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 Haven

14:15 Bud and Lady Pearl

20:03 Altman's assistant directors

25:04 Opal arrives

31:23 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.

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Timestamps

• 0:00 – Welcome and recap: where we left the Hal Phillip Walker van
• 1:34 – Altman's first classic tracking shot through Haven's studio
• 5:16 – "200 Years": sincere patriotism or Altman poking fun?
• 11:17 – Henry Gibson, from Laugh-In and The Long Goodbye to Haven Hamilton
• 14:59 – 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 film
• 00:03:01 – The Replacement Party and its Watergate/Nixon-era political context
• 00:12:06 – Walker's folksy, "dumbed-down" rhetorical style and the era's inflation anxieties
• 00:19:00 – Frame-by-frame analysis of parked cars and Altman's background details
• 00:25:02 – The van turns onto Broadway, touring Nashville's lost lower Broadway district