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It's very difficult to keep the line between the past and the present.

Do you believe that someone out of the past can enter and take possession of a living

we may be true with the past but the past is not through with us.

Welcome to the next picture show, a movie of the week podcast devoted to a classic film

and how it shaped our thoughts on a recent release. I'm Keith Phipps here with Genevieve Koski and Scott Tobias. Tasha Robinson is not here this week but has been spotted in the wilds of Bolivia. Here on the next picture show, we believe that no film exists in a vacuum and that all culture is more interesting in context. So every week, we get together to talk over a classic film and consider how it relates to a current movie. This week, we're contemplating how much dynamite we need to get into one of those newfangled safes. Scott, got it figured out yet? I'm thinking just a little more. A little more it is then. While you're at it, can you tell us what film we'll be covering this week? Well, for our next two episodes, we'll be looking at films from opposite ends of Robert

Redford's career, but united by more than just their star.

The first is the first of two team-ups between Redford and Paul Newman, both in films

directed by George Roy Hill in which they played partners in crime.

We might get to the 1973 film The Sting one of these days, but today we'll be discussing

1969's Butch Cassidy and the Sundance Kid, in which Redford plays the Sundance Kid,

the right-hand man to Butch Cassidy, head of the hole-in-the-wall gang. A man of few words,

in contrast to Newman's Cassidy, he rides alongside his partner in the waning days of the Old

West. Scripted by William Goldman, it's a lighthearted film with a deep strain of melancholy, a tale of men who've come to realize they're running out of time. Then, next week we'll discuss David Lowry's new movie, The Old Man in the Gun, which may be Redford's final role, but even if it's not, it's a valedictory turn that works both as its own cat and mouse crime story and a summation of Redford's final role, but even if it's not, it's a validatory turn that works both as its own Cat this is true, and all of it blazes with action.

You've never met a pair like Butch and Sundance.

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