March 27, 2026

A Script By: Peter Bogdanovich - The Last Picture Show

A Script By: Peter Bogdanovich - The Last Picture Show

Before it was a film, it was a script. Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explore their...

Apple Podcasts podcast player badge
Spotify podcast player badge
Goodpods podcast player badge
Pandora podcast player badge
Amazon Music podcast player badge
iHeartRadio podcast player badge
Castbox podcast player badge
Deezer podcast player badge
TuneIn podcast player badge
Podcast Addict podcast player badge
Podchaser podcast player badge
Spreaker podcast player badge
JioSaavn podcast player badge
Castro podcast player badge
RSS Feed podcast player badge
Apple Podcasts podcast player iconSpotify podcast player iconGoodpods podcast player iconPandora podcast player iconAmazon Music podcast player iconiHeartRadio podcast player iconCastbox podcast player iconDeezer podcast player iconTuneIn podcast player iconPodcast Addict podcast player iconPodchaser podcast player iconSpreaker podcast player iconJioSaavn podcast player iconCastro podcast player iconRSS Feed podcast player icon
Season 7A Film By...
Before it was a film, it was a script.

Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explore their process, what influenced them, and how they inspired some of the iconic cinema we enjoy today. 

Chuck Bryan of the Cinematic Flashback Podcast makes a return visit to this limited series, to turn the page on Peter Bogdanovich's The Last Picture Show!

Check out our NEW YouTube Channel and subscribe now! If you're one of the first 100 subscribers, you'll be entered to win a weekend pass for one of several comic cons happening in 2026!

Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! 

www.afilmbypodcast.com/ for more information.
Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.
WEBVTT

1
00:00:01.879 --> 00:00:05.599
Welcome to a script by Episode three. I'm your host,

2
00:00:05.679 --> 00:00:09.640
Brad Kozo. Thanks for joining me on this show. We

3
00:00:09.679 --> 00:00:12.880
break down some of Hollywood's most notable screenplays and explore

4
00:00:12.960 --> 00:00:16.280
why they remain powerful and timeless on the page. For

5
00:00:16.320 --> 00:00:19.079
our first episode, we dogged it deep into the darkness

6
00:00:19.079 --> 00:00:21.760
of Chinatown. Then we headed out west with the charm

7
00:00:21.760 --> 00:00:25.559
and inevitability of Whichecasting and Sundance Kid. This time we're

8
00:00:25.559 --> 00:00:28.800
going somewhere much quieter. We're traveling to a dying town

9
00:00:28.839 --> 00:00:32.240
in North Texas in nineteen fifty one, the play slowly

10
00:00:32.320 --> 00:00:36.560
fading both culturally and economically. The first clients the script

11
00:00:36.640 --> 00:00:41.079
feels simple, almost innocent, but underneath it become something deeper,

12
00:00:41.359 --> 00:00:44.039
an intimate look at teenage life in the aftermath of

13
00:00:44.079 --> 00:00:47.600
a major turning point in American history, where the opportunity

14
00:00:47.679 --> 00:00:51.159
is gone, the future feels uncertain, and all that's left

15
00:00:51.320 --> 00:00:54.719
is the space between. This is a script by Pierre

16
00:00:54.719 --> 00:01:25.120
Bogdanovitch and Larry McMurtry. Let's turn the page. Welcome back

17
00:01:25.120 --> 00:01:28.000
to a script by I Am Your Host Brad Kozo,

18
00:01:28.200 --> 00:01:31.680
and this is episode three, The Last Picture Show, a

19
00:01:31.760 --> 00:01:34.719
script by Peter Magdanovich and Larry mcmercury, based on the

20
00:01:34.799 --> 00:01:38.719
novel by mcmartree. This is the script and the film

21
00:01:38.799 --> 00:01:41.239
that put Magdonovich at the forefront of the New Hollywood

22
00:01:41.280 --> 00:01:44.159
movement of the nineteen seventies. The story of a dying

23
00:01:44.239 --> 00:01:47.400
town in North Texas in nineteen fifty one, a place

24
00:01:47.519 --> 00:01:50.280
left behind both culture and economically, and a group of

25
00:01:50.319 --> 00:01:53.319
teenagers growing up in a world that offers them no

26
00:01:53.719 --> 00:01:57.319
clear future. But as usual, before we take our deep

27
00:01:57.359 --> 00:02:00.760
dive into the script, let's welcome a returning gap Chuck

28
00:02:00.799 --> 00:02:04.760
Brian from the Cinematic Flashback podcast. Chuck, welcome back to

29
00:02:04.799 --> 00:02:07.200
the show. How are you and how's the show?

30
00:02:07.719 --> 00:02:10.639
Brad, Thank you so much for reaching out to me

31
00:02:10.719 --> 00:02:13.800
and asking if I wanted to be on again, and

32
00:02:13.840 --> 00:02:17.400
to talk about Peter Bogdanovich. We have a couple of

33
00:02:17.919 --> 00:02:21.800
Bogdanovitch pictures coming up this season on the Cinematic Flashback.

34
00:02:22.479 --> 00:02:25.840
We have coming up, we have What's Up Doc, and

35
00:02:26.039 --> 00:02:30.000
we have paper Moon coming up. So I was happy

36
00:02:30.159 --> 00:02:34.000
to get that hat trick in to get the last

37
00:02:34.000 --> 00:02:37.000
picture show in as well, So thank you for the opportunity.

38
00:02:37.840 --> 00:02:42.800
Yeah, Bogdanovich was one of the kind of last directors

39
00:02:42.800 --> 00:02:46.120
that I kind of got interested in from the seventies,

40
00:02:46.680 --> 00:02:49.319
didn't really he did really appeal to me at first,

41
00:02:49.360 --> 00:02:51.520
and I think and this was biased to me because

42
00:02:51.560 --> 00:02:55.080
he really just didn't have a lot of post success

43
00:02:55.159 --> 00:02:57.759
seventies you know, just very little here and there as

44
00:02:57.840 --> 00:03:01.960
opposed to you know, his all of his buddies. But

45
00:03:03.680 --> 00:03:06.960
when did you first see the film and later on

46
00:03:07.360 --> 00:03:08.439
what did you think of the script?

47
00:03:09.159 --> 00:03:13.599
Well, actually, this is very interesting because I am coming

48
00:03:13.680 --> 00:03:18.240
back into my exploration of seventies movies, you know, with

49
00:03:18.400 --> 00:03:21.319
the cinematic flashback, so many of the films that I

50
00:03:21.360 --> 00:03:24.039
am watching, I am watching for the very first time.

51
00:03:25.000 --> 00:03:29.000
And that's the case for this film Tonight. So a

52
00:03:29.039 --> 00:03:32.039
few weeks back, I get a text on a Friday night.

53
00:03:32.120 --> 00:03:37.080
Jeff says, Hey, what's up? And I'm like hello, and

54
00:03:37.120 --> 00:03:39.800
he said, they're going to do Last Picture Show. Brad's

55
00:03:39.800 --> 00:03:41.719
going to do the Last Picture Show. As the next

56
00:03:41.759 --> 00:03:43.360
script buy and I'd like you to be on it.

57
00:03:44.599 --> 00:03:47.520
I downloaded the script that night. I read it within

58
00:03:47.599 --> 00:03:50.560
two hours. I said, this is a fabulous script, and

59
00:03:51.319 --> 00:03:54.759
two hours after that I had watched the movie. Meanwhile,

60
00:03:54.800 --> 00:03:57.479
it's about two o'clock on a Saturday morning. By the

61
00:03:57.520 --> 00:04:02.039
time I'm all done, and I was blown away by it.

62
00:04:02.080 --> 00:04:02.960
This is this is a rule.

63
00:04:03.039 --> 00:04:04.000
So this was the first time.

64
00:04:04.360 --> 00:04:07.039
This was the first time. Yeah, yeah, yeah it was.

65
00:04:07.360 --> 00:04:10.800
It was the first time I saw it. I was

66
00:04:11.080 --> 00:04:13.520
I'll be honest, I wasn't impressed at first. I was

67
00:04:14.520 --> 00:04:18.079
I think my expectations are really high, you know, because

68
00:04:18.800 --> 00:04:21.800
they when you watch all those documentaries and read all

69
00:04:21.839 --> 00:04:25.160
those books about those seventies, guys Donovich is always in

70
00:04:25.199 --> 00:04:29.199
there with you know, the big guns, and so I

71
00:04:29.240 --> 00:04:32.040
guess I expected a lot more. And it wasn't until

72
00:04:32.079 --> 00:04:34.319
like that second third yearning that I realized it was like,

73
00:04:35.959 --> 00:04:39.879
now I understand why I feel bored it. It takes

74
00:04:39.920 --> 00:04:41.079
place later, but yeah.

75
00:04:41.040 --> 00:04:45.519
I think, I think, yeah, I can totally see why

76
00:04:45.600 --> 00:04:49.040
it would work that way for you. I'm coming at

77
00:04:49.079 --> 00:04:52.759
it slightly different because I'm coming at it really from

78
00:04:52.959 --> 00:04:57.279
the sixties. Okay, I'm coming at it from uh. I mean,

79
00:04:57.399 --> 00:04:59.079
last time I was on you and I talked to

80
00:04:59.120 --> 00:05:02.040
you about the book I read with Roger Corman and

81
00:05:02.480 --> 00:05:07.079
Peter Bogdanovitch was yet another Corman alumni, if you will.

82
00:05:07.920 --> 00:05:14.079
In fact, Bogdanovitch's first film, Targets, was a Roger Corman

83
00:05:14.160 --> 00:05:19.240
produced film where basically Corman told him, you can make

84
00:05:19.279 --> 00:05:22.639
your first film, but there's two stipulations. Number One, it's

85
00:05:22.680 --> 00:05:25.800
a Corman film, so you cannot go over budget. Number two,

86
00:05:26.240 --> 00:05:30.360
you have to use Boris Karloff because Boris Karloff. Karloff

87
00:05:30.600 --> 00:05:34.639
owes me two days of work for a previous contract,

88
00:05:34.839 --> 00:05:39.959
and I have him. So Bogdanovich in through Corman style,

89
00:05:41.000 --> 00:05:44.720
goes to one of Corman's earlier films that had Boris

90
00:05:44.800 --> 00:05:48.639
Karloff in it, takes film from that, even steals a

91
00:05:48.680 --> 00:05:54.759
clip from Howard Hawk's film with Carloff in it, puts

92
00:05:54.759 --> 00:05:57.800
it together, goes off, does some guerrilla style shooting by

93
00:05:57.839 --> 00:06:00.360
the freeway, and if you've seen Targets, you might know

94
00:06:00.360 --> 00:06:04.480
what that's about. Puts all that together and it gets

95
00:06:04.480 --> 00:06:08.439
in front of Robert Evans, Robert Evans screens. It gives

96
00:06:08.839 --> 00:06:12.040
Roger Corman one hundred and fifty thousand dollars right there

97
00:06:12.040 --> 00:06:15.439
on the spot before the movie's even been released. Roger

98
00:06:15.519 --> 00:06:18.720
Corman just made a twenty thousand dollars profit because that

99
00:06:18.759 --> 00:06:21.279
movie only costs him one hundred and thirty. So I'm

100
00:06:21.279 --> 00:06:25.920
coming at the last picture show from that my expectations

101
00:06:26.000 --> 00:06:31.720
are really not coming at it from the reception of

102
00:06:31.720 --> 00:06:34.600
what The Last Picture Show was. It's really coming from

103
00:06:35.000 --> 00:06:41.079
my just enjoying this gorilla style filmmaking and not knowing

104
00:06:41.120 --> 00:06:45.639
what to expect from the film, being blown away that

105
00:06:45.720 --> 00:06:47.959
they chose to film this in black and white and

106
00:06:48.000 --> 00:06:50.680
everything that that kind of opened up with the cinematography.

107
00:06:51.079 --> 00:06:53.839
So yeah, I think I had it from it. I

108
00:06:53.879 --> 00:06:56.160
think maybe it was an advantage that it was my

109
00:06:56.240 --> 00:07:00.480
first time and I didn't have a lot of reviews

110
00:07:00.519 --> 00:07:01.720
on it beforehand.

111
00:07:02.360 --> 00:07:04.439
I'm glad you brought that up because that leads us

112
00:07:04.480 --> 00:07:08.240
into our background thing. And you mentioned right now he

113
00:07:08.279 --> 00:07:10.720
was like, I said, he's one of the Roger Corman

114
00:07:10.920 --> 00:07:13.879
as all those guys, and they they got taught how

115
00:07:13.879 --> 00:07:17.079
to do everything, you know, editing, shooting, they you know,

116
00:07:17.120 --> 00:07:19.839
they had to do it all. And then it was

117
00:07:20.120 --> 00:07:26.879
I the BBS. The Bert Schneider asked Magdonovich, what do

118
00:07:26.879 --> 00:07:29.199
you want to do next? After Targets, you know, kind

119
00:07:29.240 --> 00:07:31.560
of shook the world a little bit, and he goes,

120
00:07:31.879 --> 00:07:35.000
I'd like to, you know, adapt this Larry McMurtry novel

121
00:07:35.040 --> 00:07:38.439
The Last Picture Show. But the only problem was is

122
00:07:38.519 --> 00:07:42.000
that no one really heard of it, and Bert Schneider

123
00:07:42.040 --> 00:07:45.279
had a hard time finding a copy of and he's like,

124
00:07:45.519 --> 00:07:49.639
because and the kind of balls on Fordanovitch. He goes, well,

125
00:07:50.199 --> 00:07:52.079
you send me the book. He goes, why don't you

126
00:07:52.120 --> 00:07:55.839
go buy it paperback. I'm like, okay, and he's like,

127
00:07:55.879 --> 00:08:00.079
finally I found it. But after he read it, he

128
00:08:00.079 --> 00:08:04.920
he was agreed and get in McMurtry and mcgonag ushed

129
00:08:04.920 --> 00:08:07.759
to work together. It wasn't really a problem, you know,

130
00:08:07.839 --> 00:08:10.199
he said. He goes, I went to McMurtry and said,

131
00:08:10.240 --> 00:08:13.120
I want to do this. Let's do this together. And

132
00:08:13.480 --> 00:08:18.879
at the same time, his house, his house guests is

133
00:08:19.040 --> 00:08:23.240
Orson Wells living in his house, just kind of feeding

134
00:08:23.279 --> 00:08:26.360
off and they're really good friends and they've got a

135
00:08:26.360 --> 00:08:28.959
weird relationship that you can extend on later to a

136
00:08:29.040 --> 00:08:32.279
whole other episode. But he's the one that said that

137
00:08:32.360 --> 00:08:35.879
they should shoot it in black and white, and yeah,

138
00:08:35.960 --> 00:08:39.840
it is very And as I was watching it last night,

139
00:08:39.879 --> 00:08:43.240
I'm like, yeah, I don't think the color would have

140
00:08:43.360 --> 00:08:47.080
nailed the the real emptiness for it, you know. So

141
00:08:47.200 --> 00:08:49.039
I mean so.

142
00:08:49.879 --> 00:08:54.960
Because I was gonna say, you blew by something very fast,

143
00:08:55.159 --> 00:08:57.279
and I think it's in case people don't know this

144
00:08:57.360 --> 00:09:02.679
acronym BBS, yeah, which it was a film studio, right, yeah,

145
00:09:02.720 --> 00:09:04.799
And they were responsible for.

146
00:09:04.679 --> 00:09:10.559
What Schnyder, Bob Rafelson and it's on the tip of

147
00:09:10.559 --> 00:09:15.720
my tongue, Terry Southern No, but yeah.

148
00:09:16.279 --> 00:09:21.120
But they the BBS guys, right, and they're responsible for

149
00:09:22.000 --> 00:09:25.679
a lot of films of the of the new Hollywood films.

150
00:09:25.679 --> 00:09:27.759
I mean that that whole definition of it, everything from

151
00:09:27.759 --> 00:09:33.120
what easy Rider Fighter, Big One pieces, uh drive, he said,

152
00:09:33.320 --> 00:09:37.279
all of these are like Jack Nicholson vehicles. Oh yeah,

153
00:09:37.480 --> 00:09:40.519
uh uh. And I think the first one wasn't it

154
00:09:40.600 --> 00:09:45.120
like the movie about the monkeys? Was it Head?

155
00:09:45.720 --> 00:09:49.759
Yes, which apparently is I've never seen and it's just

156
00:09:50.000 --> 00:09:53.000
trippy and you can apparently tell by me by a

157
00:09:53.000 --> 00:09:54.759
bunch of people that are just on drugs.

158
00:09:55.039 --> 00:09:58.320
Well, if you if you ever wanted to get every

159
00:09:58.600 --> 00:10:01.679
all of those films, you can get it. Criterion has

160
00:10:01.720 --> 00:10:05.799
the American Lost and Found Collection. It's the BBS story,

161
00:10:06.039 --> 00:10:08.360
So it's it's about one hundred bucks or so. Might

162
00:10:08.399 --> 00:10:10.960
get it on cell here and there. But if someone

163
00:10:11.039 --> 00:10:13.120
is looking to fill out their collection with a grade

164
00:10:13.159 --> 00:10:17.200
of a great list of New Hollywood cinema, that's a

165
00:10:17.240 --> 00:10:18.279
great collection to get.

166
00:10:18.799 --> 00:10:20.679
Yeah, and all those films are different too.

167
00:10:21.200 --> 00:10:25.000
Oh, and I would say that you know that that

168
00:10:25.039 --> 00:10:27.240
game one of these things, it's not like the other

169
00:10:28.799 --> 00:10:32.039
from the Old Kids Show, the Last Picture Show is

170
00:10:32.120 --> 00:10:35.679
nothing like any of the others. It is completely unique.

171
00:10:35.759 --> 00:10:39.480
I would say, I would say that it fits within

172
00:10:39.559 --> 00:10:42.840
their mold, but yet at the same time, it's it's

173
00:10:42.960 --> 00:10:44.440
just a completely different film.

174
00:10:44.480 --> 00:10:47.919
Getting your author to help you write the script is

175
00:10:47.960 --> 00:10:51.799
obviously very, very nice. So I guess my question is

176
00:10:51.799 --> 00:10:55.240
do you think adaptations are stronger when the original author

177
00:10:55.279 --> 00:10:58.519
is involved or is that limit kind of what the

178
00:10:58.559 --> 00:10:59.559
film can become.

179
00:11:00.600 --> 00:11:03.120
I think it's going to depend on what that working

180
00:11:03.159 --> 00:11:06.519
relationship is like, because I've seen it go both ways.

181
00:11:06.559 --> 00:11:11.159
I've seen I've seen film adaptations where you know, the

182
00:11:12.480 --> 00:11:16.799
author's material just does not the author and the writer,

183
00:11:16.960 --> 00:11:20.480
the screenplay writer just don't work well together. Obviously this

184
00:11:20.720 --> 00:11:23.600
wasn't the case they appeared or they seem to have

185
00:11:23.600 --> 00:11:28.039
gotten along fairly well, just in terms of adapting the

186
00:11:28.120 --> 00:11:29.039
material for it.

187
00:11:29.679 --> 00:11:32.879
Yeah, I mean, it just seems it's very when we

188
00:11:32.879 --> 00:11:36.240
get into like page and screen, we'll see how close

189
00:11:37.240 --> 00:11:40.120
you know the novel itself, which I claim I have

190
00:11:40.200 --> 00:11:44.519
never read. The only thing I really know about Larry

191
00:11:44.559 --> 00:11:48.799
McMurtry is Lonesome Dove. I believe he was the writer

192
00:11:49.039 --> 00:11:52.000
of a really hard movie to find with Paul Newman

193
00:11:52.039 --> 00:11:54.960
called hud Oh great movie. If you ever see that,

194
00:11:55.000 --> 00:11:57.039
I think that believe that's and that one's very very

195
00:11:57.120 --> 00:12:02.120
Last Picture Show, ask if you ever see that. But

196
00:12:02.159 --> 00:12:04.120
before we get started, though, we're going to take our

197
00:12:04.159 --> 00:12:05.799
first quick break, and when we come back, we're going

198
00:12:05.879 --> 00:12:08.480
to discuss the first ten pages and act one the

199
00:12:08.519 --> 00:12:12.279
Last Picture Show. We're talking the first ten pages of

200
00:12:12.480 --> 00:12:16.080
The Last Picture Show. In the first time pages, they

201
00:12:16.080 --> 00:12:18.600
don't really hook you with plot. They hook you with

202
00:12:19.480 --> 00:12:24.399
absence in a very bleak mood. I mean, right away,

203
00:12:24.799 --> 00:12:29.759
Donovitch McMurtry, they established the town Annerine, Texas, as a

204
00:12:29.799 --> 00:12:32.440
town that it already feels like it's fading. I mean,

205
00:12:32.600 --> 00:12:35.480
the streets are quiet, the wind never stops. I mean,

206
00:12:35.960 --> 00:12:40.799
nothing's urgent, nothing's alive. I mean, but that's the point.

207
00:12:41.120 --> 00:12:45.519
You know, then you meet Sonny and Dwayne not they

208
00:12:45.559 --> 00:12:49.159
don't not as characters goals, They have no goals. They're

209
00:12:49.200 --> 00:12:52.759
just drifting through the routine. You know, they're driving around,

210
00:12:52.919 --> 00:12:56.159
hanging out you know, looking for something to do. There's

211
00:12:56.440 --> 00:13:00.320
no clear direction. They're constantly talking about the you know,

212
00:13:00.919 --> 00:13:06.360
getting laid. That's just I'm passing. And there's a great

213
00:13:06.480 --> 00:13:13.080
line that Lois says that I think sums up so well.

214
00:13:13.360 --> 00:13:16.279
She says she's talking to Jasy and she says everything

215
00:13:16.360 --> 00:13:19.279
is flat and empty here and there's nothing to do.

216
00:13:20.039 --> 00:13:22.960
It isn't just dial I mean that's the story, yeah,

217
00:13:23.080 --> 00:13:27.559
I mean, because the script is showing us what happens

218
00:13:27.600 --> 00:13:30.480
when there's no future to move forward, you know, nothing

219
00:13:30.519 --> 00:13:37.279
to chase. I mean, it turns into boredom, screwing around relationships,

220
00:13:37.320 --> 00:13:40.360
I mean, just these weird attempts to just feel something.

221
00:13:41.919 --> 00:13:46.080
And then you learn about everybody through gossip and you know,

222
00:13:46.840 --> 00:13:50.360
Sonny and Dwayne are high school football players that had

223
00:13:50.360 --> 00:13:53.159
the game the night before and apparently they just got destroyed.

224
00:13:53.840 --> 00:13:56.240
I mean, the whole town knows, and they do not

225
00:13:56.480 --> 00:14:00.159
stop berating them for that. They just keep going an

226
00:14:00.240 --> 00:14:00.799
off on that.

227
00:14:01.720 --> 00:14:05.600
I thought that part was actually rather low key hilarious

228
00:14:06.200 --> 00:14:09.279
because the entire time they're like, hey, you think tackling

229
00:14:09.320 --> 00:14:12.200
would be a good thing to do, and they are

230
00:14:12.240 --> 00:14:15.039
just they are just getting nailed with that. The entire time.

231
00:14:15.799 --> 00:14:17.480
But I love how it shows that no matter where

232
00:14:17.480 --> 00:14:18.879
they go, they're no secrets.

233
00:14:18.960 --> 00:14:20.120
Not in this town. Oh yeah.

234
00:14:20.240 --> 00:14:23.519
I mean that's how this place works, you know.

235
00:14:23.720 --> 00:14:28.559
And there is this high school sports, right, this is

236
00:14:28.600 --> 00:14:31.279
high school sports, and and this is like the big

237
00:14:31.360 --> 00:14:34.600
thing in this town. It's one of the big things.

238
00:14:35.759 --> 00:14:37.879
So there's nothing much else. So if they're if their

239
00:14:37.919 --> 00:14:41.120
team doesn't win, it's a reflection of the town.

240
00:14:41.440 --> 00:14:45.799
And the attitude. And I mean not ashamed by it.

241
00:14:46.399 --> 00:14:49.360
Dwayne and Sunny, there's what is high school football? We

242
00:14:49.360 --> 00:14:52.080
don't care, you know, Like I said, they're like, what's

243
00:14:52.080 --> 00:14:53.960
it gonna do? They know what's it going to do

244
00:14:54.080 --> 00:14:54.519
for us?

245
00:14:55.519 --> 00:14:55.720
You know?

246
00:14:55.799 --> 00:14:58.720
I mean their lives are small. They go to the movies,

247
00:14:59.120 --> 00:15:01.639
spend time with their girls, friends, make out, and that's

248
00:15:01.919 --> 00:15:04.639
that's about it. I mean, there's no bigger goal. It's

249
00:15:04.919 --> 00:15:09.440
just routine. But the thing is that routine is what

250
00:15:09.480 --> 00:15:13.120
becomes a problem. So let me ask you this. The

251
00:15:13.159 --> 00:15:17.159
first ten pages, do they kind of pull you in

252
00:15:17.240 --> 00:15:20.559
because nothing's happening or because you can already feel that

253
00:15:20.720 --> 00:15:26.159
something's missing? And I mean, you know, are we learning

254
00:15:26.200 --> 00:15:28.480
about Sonny and Dwayne just from how they spend their time.

255
00:15:28.600 --> 00:15:32.000
I mean, the script isn't really telling us you were

256
00:15:32.039 --> 00:15:34.120
just kind of just watching it.

257
00:15:35.039 --> 00:15:40.240
The first ten pages actually covers quite a bit very fast,

258
00:15:40.279 --> 00:15:41.799
and in fact, I would I would say for a

259
00:15:41.799 --> 00:15:46.000
film that's two hours, this movie actually, to me it

260
00:15:46.039 --> 00:15:47.720
sounded like the first time you watched it. For you,

261
00:15:48.120 --> 00:15:50.200
it was a little bit slower, but to me it

262
00:15:50.240 --> 00:15:53.279
seemed like the first that the film went by very quickly.

263
00:15:53.879 --> 00:15:57.799
And the film brings you right in initially with you know,

264
00:15:58.279 --> 00:16:01.480
you have Sonny, you have Bil, you have Sam, you

265
00:16:01.559 --> 00:16:04.879
have Abiline, you have Dwayne, Miss Mossi, you have Charlene,

266
00:16:05.799 --> 00:16:08.600
Jace and Genevieve. I mean, these are all characters that

267
00:16:08.639 --> 00:16:11.600
are being thrown at you, one right after the other.

268
00:16:11.879 --> 00:16:14.879
And then there's the different locations. You're in the pool hall,

269
00:16:15.000 --> 00:16:17.440
you're over in the cafe, you're over at the picture show,

270
00:16:17.480 --> 00:16:19.639
and you start to get this, uh, you see that

271
00:16:19.679 --> 00:16:23.720
there's this really you know, the friendship between Sonny and Dwayne,

272
00:16:23.919 --> 00:16:27.000
and something that the script gives you that you don't

273
00:16:27.000 --> 00:16:29.919
really see. Well, you see it, I think you you

274
00:16:30.039 --> 00:16:32.639
see it on the screen, but the script spells it out.

275
00:16:33.000 --> 00:16:40.279
Is that there is a brotherly relationship between Sonny and Billy.

276
00:16:40.919 --> 00:16:46.679
And there's also this foreshadowing of this tension that's going

277
00:16:46.759 --> 00:16:51.480
to happen between uh one of the triangles of people

278
00:16:51.559 --> 00:16:56.159
here between uh j C, between Dwayne and between Sonny.

279
00:16:56.759 --> 00:16:58.960
The other thing that I wanted to say about the

280
00:16:59.039 --> 00:17:02.799
script in the first ten pages is that the first

281
00:17:03.080 --> 00:17:08.640
three pages of this script is three pages of character description. Yeah,

282
00:17:08.680 --> 00:17:11.839
which this is like one of the first times. But

283
00:17:12.240 --> 00:17:14.519
I told you last time. I haven't read too many scripts,

284
00:17:14.519 --> 00:17:16.720
but of the ones that I've read, I've never had

285
00:17:16.759 --> 00:17:20.519
three pages of character description. So the first time that

286
00:17:20.559 --> 00:17:23.200
I'm reading it, I'm a little bit overwhelmed by the

287
00:17:23.640 --> 00:17:27.440
by the sheer number of characters that are in this film.

288
00:17:27.599 --> 00:17:31.400
Yeah, and it's and they make that up with the

289
00:17:31.400 --> 00:17:35.160
film with silence. Yes, well, then let's get into act one.

290
00:17:36.319 --> 00:17:40.759
Act one. The last picture show. It's not given a

291
00:17:40.799 --> 00:17:44.920
clear goal. It isn't. It's just given this drift. We

292
00:17:45.000 --> 00:17:47.480
spend time with Sonny and Dwayne. You know, we go

293
00:17:47.519 --> 00:17:50.480
through their routines, like you said, the school pool hall,

294
00:17:51.119 --> 00:17:55.039
their relationships. You know, even Sonny says it. You know,

295
00:17:55.119 --> 00:17:57.920
it's gonna be trouble when he's like the only good

296
00:17:57.920 --> 00:17:59.720
looking girl or the only pretty girl in town is

297
00:17:59.799 --> 00:18:02.640
jays See and Dwayne already hazard that's obviously going to

298
00:18:02.720 --> 00:18:06.680
be a problem. But yeah, that's the structure. You know.

299
00:18:06.720 --> 00:18:10.559
There's nothing changes in their world, and the lack of

300
00:18:10.680 --> 00:18:15.279
change is what becomes the tension, you know. And the

301
00:18:15.319 --> 00:18:18.640
adults around them are no better, to be honest, I mean,

302
00:18:18.640 --> 00:18:22.759
they're not really offering much guidance. You know. They're either

303
00:18:23.200 --> 00:18:28.200
they're disconnected, they're stuck. They're in a weird relationship themselves.

304
00:18:29.400 --> 00:18:31.839
So for the kids, there's nothing to move toward. You know,

305
00:18:31.880 --> 00:18:35.240
it just feels like, let's just hold on until we

306
00:18:35.440 --> 00:18:40.519
fall into this, you know, And that's where that emotional shifting,

307
00:18:40.640 --> 00:18:44.799
because eventually drifting is just not enough, you know. And

308
00:18:44.880 --> 00:18:48.279
the loneliness, you know, Sonny's the first one to feel it,

309
00:18:49.079 --> 00:18:54.319
you know. The boredom turns into restlessness, turns into curiosity,

310
00:18:55.039 --> 00:18:59.960
leads in into relationship with Ruth Popper, and that brings

311
00:19:00.119 --> 00:19:05.359
us to our inciting incident. But unlike our other two

312
00:19:06.240 --> 00:19:10.400
previous scripts, it doesn't explode, you know, It's just it

313
00:19:10.480 --> 00:19:12.880
just kind of pulls the story inward a little bit,

314
00:19:12.920 --> 00:19:15.519
you know, because now Sonny, just for the first time,

315
00:19:15.559 --> 00:19:18.319
he's not just passing time. He's getting to do something.

316
00:19:18.400 --> 00:19:22.880
It's real, you know, it's it's not the necking, it's

317
00:19:22.960 --> 00:19:27.680
not a relationship because the girl is friends with jac

318
00:19:28.000 --> 00:19:31.000
who's dating Dwayne. You know, it's it's real. He's not

319
00:19:31.119 --> 00:19:33.839
just going through the things, you know, He's he's really

320
00:19:33.839 --> 00:19:37.400
getting to be So do you think Act one is

321
00:19:37.440 --> 00:19:40.720
about waiting for something to happen or just realizing that,

322
00:19:41.000 --> 00:19:42.720
all right, nothing's going to happen.

323
00:19:43.720 --> 00:19:47.839
Well, I think Act one is setting up a lot

324
00:19:47.880 --> 00:19:50.000
of the things that you said. And one of the

325
00:19:50.039 --> 00:19:53.000
things that I kind of wanted to go in on

326
00:19:53.680 --> 00:20:00.599
is this idea of this whole generational thing, right, because

327
00:20:01.000 --> 00:20:05.759
what's happening with the parents is just what the kid's

328
00:20:05.839 --> 00:20:10.640
future is going to be, right, So they're stuck in

329
00:20:10.680 --> 00:20:13.559
this box, and some of these kids are trying to

330
00:20:13.599 --> 00:20:15.400
get out of this box, right, but they're not going

331
00:20:15.480 --> 00:20:19.079
to be able to this this box being the town

332
00:20:19.160 --> 00:20:24.680
that they're in. Adeline was it Adeline or Anerine? Anerine

333
00:20:24.759 --> 00:20:28.240
because in the script is called Okay, the script it's

334
00:20:28.240 --> 00:20:32.000
called Archer City, uh, and sometimes it's called Anerine and

335
00:20:32.039 --> 00:20:34.839
sometimes it's called Abilene. Right. I think there's like three

336
00:20:34.880 --> 00:20:38.480
different times three different things, but in the film it's

337
00:20:39.039 --> 00:20:41.799
anerine uh the entire time. So I think they were

338
00:20:41.839 --> 00:20:45.240
still landing on the name for that. But that that

339
00:20:45.240 --> 00:20:48.519
that that town, that that town is just this this

340
00:20:48.759 --> 00:20:51.039
I don't know, some kind of like a metaphor for

341
00:20:51.039 --> 00:20:53.960
for this this thing that is keeping everybody in this

342
00:20:54.079 --> 00:20:55.799
one one location.

343
00:20:56.680 --> 00:20:58.960
One of the scenes that I think points out just

344
00:20:59.119 --> 00:21:03.000
how you see their adult role models are is the

345
00:21:03.400 --> 00:21:08.160
Christmas dance. You know, all the adults there and they're

346
00:21:08.200 --> 00:21:14.119
acting like children. I mean that the sonny is acting

347
00:21:14.279 --> 00:21:17.200
like more of an adult than any of the actual

348
00:21:17.240 --> 00:21:18.039
adults there.

349
00:21:18.960 --> 00:21:21.400
Yeah, there's a lot of interesting things that happen, and

350
00:21:21.400 --> 00:21:24.160
a lot of things that don't both said. It's not

351
00:21:24.359 --> 00:21:28.759
said right. So for instance, uh, you know, it's it's

352
00:21:28.799 --> 00:21:33.200
never really explained what Ruth Popper is going to the

353
00:21:33.240 --> 00:21:36.799
clinic for. It's it's something, it's something that was I

354
00:21:36.839 --> 00:21:39.759
forget the word that she used, but basically it's it's

355
00:21:39.759 --> 00:21:43.839
she seems very sad. It seems like there's there's maybe

356
00:21:44.319 --> 00:21:47.880
uh some I was thinking maybe some kind of counseling

357
00:21:47.920 --> 00:21:49.240
going on. Right.

358
00:21:49.440 --> 00:21:53.799
Yeah, there's a lot of questions that just kind of

359
00:21:53.839 --> 00:21:59.079
go you know, just unanswered. But you can, I mean,

360
00:21:59.079 --> 00:22:01.519
I guess any way you take them this is not good,

361
00:22:01.880 --> 00:22:04.680
you know, but you can go really dark, you know

362
00:22:04.799 --> 00:22:07.160
of the interpretation. But yeah, why is she going to that?

363
00:22:08.000 --> 00:22:11.759
You come across Sonny's dad and you hear Sonny's dad's

364
00:22:11.759 --> 00:22:13.519
taking him out. That's the only thing you hear about

365
00:22:13.519 --> 00:22:17.359
Sonny's dad. You hear about Dwayne's mother and them too

366
00:22:17.079 --> 00:22:20.519
in a boarding house. That's it. That's for them that

367
00:22:20.599 --> 00:22:23.440
I mean, you hear nothing about Sonny's mom Dwayne's dad.

368
00:22:23.839 --> 00:22:28.440
So those are their adults. It's frustrating when yeah, there's

369
00:22:28.480 --> 00:22:29.519
your role models.

370
00:22:30.000 --> 00:22:34.480
Yeah, and and of course there's there's Lois. Okay. Lois

371
00:22:34.559 --> 00:22:41.359
is the mother of jac and Lois is probably I

372
00:22:41.400 --> 00:22:44.000
don't know. I would say she's the prettiest woman in

373
00:22:44.079 --> 00:22:47.839
the town, if you will. And her husband is probably

374
00:22:47.880 --> 00:22:52.440
the richest man in the town. But she has she has,

375
00:22:52.480 --> 00:23:00.200
she has gotten into it, this monoton monotonous monotony. Or

376
00:23:01.839 --> 00:23:06.480
she's no, she's bored, she's she's she's bored. And so

377
00:23:06.960 --> 00:23:10.519
she is now hooking up with one of his foremen, Abilene,

378
00:23:10.839 --> 00:23:15.440
and Abilene brings his date into this Christmas party and

379
00:23:15.559 --> 00:23:19.799
Lois walks up, plants the biggest kiss that you ever.

380
00:23:20.039 --> 00:23:24.799
I mean, it would be inappropriate in any situation. Yeah,

381
00:23:24.839 --> 00:23:27.759
and just does it right in front of of his

382
00:23:27.920 --> 00:23:30.720
date and Uh. And then they go off and they

383
00:23:30.759 --> 00:23:33.480
start dancing, and it's one of those things to where

384
00:23:33.799 --> 00:23:37.799
they're dancing and there everyone's clearing the floor and they're

385
00:23:37.920 --> 00:23:42.400
the center of attention, which kind of drives jc uh

386
00:23:42.440 --> 00:23:46.640
and Duayne out so that jac can go to this

387
00:23:47.759 --> 00:23:49.640
the after party exactly.

388
00:23:50.519 --> 00:23:52.160
Well, we're going to take our second break and when

389
00:23:52.160 --> 00:23:54.480
we come back, we will continue on to Act too,

390
00:23:54.880 --> 00:23:59.119
the Last Picture Show. Welcome back to a script buy.

391
00:23:59.240 --> 00:24:02.039
We were talking Act two of The Last Picture Show Too.

392
00:24:02.079 --> 00:24:05.640
This is where the characters start to fill their emptiness.

393
00:24:06.279 --> 00:24:10.839
Sonny's relationship with Ruth begins. Then that story shifts. We're

394
00:24:10.880 --> 00:24:16.720
not just observing, we're experiencing. Finally feels real, but that

395
00:24:16.880 --> 00:24:22.480
just leads more experimentation. Jac she begins taste testing. You know,

396
00:24:22.559 --> 00:24:28.559
these boundaries jumping from relationship, you know, Bobby Sheen, Dwayne Abbe,

397
00:24:28.920 --> 00:24:32.920
you know Sonny and Sonny doesn't really know what's going on.

398
00:24:33.319 --> 00:24:38.519
He's just not really sure what's He's being tossed around like,

399
00:24:38.559 --> 00:24:40.160
you know, a ping pong so much, you know, and

400
00:24:40.200 --> 00:24:45.240
then the thank God there's Sam the Lyon. You know,

401
00:24:45.279 --> 00:24:48.480
he's kind of their quiet anchor, you know, he remembers

402
00:24:48.519 --> 00:24:51.079
the life when the town actually meant something, you know,

403
00:24:51.279 --> 00:24:54.359
is his presence gives a story weight, but it also

404
00:24:54.400 --> 00:24:58.799
reminds them of the days that are gone. And then

405
00:24:59.400 --> 00:25:05.680
Lois and genevienh yeah, Genevin, they show us the other side.

406
00:25:06.079 --> 00:25:09.440
They show us that the adulthood, it's shaped by the compromise,

407
00:25:09.920 --> 00:25:15.359
the emotional distance what once might have been a possibility

408
00:25:15.400 --> 00:25:18.680
to just kind of settled into routine by now. So

409
00:25:18.759 --> 00:25:21.279
Act two goes a little bit beyond the teenagers. We

410
00:25:21.319 --> 00:25:24.160
start to get into a little bit of the rest

411
00:25:24.279 --> 00:25:28.599
of the town. You know, the whole town's just being

412
00:25:28.640 --> 00:25:31.480
filled with They're all trying to fill this emptiness, you know,

413
00:25:31.559 --> 00:25:34.720
and just none of it holds. And it finally just

414
00:25:34.759 --> 00:25:38.640
comes crashing down when Stunny and jac run off, you know,

415
00:25:38.680 --> 00:25:42.279
and they're just immediately pulled back. I mean, not a

416
00:25:42.680 --> 00:25:45.119
it doesn't feel like, oh it's a twist, it's inevitable.

417
00:25:45.200 --> 00:25:48.200
I mean, and she's just she just takes him for

418
00:25:48.279 --> 00:25:51.079
a ride. And just like I said, these are people

419
00:25:51.079 --> 00:25:55.039
that are so bored, so bored that this is what

420
00:25:55.119 --> 00:25:58.640
it comes to. Uh So do you think Act too

421
00:26:00.119 --> 00:26:04.599
is it about the teenagers experiment or about town just

422
00:26:04.599 --> 00:26:06.480
showing them what the future is going to be like

423
00:26:06.519 --> 00:26:06.799
for them.

424
00:26:07.519 --> 00:26:13.559
I kind of see Act two as centering in more

425
00:26:14.119 --> 00:26:19.960
on what I would call the moral center being being

426
00:26:20.079 --> 00:26:26.720
sam it it. There are two acts, or there are two,

427
00:26:29.400 --> 00:26:31.720
I want to say they're they're kind of rituals that

428
00:26:31.799 --> 00:26:36.400
happen in this in this movie. Uh and it's these

429
00:26:36.480 --> 00:26:42.440
rituals are separated by social class, which plays actually an

430
00:26:42.440 --> 00:26:46.319
interesting aspect in this film. One of them is the

431
00:26:46.359 --> 00:26:49.279
country club kids, that's what I want to call them.

432
00:26:49.960 --> 00:26:55.519
And Lester played by Randy Quaid, brings j C to

433
00:26:55.599 --> 00:27:00.440
a party that is hosted by Billy mm hmm. And

434
00:27:00.480 --> 00:27:03.759
it's a swimming party. And there's only one rule for

435
00:27:03.799 --> 00:27:06.759
the swimming party is that everybody there is naked.

436
00:27:07.240 --> 00:27:07.519
Yep.

437
00:27:08.160 --> 00:27:13.599
So in order to become part of this club, jac

438
00:27:13.759 --> 00:27:16.359
has to go into the diving board and has to strip.

439
00:27:18.119 --> 00:27:21.720
The weirdest thing about that to me is not these

440
00:27:21.759 --> 00:27:25.920
teenagers who are sitting around naked watching her do this.

441
00:27:26.759 --> 00:27:30.039
It's the little boy with the mask on you swimming

442
00:27:30.039 --> 00:27:35.720
in the pool, right, he's the I mean, this kid's

443
00:27:35.759 --> 00:27:39.359
gonna grow up to be something weird, you know. Yeah,

444
00:27:40.839 --> 00:27:43.359
So then you compare that or you can trast that

445
00:27:43.480 --> 00:27:47.279
now with the roughneck kids. Okay, so the Roughneck kids.

446
00:27:48.279 --> 00:27:51.799
Dwayne has been jilted by jac so he's getting drunk

447
00:27:51.839 --> 00:27:54.240
with it boys, and these kids are now starting to

448
00:27:54.279 --> 00:27:56.880
talk about we gotta go get a woman, we gotta

449
00:27:56.920 --> 00:27:59.119
go get something, you know, and they're using all sorts

450
00:27:59.160 --> 00:28:01.599
of language, you know, for that, you know, and they

451
00:28:02.559 --> 00:28:07.440
they entertain lots of things in this film. It's if

452
00:28:07.480 --> 00:28:09.720
you try to describe it, it makes why is he

453
00:28:09.759 --> 00:28:15.319
saying this is such a great film. Yeah, but they

454
00:28:15.559 --> 00:28:23.039
end up trying to take the character of Billy and

455
00:28:23.240 --> 00:28:27.079
having him lose his virginity. So it's another ritual, but

456
00:28:27.240 --> 00:28:29.799
this is not one that's natural or one of his choosing.

457
00:28:29.920 --> 00:28:32.720
Is one that they're putting upon it because Billy uh

458
00:28:33.200 --> 00:28:37.160
Is is mentally retarded and is and is not able

459
00:28:37.200 --> 00:28:42.440
to make those decisions for himself. And Uh In the act,

460
00:28:42.559 --> 00:28:47.400
Jimmy Sue, who is the waitress of the local UH

461
00:28:48.359 --> 00:28:51.640
drive in, who also happens to trick on the side,

462
00:28:53.039 --> 00:28:57.039
ends up punching Billy giving him a bloody nose, which

463
00:28:57.119 --> 00:29:00.799
which leads to an encounter with I Am the Lion,

464
00:29:01.000 --> 00:29:05.119
who expresses disappointment and all the kids tells tells the

465
00:29:05.119 --> 00:29:10.079
boys who were involved, which also includes Sonny that you're

466
00:29:10.079 --> 00:29:11.599
not to come into my pool hall, You're not to

467
00:29:11.599 --> 00:29:13.240
come into my cafe, You're not to come into my

468
00:29:13.319 --> 00:29:18.079
picture show anymore. I don't want your business. And that's

469
00:29:18.119 --> 00:29:21.359
a crushing blow on Sonny because Sonny was not wanting

470
00:29:21.400 --> 00:29:24.839
to participate in this, but he was just really wrong place,

471
00:29:25.079 --> 00:29:28.640
wrong time, trying to be there for Dwayne, and Dwayne

472
00:29:29.319 --> 00:29:31.960
was asleep in the back seat of the car, so

473
00:29:32.039 --> 00:29:36.839
he doesn't get the ban. And yeah, so we have

474
00:29:37.000 --> 00:29:42.039
these two different these two different conference, these two different

475
00:29:42.160 --> 00:29:45.240
rituals that are happening within there, and then it gets

476
00:29:45.240 --> 00:29:50.920
booked in with the fishing trip, right. Yeah, So I'm

477
00:29:50.960 --> 00:29:58.839
telling you Ben Johnson, that's his His monologue at the

478
00:29:58.839 --> 00:30:07.759
fishing tank is such a great it's a it's such

479
00:30:07.799 --> 00:30:12.359
a great scene of a person who is older, who

480
00:30:12.440 --> 00:30:16.000
is reflecting on something that was good but is lost

481
00:30:16.039 --> 00:30:21.359
in his life and just it's it's just the memory

482
00:30:21.400 --> 00:30:24.519
of and it was. It was just so well done. Uh,

483
00:30:24.720 --> 00:30:27.640
it's done in one take. There's this gentle push in

484
00:30:27.799 --> 00:30:29.960
on his face. And this is why I think the

485
00:30:30.000 --> 00:30:33.279
black and white works so well, because in lighting, they

486
00:30:33.279 --> 00:30:35.960
can choose where to where to put the lights in

487
00:30:36.000 --> 00:30:38.200
the film for the for the black and white, and

488
00:30:38.240 --> 00:30:40.160
it's just so much it's just it's just so much

489
00:30:40.200 --> 00:30:43.359
more magnified than when it's in color. And I just

490
00:30:43.400 --> 00:30:46.720
thought that that scene was just the highlight of of

491
00:30:46.799 --> 00:30:49.599
the movie. Like it's like that the epicenter almost everything

492
00:30:49.640 --> 00:30:53.440
afterwards it starts to kind of lead to resolution as

493
00:30:53.480 --> 00:30:58.519
as everyone is trying to uh, you know, finish, finish

494
00:30:58.599 --> 00:31:03.480
up the the their story. But but yeah, then afterwards,

495
00:31:03.519 --> 00:31:06.599
as you were saying, they have a trip to Mexico.

496
00:31:07.400 --> 00:31:14.720
Yeah, and and things seem like they're they're okay, you

497
00:31:14.759 --> 00:31:17.279
know a little bit, you know, everybody seems like they're

498
00:31:17.319 --> 00:31:21.440
they're doing okay. And every time you get comfortable, there's

499
00:31:21.440 --> 00:31:23.440
always gonna be somebody to pull out the rug, you know.

500
00:31:23.480 --> 00:31:26.559
And they go to Mexico and they have a good

501
00:31:26.599 --> 00:31:30.920
time and they come back and well, oh it just

502
00:31:31.200 --> 00:31:35.079
it just turns bad up there. But we're gonna get

503
00:31:35.119 --> 00:31:40.480
in to Act three now. Uh So Act three begins

504
00:31:40.559 --> 00:31:47.359
after this illusion collapses. Sandal Lion has died, and even

505
00:31:47.359 --> 00:31:52.480
though his death has happened more in the the second act,

506
00:31:52.559 --> 00:31:55.359
you know, and that's important because it wasn't the ending,

507
00:31:55.440 --> 00:31:59.559
it was the warning. It showed us, like you said,

508
00:31:59.599 --> 00:32:03.559
what used to be and but what's already been lost?

509
00:32:03.599 --> 00:32:07.079
You know. The characters don't. They don't fully understand a yet,

510
00:32:07.160 --> 00:32:10.799
you know. They they keep moving, they keep trying to experiment,

511
00:32:10.839 --> 00:32:14.400
to see if different things work, you know, But that's

512
00:32:14.400 --> 00:32:19.319
where it finally stops. You know, Sonny and Jase are caught.

513
00:32:19.559 --> 00:32:23.440
There's no escape from the town. You know, it's gone.

514
00:32:23.920 --> 00:32:28.240
Everything finally begins to centle. Dwayne just leaves for the army.

515
00:32:28.599 --> 00:32:30.799
I mean, you can't, like you said, but I agree

516
00:32:30.839 --> 00:32:34.279
with Dwayne. What does he have? He says, what I

517
00:32:34.319 --> 00:32:37.920
have here? And he's right, you know, he gets out,

518
00:32:37.960 --> 00:32:43.839
you know, Jason moves on, and all the relationships from

519
00:32:43.960 --> 00:32:48.839
Act too they all fall apart. But everything else, not

520
00:32:48.920 --> 00:32:52.519
just the relationships, because of Sam's death, the pool hall,

521
00:32:53.279 --> 00:32:57.480
the movie theater, they all are starting to disappear, and

522
00:32:58.359 --> 00:33:02.319
Sonny is just left. He's just he's just left. And

523
00:33:02.359 --> 00:33:06.039
you know, it was fading and now it's it's final,

524
00:33:07.039 --> 00:33:10.079
you know, and that's the shift. Act one is the drift,

525
00:33:10.240 --> 00:33:15.079
Act two the experimentation, and Act three the realization. There

526
00:33:15.599 --> 00:33:19.079
there is no reinvention here, you know, there's no there's

527
00:33:19.119 --> 00:33:24.400
no last minute clarity. There's just acceptance. You know, there's

528
00:33:24.440 --> 00:33:29.119
a final moment between son and Ruth. There's no resolution,

529
00:33:30.119 --> 00:33:33.039
you know, it just it just offers something just much quieter.

530
00:33:33.200 --> 00:33:36.920
You know, it's just not what's next, but all right,

531
00:33:36.960 --> 00:33:39.759
well what's left? You know, this isn't a movie where

532
00:33:40.160 --> 00:33:42.599
I'm sorry. This is not a script where a lot

533
00:33:42.599 --> 00:33:47.000
of solutions happen, you know at the end. So do

534
00:33:47.079 --> 00:33:52.400
you think that Act three is about loss or about

535
00:33:52.440 --> 00:33:54.680
finally seeing things clearly for the first time?

536
00:33:55.960 --> 00:34:04.480
The way the script ends, Okay, Sonny is the last one.

537
00:34:04.759 --> 00:34:12.159
He has nothing else. Sam has died, Billy, Billy has

538
00:34:12.199 --> 00:34:20.119
been killed, uh tragically, hit by a truck, and Sonny

539
00:34:20.280 --> 00:34:26.000
really he tries to leave, but he can't, and there's

540
00:34:26.079 --> 00:34:31.000
there's no one else really left for him but Ruth,

541
00:34:31.840 --> 00:34:35.280
who may have been the only person in the town

542
00:34:36.280 --> 00:34:40.320
capable of loving him. I know there's a sequel many

543
00:34:40.400 --> 00:34:43.400
years later. I don't think I want to see.

544
00:34:43.199 --> 00:34:46.800
That, And I agree with you. I haven't seen it

545
00:34:46.920 --> 00:34:51.760
yet because I don't know what to expect, and I

546
00:34:51.800 --> 00:34:53.760
don't know what I should expect.

547
00:34:54.920 --> 00:34:59.119
I like, I like this film. I like the script.

548
00:34:59.480 --> 00:35:02.119
It's hard to talk about the script and the film,

549
00:35:02.559 --> 00:35:06.079
and we'll talk about that in a second, but I

550
00:35:07.119 --> 00:35:10.400
like how it just ends and one of the things

551
00:35:10.559 --> 00:35:14.320
you've alluded to, and it's present in both the script

552
00:35:14.480 --> 00:35:19.639
and in the film. The movie is not a straightforward,

553
00:35:19.760 --> 00:35:24.199
connected narrative. It's almost like you're going from scene to

554
00:35:24.360 --> 00:35:30.639
scene to scene, and really you're following JC a lot

555
00:35:30.760 --> 00:35:34.239
in terms of she is the one who is kind

556
00:35:34.280 --> 00:35:38.880
of controlling the emotional well being of either Dwayne or Sonny,

557
00:35:39.440 --> 00:35:42.400
depending on where she's at. Her whole goal, I think

558
00:35:42.519 --> 00:35:46.880
is always to marry and get out of the town,

559
00:35:47.559 --> 00:35:52.280
and I think Dewayne is always trying to work to

560
00:35:52.320 --> 00:35:55.639
where he can make enough money to where he could

561
00:35:55.639 --> 00:35:58.719
be you rich enough for JC.

562
00:36:00.000 --> 00:36:03.159
We're gonna get into page versus screen. Now. What makes

563
00:36:03.239 --> 00:36:05.840
Last Picture Show is such a strong adaptation is how

564
00:36:05.840 --> 00:36:07.840
close to the film matches the tone of the script

565
00:36:08.480 --> 00:36:13.159
but translates it visually on the page. Donovich mcmercury right,

566
00:36:13.239 --> 00:36:17.800
with restraint. There's very little exposition very little explanation. The

567
00:36:17.840 --> 00:36:22.760
emotion is understated, and the film leads into that the shoot,

568
00:36:22.880 --> 00:36:26.599
the decision to shoot in black and white isn't just stylistic.

569
00:36:27.000 --> 00:36:30.960
It reinforces the emptiness of the town, the flat landscapes,

570
00:36:31.079 --> 00:36:34.800
the quiet streaks, the lack of movement. It all feels

571
00:36:34.840 --> 00:36:40.400
stripped down, almost bare. Nothing is romanticized. And that same

572
00:36:40.440 --> 00:36:46.079
restraint carries into performances. Acting is natural, it's it's quiet,

573
00:36:46.119 --> 00:36:49.840
it's sometimes uncomfortable, but it fits material perfectly. I mean,

574
00:36:49.920 --> 00:36:54.800
the film got I think almost every other person was

575
00:36:54.880 --> 00:36:58.599
nominated for an Academy Award for performances. It's very very

576
00:36:58.639 --> 00:37:01.920
This is a this is a great actor piece, you know,

577
00:37:02.239 --> 00:37:05.679
and you know that's where the film really succeeds. You know,

578
00:37:06.760 --> 00:37:10.320
it doesn't expand the script. It just kind of preserves it.

579
00:37:10.440 --> 00:37:14.280
You know, the tone of the screenplay, the silence, the awkwardness,

580
00:37:14.280 --> 00:37:18.679
the emotional distance. I mean that translates pretty good on

581
00:37:18.719 --> 00:37:21.800
the screen, you know, and that's what made it fit

582
00:37:21.920 --> 00:37:25.400
so perfectly in the New Hollywood movement of the nineteen seventies.

583
00:37:25.400 --> 00:37:28.719
You know, it doesn't tell you how to feel, It

584
00:37:28.800 --> 00:37:31.760
lets you just sit with them. Do you think the

585
00:37:31.800 --> 00:37:35.880
film works because it because it is pretty faithful to

586
00:37:35.920 --> 00:37:39.800
the scriptor because it just it finds that visual language

587
00:37:40.159 --> 00:37:41.880
to match that tone of the script.

588
00:37:43.239 --> 00:37:48.760
Well, it definitely, I think it definitely starts with the script. Yeah,

589
00:37:49.559 --> 00:37:54.519
you know, And I think this script, I think in

590
00:37:54.559 --> 00:37:59.559
anyone else's hands other than Peter Bugdanovich back in nineteen

591
00:38:00.599 --> 00:38:04.400
sixty nine or seventy, whenever this project starts, I don't

592
00:38:04.400 --> 00:38:07.639
think it would have been the same film whatsoever. I

593
00:38:08.840 --> 00:38:12.400
think that it's it is what it is, primarily because

594
00:38:13.039 --> 00:38:19.599
Bogdanovich is one of these directors who's he's new Hollywood, right,

595
00:38:20.400 --> 00:38:23.920
but he also respects classic Hollywood.

596
00:38:24.079 --> 00:38:25.639
Oh yes, you know.

597
00:38:26.000 --> 00:38:29.480
And I think this is where you start to see this,

598
00:38:29.480 --> 00:38:33.880
this this melding of two styles, and you even see

599
00:38:33.920 --> 00:38:38.079
it in a weird way between you know, you have

600
00:38:38.480 --> 00:38:41.559
Sam the lion. Let's say that he is the old guard,

601
00:38:42.079 --> 00:38:44.519
you know, and then you have the younger kids. They

602
00:38:44.519 --> 00:38:49.599
are the new Hollywood directors themselves, you know. So it's

603
00:38:49.639 --> 00:38:53.480
it's I think that in anyone else's hands, I don't

604
00:38:53.599 --> 00:38:58.360
think that what we would see on the film would

605
00:38:58.480 --> 00:39:02.320
match with what is on this on this on the script,

606
00:39:02.400 --> 00:39:06.159
on the page. And another thing that's really interesting when

607
00:39:06.199 --> 00:39:09.880
you read the script, is the script is in color.

608
00:39:10.639 --> 00:39:15.079
It describes color all over the place. Yeah, and it's

609
00:39:15.119 --> 00:39:18.639
it's it's interesting because that that caught me. I didn't

610
00:39:18.679 --> 00:39:20.599
notice it the first time because I hadn't watched the

611
00:39:20.599 --> 00:39:22.760
movie yet and didn't realize it was in black and white.

612
00:39:23.320 --> 00:39:25.079
And then the second time I went through and read

613
00:39:25.119 --> 00:39:27.880
the script again, it's like, ooh, there's so much color

614
00:39:28.039 --> 00:39:31.559
in the very beginning of this of this script that

615
00:39:31.639 --> 00:39:33.960
it was almost distracting because I'm like, but it's in

616
00:39:34.000 --> 00:39:36.679
black and white. Nope, it wasn't in black and white.

617
00:39:36.480 --> 00:39:39.920
Yet, but I like that how it's almost like we

618
00:39:39.920 --> 00:39:43.039
can't even afford color. Yeah, you know, it's almost just

619
00:39:43.239 --> 00:39:47.039
perfect to the you know the film. Yeah, which brings

620
00:39:47.119 --> 00:39:51.639
us to dialogue, character and subtext. A stands out most

621
00:39:51.639 --> 00:39:54.679
about the dialogue in The Last Picture Show is basically

622
00:39:54.679 --> 00:39:59.039
how little it explains. The characters do not articulate what

623
00:39:59.039 --> 00:40:04.679
they're feeling. They the conversations they're awkward, they're incomplete, they're

624
00:40:04.840 --> 00:40:10.199
uncomfortable because you know, the real story has been underneath

625
00:40:10.199 --> 00:40:13.760
the dialogue. I mean, for exent, take Sonny and Ruth.

626
00:40:13.800 --> 00:40:18.000
You know, they really don't say anything direct to each other,

627
00:40:18.360 --> 00:40:21.960
you know, me, you just feel their loneliness, just this

628
00:40:22.159 --> 00:40:25.480
need for connection, the confusion, it's all there, just just

629
00:40:26.480 --> 00:40:30.280
they don't talk about it, you know. And same with

630
00:40:30.400 --> 00:40:34.000
jac you know, she talks to talk, but what she

631
00:40:34.119 --> 00:40:36.800
says and understands aren't always the same thing. You know,

632
00:40:36.840 --> 00:40:43.440
there's huge gap between her and her awareness, you know. Yeah,

633
00:40:44.000 --> 00:40:47.599
and then things like like I said, like very little

634
00:40:47.679 --> 00:40:51.519
is explained. We don't know why Ruth is going to

635
00:40:52.000 --> 00:40:56.519
the clinic. And then when she tells Sonny about Sonny says,

636
00:40:56.559 --> 00:40:59.000
I hope you're You're probably going to feel better once

637
00:40:59.039 --> 00:41:00.960
you coaches, you know best, while the coach would be

638
00:41:01.000 --> 00:41:06.039
homewarre And she's like, oh, you don't even know. Your

639
00:41:06.079 --> 00:41:09.840
mind can go into a bunch of different places. Mine did.

640
00:41:10.360 --> 00:41:12.719
But I did a little research on it, and it's

641
00:41:12.760 --> 00:41:16.239
not as apparently as as crazy as my mind when

642
00:41:16.320 --> 00:41:20.280
you know, it's just more of the two people that

643
00:41:20.360 --> 00:41:23.760
are so lonely, like you have no idea that we're

644
00:41:23.800 --> 00:41:26.760
not even we're just we live in the same house.

645
00:41:27.039 --> 00:41:29.679
We don't we don't have a loving relationship. It doesn't

646
00:41:30.000 --> 00:41:30.960
exist anymore.

647
00:41:31.920 --> 00:41:35.719
And the thing is is you can play that either way, right,

648
00:41:35.960 --> 00:41:39.320
and and it, and it does work, and there's like

649
00:41:39.440 --> 00:41:42.000
enough I think there's enough like visual evidence of in

650
00:41:42.039 --> 00:41:44.760
the in the you know, the screen, especially in the

651
00:41:44.920 --> 00:41:48.599
uh uh when when the coaches is having the boys

652
00:41:48.679 --> 00:41:52.360
run around and everything. Yeah, there's there's lots of things

653
00:41:52.360 --> 00:41:55.000
that can make you go huh. He seemed they seem

654
00:41:55.039 --> 00:41:57.760
to linger on on on on that kid going by

655
00:41:57.800 --> 00:41:59.360
and he slapping him on the butt kind of thing

656
00:41:59.360 --> 00:42:01.639
a little bit too long, and you start trying to

657
00:42:01.719 --> 00:42:05.880
you start putting things together. It's never explicitly said, because

658
00:42:06.440 --> 00:42:11.960
you know, in nineteen fifty these conversations we would not

659
00:42:12.079 --> 00:42:18.719
be having, you know, And so I think that that's

660
00:42:18.760 --> 00:42:24.000
a great that's a great example. Another example of the

661
00:42:24.039 --> 00:42:27.480
film that I that I liked was when Jenna was

662
00:42:27.480 --> 00:42:30.760
a Genevieve who said, you know, no one can sneeze

663
00:42:30.800 --> 00:42:35.039
in this town without someone offering you a handkerchief, basically saying,

664
00:42:35.440 --> 00:42:39.119
you know, to Sonny, you think your little affair with

665
00:42:39.239 --> 00:42:42.880
Ruth is a secret. Everybody knows about it. Everybody knows

666
00:42:43.800 --> 00:42:45.719
everyone except for jac apparently.

667
00:42:46.920 --> 00:42:51.960
But yeah, so, I mean, I think so you think

668
00:42:52.039 --> 00:42:56.440
the performances are the film is more powerful because the

669
00:42:56.639 --> 00:42:59.760
characters don't say what they feel.

670
00:43:00.320 --> 00:43:03.920
Yeah, well, I think that invites you, okay to put

671
00:43:04.440 --> 00:43:07.239
put put some stuff in there. And that's a that's

672
00:43:07.280 --> 00:43:09.840
great for any kind of conversation because then you and

673
00:43:09.920 --> 00:43:11.840
I can sit here and we can have a whole

674
00:43:11.880 --> 00:43:16.039
conversation about why you see things as one way and

675
00:43:16.079 --> 00:43:18.400
I see something as another. And you know that's just

676
00:43:18.440 --> 00:43:21.719
two guys talking about art, right, And that's something that's

677
00:43:21.760 --> 00:43:25.000
really great. We can look at something observe it, and

678
00:43:25.039 --> 00:43:27.960
because not everything is spelled out, you know, like a

679
00:43:28.239 --> 00:43:31.519
like like a Marvel film, you know, we we have

680
00:43:31.639 --> 00:43:34.880
we have room for interpretation. Uh and and a lot

681
00:43:34.880 --> 00:43:37.159
of times they're they're equally valid, because that's that's the

682
00:43:37.199 --> 00:43:38.639
great thing about about.

683
00:43:38.480 --> 00:43:43.880
Art, Yeah, which brings us to legacy and lessons. The

684
00:43:43.960 --> 00:43:47.639
script didn't just capture a moment in time. It captured

685
00:43:47.760 --> 00:43:54.039
a feeling quiet emptiness, doesn't announce itself. It just settles in.

686
00:43:54.840 --> 00:43:57.639
But that's what makes it last. You know. Structurally, it

687
00:43:58.039 --> 00:44:00.719
brings a lot of traditional rules. I mean there's there's

688
00:44:00.760 --> 00:44:05.800
no strong maternal there's no goal, there's no clear antagonists,

689
00:44:05.800 --> 00:44:09.480
no major plot engine driving things forward. And yet it

690
00:44:09.559 --> 00:44:15.719
works because the script understands something fundamental. You don't always

691
00:44:15.719 --> 00:44:19.360
need big events to tell a meaningful story. You know,

692
00:44:19.480 --> 00:44:23.639
sometimes it's just that whole condition of the story. I mean,

693
00:44:24.679 --> 00:44:28.400
the town isn't just the setting of where everything's taking place.

694
00:44:28.400 --> 00:44:32.960
It's the force that's just the shaping every decision, every

695
00:44:33.360 --> 00:44:37.840
every relationship. I mean, and instead of resolving it, the

696
00:44:37.840 --> 00:44:41.719
script just lets it exist. I mean. And that's why

697
00:44:41.760 --> 00:44:44.840
I think if it's so perfect into that new Hollywood thing,

698
00:44:44.880 --> 00:44:49.360
because it's it's not it's a little bleak, it's you know,

699
00:44:49.440 --> 00:44:53.440
it's dark, but it's honest. It's it's restrained, and it

700
00:44:53.599 --> 00:44:58.000
trusts this, it trusts the audience, and it shows that

701
00:44:58.079 --> 00:45:01.519
you don't have to shout to have a screenplay be

702
00:45:01.679 --> 00:45:04.400
so powerful. Sometimes it just you know, really has to be.

703
00:45:04.519 --> 00:45:05.280
It's got to be true.

704
00:45:07.559 --> 00:45:11.519
This isn't a screenplay that could have been filmed ten

705
00:45:11.639 --> 00:45:16.400
years earlier. Yeah, Okay, the Hayes Code was still in effect,

706
00:45:16.639 --> 00:45:20.519
but at that time, I would believe sixty sixty two.

707
00:45:24.360 --> 00:45:29.239
So yeah, So so, you know, the Hayes Code relaxed

708
00:45:29.239 --> 00:45:33.119
a lot of those standards that you know, the studios

709
00:45:33.159 --> 00:45:37.639
would generally agree upon, and basically once we got into

710
00:45:37.719 --> 00:45:41.239
the rating systems, you know, they were able to then

711
00:45:41.320 --> 00:45:45.079
put category movies into categories to say, hey, we will

712
00:45:45.079 --> 00:45:48.440
have this kind of content inside it. They wouldn't have

713
00:45:48.440 --> 00:45:50.840
been able to tell that kind of of a of

714
00:45:50.880 --> 00:45:57.440
a of a story back then. But yeah, all.

715
00:45:57.400 --> 00:46:00.440
Right, well, we're gonna step aside for one of our

716
00:46:00.440 --> 00:46:03.920
things that we do here a companion picks. So each

717
00:46:04.000 --> 00:46:06.719
episode we'd like to highlight a companion piece to our episode.

718
00:46:06.760 --> 00:46:09.679
It can be anything from a movie, book, or whatever

719
00:46:09.719 --> 00:46:13.599
you feel goes well with the episode. I'm so glad

720
00:46:13.840 --> 00:46:16.000
that I'm not alone on this one, Chuck, because my

721
00:46:16.159 --> 00:46:24.480
companion pick is Targets. This movie is fantastic. I really

722
00:46:24.639 --> 00:46:32.119
considered this as the Peter Bogdanovich episode, but because Last

723
00:46:32.119 --> 00:46:34.320
Paper showed just more well known, you know, the script

724
00:46:34.400 --> 00:46:38.840
and stuff thatut. But Targets, I mean, it's not just

725
00:46:39.000 --> 00:46:42.199
because of what you said of being able to take

726
00:46:42.199 --> 00:46:46.079
two days of Boris Carlock footage footage from Terror with

727
00:46:46.239 --> 00:46:50.960
Jack Nicholson and turning it into this movie about a

728
00:46:51.000 --> 00:46:56.519
guy that resembles Charles Whitman in a way that it's

729
00:46:56.599 --> 00:47:00.920
almost put together with just editing. Yeah, and it works

730
00:47:01.280 --> 00:47:07.920
so well, and it's creepy. It's I mean, if you

731
00:47:08.079 --> 00:47:11.000
watch this movie now it is still shocking. If you

732
00:47:11.079 --> 00:47:14.440
watch Targets to day, you would not be This would

733
00:47:14.440 --> 00:47:19.079
not pass the ratings laws. This would be an X rating.

734
00:47:19.360 --> 00:47:23.519
This movie's but if you haven't seen Targets, it's a

735
00:47:23.519 --> 00:47:25.159
little hard to find. You might find in like t

736
00:47:25.239 --> 00:47:29.119
B Swear, but the Criterion Targets. I'm so glad it

737
00:47:29.320 --> 00:47:32.480
finally came out. And but yeah, that's definitely my companion pieces.

738
00:47:32.679 --> 00:47:34.519
So first of all, I have to say that makes

739
00:47:34.519 --> 00:47:37.639
me really happy that it's on Criterion. That the second

740
00:47:37.719 --> 00:47:42.000
bit was that they held this movie because certain events

741
00:47:43.079 --> 00:47:46.679
happened in the sixties, and they put it out a

742
00:47:46.719 --> 00:47:49.719
little bit afterwards. And I'm not going to say that

743
00:47:49.760 --> 00:47:56.280
it was exploitive of of of certain assassinations, but you

744
00:47:56.360 --> 00:48:00.519
know Corman. Corman knew what he was doing. Yeah, actually,

745
00:48:00.559 --> 00:48:04.079
I think that would have been probably paramount by that point.

746
00:48:04.280 --> 00:48:05.440
Who would are be putting that out?

747
00:48:05.760 --> 00:48:09.559
So, well, do you have a companion piece for me?

748
00:48:10.440 --> 00:48:14.000
I do. And it's not fair if I say, go

749
00:48:14.119 --> 00:48:17.960
back to Chinatown for the book on Roger Corman that

750
00:48:17.960 --> 00:48:20.519
I was talking about then, So I'm going to go

751
00:48:20.599 --> 00:48:23.480
with I don't know if I've talked about this one. Now,

752
00:48:23.519 --> 00:48:27.400
this is the movie Brats. So the Movie Brats is

753
00:48:27.679 --> 00:48:31.239
written by Michael Pie and Linda Miles. It is it

754
00:48:31.280 --> 00:48:35.239
was published in nineteen seventy nine. So it is a

755
00:48:35.280 --> 00:48:41.440
book that is about not necessarily the new Hollywood directors,

756
00:48:41.880 --> 00:48:48.280
but the first generation of film school directors who grew

757
00:48:48.360 --> 00:48:52.519
up loving films they didn't grow up in as directors

758
00:48:52.599 --> 00:48:56.639
in the studio system. And so this is almost like

759
00:48:58.440 --> 00:49:04.559
a first source material for information on Martin sac John Millius,

760
00:49:04.679 --> 00:49:08.599
Brianda Palmer, George Lucas, Francis for Coppola, and Steven Spielberg.

761
00:49:09.039 --> 00:49:13.760
Sadly it is missing an entry on Peter Bogdanovich, but

762
00:49:15.000 --> 00:49:18.000
he probably would have been in that same mold with

763
00:49:18.119 --> 00:49:20.920
Roger Corman and Francis for a Coppola.

764
00:49:21.880 --> 00:49:25.960
That's funny because the book, the book that that I

765
00:49:26.280 --> 00:49:29.039
always come back to is the Peter Biskins, Easy Writers,

766
00:49:29.119 --> 00:49:32.519
Raging Bulls and all those other guys in it. And

767
00:49:33.400 --> 00:49:35.239
when you read that book, you obviously want to see

768
00:49:35.280 --> 00:49:38.639
all their types of films. But and I'm sad to

769
00:49:38.639 --> 00:49:41.679
say this, but Magdonovich was one of the last ones

770
00:49:42.280 --> 00:49:44.440
that I said, all right, I need to I need

771
00:49:44.480 --> 00:49:47.199
to find out what the delio was you know, and

772
00:49:47.239 --> 00:49:50.800
then seeing that he was this because when this came,

773
00:49:51.480 --> 00:49:54.239
you know, his name was at the top of the

774
00:49:54.360 --> 00:49:59.760
list of geniuses. You know, he was friends with Oresome

775
00:49:59.800 --> 00:50:03.079
we L. He had no problem getting these Howard Hawks

776
00:50:03.079 --> 00:50:06.280
and john Ford people to sit down with him. I mean,

777
00:50:06.320 --> 00:50:11.599
he got john Ford to give to get Ben Johnson

778
00:50:11.639 --> 00:50:14.559
the part of Sam the line you want to be

779
00:50:14.639 --> 00:50:17.320
John Wayne's sidekick for the rest of your life, do

780
00:50:17.519 --> 00:50:21.519
this part and he wins him an oscar. Yeah, but yeah,

781
00:50:21.559 --> 00:50:25.280
I mean it's but that you're I definitely now want

782
00:50:25.280 --> 00:50:26.719
to pick up this book. It was like, there's more,

783
00:50:26.880 --> 00:50:29.079
there's more about Sebany's film.

784
00:50:29.239 --> 00:50:33.119
And and you you actually gave a great reference for

785
00:50:33.199 --> 00:50:35.559
the for the Peter was a Peterbiskin book.

786
00:50:35.960 --> 00:50:36.760
As well as writer.

787
00:50:37.440 --> 00:50:39.760
Yeah yeah, yeah, yeah, yeah. That's another one because I

788
00:50:39.800 --> 00:50:42.280
was either going to bring that one or the movie Brats,

789
00:50:42.320 --> 00:50:45.840
and the movie Brats is just a I like it

790
00:50:45.880 --> 00:50:48.599
because it was written in seventy nine, so it's talking

791
00:50:48.599 --> 00:50:52.800
about Spielberg and he's finishing filming uh C E three

792
00:50:52.920 --> 00:50:55.559
K at the time, so I mean it's it's like

793
00:50:55.760 --> 00:50:59.840
it's like right right there. And also too, I know,

794
00:50:59.880 --> 00:51:02.920
were kind of moving out, But I did want to

795
00:51:02.960 --> 00:51:07.039
make a couple of notices. Is that the the movies

796
00:51:07.079 --> 00:51:12.159
that are shown at in the Last Picture Show at

797
00:51:12.159 --> 00:51:13.639
that theater, the Royal.

798
00:51:14.360 --> 00:51:18.760
They started off with I can name one. I know

799
00:51:18.840 --> 00:51:21.679
one of them, No, two of them, two of them.

800
00:51:21.880 --> 00:51:24.280
Okay, so you probably know Father of the Bride, right,

801
00:51:25.159 --> 00:51:28.400
that's right there. What was the last one?

802
00:51:28.840 --> 00:51:29.360
Red River?

803
00:51:30.159 --> 00:51:32.159
Do you know who was a stuntman in Red River?

804
00:51:35.000 --> 00:51:39.360
He was also a star of this film?

805
00:51:39.559 --> 00:51:40.280
Ben Johnson?

806
00:51:40.800 --> 00:51:44.519
Ben Johnson, he was, he was a He was an

807
00:51:44.639 --> 00:51:50.679
unlisted stuntman in that film that is now credited on IMDb.

808
00:51:51.400 --> 00:51:55.159
It's funny enough. I didn't realize how many films that

809
00:51:55.280 --> 00:51:59.559
I own with Ben Jonson, Ben Johnson, And I'm like, okay,

810
00:51:59.719 --> 00:52:03.079
Last Picture Show, the get Away, to get Away a

811
00:52:03.199 --> 00:52:05.320
wild bunch, just like.

812
00:52:05.800 --> 00:52:10.079
Just take just take the Getaway, watch the get watch

813
00:52:10.159 --> 00:52:12.719
the Getaway. Let let the Getaway be your introduction to

814
00:52:12.760 --> 00:52:15.800
Ben Johnson. First of all, you're gonna have to like

815
00:52:16.039 --> 00:52:18.119
go like take a shower to get the sleeves off

816
00:52:18.119 --> 00:52:21.559
and all that, just because that guy is But then

817
00:52:22.280 --> 00:52:24.320
go and watch the Last Picture Show. Because that was

818
00:52:24.360 --> 00:52:27.599
the order in which I saw it. My mind could

819
00:52:27.719 --> 00:52:32.239
not reconcile that these were the same actor. That's how

820
00:52:32.320 --> 00:52:37.159
good they are. Chlorus Leachman. When I saw her, I'm

821
00:52:37.159 --> 00:52:41.880
thinking Leachman from rob Or or yeah, or even from

822
00:52:41.880 --> 00:52:47.719
a Frank and Stick, but I'm thinking, Okay, I might

823
00:52:47.760 --> 00:52:49.320
be a little bit older. I'm thinking of her from

824
00:52:49.320 --> 00:52:52.719
Mary title Moore, right, and and she's a She's gorgeous,

825
00:52:52.840 --> 00:52:55.960
and you know, I'm watching her and I'm just so

826
00:52:56.159 --> 00:53:01.719
amazed at how they can make Chloris Leachman looks so plain,

827
00:53:01.960 --> 00:53:04.519
and I was. I was so happy to see that

828
00:53:04.559 --> 00:53:08.559
she won uh the the Academy Award for that. Although

829
00:53:08.800 --> 00:53:10.360
I would have said that she was she was I

830
00:53:10.440 --> 00:53:13.119
think also up against with Ellen Burston who who who

831
00:53:13.199 --> 00:53:16.559
was fabulous as Lois in this film? Either either one

832
00:53:16.559 --> 00:53:18.639
of them winning, I I was. I was pretty happy

833
00:53:18.639 --> 00:53:23.880
with we just covered uh this, We just covered Gene

834
00:53:23.880 --> 00:53:25.880
Hackman and al Pacino in Scarecrow.

835
00:53:26.320 --> 00:53:28.400
I didn't see that. I need to see that movie.

836
00:53:28.480 --> 00:53:30.360
That's one that I haven't gotten to yet.

837
00:53:30.440 --> 00:53:32.880
Put it on your list. It's it's good. It has

838
00:53:32.920 --> 00:53:36.639
a small role with Eileen Brennan in it, and she

839
00:53:36.800 --> 00:53:43.039
is small roles, small role, but but she is always memorable.

840
00:53:43.360 --> 00:53:45.360
But yeah, she was. She was so good in this film.

841
00:53:45.400 --> 00:53:49.960
She was. Her role as Genevieve was almost like the

842
00:53:49.960 --> 00:53:52.400
mother figure for Sonny.

843
00:53:52.400 --> 00:53:55.159
But then with a cool ant.

844
00:53:55.519 --> 00:53:59.320
Yeah yeah, so if if, if, if, what was if

845
00:53:59.400 --> 00:54:02.199
Sam was kind of the father figure Billy that she's

846
00:54:02.239 --> 00:54:04.280
the cool ant. Okay, I get that one.

847
00:54:04.760 --> 00:54:07.440
So well, that's going to be a wrap on the

848
00:54:07.519 --> 00:54:12.559
last Picture show A script by Peter mcdonovich and Larry McMurtry. Now,

849
00:54:12.599 --> 00:54:14.920
I know for these last three episodes, I have picked

850
00:54:14.920 --> 00:54:19.519
some grim and dark, bleak screenplays with some very downer annies,

851
00:54:19.559 --> 00:54:22.199
but I am pleased to let the audiences know that

852
00:54:22.280 --> 00:54:25.599
for episode four, I'm gonna have a little bit more

853
00:54:25.639 --> 00:54:29.480
fun as we dig into Jordan Peele's get out, and

854
00:54:29.519 --> 00:54:33.039
that's going to be next on A script by I

855
00:54:33.079 --> 00:54:36.679
want to thank my guests Chuck, Bryan, Chuck, what's coming

856
00:54:36.760 --> 00:54:39.320
up for you? Anything new on the podcast coming up?

857
00:54:39.880 --> 00:54:43.400
Yeah? Thanks a lot for asking. We have so we had,

858
00:54:43.480 --> 00:54:46.079
Like I said, we just had. Scarecrow has been released

859
00:54:46.719 --> 00:54:51.199
and next month we are let's see what month are

860
00:54:51.199 --> 00:54:53.960
we in. We're in March, Mark, all right, So in

861
00:54:54.079 --> 00:54:58.119
the month of April we're starting our crime wave month

862
00:54:59.320 --> 00:55:02.199
and we're kicking off Crime Wave Month. Our first film

863
00:55:02.280 --> 00:55:07.199
is The Getaway, and then we follow The Getaway with

864
00:55:07.400 --> 00:55:10.880
a Don Siegel film that you may not have seen

865
00:55:11.480 --> 00:55:15.880
but you should. It's a vehicle with Walter Mathou playing

866
00:55:15.920 --> 00:55:20.239
against type. He's not the Jack Lemon's sidekick, but he's

867
00:55:20.400 --> 00:55:24.000
Charlie Verrick, who is the last of the Independence. And

868
00:55:24.320 --> 00:55:27.079
this is a film that you might even want to

869
00:55:27.119 --> 00:55:29.280
look at the script for this film because it is

870
00:55:29.440 --> 00:55:34.480
so tight and the ending is so good that well

871
00:55:35.079 --> 00:55:37.320
we couldn't we couldn't even give the ending away because

872
00:55:37.320 --> 00:55:39.960
it's just too good. So join us in April.

873
00:55:40.760 --> 00:55:44.079
All right, Well, make sure you keep up with a

874
00:55:44.239 --> 00:55:47.400
Film Buy with new episodes dropping every Monday and the

875
00:55:47.480 --> 00:55:51.800
continuing popular Star Trek series. Phaser said it's Sun every Wednesdays.

876
00:55:52.159 --> 00:55:54.519
Please join us on social media. You can find us

877
00:55:54.559 --> 00:55:58.559
on YouTube, Instagram, Facebook, and x don't forget to visit

878
00:55:58.639 --> 00:56:03.119
the official film by Podcast website at wwwa film by

879
00:56:03.199 --> 00:56:06.719
podcast dot com. Email us at a film by podcast

880
00:56:06.840 --> 00:56:10.599
dot com. We love interacting with you, sharing opinions, taking

881
00:56:10.639 --> 00:56:14.400
your requests for future episodes, and debating great movies that

882
00:56:14.519 --> 00:56:17.119
will do it for a script by. See you next time.