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
they re more vietnam. we were starting to deal with the counterculture and taking it seriously, because we were young, we were part of the counterculture. patton was a film about world war ii and connects with the greatest generation. but it s also a film about reconsidering war and connects with the vietnam generation. you are just a goddamn coward. and it is told with irony by this young screenwriter named francis ford coppola. coppola had his foot in old hollywood before that. he made a big warner brothers musical, finnian s rainbow. i was very unhappy during the production, because you didn t get to cast, you didn t get to pick the art director, you didn t do the final postproduction. and out of my frustration, one of the highlights of the picture is a skinny kid that would come
wrong goes wrong. right now i can see you. who is it? cops. dog day afternoon. i had never seen anything like it. oh, wow. wait a minute, wait a minute. i ll have to go to the toilet. the kindness and the humanity of the bank robbers was new and entertaining. who has to go to the bathroom? i do. oh, see, now they all want to go. it was the upending of allof the precepts of the bank robbery film. forget the idea of crill nam as celebrity. see, no, i just show myself. what, why am i doing it? yes. doing what? robbing a bank. oh. it is one of those movies where you are literally rooting for the bad guys because the bad guys aren t that bad. he doesn t look very tough to me. does he look tough to you? no. sweet, sweet bad ass song is a hugely important film.
wasn t afraid to have fun. i got a great idea. when you get home from school, we re going to have a party. over the influence is about a man and woman in a loving marriage that s beset by the woman s personality. you think there s something wrong with me or something? that i m whacko or something? she has this energy about her, but you slowly see it unraveling. it s kind of devastating. but, wow, what a performance. it was really refreshing to see a movie that put a woman directly at the center. thank you for everything. this was right at the beginning of the women s movement, and i found the script for alice. the studio said who do you want to direct it. francis coppola said you should talk to the studio about hiring him. so i asked to meet marty, and i said i want to tell this story from a woman s point of view, and i can t tell from watching this film if you know anything about women. do you? and he said, no, but i d like to