Scoring William Wyler / Barrel Private Release Rye

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Today on the Film and Whiskey
Podcast, we will be scoring out

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director William Wyler.
Then we'll be trying a private

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release rye from our favorite
producer.

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This is the.
Film and Whiskey Podcast.

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Hey everybody, Welcome into the
Film and Whiskey Podcast.

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I'm Bob Book.
I'm Brad Gee.

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And we are coming at you with
another special bonus episode.

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Bonus episode.
Brad, we're starting to wind

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down on season seven.
We sure are, man.

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I look back through the list of
directors that we've tackled

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already and there are only a
couple standing in our way at

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this point.
Literally to, Yeah.

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To a couple, and we're going to
knock out one of them today

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because we are looking at
William Wyler who we just

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wrapped up this past week with
our friend Patrick H Willems.

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We watched 3 movies by William
Wyler, probably his most famous

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one being Ben Hur, followed by
The Best Years of Our Lives,

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followed by Roman Holiday.
And you know, I was just

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listening back to the episode
where we scored Kubrick and I

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said.
I don't think that we've ever

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done a director where we have
such varied thematic material

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across 3 movies.
And I already think Wyler is

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giving him a run for his money
in that regard.

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Yeah, 100%.
I mean we're we're talking time

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of Jesus, Roman World, we're
talking post World War 2 and I

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mean, I guess Roman Holiday
could also fall in the post

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World War 2 world, but but not
in the sense that it refers to

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World War 2 at all, yeah.
You know, Brad, I know that

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every week or every time we do
one of these director scoring

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mini episodes, we have to
explain the whole process.

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But I I got to be honest with
you, man, I have to find a

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better way of describing them.
When I title the episodes, I

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just call them, like scoring
Stanley Kubrick and it makes it

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sound like a 1980s sex comedy.
Like like.

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We're scoring Kubrick, baby.
We're going on a road trip to

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sleep with Stanley.
Yeah, Kubrick.

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Which honestly, I'll green light
that movie anytime someone wants

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to make it.
Like that sounds weird and I'm

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all here for it.
The Book Production studio.

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But anyway, we are here to run
the three films by Wyler through

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a metric we developed last
season where we tried to

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numerically determine how you
can figure out if someone is a

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good director or not, and
greatness of art.

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Yes, which is always measured
numerically through a metric.

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And we tried to figure out what
are the five categories that we

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would need to evaluate to
determine if somebody is good at

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directing.
And Brad, what were those

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categories and what do they
mean?

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Performances.
How good of acting performances

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does our director draw from his
actors cinematography?

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Do you like what you see on
screen editing?

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Do you like how what you see on
screen moves and sounds

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cohesion?
Does the world of the movie

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stand like, stick together well,
and work and uniqueness?

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How does this director's body of
work stand out among their peers

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as well?
As, you know, cinematic history.

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And important to note, we are
scoring them based on not their

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entire body of work, rather our
selected three or four movies

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that we watch.
Yes, and that comes into play

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when we score directors like
Scorsese or Spielberg or even

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Kubrick.
We can't.

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We can't factor in movies we may
have watched in other seasons.

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If this was the director's
entire catalog, how would he or

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she fare?
So we're going to talk about

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Wyler here for a minute, A
director that you know across

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his three movies.
Brad, we didn't really talk much

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about him, and I don't know what
that says about the movies he

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makes, but especially when we
dive into directors like A

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Kubrick who is so formally
respected.

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Or a director like Spielberg,
who infuses so much of his own

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personality and psychology into
his movies.

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When you have a director like
Wyler, like it's all up there on

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the screen in terms of his
abilities.

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But there seemed to be like a
level of, I don't know,

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detachment.
Like, I didn't learn much about

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William Wyler, the guy watching
these movies.

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Yeah, that's interesting.
I think that Wyler definitely is

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a more critical eye on the
subjects, and it seems like he's

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more curious about the stories
being told than how he interacts

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with those stories.
And I I think that's probably

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one of the reasons why he's
chosen to direct a picture like

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Ben Hur.
You know, in the in the 50s

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there's this massive outpouring
of respect and desire for like

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biblically accurate media.
And if you look at like America

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as a whole, statistically, the
50s were actually the highest

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level of religiosity that
America has ever experienced,

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even considering like Puritan
times and all that, like highest

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amount of church attendance was
in the 1950s.

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And so with this wave of
prochristian prochristianity in

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our culture, somebody like
William Wyler makes sense to

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direct a massive biblical
bioepic.

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And I I think it's because he
doesn't put his personal spin on

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things.
It seems like he tries to just

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tell the stories as they are.
And I and I honestly, I kind of

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appreciate that.
There's a really good article on

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the Criterion Collections
website and it's all about, I

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think it's called The Grounded
Cinema of William Wyler.

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And it goes through his whole
career, and this author is

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trying to kind of make sense of,
you know, what's his style,

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what's his formal bent.
And he talks a lot about how

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Wyler doesn't use a lot of,
like, really fancy camera moves.

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Like it's pretty functional and
it's pretty utilitarian.

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But he also has a really
sensitive touch when it comes to

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telling human dramas, and I
think it's a it's a good way to

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think about him.
He's not like a melodrama guy,

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even though he directed a couple
melodramas.

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But it doesn't really seem
overwrought, except for in like

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a few scenes in Ben Hur where
it's meant to be overwrought.

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I think about a movie like The
Best Years of Our Lives and it's

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just a very, I guess Frank would
be the right word for me to use.

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Like it's just like these are
the problems these people are

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dealing with.
I'm not going to put any frills

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on it and I want to address it
frankly and I really appreciate

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that about him.
There's there's not a lot of

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extra stuff around or in his
movies.

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So Brad, with that said, I think
we should dive in here and we'll

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start with the performances, the
the cornerstone of these human

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dramas.
What kind of a score would you

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give him when it comes to the
performances in these three

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films?
I think this is one of the

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categories he really succeeds
in.

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I think that in Roman Holiday he
gets an incredible, as Patrick

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put it, like an introduction
performance to Audrey Hepburn.

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Even though I kept wanting it to
be Cary Grant, I think he did a

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great job of getting a unique
performance out of Gregory Peck.

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I think when you look at Ben
Hur, there's definitely a

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melodrama about Ben Hur that
reminds me of something like

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Gone With the Wind.
I think that Charlton Heston is

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a fascinating actor.
I think that the female

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performances in there are really
great and then you get to Best

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Years of Our Lives, which was
incredible.

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You know the the way he brought
about.

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I can't remember his name right
now, but the gentleman with the

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hooks for hands.
Oh yeah, Homer.

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Yes, Homer.
The way he brings him about who

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is not an actor and to give such
an emotionally moving

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performance was incredible.
So I I think I'm going to give

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him a 9 1/2 out of 10 here.
I think I'm going to give him a

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nine.
And part of it is because like,

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he gets really good performances
out of his actors.

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But a lot of times the actors
that he chooses are not always

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the most.
I don't know.

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At the top of their game, actor.
Sorry, maybe they're at the top

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of their game.
They're just not, like always,

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upper tier actors.
Frederick March.

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Myrna Loy.
Absolutely.

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Charlton Heston.
Like, he does pretty good and he

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wins an Oscar for that movie.
But like, Meh, Audrey Hepburn.

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Gregory Peck.
Absolutely.

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But then you get into like the
best years of our lives.

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And Homer's girlfriend, I think
her name is like she has a very

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Irish last name because she's
also in Ben Hur and we were

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joking about how.
He got the most Irish person to

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be playing Middle Eastern
O'Connell or something.

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Yeah, O'Connell, yeah, yeah.
She's not a good actress, man.

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And you know, he seemed pretty
loyal to including her thirteen

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years later in that movie.
So the performances are good,

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but he also kind of limits
himself sometimes with the

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actors that he chooses.
So I'm going to give him a nine

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here, yeah.
And as we move into

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cinematography, I think here's a
question I have for you.

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Is it better to be simple or
complex when it comes to the use

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of the camera?
Because if we're being frank, he

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is on the simpler side of camera
movement. 100%, yeah.

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And I think I mentioned this in
the Roman Holiday episode.

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That's the one with the most
kind of inventive camera work

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and the way they they film the
architecture and the scene on

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the little scooter.
Like there's a lot of movement

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in the camera there.
I think when I judge this

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category, I'm always thinking of
like did the camera.

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Do what needed to be done to
tell the story the best way

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possible.
And I think he succeeds really

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well here.
Honestly, I think the one that I

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liked the least was Ben Hur and
that had like the big

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widescreen.
And you know, we talked about

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how Wyler hated using
widescreen.

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And I think it kind of shows
like they're not always framed

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the best.
But even then that movie wins

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the Oscar for cinematography.
So it's like I'm over here

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nitpicking and the guy is
racking up awards for the way

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his movies look.
So once again.

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I want to give him a nine.
I think I'll come down just a

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little bit.
I'll give him an 8 1/2 on

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cinematography.
Yeah.

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For me, I think that overall
he's like a 7 1/2 to an 8 out of

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10 cinematographer with a few
scenes that just skyrocket him

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up to the top.
I think that the the chariot

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race is one of the most famous
Hollywood sequences for very

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good reasons.
I think even the the scene when

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they are on the ship and I I
don't know the way he films the

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slaves and the the guy beating
the drum and the cutbacks to the

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the man who kind of becomes Ben
Hur's father figure.

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Like there's just a lot going on
there and even in the battle

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scene when he he has the camera
shot of through the porthole

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that Charleston Heston is at and
the ship is coming towards him,

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like I think he does a lot of
great stuff with the camera,

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even if the cameras not always
moving right.

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So I think I'll give him a nine
out of 10 here, a little down

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from the performances, but man,
he has some epic moments with

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the camera throughout these
three films.

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And listen, we know.
You know, sometimes we slip up

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and say something like.
Wyler is a good cinematographer

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or Wyler is a bad.
It's like we understand that

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there is a cinematographer on
these movies.

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But with a lot of these
directors, they have such a

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signature visual style that you
can almost call them a

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cinematographer.
And even the ones that don't, at

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the end of the day, what's on
the screen, the buck stops with

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them.
Like they have to know what

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they're putting on the screen
and are their visuals up to

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snuff or not.
So I don't know.

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I was going to say if if you
jump into the sports world,

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something that I have found
fascinating is that when

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football players go into the
Hall of Fame, an offensive

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lineman or a wide receiver or a
cornerback does not have a win

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total attached to their name.
But do you know who does?

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Quarterbacks and head coaches,
right?

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Like they are defined by how
many wins they get.

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And I kind of view directors in
the same way.

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Like, yes, they have an
offensive line that's called the

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cinematographer.
Yes, they have a wide receiver

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that that runs, you know,
different aspects of the things.

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But at the end of the day, they
are the one who is said that

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movie sucked and it's the
director's fault or that movie

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00:12:41,870 --> 00:12:44,830
was incredible and it was the
director's, you know, because of

226
00:12:44,830 --> 00:12:46,660
the director.
All right, let's breeze through

227
00:12:46,660 --> 00:12:49,220
these man.
Editing is I think 1 where I'm

228
00:12:49,220 --> 00:12:51,380
going to Ding him a bit.
And when we talk about editing,

229
00:12:51,380 --> 00:12:55,140
we're talking about the rhythm
and the flow of the movie, as

230
00:12:55,140 --> 00:12:57,900
well as things like how are the
cuts made, How does the sound

231
00:12:57,900 --> 00:13:01,420
affect the movie?
These movies are pretty much all

232
00:13:01,740 --> 00:13:04,140
too long.
Even Roman Holiday I I had some

233
00:13:04,140 --> 00:13:06,980
issues with the 1st 25 minutes
being just a little bit too

234
00:13:06,980 --> 00:13:09,900
long.
They all hold together well and

235
00:13:09,900 --> 00:13:12,220
I think that's why I'll give him
a good cohesion score.

236
00:13:12,600 --> 00:13:15,680
But on editing, I'm just going
to give him a 7 1/2 Brad.

237
00:13:16,520 --> 00:13:19,720
Yeah, this is funny.
I keep being 1/2 point higher

238
00:13:19,720 --> 00:13:21,760
than you.
I'm at an 8 out of 10 for him.

239
00:13:22,240 --> 00:13:26,560
I think that he does a really
solid job in this category, but

240
00:13:26,560 --> 00:13:29,320
like B minus is the right grade
to give him.

241
00:13:30,320 --> 00:13:32,400
All right, so cohesion is what I
just said.

242
00:13:32,600 --> 00:13:35,480
Does the director build a
believable world?

243
00:13:35,760 --> 00:13:39,280
And do the movies hold together?
And I think for the most part,

244
00:13:39,440 --> 00:13:41,600
yes, they do.
Especially the best years of our

245
00:13:41,600 --> 00:13:45,140
lives.
Like, that's not 100% what

246
00:13:45,140 --> 00:13:48,620
America looked like post war,
but for the world that they're

247
00:13:48,620 --> 00:13:51,660
trying to build.
In that movie, you know, we we

248
00:13:51,660 --> 00:13:56,380
were talking about how he made
the sets smaller than normal

249
00:13:56,380 --> 00:13:58,580
than the normal Hollywood set so
that it would look more

250
00:13:58,580 --> 00:14:01,340
claustrophobic and intimate and
like a real apt.

251
00:14:01,700 --> 00:14:03,420
I think that movie is just
brilliant.

252
00:14:03,420 --> 00:14:06,620
Same thing with Roman Holiday.
Like, you believe this dream

253
00:14:06,620 --> 00:14:08,420
world that these people are
living in.

254
00:14:08,780 --> 00:14:10,620
I'm going to give him a nine on
cohesion.

255
00:14:12,730 --> 00:14:15,810
I'm at a nine and a half Bob,
genuinely.

256
00:14:15,810 --> 00:14:20,450
I think that he just has a
stellar vision for the, like I

257
00:14:20,450 --> 00:14:24,130
said earlier, the stories that
he is trying to tell within

258
00:14:24,130 --> 00:14:27,210
these movies and from Ben Hur
all the way through Roman

259
00:14:27,210 --> 00:14:31,610
Holiday, I I think he does a
spectacular job at accomplishing

260
00:14:31,610 --> 00:14:35,290
that vision in a way that's
compelling to start to from

261
00:14:35,290 --> 00:14:38,010
start to finish.
Now uniqueness is 1 where I

262
00:14:38,010 --> 00:14:41,570
think I really.
Struggle because he doesn't have

263
00:14:41,570 --> 00:14:47,730
the sort of like masculine,
muscular filmmaking of someone

264
00:14:47,730 --> 00:14:52,210
like John Ford, even though he's
making movies in that vein with

265
00:14:52,210 --> 00:14:55,170
like Ben Hur.
He also, even though he tells

266
00:14:55,170 --> 00:14:58,650
these very humanistic stories,
he doesn't have the sort of like

267
00:14:58,650 --> 00:15:02,770
really delicate touch of a movie
maker like George Cucor who did

268
00:15:02,770 --> 00:15:04,290
a lot of movies focused on
women.

269
00:15:04,860 --> 00:15:08,220
Or like Frank Capra, who tips a
lot more into like the

270
00:15:08,220 --> 00:15:10,780
sentimental.
And so it's really hard because

271
00:15:10,780 --> 00:15:13,940
he he does a good job of kind of
playing the middle ground with

272
00:15:13,940 --> 00:15:17,140
both of those extremes.
But that also means that there's

273
00:15:17,140 --> 00:15:20,660
not as much in his movies that
you can easily put your finger

274
00:15:20,660 --> 00:15:23,740
on and say like this is a
William Wyler trait.

275
00:15:24,820 --> 00:15:28,660
And because of that, I think I'm
only going to give him a 7 1/2

276
00:15:28,660 --> 00:15:34,370
here.
No, wait, are you?

277
00:15:35,290 --> 00:15:39,010
I scored all of this out before
we even got on and I I met an 8.

278
00:15:39,770 --> 00:15:44,330
Wow, dude, that's crazy.
Yeah, I I think I am 100% in

279
00:15:44,330 --> 00:15:48,290
agreement with you.
If like, honestly, we talked a

280
00:15:48,290 --> 00:15:54,010
ton about how there's a lot in
common between Kubrick and Rob

281
00:15:54,010 --> 00:15:56,970
Reiner.
I I think that in the uniqueness

282
00:15:56,970 --> 00:16:00,570
category, I kind of feel
similarly about Wyler and Reiner

283
00:16:00,570 --> 00:16:05,430
where he makes unique movies.
He none of them are a ton like

284
00:16:05,430 --> 00:16:11,390
the other, but none of them like
stand out necessarily as best in

285
00:16:11,390 --> 00:16:15,790
class or have certain you know
certain cinematography that like

286
00:16:15,790 --> 00:16:18,710
stands out in The Shining that
you know takes Kubrick to the

287
00:16:18,710 --> 00:16:22,710
next level.
I think that he's a solid B to A

288
00:16:23,910 --> 00:16:27,510
in almost all the categories.
But here in Uniqueness, I'm kind

289
00:16:27,510 --> 00:16:30,350
of like, yeah, he he doesn't
necessarily stand out from

290
00:16:30,350 --> 00:16:34,310
everybody else in the 40s,
fifties and 60s, you know, at

291
00:16:34,310 --> 00:16:38,510
least with these three films,
Yeah, But there's still a a

292
00:16:39,150 --> 00:16:42,870
really great example of solid
filmmaking from that era.

293
00:16:42,870 --> 00:16:45,350
So I think he's an 8 out of 10
in uniqueness.

294
00:16:45,550 --> 00:16:49,470
Well, that's bringing me to a 41
1/2 out of 50 on him.

295
00:16:49,550 --> 00:16:53,800
Brad, what are you at?
I at 2 1/2 points higher than

296
00:16:53,800 --> 00:16:55,600
you Bob.
Half point higher every time.

297
00:16:55,840 --> 00:16:58,160
Should be at a 44 out of 50.
You sure are.

298
00:16:58,160 --> 00:17:02,320
So that's bringing our average
on Weiler to a 42.75.

299
00:17:02,640 --> 00:17:05,079
And I will say, Brad, that's
what makes this exercise really

300
00:17:05,079 --> 00:17:07,560
cool.
Not that I always agree with

301
00:17:07,560 --> 00:17:09,119
doing it.
It's fun, you know.

302
00:17:09,119 --> 00:17:12,720
But like, we're never going to
say that our score on a director

303
00:17:12,720 --> 00:17:14,680
is how we should think about
that director.

304
00:17:15,000 --> 00:17:19,109
But it also does kind of.
Offer surprises sometimes, like

305
00:17:19,109 --> 00:17:21,710
he scored higher than Clint
Eastwood and I would say that I

306
00:17:21,710 --> 00:17:23,990
think Clint Eastwood is probably
a better director than him.

307
00:17:24,310 --> 00:17:28,870
He scored, he scored right in
line with Billy Wilder, like

308
00:17:28,870 --> 00:17:31,710
he's a 1/4 point lower than
Billy Wilder.

309
00:17:32,150 --> 00:17:34,550
And I would say that Billy
Wilder is a way better director

310
00:17:34,550 --> 00:17:36,550
than him.
So it's interesting when you

311
00:17:36,550 --> 00:17:39,470
take everything else out of it
and just evaluate each of these

312
00:17:39,470 --> 00:17:42,990
categories in a vacuum.
Sometimes you, you end up

313
00:17:42,990 --> 00:17:44,790
respecting a guy a little bit
more.

314
00:17:45,730 --> 00:17:47,290
Yeah.
And and I think another part is

315
00:17:47,290 --> 00:17:50,450
that you know you and I have
talked about this off air.

316
00:17:51,330 --> 00:17:53,450
It also really depends on the
categories you choose.

317
00:17:54,250 --> 00:17:57,210
Like you know there are probably
other categories we could choose

318
00:17:57,210 --> 00:18:02,290
to score these guys on that
would maybe drastically change

319
00:18:02,330 --> 00:18:05,050
the outcome of the of of where
we're at.

320
00:18:05,570 --> 00:18:09,570
I think another piece is like
we're not, we're not choosing a

321
00:18:09,570 --> 00:18:13,450
bunch of schlub, you know, C
level directors.

322
00:18:13,960 --> 00:18:18,120
Like, like we're We're talking
about going from Spielberg at

323
00:18:18,120 --> 00:18:21,000
the start of last season to
Hitchcock at the end of this

324
00:18:21,000 --> 00:18:24,000
season.
Like in in two seasons we've

325
00:18:24,000 --> 00:18:29,120
moved through a vast swath of
directors that all probably fall

326
00:18:29,120 --> 00:18:32,760
at the very lowest at like an 85
out of a.

327
00:18:32,960 --> 00:18:34,720
Yeah, exactly.
You know what I mean?

328
00:18:34,720 --> 00:18:37,040
Like.
All right, man.

329
00:18:37,040 --> 00:18:39,160
I think that we're in a good
spot on William Wyler.

330
00:18:39,160 --> 00:18:42,240
We want to say thank you and
adieu to him as we move into

331
00:18:42,240 --> 00:18:45,560
Hitchcock starting next week.
But Brad, before we get there,

332
00:18:45,600 --> 00:18:47,720
we've got a really special
whiskey to try.

333
00:18:47,720 --> 00:18:50,560
What do you say we get to it?
Let's get to it, Bob.

334
00:18:56,560 --> 00:18:58,400
All right.
Today, folks, we are drinking

335
00:18:58,400 --> 00:19:00,760
something that we don't
typically drink on the film and

336
00:19:00,760 --> 00:19:04,600
Whiskey podcast, and that is a
single barrel from a private

337
00:19:04,600 --> 00:19:07,950
release label.
So that means y'all can't get it

338
00:19:08,350 --> 00:19:11,830
unless you were lucky enough to
be at the Kentucky Bourbon

339
00:19:11,830 --> 00:19:13,470
Festival.
Yeah.

340
00:19:13,470 --> 00:19:15,070
And if anything, the reason
we're drinking.

341
00:19:15,070 --> 00:19:19,790
This is not to say you need to
chase this specific whiskey,

342
00:19:19,870 --> 00:19:23,270
although if you want to, I'm
saying a dag on it's a it's a

343
00:19:23,270 --> 00:19:26,270
dag on good whiskey.
But what we really want to

344
00:19:26,270 --> 00:19:30,310
highlight is the fact that the
the distillery, well, I

345
00:19:30,310 --> 00:19:32,630
shouldn't say distillery.
The company that we are

346
00:19:32,630 --> 00:19:35,650
highlighting here is one of our
absolute favorites.

347
00:19:35,650 --> 00:19:37,930
If you've been around the
podcast long enough, you know

348
00:19:38,210 --> 00:19:40,410
that we are talking about
Barrel.

349
00:19:40,610 --> 00:19:44,370
I love me some barrel products
dude.

350
00:19:44,610 --> 00:19:46,330
Like you know we're we're
tactful.

351
00:19:46,370 --> 00:19:49,450
We we like lots of different
companies and and always try to

352
00:19:49,450 --> 00:19:52,490
promote people where we can
because the world of whiskey is

353
00:19:52,490 --> 00:19:53,970
great and there's a lot of great
stuff out there.

354
00:19:54,730 --> 00:19:57,890
But in my private life, when I
when I talk to friends and they

355
00:19:57,890 --> 00:19:59,730
asked me for recommendations on
whiskey.

356
00:20:00,760 --> 00:20:04,000
Barrels pretty much always at
the top of the list of things

357
00:20:04,000 --> 00:20:05,760
that I recommend.
I have never had a barrel

358
00:20:05,760 --> 00:20:09,600
product that I did not like like
legitimately, and I think the

359
00:20:09,600 --> 00:20:13,920
worst, like quote, UN quote, the
worst one I ever tried was the

360
00:20:13,920 --> 00:20:17,120
first time we got sent like
their regular barrel bourbon and

361
00:20:17,120 --> 00:20:19,800
barrel rye.
I liked the barrel bourbon

362
00:20:19,800 --> 00:20:21,680
better than the rye.
You liked the rye better than

363
00:20:21,680 --> 00:20:23,400
the bourbon.
I think I'd probably put that

364
00:20:23,400 --> 00:20:25,960
barrel rye as my least favorite
thing and we still scored it at

365
00:20:25,960 --> 00:20:29,240
like a 40 out of 50.
Like everything they release is

366
00:20:29,240 --> 00:20:31,600
incredible.
And so today, 100%.

367
00:20:31,640 --> 00:20:33,680
We're drinking from a bottle
that we picked up at the

368
00:20:33,680 --> 00:20:37,400
Kentucky Bourbon Festival.
Now if you go to KB F, as it's

369
00:20:37,400 --> 00:20:42,040
called every year, they've got a
tent full of bottles that were

370
00:20:42,080 --> 00:20:46,400
hand selected to be sold on site
at the Kentucky Bourbon Festival

371
00:20:46,400 --> 00:20:48,400
and nowhere else.
They call it the Distillers Row

372
00:20:48,400 --> 00:20:50,360
Series.
The cool thing they did this

373
00:20:50,360 --> 00:20:54,350
year was like every tent.
That was set up by a company.

374
00:20:54,550 --> 00:20:56,950
The company could also sell
those bottles at their tent.

375
00:20:56,950 --> 00:20:59,470
This year it did a great job of
cutting down on the length of

376
00:20:59,470 --> 00:21:02,190
lines and stuff.
And so we walked up to the

377
00:21:02,190 --> 00:21:04,990
barrel tents where they were
pouring everything they sell,

378
00:21:05,230 --> 00:21:08,630
including the the Gray label
seagrass, the gold label

379
00:21:08,630 --> 00:21:10,870
seagrass.
It was like they were pouring

380
00:21:10,870 --> 00:21:15,230
everything and we said let's try
your barrel pick and it's a

381
00:21:15,230 --> 00:21:18,790
barrel rye, so it's under the
label Barrel Rye private

382
00:21:18,790 --> 00:21:20,670
release.
This is a rye whiskey finished

383
00:21:20,670 --> 00:21:26,840
in Pedro Jimenez Sherry barrels.
It clocks in at 116.38 proof.

384
00:21:27,440 --> 00:21:30,640
Brad, we've tried barrel rye
just a few times on the show,

385
00:21:30,720 --> 00:21:34,840
including things like seagrass.
How does this?

386
00:21:34,840 --> 00:21:37,000
I don't want to say how does
this compare to seagrass because

387
00:21:37,000 --> 00:21:41,640
that's your favorite whiskey.
But like, just in general, we're

388
00:21:41,640 --> 00:21:43,840
not finishing in a ton of
different barrels here, we're

389
00:21:43,840 --> 00:21:45,400
just finishing in one kind of
barrel.

390
00:21:46,280 --> 00:21:47,960
What are you picking up on the
nose?

391
00:21:47,960 --> 00:21:50,840
And like how would you situate
it among all the barrel ryes

392
00:21:50,840 --> 00:21:56,020
that you've tried.
I think that this one has more

393
00:21:56,020 --> 00:21:59,620
simplicity to it, you know and
and that would be expected it's

394
00:21:59,620 --> 00:22:04,820
11 barrel finish.
I think that this is a caramel

395
00:22:04,820 --> 00:22:13,140
bomb with a a smattering of like
deep dark rye spice and it is

396
00:22:13,140 --> 00:22:18,500
rich and it is spicy and you
know to to jump into the pallet

397
00:22:18,500 --> 00:22:23,050
as well.
This thing is, it's not quite as

398
00:22:23,050 --> 00:22:27,210
decadent as the Seagrass, It has
a much more straightforward

399
00:22:27,210 --> 00:22:32,530
palette, but it what it offers
is A you can tell that this is a

400
00:22:32,530 --> 00:22:38,170
really high quality rye whiskey,
and B, you can tell that they

401
00:22:38,170 --> 00:22:42,410
put it in the Pedro Jimenez
butts for like the perfect

402
00:22:42,410 --> 00:22:46,730
amount of time because you just
get a little bit of that grapey,

403
00:22:47,010 --> 00:22:49,850
a little bit of that, the
richness from that.

404
00:22:50,480 --> 00:22:54,400
But man oh man, the rye spice
really shines through here.

405
00:22:54,640 --> 00:22:57,320
So I'm on the barrel website and
they just started doing these

406
00:22:57,320 --> 00:22:59,760
private releases with rye a
couple months ago.

407
00:23:00,080 --> 00:23:02,640
The cool thing is when you do
the private release, it's

408
00:23:02,640 --> 00:23:05,840
actually a single barrel.
So they take one barrel's worth

409
00:23:05,840 --> 00:23:09,080
of whiskey that they have
blended, I assume, and then

410
00:23:09,080 --> 00:23:11,360
finish it in a barrel of your
choosing.

411
00:23:11,680 --> 00:23:14,680
And so the cool thing is like,
there's ten different kinds of

412
00:23:14,680 --> 00:23:17,920
casks you can get your private
release barrel finished in.

413
00:23:18,380 --> 00:23:21,020
So Kentucky Bourbon Festival
chose the PX barrels.

414
00:23:21,460 --> 00:23:24,540
Like Brad said, it is like you
don't get a ton of Sherry on the

415
00:23:24,540 --> 00:23:27,300
nose here, but what it does is
it brings out those like really

416
00:23:27,300 --> 00:23:30,740
well-rounded caramel and a
little bit of floral notes.

417
00:23:31,100 --> 00:23:33,940
The rye is just kind of like
underneath all that.

418
00:23:33,940 --> 00:23:37,060
It's not a super minty rye.
I would call it closer to like a

419
00:23:37,060 --> 00:23:41,980
dill, but it's still covered in
those caramel notes, which

420
00:23:42,020 --> 00:23:44,900
appeals to me as a bourbon fan
more than a rye fan.

421
00:23:45,380 --> 00:23:47,140
Brad, as you get into the flavor
here.

422
00:23:47,800 --> 00:23:49,200
What?
What are you picking up?

423
00:23:50,280 --> 00:23:54,880
Like I said, there is a nice
foundation of caramel here, but

424
00:23:54,880 --> 00:23:58,920
overall this is one of the
spicier rise that I've ever had,

425
00:23:59,320 --> 00:24:03,000
and it gets into that dill.
It turns minty at the back end

426
00:24:03,000 --> 00:24:08,760
for me, and I think that there's
a little bit of nuttiness that

427
00:24:08,760 --> 00:24:13,000
kind of rounds out the spiciness
in a really beautiful way.

428
00:24:13,610 --> 00:24:16,570
There's like a little bit of
almost simple syrup at the very

429
00:24:16,570 --> 00:24:19,330
back, like it just turns into
sugar for me at the very back or

430
00:24:19,370 --> 00:24:23,250
or even like a like a watered
down Cocacola kind of a thing.

431
00:24:24,170 --> 00:24:26,730
It's really pleasant.
And I think, Brad, I'm going to

432
00:24:26,730 --> 00:24:30,850
ask you real quick to do this.
When you say it's a spicy rye, I

433
00:24:30,850 --> 00:24:33,650
don't think that you mean that
this is like a really ethanol

434
00:24:33,650 --> 00:24:38,530
forward product because it's 116
proof, It doesn't drink like 116

435
00:24:38,530 --> 00:24:40,930
proof.
So for our listeners like what

436
00:24:40,930 --> 00:24:42,290
do you mean?
What's the difference between

437
00:24:42,290 --> 00:24:45,210
spicy?
And like alcohol.

438
00:24:45,210 --> 00:24:46,370
Aggressive.
Yeah, and hot.

439
00:24:47,170 --> 00:24:51,730
Yeah, I would say hot is your
palate can't place what's

440
00:24:51,730 --> 00:24:54,770
happening.
Like I I think that's the best

441
00:24:54,770 --> 00:24:59,250
way I can describe ethanol
forward is that your nose, your

442
00:24:59,250 --> 00:25:05,290
palate gets hit with this wave
of experience and it doesn't

443
00:25:05,290 --> 00:25:08,930
have a reference point.
Whereas like spicy and like a

444
00:25:08,930 --> 00:25:15,860
spice bomb, it's almost like you
took every single like, savory

445
00:25:15,860 --> 00:25:20,540
spice out of your spice rack,
opened them all up, and just

446
00:25:20,540 --> 00:25:23,180
like took a whiff a run at all
of them.

447
00:25:24,900 --> 00:25:27,020
Like for me, there's some clove
here.

448
00:25:27,020 --> 00:25:32,060
There's some black pepper. the
IT tastes like fresh rye bread.

449
00:25:33,310 --> 00:25:36,230
There's just all sorts of things
going on here.

450
00:25:36,230 --> 00:25:38,950
But my my palate knows what to
do with them.

451
00:25:38,950 --> 00:25:40,310
It knows where to categorize
them.

452
00:25:40,310 --> 00:25:42,510
And I I think, I don't know it.
Would you say that's fair?

453
00:25:42,510 --> 00:25:44,550
I think that's.
A good I think that's a great

454
00:25:44,550 --> 00:25:46,590
description.
And again, especially since

455
00:25:46,590 --> 00:25:49,190
you're the rye drinker of us,
like, I can try to explain what

456
00:25:49,190 --> 00:25:51,990
it does on my palate.
But at the end of the day, I

457
00:25:51,990 --> 00:25:55,230
want to know what you think is a
good spicy rye versus something

458
00:25:55,230 --> 00:25:58,990
that's just like hot.
And I think you know not to put

459
00:25:59,150 --> 00:26:00,990
too neat of a bow on this Brad,
but like.

460
00:26:01,370 --> 00:26:04,810
Barrel does it really well.
Like I said, it's 116 proof.

461
00:26:05,130 --> 00:26:07,490
It drinks like a 95 proof
whiskey.

462
00:26:07,530 --> 00:26:11,210
It doesn't feel thin, but it
also doesn't have like a super

463
00:26:11,210 --> 00:26:14,370
aggressive burn on the palate.
More in your chest after you

464
00:26:14,370 --> 00:26:17,490
swallow, yeah.
And I I think to to

465
00:26:17,490 --> 00:26:20,970
differentiate between a good rye
and a bad rye.

466
00:26:21,730 --> 00:26:28,040
I think the bad rise I've had
you only get the rye flavor and

467
00:26:28,040 --> 00:26:31,880
I think that's like the key
thing is that rye is not a great

468
00:26:31,880 --> 00:26:37,360
flavor by itself in my opinion.
I think that the the best rye

469
00:26:38,160 --> 00:26:44,960
use the rye as like a cherry on
top of a really solid sweet

470
00:26:44,960 --> 00:26:46,960
foundation.
And when you when you're able to

471
00:26:46,960 --> 00:26:52,240
marry that combination of
decadence and spice, I I think

472
00:26:52,240 --> 00:26:57,220
that brings a complexity that
can often be missing on bourbons

473
00:26:57,220 --> 00:27:01,380
where it's more leans way more
heavily into the sweet factor.

474
00:27:01,820 --> 00:27:05,540
And so I I I think genuinely on
the other swing side of things

475
00:27:05,540 --> 00:27:10,500
if all you have going on is rye
in a rye whiskey, I I still

476
00:27:10,500 --> 00:27:13,300
think it's good, but it it
definitely misses for me.

477
00:27:13,620 --> 00:27:14,980
Well, that's not the case here
man.

478
00:27:15,020 --> 00:27:18,180
And if we were scoring this with
our, you know, usual metric, I

479
00:27:18,180 --> 00:27:20,820
think this is going over a 40
out of 50 for me for sure.

480
00:27:21,410 --> 00:27:23,130
Yeah, I I think I'm in the 45
range.

481
00:27:23,210 --> 00:27:28,770
I think this is like a 88 to 92
out of 100 top tier whiskey.

482
00:27:29,050 --> 00:27:31,010
Now else, OK, let's put it like
this.

483
00:27:31,010 --> 00:27:34,890
We can't recommend this bottle
for people to go buy barrel

484
00:27:34,890 --> 00:27:38,850
private release Rye in general.
We've tried one of the 10

485
00:27:38,850 --> 00:27:41,570
finishes.
I think I feel comfortable

486
00:27:41,570 --> 00:27:44,970
enough saying that if all of the
finishes have this level of

487
00:27:44,970 --> 00:27:47,610
attention to detail and care put
into them.

488
00:27:48,340 --> 00:27:51,860
It's kind of a nobrainer pickup,
especially the PX casks, but I

489
00:27:51,860 --> 00:27:54,220
would trust pretty much anything
they're putting out of barrel

490
00:27:54,220 --> 00:27:56,420
right now.
This bottle I believe was like,

491
00:27:56,740 --> 00:28:00,420
was it $90.90 or $100?
90 you know, their normal stuff

492
00:28:00,420 --> 00:28:03,900
is like $80.00.
So to to spend the extra 10

493
00:28:03,900 --> 00:28:08,060
bucks and get something that is
handpicked like this, I I don't

494
00:28:08,060 --> 00:28:10,260
really see any downside to this
bottle bread.

495
00:28:10,780 --> 00:28:13,140
No, not at all.
And and if you're not able to

496
00:28:13,140 --> 00:28:16,020
get your hands on this, you
know, limited distribution and

497
00:28:16,020 --> 00:28:20,990
all that, their barrel seagrass
is more widely distributed and

498
00:28:20,990 --> 00:28:22,950
frankly, the best whisk I've
ever had.

499
00:28:22,990 --> 00:28:28,470
So if you're looking to get your
hands on some barrel, please,

500
00:28:28,470 --> 00:28:30,190
please grab some barrel
seagrass.

501
00:28:30,230 --> 00:28:34,430
And if if rye isn't quite your
jam, a, it needs to be your jam.

502
00:28:34,710 --> 00:28:37,670
And B, their dovetail is
incredible.

503
00:28:37,710 --> 00:28:40,910
Their vantage is incredible like
they had like they have so many

504
00:28:40,910 --> 00:28:43,910
other options that fit different
pallets.

505
00:28:44,840 --> 00:28:47,640
As I said at the very start of
this segment, we're just here to

506
00:28:47,640 --> 00:28:49,320
promote barrel.
They're incredible.

507
00:28:49,400 --> 00:28:51,360
Go by.
There, and we say promote, we're

508
00:28:51,360 --> 00:28:53,480
not accepting.
I mean, we would accept.

509
00:28:53,480 --> 00:28:55,360
We're not getting any money from
them right now.

510
00:28:55,360 --> 00:28:56,200
Like now.
Not at all.

511
00:28:56,240 --> 00:29:00,520
Genuinely love this brand.
We we paid $180 between the two

512
00:29:00,520 --> 00:29:01,840
of us for these two bottles.
Yep.

513
00:29:01,960 --> 00:29:05,320
So with and it was money.
We've put our money where our

514
00:29:05,320 --> 00:29:07,160
mouth is.
We buy their products.

515
00:29:07,240 --> 00:29:09,840
It's incredible.
All right, Brad, that does it

516
00:29:09,840 --> 00:29:12,360
for us today.
We'll be back on Tuesday to kick

517
00:29:12,360 --> 00:29:16,820
off Alfred Hitchcock.
With his 1946 film Notorious.

518
00:29:17,020 --> 00:29:20,060
A movie that fun fact I have
never seen.

519
00:29:20,420 --> 00:29:22,820
Oh, Robert.
I know.

520
00:29:22,820 --> 00:29:25,340
Look at us.
So we will see you on Tuesday

521
00:29:25,340 --> 00:29:27,700
for that movie.
But until then, I'm Bob Book.

522
00:29:28,300 --> 00:29:30,660
I'm Brad G.
And we'll see you next time.