The Rewatchables

‘To Live and Die in L.A.’ With Bill Simmons, Chris Ryan, and Sean Fennessey

March 17, 2026

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  • The film ‘To Live and Die in L.A.’ is the third movie in CR Month and is thematically centered on the thin line between good and evil, cops and criminals. 
  • The movie's initial commercial failure is attributed to being released too close to the cultural phenomenon of ‘Miami Vice’ and poor studio backing. 
  • Director William Friedkin intentionally sought an outsider's, non-Hollywood aesthetic for Los Angeles, collaborating with cinematographer Robbie Muller and utilizing Wang Chung's music to define the film's unique, gritty style. 
  • William Friedkin's 'To Live and Die in L.A.' is praised as a 'back to basics' film that excels by casually embedding specific, researched information about counterfeiting into dramatic scenes. 
  • The film's opening sequence, featuring the Wang Chung music, the opening credits, and William L. Petersen's bungee jump, is highlighted as an immediate, high-energy rewatchable stretch, with the jump being performed for real. 
  • The intense, disorienting car chase sequence is considered one of the greatest in movie history, achieved by having hundreds of cars drive in opposite directions on a shut-down Los Angeles highway. 
  • The discussion heavily focused on casting alternatives for John Pankow's role, with names like David Patrick Kelly, Michael Madsen, Ray Liotta, and J.T. Walsh being considered. 
  • The infamous car chase sequence was the last thing shot, took six weeks, and director William Friedkin staged it against traffic based on a real-life incident where he fell asleep at the wheel. 
  • The hosts debated the questionable logic of Rick Masters' counterfeiting business model, questioning why he wouldn't simply use the fake money to buy drugs instead of trading it for real currency. 

Segments

Podcast Intro and Sponsors
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(00:00:00)
  • Key Takeaway: The episode begins with sponsor reads for TikTok and the Ringer Podcast Network.
  • Summary: The hosts introduce the episode, mention recent events (Oscars slap), and discuss the start of ‘CR Month,’ noting that Sicario was the first film.
CR Month and Movie Selection
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(00:01:06)
  • Key Takeaway: The third movie of ‘CR Month’ is To Live and Die in L.A., which the hosts have long wanted to cover.
  • Summary: The hosts discuss the ongoing ‘CR Month’ (following Sicario), mention potential future rewatchable ideas, and confirm that To Live and Die in L.A. is the current focus.
Theme of Good vs. Evil
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(00:03:25)
  • Key Takeaway: The film perfectly embodies the theme of the thin line between good and evil, particularly between police and criminals.
  • Summary: The discussion centers on the film’s core theme: the blurred lines between cops and criminals, noting its dark and unredemptive qualities.
Friedkin’s Comeback Film
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(00:04:15)
  • Key Takeaway: The movie served as a major comeback for director William Friedkin after two less successful films (Cruising and Deal of the Century).
  • Summary: The hosts discuss Friedkin’s career trajectory leading up to this film, contrasting it with Cruising and Deal of the Century.
Nasty and Unflattering Cinema
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(00:05:09)
  • Key Takeaway: The film is described as a ‘super nasty and unflattering movie for every single person in it,’ where everyone betrays someone else.
  • Summary: The hosts analyze the cynicism of the characters, noting that nearly everyone is corrupted or betrays others.
Immersion in LA and Lost Art
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(00:05:34)
  • Key Takeaway: The movie excels in its immersion into the procedures of the U.S. Secret Service and the now-lost art of counterfeiting.
  • Summary: The discussion touches on the detailed depiction of Secret Service work and counterfeiting, as well as the nostalgic view of a bygone Los Angeles.
Audience Reaction and Jane Greer
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(00:06:22)
  • Key Takeaway: The film’s high level of gunshots and action made it difficult for one host to watch with his wife.
  • Summary: The hosts joke about the film’s intensity and mention pausing to show one host’s wife the appearance of her favorite actress, Jane Greer.
Release Timing and Miami Vice Conflict
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(00:07:15)
  • Key Takeaway: The film’s poor initial box office performance is attributed partly to MGM burying it and its release timing too close to the cultural phenomenon of Miami Vice.
  • Summary: A detailed analysis of the film’s 1985 release, explaining how Miami Vice’s rising popularity made this movie seem like a ‘rip-off’ initially.
Stylistic Differences from 80s Norms
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(00:11:10)
  • Key Takeaway: The movie feels stylistically closer to 70s crime dramas like The French Connection than the polished, buff action movies typical of the mid-80s.
  • Summary: The hosts contrast the gritty style of To Live and Die in L.A. with the more stylized, action-heavy films of the era, like Tango & Cash.
Friedkin’s Collaborators and LA Aesthetic
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(00:13:34)
  • Key Takeaway: Friedkin deliberately sought an ‘outsider’s eye’ by hiring collaborators like cinematographer Robbie Müller to portray LA as a ‘violent, cynical wasteland.’
  • Summary: The segment highlights the importance of collaborators like Müller, Wang Chung, and others in creating the film’s unique, gritty aesthetic, contrasting it with Beverly Hills Cop.
Casting Unconventional Leads
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(00:18:25)
  • Key Takeaway: Friedkin cast relative unknowns William Petersen and Willem Dafoe, who brought unique qualities to their roles.
  • Summary: Discussion on the casting of Petersen (noting his athleticism) and Dafoe, and how their lack of established baggage benefited the dark material.
William Petersen’s Career Trajectory
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(00:25:57)
  • Key Takeaway: Petersen had the potential to become a major leading man like Costner or Gibson but made career choices that led him to CSI.
  • Summary: The hosts speculate on Petersen’s ‘sliding doors’ moment, noting roles he allegedly turned down (Goodfellas, Platoon) that could have cemented him as a top star.
Willem Dafoe’s Range and Extremes
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(00:31:34)
  • Key Takeaway: Dafoe exhibits extreme range, delivering great performances but also some of the ‘worst performances by a good actor ever’ (Speed 2).
  • Summary: Analyzing Dafoe’s career, balancing his art-house credibility with major blockbusters and noting his early, villainous roles in this film and Streets of Fire.
Gratuitous Nudity and Peterson’s Scene
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(00:26:47)
  • Key Takeaway: William Petersen’s nude scene is highlighted as an extreme example of 80s filmmaking where actors committed fully to the director’s vision.
  • Summary: The hosts detail the explicit nature of Peterson’s love scene, noting the director’s encouragement for realism and the potential awkwardness for Peterson’s family.
CR Month Fourth Movie Poll Winner
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(00:34:56)
  • Key Takeaway: The winner of the fan poll for the fourth CR Month movie is The Nice Guys.
  • Summary: The hosts announce the results of the fan poll, noting that The Nice Guys won, indicating a strong voice from the post-2010 generation of listeners.
Wang Chung’s Soundtrack Contribution
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(00:37:24)
  • Key Takeaway: Wang Chung defied Friedkin’s instruction not to write a title song, creating the iconic track that Friedkin then built the opening sequence around.
  • Summary: The story behind Wang Chung’s involvement, including their creation of the title song To Live and Die in L.A. against the director’s wishes.
Car Chase Mount Rushmore
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(00:46:11)
  • Key Takeaway: The consensus Mount Rushmore for car chases is Bullitt, The French Connection, To Live and Die in L.A., and Ronin.
  • Summary: The hosts debate the greatest car chases in cinema history, acknowledging Friedkin’s two entries on the list and the danger involved in filming them pre-CGI.
Ebert’s Review and Film’s Depth
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(00:50:25)
  • Key Takeaway: Roger Ebert gave the film four stars, praising the car chase but emphasizing that the direction was the key to the film’s overall quality.
  • Summary: The hosts read Ebert’s positive review, focusing on his appreciation for the film’s research and how it casually taught the audience about counterfeiting.
Authenticity of Counterfeiting Process
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(00:51:04)
  • Key Takeaway: The film’s detailed, casual depiction of counterfeiting was highly praised for its research and authenticity.
  • Summary: The hosts discuss how the movie teaches the audience about counterfeiting without heavy exposition. They note the detail was so high that fake money from the set entered circulation.
Most Rewatchable Scene: Bungee Jump
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(00:52:40)
  • Key Takeaway: William Petersen performed the dangerous bungee jump for real, highlighting the practical stunt work.
  • Summary: The discussion centers on the opening stretch, including the bungee jump. They debate whether it was technically base jumping and express nervousness over the apparent lack of safety checks.
Nostalgia for Cops in Bars
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(00:53:46)
  • Key Takeaway: The scene of cops gathering in a bar represents a fun, bygone era of 80s/early 90s cinema.
  • Summary: The hosts express nostalgia for the trope of cops socializing heavily in bars, acknowledging the implied behavior of drinking heavily and driving home.
The Counterfeit Money Scene
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(00:54:48)
  • Key Takeaway: The sequence showing the creation of money set to Wang Chung music is considered a perfect cinematic moment.
  • Summary: The hosts rave about watching the detailed process of making money, noting how interesting it was to see the artist at work, and mentioning Willem Dafoe’s effortless performance.
Shock of Chance’s Death
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(00:58:18)
  • Key Takeaway: Chance’s sudden, violent death was shocking, especially for 1985, and the studio forced an alternate ending.
  • Summary: The hosts discuss how shocking Chance’s death was, noting that Richard Gere likely wouldn’t have survived such a scene in a contemporary film. They mention the atrocious alternate ending where Chance survives.
The Iconic Highway Car Chase
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(01:01:21)
  • Key Takeaway: The car chase is one of the most ambitious ever filmed, achieved by shutting down LA highways and using optical illusions.
  • Summary: They detail the logistics of the seven-minute chase, including shutting down major roads and having cars drive in opposite directions to create disorientation, praising Peterson’s acting during the sequence.
Most 1985 Elements
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(01:02:39)
  • Key Takeaway: The film is packed with 80s signifiers, including LAX security laxity, Trans World Airlines signage, and Wang Chung.
  • Summary: The hosts list several elements that firmly date the movie to 1985, including the airport scene, the presence of TWA, and the general vibe of the era.
The Quentin Daly Hottest Take
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(01:04:46)
  • Key Takeaway: Chance’s random, specific basketball opinion about Quentin Daly over Michael Jordan is a bizarre but fascinating character detail.
  • Summary: The discussion unpacks Chance’s reference to Quentin Daly, a controversial Bulls player, over Michael Jordan. They debate whether this was Friedkin’s personal obsession or a deliberate character choice reflecting Chance’s scumbag nature.
Casting Alternatives for Pankow
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(01:41:27)
  • Key Takeaway: The hosts debated several actresses, including Melanie Griffith and Rosanna Arquette, for the role of Rick Masters (Pankow).
  • Summary: The discussion centered on potential actors for the role of Pankow, listing actresses like Bianca, Melanie Griffith, Rosanna Arquette, Jennifer Jason Lee, and Kelly McGillis, while trying to find someone convincing as a dancer.
Trivia on Counterfeit Money Operation
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(01:43:38)
  • Key Takeaway: The production created $1 million in prop money, some of which leaked into circulation and was collected by the Secret Service years later.
  • Summary: The hosts shared trivia about the $1 million in counterfeit money made for the film, noting that errors in the bills caused them to leak out and be found by the Secret Service long after filming.
Car Chase Filming Details
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(01:44:15)
  • Key Takeaway: The iconic car chase took six weeks to shoot and was the last sequence filmed for insurance purposes.
  • Summary: It is revealed that the car chase took six weeks to shoot and was deliberately shot last. Director William Friedkin conceived the idea of driving against traffic after a personal experience in 1963.
Best Hang vs. Worst Hang Debate
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(01:48:18)
  • Key Takeaway: Rick Masters is deemed the ‘Best Hang’ for a single crazy night, while Chance is the ‘Worst Hang’ due to constant complaining.
  • Summary: The hosts compared hanging out with Rick Masters versus Chance. Rick is praised for style and introducing new worlds for one night, while Chance is criticized for negativity, like complaining about his ulcers.
Critique of Chance’s Police Work
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(01:52:30)
  • Key Takeaway: Chance is deemed an incompetent agent whose risky decisions and poor judgment jeopardize cases and partnerships.
  • Summary: The segment analyzed Chance’s poor decision-making, including alerting security at the airport and making a bad deal with Thomas Ling, leading to the conclusion that he is not good at his job.
Oscar Snub for Wang Chung Song
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(01:57:01)
  • Key Takeaway: The hosts felt Wang Chung’s theme song should have been nominated for an Oscar over the actual winner, ‘Say You, Say Me.’
  • Summary: The discussion turned to the Best Original Song category, noting that Wang Chung was snubbed, while Lionel Richie’s ‘Say You, Say Me’ won, which the hosts felt sucked.
Business Sense of Counterfeiting Money
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(01:58:17)
  • Key Takeaway: The hosts questioned why Rick Masters would sell counterfeit money for less money instead of using it to buy high-value illicit goods.
  • Summary: The logistics of Rick’s counterfeiting business were scrutinized, with the hosts arguing it was a poor business model compared to using the fake cash to buy drugs or other commodities.
Movie Vibe and Set Design
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(02:05:33)
  • Key Takeaway: The film excels as a ’turn it on, check out’ movie, but also rewards deeper viewing, with every room in the movie looking cool.
  • Summary: Craig praised the movie for fitting into a category of ‘fucked up 80s movies where the city plays a real role.’ They noted that every location, even a bar with a Miller sign, looked great.
CR Month Wrap-up and Next Film
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(02:10:16)
  • Key Takeaway: This was the third film in CR Month, which will continue with Nice Guys and conclude with L.A. Confidential.
  • Summary: The hosts confirmed the remaining schedule for CR Month, noting that the next film is Nice Guys and the final one is L.A. Confidential, which will feature a four-person panel.