480
this piece of paper is brilliant reading it. It was

810
00:46:19.599 --> 00:46:23.320
all it all came out. Whereas so many films, you

811
00:46:23.480 --> 00:46:27.760
read the script and you're getting the impact. I would

812
00:46:27.760 --> 00:46:29.960
not have gotten the impact if I'd read the screenplay first.

813
00:46:31.039 --> 00:46:34.159
I mean, I try to put myself in the producer's

814
00:46:34.280 --> 00:46:38.039
chair of Even if this screenplay came to me and

815
00:46:38.079 --> 00:46:40.480
I had the power to make it, what would what

816
00:46:40.519 --> 00:46:45.719
would I say? But I agree with you it I

817
00:46:45.760 --> 00:46:48.840
would say, you need movie stars for this. This isn't

818
00:46:48.880 --> 00:46:51.920
going to do a thing without movie stars. It was

819
00:46:51.960 --> 00:46:56.639
a movie star piece. But yeah, I mean it is

820
00:46:56.679 --> 00:47:00.639
a great story, but this kind of sorry. To get

821
00:47:00.679 --> 00:47:03.599
the attention that it got, it needed big stars.

822
00:47:03.679 --> 00:47:05.480
You know, it could have been a nothing.

823
00:47:05.519 --> 00:47:07.679
And yeah, like I said, I I did put in

824
00:47:07.760 --> 00:47:11.760
my little two b q uh the uh a face

825
00:47:11.800 --> 00:47:12.239
in the crowd.

826
00:47:12.280 --> 00:47:13.880
I heard that's a great movie.

827
00:47:13.960 --> 00:47:18.320
Always watched those like Criterion closets, and I always see.

828
00:47:18.159 --> 00:47:19.480
What other people like pick.

829
00:47:19.559 --> 00:47:23.039
And I think it was Carrie Ellis or no, it

830
00:47:23.119 --> 00:47:24.800
was Matthew Reese.

831
00:47:25.679 --> 00:47:26.719
Recently did one and.

832
00:47:26.679 --> 00:47:28.440
He said facing crowd, Bud Schuberg, And I was like,

833
00:47:28.480 --> 00:47:31.000
I'm just doing a thing about Joe Schuber, So it's on.

834
00:47:31.000 --> 00:47:35.199
My queue to watch. But yeah, yeah, not very much though.

835
00:47:35.840 --> 00:47:39.000
Now you talk about big stars. I mean, I think

836
00:47:39.039 --> 00:47:41.719
this movie introduced Deven Marie Saint didn't. It wasn't it her?

837
00:47:42.000 --> 00:47:43.679
This one did? Yes, this one.

838
00:47:43.920 --> 00:47:46.280
Nda was known from Streetcar and he done I think

839
00:47:46.320 --> 00:47:49.599
if he visited pot or something else. But but I

840
00:47:49.599 --> 00:47:51.760
mean he was. He was definitely a star because of

841
00:47:51.800 --> 00:47:53.960
all the attention, because he would bring in the method

842
00:47:54.039 --> 00:47:57.280
to movies and no one else mumbled before him on screen.

843
00:47:57.320 --> 00:48:00.920
You know. But I don't think is like a star

844
00:48:01.039 --> 00:48:05.360
studied movie. It is from today's standpoint because some of

845
00:48:05.400 --> 00:48:09.760
the later careers of some of these performers, but especially

846
00:48:09.800 --> 00:48:16.119
for the average filmgoer, they would say what stars like

847
00:48:16.280 --> 00:48:20.079
Carl Malder he liked the American Express commercial guy, and

848
00:48:20.199 --> 00:48:22.480
like even Marie's saying I never heard of her, you know,

849
00:48:22.519 --> 00:48:25.239
I mean because she had to just short career comparatively.

850
00:48:25.519 --> 00:48:27.719
So I don't know, I don't think this is a

851
00:48:27.800 --> 00:48:32.039
star studied is I mean performance wise? Yes?

852
00:48:32.079 --> 00:48:34.599
Well, I mean I think like they didn't want.

853
00:48:35.119 --> 00:48:38.199
Door's Day and you know, well, yeah he was, he

854
00:48:38.320 --> 00:48:40.280
was the star. But I think after that, we go he.

855
00:48:40.280 --> 00:48:41.719
Didn't want to be. He didn't want to do it.

856
00:48:42.760 --> 00:48:45.599
He didn't want to do it, and then goes pal,

857
00:48:45.880 --> 00:48:49.239
I made you a movie star. You are famous and

858
00:48:49.360 --> 00:48:54.119
rich because of me. So now now we're going to

859
00:48:54.159 --> 00:48:58.199
get into what an opinion I feel is the moment

860
00:48:58.239 --> 00:49:01.320
that defines the script. Now, like we said before, when

861
00:49:01.320 --> 00:49:03.480
most people think of on the Waterfront, they think of

862
00:49:03.519 --> 00:49:07.320
the famous taxi cab scene and Marlon Brando's heartbreaking line

863
00:49:07.360 --> 00:49:10.480
I could have been a contender. There's no question it's

864
00:49:10.519 --> 00:49:13.440
one of the greatest scenes ever filmed. It reveals Terry's regret,

865
00:49:13.760 --> 00:49:17.039
his lost potential, and the betrayal he feels toward Charlie

866
00:49:17.079 --> 00:49:20.360
and Johnny Friendly. In many ways, it explains how Terry

867
00:49:20.400 --> 00:49:22.639
became the man we meet at the beginning of the story.

868
00:49:23.199 --> 00:49:26.440
But if we're talking about the moment that best defines

869
00:49:26.480 --> 00:49:30.039
Bud Schulberg's screenplay, I really think the answer is Father

870
00:49:30.159 --> 00:49:34.559
Barry's crucifixion speech. We talked about it before, but following

871
00:49:34.599 --> 00:49:37.159
the death of Koe Dugan, Father Barry stands before the

872
00:49:37.159 --> 00:49:40.920
Long Shortman and declares, some people think the crucifixion only

873
00:49:40.920 --> 00:49:42.079
took place on.

874
00:49:42.000 --> 00:49:44.000
Calvary, they better wise up.

875
00:49:45.599 --> 00:49:48.119
He goes on to compare those desks to the modern

876
00:49:48.199 --> 00:49:50.960
day crucifixions, arguing that every time a good man is

877
00:49:51.000 --> 00:49:54.480
silenced for doing the right thing, another crucifixion takes place.

878
00:49:55.360 --> 00:49:58.920
What makes this scene so powerful isn't that It is

879
00:49:58.960 --> 00:50:02.400
that it isn't just about Ko or Joey. It's about

880
00:50:02.440 --> 00:50:07.039
the entire waterfront. In a single speech, Schulberg lays out

881
00:50:07.079 --> 00:50:10.840
the central conflict of the story. The problem isn't simply

882
00:50:10.920 --> 00:50:15.000
Johnny Friendly. The problem is fear. The problem is silence.

883
00:50:15.159 --> 00:50:18.440
The problem is a system where ordinary people know the

884
00:50:18.480 --> 00:50:22.360
truth but are too frightened to speak out. Father Barry

885
00:50:22.360 --> 00:50:26.400
reframes the story from a labor dispute into a moral struggle.

886
00:50:26.679 --> 00:50:30.719
He's telling the workers and the audience that neutrality is

887
00:50:31.039 --> 00:50:34.480
no longer an option. The famous taxi scene tells us

888
00:50:34.480 --> 00:50:38.920
who Terry Molloy is. The crucifixion speech tells us what

889
00:50:39.159 --> 00:50:41.679
on the Waterfront is about. It's the moment where the

890
00:50:41.679 --> 00:50:45.960
screenplay stops being a story about one man and becomes

891
00:50:45.960 --> 00:50:49.679
a story about an entire community tracked by corruption, fear

892
00:50:49.800 --> 00:50:53.280
in the cost of remaining silent. More than any other

893
00:50:53.320 --> 00:50:56.079
scene in the film, I feel it captures the themes

894
00:50:56.199 --> 00:50:59.920
the ideas and the moral questions Schulberg was trying to explore.

895
00:51:00.599 --> 00:51:04.280
That's why for me, Father Barry's crucifixion speech is the

896
00:51:04.280 --> 00:51:06.400
moment that defines the script.

897
00:51:07.559 --> 00:51:08.599
If someone had.

898
00:51:08.599 --> 00:51:10.800
Never seen on the Waterfront and you could only show

899
00:51:10.840 --> 00:51:14.440
them one scene to explain why the screenplay is considered

900
00:51:14.480 --> 00:51:16.679
such a classic, which one would you choose?

901
00:51:18.280 --> 00:51:21.679
Well, you picked mine for most of the same reasons.

902
00:51:21.719 --> 00:51:24.079
You were a little more eloquent than I was in

903
00:51:24.119 --> 00:51:27.039
my notes. But yeah, absolutely that scene. If you want

904
00:51:27.039 --> 00:51:30.440
to show a scene about acting, you show the taxicab scene.

905
00:51:30.440 --> 00:51:35.039
But if you want to show a scene about this movie,

906
00:51:35.400 --> 00:51:39.800
you show Father Barry's sermon. It is just astounding. And

907
00:51:39.920 --> 00:51:46.599
I always love when directors will give it a person

908
00:51:46.679 --> 00:51:49.800
a close up or a medium shot and let them

909
00:51:49.840 --> 00:51:52.400
talk for what seems like five minutes I'm sure it

910
00:51:52.480 --> 00:51:56.480
is not, and just holds on them. It is so powerful,

911
00:51:56.480 --> 00:51:58.559
and so often the impulse is to cut away and

912
00:51:58.599 --> 00:52:04.159
do this and that. Yeah, that is definitely the thematic

913
00:52:04.199 --> 00:52:08.239
part of the film. It's one of the high highlights

914
00:52:08.239 --> 00:52:12.039
of the film watching it to the viewer. But Contender

915
00:52:12.119 --> 00:52:14.000
is a great acting lesson that you can watch it

916
00:52:14.039 --> 00:52:18.320
out of context because and yet you know, but this

917
00:52:18.599 --> 00:52:21.840
is like the tent poles. It holds up the whole film.

918
00:52:21.840 --> 00:52:24.920
It's his sermon, so complete agreement with you there?

919
00:52:25.519 --> 00:52:29.480
Nice, all right, We're moving on to legacy and lessons,

920
00:52:30.440 --> 00:52:33.440
and more than seventy years after its release, On the

921
00:52:33.480 --> 00:52:36.519
Waterfront remains one of the most influential screenplays ever written.

922
00:52:36.920 --> 00:52:40.320
The film was a massive success, winning eight Academy Awards,

923
00:52:40.320 --> 00:52:44.079
including Best Picture, Best Director for Elia Kazan, Best Actor

924
00:52:44.119 --> 00:52:46.400
from one of the Brando, Best Supporting Actors for Even

925
00:52:46.400 --> 00:52:51.000
Mary Saint, Best Story and Screenplay for Bud Schulberg. It

926
00:52:51.079 --> 00:52:55.000
received twelve nominations in total and quickly established established itself

927
00:52:55.000 --> 00:52:57.679
as one of the defining films in the nineteen fifties.

928
00:52:58.440 --> 00:53:01.960
Over the decades, On the Waterfron has continued to earn recognition.

929
00:53:02.440 --> 00:53:05.480
The film was selected for the Preservation in the National

930
00:53:05.480 --> 00:53:08.159
Film Registry by the Library of Congress and remains a

931
00:53:08.280 --> 00:53:12.360
fixture on the lists of the greatest American films ever made.

932
00:53:12.519 --> 00:53:15.639
In the American Film Institute's original nineteen ninety eight lists

933
00:53:15.679 --> 00:53:18.639
of the one hundred Greatest American Films, it is ranked

934
00:53:18.719 --> 00:53:19.480
as number eight.

935
00:53:19.519 --> 00:53:21.079
So I was right, one of.

936
00:53:21.039 --> 00:53:25.679
The most important, but Sir, but the screenplay's legacy goes

937
00:53:25.719 --> 00:53:28.639
beyond awards. One of the most important lessons modern writers

938
00:53:28.639 --> 00:53:33.039
can learn from Schulberg is the power of authenticity. Rather

939
00:53:33.079 --> 00:53:36.639
than inventing a world from scratch, he immersed himself in

940
00:53:36.719 --> 00:53:42.119
the immersed himself in the lives of real long shortmen, priests, investigators,

941
00:53:42.360 --> 00:53:47.360
and waterfront residents. The result is a screenplay filled with characters, dialogue,

942
00:53:47.400 --> 00:53:48.960
and situations that feel.

943
00:53:49.039 --> 00:53:50.719
Lived in believable.

944
00:53:51.239 --> 00:53:55.400
Another lesson is the importance of moral conflict. Terry Malloy's

945
00:53:55.440 --> 00:53:59.280
journey isn't driven by external action alone. The real battle

946
00:53:59.320 --> 00:54:03.800
takes place inside him. The screenplay also demonstrates the power

947
00:54:03.840 --> 00:54:08.440
of supporting characters. Joey, Doyle, Ko Dugan, Pop Doyle, Mutt, Father, Barry,

948
00:54:08.480 --> 00:54:13.559
and Charlie all contribute to Terry's transformation. That's why the

949
00:54:13.559 --> 00:54:17.199
screenplay continues to resonate decades later. The setting may be

950
00:54:17.320 --> 00:54:20.079
specific to the New York waterfront of the nineteen fifties,

951
00:54:20.119 --> 00:54:25.280
but the question it asks about loyalty, responsibility, and conscience

952
00:54:25.519 --> 00:54:29.760
remain timeless. One of the screenplay's more subtle ideas is

953
00:54:29.800 --> 00:54:33.159
the corruption is systematic. Johnny Friendly may be the face

954
00:54:33.199 --> 00:54:36.880
of the waterfront racket, but they reference this mister Upstairs

955
00:54:37.639 --> 00:54:42.079
reminds us that real power after remains hidden. Is it

956
00:54:42.119 --> 00:54:44.840
a theme that still resonates with today?

957
00:54:45.239 --> 00:54:45.719
Do you think?

958
00:54:47.119 --> 00:54:52.440
Well, absolutely, if this was an episode of a headline

959
00:54:52.480 --> 00:54:54.719
by I would have a great deal to say about this,

960
00:54:54.840 --> 00:54:58.639
because I feel like we are absolutely living in times

961
00:54:58.679 --> 00:55:03.159
that are the real power is hidden in their corruption everywhere.

962
00:55:03.239 --> 00:55:05.400
I'll just leave it at that. I do have to

963
00:55:05.400 --> 00:55:09.039
say though, that I in this film, I mean, there's

964
00:55:09.079 --> 00:55:12.480
it's so powerful, and there's so many uh kind of

965
00:55:13.440 --> 00:55:18.840
just overwhelming moments of emotion and surprise and discussed. But

966
00:55:19.119 --> 00:55:21.719
when they mentioned mister Upstairs for the first time and

967
00:55:21.800 --> 00:55:23.679
you know that friendly just to Cog and there's this

968
00:55:23.760 --> 00:55:26.760
mister Uptairs, it was chilling, Like I, you know, I

969
00:55:26.800 --> 00:55:30.000
was like so caught up in this this web of

970
00:55:30.039 --> 00:55:34.400
this corrupt system they had here and to know that

971
00:55:34.480 --> 00:55:37.159
this was just you know, one little part of this

972
00:55:37.480 --> 00:55:40.519
larger operation it kind of it was it was it

973
00:55:40.559 --> 00:55:42.960
was chilling. It was like wow, and like one sentence

974
00:55:43.039 --> 00:55:45.920
you just kind of cracked open this movie to me

975
00:55:46.000 --> 00:55:48.159
to make it see like, oh, this is not just

976
00:55:48.199 --> 00:55:51.079
happening down on Peer thirty seven. This is probably happening

977
00:55:51.360 --> 00:55:53.800
in the whole borough, you know, or the whole city.

978
00:55:54.639 --> 00:55:58.440
And that was that was rough. But yeah, you know,

979
00:55:58.440 --> 00:56:01.079
what do they say, absolute power corrupt, absolutely, And I

980
00:56:01.119 --> 00:56:03.360
think that it was true in the nineteen fifties and

981
00:56:03.400 --> 00:56:06.119
here it is true in twenty twenty six as well.

982
00:56:06.199 --> 00:56:11.760
Exactly Well, as we do every episode, I like to

983
00:56:11.800 --> 00:56:14.639
pick out a companion, pick something that we feel goes

984
00:56:14.679 --> 00:56:17.559
along with the screenplay we're talking about, whether it be

985
00:56:17.599 --> 00:56:20.440
a movie, a piece of music, a book, or whatever.

986
00:56:21.039 --> 00:56:25.960
I have picked another film. It is actually the film

987
00:56:26.320 --> 00:56:31.320
One Eyed Jacks, the only film directed by Marlon Brando,

988
00:56:31.519 --> 00:56:37.639
starring himself and Carl Malton. Very kind of similar struggles

989
00:56:37.880 --> 00:56:41.960
between this film and On the Waterfront, one of the

990
00:56:42.039 --> 00:56:46.719
last westerns made in that Hollywood kind of john Ford.

991
00:56:47.159 --> 00:56:51.480
Western, you know, very beautiful type of.

992
00:56:51.440 --> 00:56:54.320
Landscapes, big long shots, you know, kind of that slow pacing.

993
00:56:54.559 --> 00:56:57.559
It's like that, but I mean originally and it kind

994
00:56:57.559 --> 00:57:00.880
of ties into next week's episode, is a month's episode

995
00:57:00.880 --> 00:57:04.000
as well. But check if you've never seen One Eyed Jacks,

996
00:57:04.280 --> 00:57:04.960
really give.

997
00:57:04.840 --> 00:57:05.400
It a chance.

998
00:57:05.559 --> 00:57:09.800
It's he directs it really well, and obviously he uses

999
00:57:09.960 --> 00:57:13.480
people he knows, you know, because you know, you learn.

1000
00:57:13.280 --> 00:57:16.679
From the best. Robert, what kind of a companion pick

1001
00:57:16.719 --> 00:57:17.440
do you have for us?

1002
00:57:18.679 --> 00:57:20.320
Before I go into that, I do have to give

1003
00:57:20.360 --> 00:57:24.719
pray to Carl Malton. Holy cow, what an actor. Oh yeah,

1004
00:57:24.719 --> 00:57:27.960
it's so easy, especially if you're of a certain age,

1005
00:57:28.079 --> 00:57:31.360
to maybe only know him from the streets of San Francisco,

1006
00:57:31.480 --> 00:57:34.320
where he was co starred with the young Michael Douglas

1007
00:57:34.960 --> 00:57:38.920
and they were cops in San Francisco for a dozen seasons,

1008
00:57:38.920 --> 00:57:42.559
it seemed like, and it was a dumb police show,

1009
00:57:42.599 --> 00:57:46.079
I mean, and then he did some cheesy commercials. But

1010
00:57:46.159 --> 00:57:48.880
my gosh, in the nineteen fifties, he was in Streetcar,

1011
00:57:49.039 --> 00:57:51.519
he was in this film, he was in Gypsy, he

1012
00:57:51.559 --> 00:57:54.119
was in a musical. I mean, for Heaven's sakes, he

1013
00:57:54.239 --> 00:57:58.400
was doing all kinds of amazing work. And I think

1014
00:57:58.400 --> 00:58:00.920
if audiences think of him at all now, and I

1015
00:58:00.920 --> 00:58:03.559
don't know that he's one that most people think of,

1016
00:58:04.000 --> 00:58:06.719
but they associate him with with kind of a bad

1017
00:58:06.760 --> 00:58:09.719
cop show from the seventies, And that's the disappointing because gosh,

1018
00:58:09.840 --> 00:58:10.840
he played career, he had.

1019
00:58:11.119 --> 00:58:13.960
He plays a great bandit in One Eyed Jack's Carl Mauldon,

1020
00:58:14.119 --> 00:58:17.719
the father Barry plays a great bad guy.

1021
00:58:17.760 --> 00:58:19.480
I have not seen that one, so I'm going to

1022
00:58:19.519 --> 00:58:21.280
I'm going to look that up. I'm going to add that.

1023
00:58:21.360 --> 00:58:25.719
So thanks for the recommendation. My companion pick was was

1024
00:58:25.760 --> 00:58:27.719
super easy for me. It just came to me like that.

1025
00:58:28.440 --> 00:58:31.400
I'm going to say Tom waits nineteen eighty five album

1026
00:58:31.559 --> 00:58:35.639
rain Dogs, which I will parent, was a stiff belt

1027
00:58:35.719 --> 00:58:40.719
of whiskey. Tom Waits is gritty and and I kind

1028
00:58:40.719 --> 00:58:44.039
of classic. He's one of my favorite singer songwriters.

1029
00:58:44.360 --> 00:58:45.800
But this whole.

1030
00:58:45.639 --> 00:58:48.119
Album is set almost in that same milia as as

1031
00:58:48.440 --> 00:58:52.719
the film. There's long shorremen and docs and and and

1032
00:58:52.920 --> 00:58:56.480
mysteries and uh, it's It's not a not a concept

1033
00:58:56.519 --> 00:59:00.440
album per se. It is a rock album or pop album.

1034
00:59:00.719 --> 00:59:04.880
He kind of falls between, but it fits this like

1035
00:59:04.880 --> 00:59:07.760
like even Marie Sage's Glove it is. It's a great

1036
00:59:07.960 --> 00:59:10.599
uh great pairing, I think. So if you haven't listened

1037
00:59:10.599 --> 00:59:13.880
to rain Dogs film fans, watch on the Waterfront, listen

1038
00:59:13.880 --> 00:59:16.239
to Tom Wade's rain Dogs. The whiskey is optional, but

1039
00:59:16.559 --> 00:59:17.119
I like it.

1040
00:59:18.400 --> 00:59:21.679
That's a great pick and our first music pick too.

1041
00:59:22.800 --> 00:59:23.440
That's awesome.

1042
00:59:23.639 --> 00:59:26.400
I love that you're bringing all like left you know,

1043
00:59:26.559 --> 00:59:27.920
left field stuff I love.

1044
00:59:27.719 --> 00:59:30.920
It that that's what people come to a spect for me,

1045
00:59:31.000 --> 00:59:31.920
so I try.

1046
00:59:31.719 --> 00:59:33.559
And deliver awesome.

1047
00:59:34.440 --> 00:59:37.360
Well, that is going to be a wrap on On

1048
00:59:37.480 --> 00:59:42.360
the Waterfront a screenplay by Bud Schulberg, a script that

1049
00:59:42.440 --> 00:59:45.679
takes a simple crime story and transforms it into something much,

1050
00:59:45.800 --> 00:59:49.159
much bigger, a story about loyalty, guilt, redemption, and the

1051
00:59:49.199 --> 00:59:52.239
courage to stand up for what's right when everyone.

1052
00:59:51.840 --> 00:59:54.360
Around you is telling you to stay silent.

1053
00:59:55.239 --> 00:59:57.599
What makes On the Waterfront endor isn't just as iconic

1054
00:59:57.639 --> 01:00:00.440
performance as or memborable dialogue. It's the human nity at

1055
01:00:00.440 --> 01:00:03.360
the center of the story. Through Terry molloy, father, Barry,

1056
01:00:03.639 --> 01:00:06.360
Edie Doyle, and the people on the Waterfront, Schulberg created

1057
01:00:06.400 --> 01:00:10.679
a screenplay that asked difficult questions about conscience, responsibility, and

1058
01:00:10.719 --> 01:00:13.719
the price of doing the right thing. More than seventy

1059
01:00:13.800 --> 01:00:17.920
years later, those questions still resonate, and that's what make

1060
01:00:18.039 --> 01:00:20.440
it makes it work. It's not just a story about

1061
01:00:20.480 --> 01:00:23.039
corruption on the docks. It's a story about finding the

1062
01:00:23.079 --> 01:00:28.000
courage to choose who you want to be. Robert, what's

1063
01:00:28.039 --> 01:00:31.639
coming up for you? Any appearances? Where can people hear

1064
01:00:31.679 --> 01:00:32.119
from you?

1065
01:00:32.360 --> 01:00:34.119
I don't know if you wanted to talk about your business.

1066
01:00:34.199 --> 01:00:35.400
I think it's great.

1067
01:00:35.880 --> 01:00:37.599
I will tell you lots of things, but I did

1068
01:00:37.639 --> 01:00:41.159
want to call out one thing I'll be celebrating only

1069
01:00:41.280 --> 01:00:44.880
fourth besides Independent Day is even Marie Saint, who is

1070
01:00:44.920 --> 01:00:47.159
still alive and still with us and will be one

1071
01:00:47.280 --> 01:00:50.760
hundred and two years old only fourth of this year.

1072
01:00:51.719 --> 01:00:55.199
Amazing at any rate. But no, beyond that, I am

1073
01:00:55.280 --> 01:00:59.199
often on the Docking Base seventy seven podcast. I show

1074
01:00:59.320 --> 01:01:02.880
up a lot on movie episodes, Disney episodes, and just

1075
01:01:03.000 --> 01:01:05.800
kind of here and there coming up. We've got a

1076
01:01:05.800 --> 01:01:07.880
bunch of fun ones coming down the road. We're doing

1077
01:01:07.880 --> 01:01:12.199
a series on movies that feature sword fighting, so we'll

1078
01:01:12.199 --> 01:01:15.280
be doing Princess Book, which is a popular one, very soon.

1079
01:01:16.000 --> 01:01:20.039
So that was fun. Yeah, it's carry Alis. You mentioned

1080
01:01:20.119 --> 01:01:23.239
him earlier here here he pops up again. And then

1081
01:01:23.519 --> 01:01:25.360
beyond that, Yeah, my husband and I have a dog

1082
01:01:25.400 --> 01:01:28.159
treat business called may Roman Co Dog Treat Bakery, and

1083
01:01:28.559 --> 01:01:32.519
we sell wholesale and all around town here in Cincinnati

1084
01:01:32.559 --> 01:01:35.920
where I'm based. So that keeps us busy and surrounded

1085
01:01:35.920 --> 01:01:37.639
by dogs, which makes me very happy.

1086
01:01:38.719 --> 01:01:39.920
I love that.

1087
01:01:39.920 --> 01:01:43.079
That's the one thing right now is that my dog

1088
01:01:43.199 --> 01:01:44.000
is out of town.

1089
01:01:44.119 --> 01:01:47.719
And she better just welcome me with open pause. When

1090
01:01:47.719 --> 01:01:49.159
I see her in a few days.

1091
01:01:49.760 --> 01:01:51.840
I keep feeling like I hear her, though I keep

1092
01:01:51.880 --> 01:01:55.079
i's she's not here, but I feel like I hear.

1093
01:01:55.280 --> 01:01:57.480
But that's awesome. I think that is your business is

1094
01:01:57.519 --> 01:02:02.559
so cool. Well, next time on a Script By, We're

1095
01:02:02.599 --> 01:02:06.079
trading the waterfront for the war Room. We'll be diving

1096
01:02:06.079 --> 01:02:09.159
into Doctor Strangelove or How I Learned to Stop Worrying

1097
01:02:09.199 --> 01:02:13.199
and Love the Bomb screenplay by Stanley Kubrick, Terry Southern,

1098
01:02:13.239 --> 01:02:17.039
and Peter George, a brilliant political satire that transformed a

1099
01:02:17.159 --> 01:02:20.039
terrifying Cold War thriller into one of the funniest and

1100
01:02:20.079 --> 01:02:24.159
most influential comedies ever written. That's Next Time on a

1101
01:02:24.159 --> 01:02:27.679
Film By presents a script Buy. Make sure you keep

1102
01:02:27.760 --> 01:02:30.199
up with a film Buy, with new episodes dropping every

1103
01:02:30.280 --> 01:02:33.800
Monday and a continuing Star Trek series Phasers Set the

1104
01:02:33.840 --> 01:02:38.519
Stun every Wednesday. You can also find us on YouTube, Instagram, Facebook,

1105
01:02:38.639 --> 01:02:41.280
and x Be sure to visit the official site at

1106
01:02:41.480 --> 01:02:45.800
www afilm by podcast dot com and email us at

1107
01:02:45.800 --> 01:02:47.360
a film By Podcast at.

1108
01:02:47.199 --> 01:02:48.239
Gmail dot com.

1109
01:02:48.360 --> 01:02:51.920
We love hearing from you, sharing opinions, taking requests, and

1110
01:02:51.960 --> 01:02:55.679
debating great movies. Until then, I am Brad Kozo. And

1111
01:02:55.840 --> 01:02:59.360
remember every great film begins with great scripts.