It Don't Worry Us: A Minute By Minute Look at Robert Altman's Nashville

In the latest episode of our minute-by-minute review of Robert Altman's classic 1975 film Nashville... "Get your hair cut, you don't belong in Nashville." Haven's parting shot at Frog ends the session, and Jason and Dan unpack what it says about Haven, the old guard and the rock musicians coming to town. They spend time on Lady Pearl, Haven's sharp-eyed companion, and on Barbara Baxley's surprising friendship with Dave Brubeck. They also explore how busing and the rise of evangelicals were reshaping Tennessee in 1975. Then the marching band crashes in, and we finally leave the studio for the airport.**Timestamps**0:00 Intro2:37 "Get your hair cut"9:31 Lady Pearl12:51 Barbara Baxley and Dave Brubeck22:05 Nashville in 1975: busing, religion and politics29:53 Welcome to Nashville: the airport

In the latest episode of our minute-by-minute review of Robert Altman's classic 1975 film Nashville, Haven Hamilton stops another take of "200 Years" to cut down his piano player: "Frog, he plays like a Frog." The joke is that Frog is played by Richard Baskin, who co-wrote the song as Nashville's 23-year-old music director. Jason and Dan dig into Baskin's story, from the Baskin-Robbins family and his SNL-photographer sister Edie to the pitch that won Altman over, and into why Nashville's songs work as character confessions. They also cover the film's Chem-Tone look, DP Paul Lohmann, and the nine-minute opening credits.Timestamps0:00 Intro1:03 Haven vs. Frog3:48 Who is Richard Baskin?5:36 How Baskin talked his way onto the film12:42 Altman: "Basically haiku"23:32 Chem-Tone and the look of Nashville

In the latest episode of our minute-by-minute review of Robert Altman's classic 1975 film Nashville, we leave Haven's icy recording booth for the warmth of the Fisk choir, as Linnea Reese leads "Yes, I Do." Jason and Dan compare the two studios and what Altman sets up between Haven and Linnea, his two central characters: business against passion, polish against looseness, a fixed tradition against a gospel sound that was still new. Why is the least polished singer in the room singing lead? Plus Lily Tomlin on getting cast (in a role meant for Louise Fletcher), Opal's "darkest Africa" monologue, Geraldine Chaplin's layered costume, and Steve Altman in the credits.Timestamps0:00 Intro0:44 "Yes, I Do" vs. "200 Years"8:42 Why is Linnea singing lead?27:48 Lily Tomlin on getting cast30:21 Opal in the gospel studio35:40 The credits and Altman's son Steve

In the next minute of Robert Altman's Nashville, Bud steers Opal next door to Studio B, where Lily Tomlin's Linnea is singing with a gospel choir from Fisk University. Jason Sacks and Dan Story compare the loose, joyful energy there with Haven's tightly controlled session, unpack Opal's improvised missionary story and Bud's barely-straight-faced reactions, and wonder whether that's screenwriter Joan Tewkesbury on the couch. Plus Geraldine Chaplin on playing Opal, the Fisk Jubilee Singers tradition, and the many sides of Linnea in Robert Altman's Nashville.01:30 Studio A vs. Studio B07:44 Opal's "cozy" studio11:03 Geraldine Chaplin on Opal16:46 Is that Joan Tewkesbury?27:53 The Fisk University choir32:53 The many sides of Linnea

Haven stops everything to have Opal thrown out of his studio, and Robert Altman's Nashville gives us its first burst of overlapping dialogue. Jason Sacks and Dan Story explain the Lion's Gate 8-track sound system behind it, ask how far "I'm Opal from the BBC" could get you in 1975, and look at Bud snapping to attention when his father calls him "Buddy." Plus Haven's double standard about studio guests, Henry Gibson's career, and the what-if of Robert Duvall playing Haven Hamilton.00:50 Altman's overlapping dialogue01:55 "I'm Opal from the BBC"07:08 The 8-track sound system10:12 Bud and "Buddy"16:01 Henry Gibson's performance21:44 What if Robert Duvall played Haven?

Haven Hamilton finally takes the mic, recording his bicentennial anthem "200 Years," and Jason Sacks and Dan Story ask whether it's the most pandering song in Robert Altman's Nashville. They read Joan Tewkesbury's screenplay description of Haven, size up Henry Gibson's controlling star and meet Bud and Lady Pearl, the family in his orbit. Plus Altman's assistant directors Tommy Thompson and Alan Rudolph, the background extras with stories of their own, Geraldine Chaplin's Opal wandering in, and some unforgettable 1970s outfits.00:24 "200 Years"07:22 Tewkesbury on Haven14:15 Bud and Lady Pearl20:03 Altman's assistant directors25:04 Opal arrives31:23 Those 1970s outfits

Twelve musicians. Four backup singers. One man in white rhinestones watching every one of them like a hawk. In episode 3 of It Don't Worry Us, Jason Sacks and Dan Story step into Haven Hamilton's dark, cramped recording studio. That's minutes 2:30 to 4:00 of Robert Altman's Nashville, where one elegant tracking shot tells you everything about the king of country music. Is "200 Years" a heartfelt bicentennial anthem or Altman's sharpest joke? How did a Laugh-In comedian become one of the film's most commanding presences? Plus: the unsung people who pushed Altman's boulder uphill.Hashtags#ItDontWorryUs #Nashville #RobertAltman #HenryGibson #HavenHamilton #Nashville1975 #FilmPodcast #MoviePodcast #ClassicFilm #70sCinema #CountryMusic #RichardBaskin #AltmanTimestamps0:00 – Welcome and recap: where we left the Hal Phillip Walker van1:34 – Altman's first classic tracking shot through Haven's studio5:16 – "200 Years": sincere patriotism or Altman poking fun?11:17 – Henry Gibson, from Laugh-In and The Long Goodbye to Haven Hamilton14:59 – Richard Baskin ("Frog"), Scott Bushnell and the editors behind the film

In this second episode of It Don't Worry Us, Jason Sacks and Dan Story dig into the opening scene of Robert Altman's Nashville, where Hal Phillip Walker's campaign van pulls out and winds through the city. They unpack the Replacement Party's populist, folksy rhetoric against the backdrop of Watergate-era distrust and 1970s inflation, comparing Walker to Ross Perot and modern outsider candidates. The hosts also trace the van's route through Nashville's now-vanished lower Broadway district, marveling at Altman's background details — stray pedestrians, mismatched parked cars, a beeping Volkswagen — that give the film its documentary-like texture and lived-in realism.Timestamps:00:00:28 – Introducing the scene: the Walker van as a recurring "character" throughout the film00:03:01 – The Replacement Party and its Watergate/Nixon-era political context00:12:06 – Walker's folksy, "dumbed-down" rhetorical style and the era's inflation anxieties00:19:00 – Frame-by-frame analysis of parked cars and Altman's background details00:25:02 – The van turns onto Broadway, touring Nashville's lost lower Broadway district

What happens when two movie obsessives decide that watching Nashville once—or even a dozen times—isn't enough?Jason Sacks and Dan Story begin their minute-by-minute journey through Robert Altman's sprawling 1975 masterpiece. Along the way, they dig into the battered Paramount logo, Altman's war with the studios, the bizarre opening credits, K-Tel records, 24 unforgettable characters, and the visual madness that launches the movie.Nashville contains multitudes—and this is just a discussion of the first minute and a half. Come along for the rabbit hole.TIMESTAMPS00:00 — Welcome to The Nashville Minute03:00 — How We Discovered Nashville06:25 — Why Nashville Still Feels So Current09:40 — That Battered Paramount Logo & Altman's War With the Studios15:56 — The Mystery Hidden in the Opening Credits22:00 — K-Tel, Chaos & The Insane Opening