come with us. we re heading for the valley. going where? did you say? mexico. all the way down. you going all the way to mexico tonight in this old heap of junk? reckon the town will get along without us tli monday? oh, i reckon. i was young enough to bounce that far, i d go with you. the last picture show was a movie that, however old i was when i saw it, i said, oh my god this movie is about me. this movie is about us. this movie is about america as we are right now, here in the mid- 70s, not as we were back in the early 1950s. do you think the last picture show is a john ford type movie? no. i think it s a peter bogdanovich type movie. peter bogdanovic loved movies, had a sense of movie history, but had a very strong sensibility. he spoke to a new generation, both visually and emotionally. orson welles read the script. and i said, i d like to get that depth of feel, everything being sharp, the way you did in citizen kane, touch of evil.
come with us. we re heading for the valley. going where? mexico. all the way down. you going all the way to mexico tonight in this heap of junk? reckon the town will get along without is till monday? oh, i reckon. i was young enough to bounce that far, i d go with you. the last picture show was a movie that, however old i was when i saw it, i said, oh my god this movie is about me. this movie is about us. this movie is about america as we are right now, here in the mid- 70s, not as we were back in the early 1950s. do you think the last picture show is a john ford type movie? no. i think it s a peter bogdanovich type movie. peter bogdanovic loved movies, had a sense of movie history, but had a very strong sensibility. he spoke to a new generation, both visually and emotionally. orson welles read the script. and i said, i d like to get that depth of feel, everything being sharp the way you did in citizen kane, touch of evil. he said, you
capture a sense of spontaneity, the sense of really being there. when you first see mccabe and mrs. miller, you can smell that film. the steam and the piss and the cooking and all the different things that were going on in this town it s such a beautiful film, and the absolute heartbreak in all of it. i think people underestimate the tremendous empathy that altman had as a film maker. he loved people if they were flawed, if they were terrible, if they were wonderful. he celebrated real humanity. she s overlapping voices. he s letting the camera drift around. he may not be on the person even talking. these were unprecedented things that the time.
when you first see mccabe and mrs. miller , you can mel that film. the steam and the piss and the cooking and all the different things that were going on in this town it s such a beautiful film, and the absolute heartbreak in all of it. i think people underestimate the tremendous empathy that altman had as a film maker. he loved people in they were flawed, if they were wonderful, he celebrated real humanity sfwr he s overlapping voices. he s letting the camera drift around. these were unprecedented things at the time. there s been ensemble movies and ensemble movies.
on tomorrow s brand-new episode of the movies, we re taking it back to the 70s, which paved the way for directors to have greater control. robert altman had a great run, mash, nashville, mccabe and mrs. miller. he captures the spontaneity, the sense of really being there. when you first see mccabe and mrs. miller, you can smell that film. it s the steam and the piss and the cooking and all the different things going on in this town. it s such a beautiful film. the absolute heartbreak in all of it. the woman ain t going to think much of me.