The Director's Chair Network

:00
if you think you know what happened two
0:03
moms disappear from the same playground
0:05
You're wrong from Brian Dealma
0:09
Raising Kane rated R Hello and welcome
0:12
back to the goat a Brian Dealma fan
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podcast And today I am super thrilled to
0:17
bring on filmmaker Pete Gelderblam Pete
0:21
welcome Yes that's me Yeah And you're
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joining us from the Netherlands Yes I am
0:28
Yeah Excellent So for people that might
0:31
not recognize the name I wanted to get
0:34
you on this show because I think the
0:36
story behind this is just fascinating So
0:39
unless I'm mistaken Brian Deama only has
0:42
one released director's cut and that is
0:45
Raising Cane Correct Yeah that's correct
0:49
And you're basically responsible for it
0:54
Yeah It sounds crazy doesn't it I know
0:56
it's detailed on the internet and it's
0:58
on the it's on the Blu-ray but can you
1:00
give a people a little bit of the
1:01
history of what led to you
1:06
recutting Raising Kane and Brian Deama
1:09
deciding that part of the home video
1:12
release would be including it as his
1:14
director's cut
Pete Gelderblom on Recutting Raising Cain
1:16
Yeah I I'll do my best First a little
1:19
background I'm I am a filmmaker uh in
1:21
the broadest sense of the word I do uh a
1:24
lot of work for high air TV commercials
1:26
and commissioned films Besides that I
1:29
also direct documentaries drama and
1:32
video essays
1:34
But there was a time that I was the
1:36
founder of a a film criticism website
1:39
called 24 lies a second and it featured
1:42
a lot of interesting film criticism
1:45
Uh and it also had a forum that was
1:47
quite the palma centric and you know how
1:51
a forum works right
1:54
someone will start a thread and there
1:56
was this French guy called Lauron for
1:59
show and he was a a frequent
2:02
collaborator on this forum and he had
2:04
extensively interviewed the Palmer for a
2:07
book he was writing a French book a big
2:10
interview book and having all this
2:13
inside information he mentioned that uh
2:16
the poem I wasn't pleased with the
2:18
structure of raising cane and that
2:20
immediately piqued my interest and so I
2:24
asked okay what what was the structure
2:26
then
2:28
Lauron said yeah well I I don't know
2:31
exactly but it was supposed to start
2:33
with the story of the wife Jenny
2:37
and immediately it clicked for me
2:40
because when I saw um the movie Raising
2:44
Kane Um I I love the movie but I was a
2:46
diploma freak already And remember I
2:49
remember I was going with my
2:52
ex-girlfriend actually Uh but she she
2:56
knew that I was crazy about the poem and
2:58
I was looking forward to this one
2:59
because before that he had done Wise
3:02
Guys and The Bonfire of the Vanities
3:05
which I do not exactly um consider as as
3:09
the high points of his career So I was
3:11
looking forward to you know the Palmer
3:14
back in form and I love the film but at
3:18
the same time I could notice that the in
3:21
the cinema where where that the people
3:23
in the cinema that I I saw it um they
3:27
really did they it didn't click for them
3:29
They they didn't understand it They were
3:31
laughing for the wrong reasons And I
3:35
think um already after 6 minutes or so
3:38
my ex-girlfriend leaned over to me and
3:41
she said "What kind of freakish movie is
3:45
this?" It's like so I have always known
3:49
that it's an acquired taste you know
3:52
It's a it's a it's a the Palma film that
3:55
the Palma lovers actually really like
3:58
most of them Uh but the general public
4:01
not so much And I think one of the
4:04
reasons is because he played around in
4:07
the editing a little too much and at a
4:10
certain moment he decided to uh throw
4:13
things around and it actually hurt the
4:16
film and that's what he uh believed
4:19
himself and he was talking about it with
4:21
Lon for show So I knew this information
4:25
and um I had the DVD and I was you know
4:29
um I was playing the DVD and I was
4:31
trying with the chapter numbers like
4:34
okay so it would have started with this
4:37
scene in the clock shop and uh but I
4:40
couldn't get it right with the chapters
4:42
alone
4:43
but I I knew it would work It it um it
4:47
totally made sense for me to start the
4:48
movie off that way So at a certain
4:50
moment I think it was
4:53
actually one or two years later that I
4:56
decided okay uh I'm going to try this So
5:00
I just loaded uh the DVD into my
5:02
computer and I I started re-editing the
5:05
film and I actually asked around if
5:10
there was maybe a screenplay uh that I
5:12
could base myself on and Jeff Baron who
5:16
runs the Palma Alam which is a DAM news
5:19
site Yes He had a an earlier version of
5:23
the screenplay
5:25
uh called Father's Day and he he dug it
5:28
up somewhere in the dark interweb I
5:31
don't know how he cut it So I had this
5:33
vision of the Palmer of what he wanted
5:36
to make and there were still it was a
5:39
little rough around the edges It wasn't
5:41
as good as the final film but um the
5:44
flow was was better
5:47
and I could more or less base myself um
5:51
with with doing the recut uh on um uh
5:55
what the Palmer was going for
5:58
So I when it was ready I thought okay uh
6:01
this is great I think the the movie is
6:04
even better now It would be nice if
6:07
people could see it And I thought maybe
6:10
I should do a video essay on it And then
6:12
I asked Matt Soler Zites who I know from
6:15
um from the blog world I said you know I
6:20
have this recut of Raising Kane um and
6:23
I'm going to do a video essay Are you
6:24
interested to put it on uh IndieWire
6:28
And um he said yes but actually wouldn't
6:33
we would see the whole we would want to
6:34
see the whole movie actually And we were
6:37
thinking can we do that Um
6:41
wouldn't Universal Pictures be become
6:43
very angry And then we decided to to do
6:47
it anyway and to uh put a banner under
6:49
it which said you know that for
6:51
educational purposes only And we thought
6:54
you know whenever Universal uh starts
6:57
complaining we will we will put it down
6:59
We will take it off the internet They
7:01
never complained actually And this was
7:03
on Vimeo right It's still on the
7:05
internet Yeah Yeah I was just going to
7:06
say I I believe that's how I was
7:08
initially familiar with it and last I
7:10
checked the Vimeo link was still there
7:13
Yeah but definitely see the Blu-ray
7:16
version though because that's it's the
7:18
quality is a lot better Yeah
7:20
But uh anyway uh we we put up on the
7:23
internet and uh I think a year later or
7:25
so I uh saw interviews with the Palmer
7:30
which explained that he actually had
7:32
found it uh himself and that he
7:35
preferred it over his own cut
7:38
uh which is madness of course and I
7:41
thought well that's is that's great but
7:43
I thought okay so that's it and um and
7:46
great and at a certain moment I was in
7:49
Scotland land I was filming in Scotland
7:51
and suddenly I got this message late in
7:54
the evening and it was Jeff from the
7:56
Palm Alamad
7:59
and um
8:01
he messaged me He said "Wow look what I
8:04
got in the mail." And it was a note by
8:07
Brian De Palmer and I have the note
8:10
right here Oh wow In the Palmer's Yeah
8:12
In the Palmer's words he said "Hi Jeff I
8:16
just saw the Raising Kane recut and I
8:18
think it's great It's what we didn't
8:21
accomplish in the initial release of the
8:23
film It's what I originally wanted the
8:26
movie to be Could you contact the
8:28
company releasing the Blu-ray and tell
8:30
them I think it's important they include
8:32
it with the new release If you need me
8:35
to talk to some at the company just give
8:37
me a number and a name And
8:39
congratulations to Pablum He's restored
8:42
the true story of raising Kane Thanks
8:45
Brian the Palmer Amazing
8:49
So as I was floating on air for for
8:52
about a week with his message and and I
8:55
thought however this turns out I'm going
8:58
to cooperate You know this this has to
9:00
has to be done If he wants uh this cut
9:03
on the Blu-ray uh and I certainly want
9:06
it myself then um I'll make sure to to
9:09
supervise it because basically he just
9:12
said I want this cut on uh on the on the
9:15
Blu-ray but of course I my cut was done
9:18
from the DVD Yeah So I thought you know
9:21
we should have the the real master and
9:23
do it for real That's awesome And from
9:25
what I understand
De Palma’s Approval & Blu-ray Release
9:27
that was like not including this was a
9:30
non-starter for the PAMA Like there
9:32
wouldn't be the Shout Factory Blu-ray if
9:35
this cut wasn't included on the on the
9:38
release
9:39
Yeah if you watch the documentary about
9:42
Brian De Palmer he's actually
9:43
complaining He's complaining again about
9:45
this structure that that he felt it
9:47
didn't work and it should have started
9:50
another way So I think he was frustrated
9:52
about it Yeah But he's as a filmmaker
9:55
he's a kind of guy like okay onwards you
9:59
know next movie Uh he doesn't really
10:02
look back Uh but in this case I think he
10:05
was really pleased that someone actually
10:08
took the time to uh to fix it Yeah I
10:11
actually watched the segment on the DAPA
10:13
documentary about raising Kane last
10:16
night before we got ready to sit down
10:18
here and yeah I think he said that he
10:21
kind of like he kind of psyched himself
10:24
out and got so excited or so drawn in by
10:28
Lithggo's performance that he he was
10:30
like "We have to frontload the film with
10:32
the Lithgow stuff." And it almost feels
10:35
like he second-guessed his instincts and
10:39
nobody stopped him Uh yeah Yeah that was
10:43
certainly that is certainly what I what
10:45
he has been saying And there was also
10:47
this thing that the original uh
10:50
structure asked for a a giant flashback
10:56
like a flashback of 20 minutes or
10:58
something and that had not been done
11:01
before So he was worried you know are we
11:04
will we lose the or the audience with
11:06
this So there were things yeah he was he
11:10
was doubtful and but I think what also
11:13
plagued him is that um he was working it
11:16
with one or two editors in the beginning
11:19
and it didn't work out Uh I I I think
11:23
they didn't really have a feel for what
11:25
he was going for And then he asked um
11:28
his old collaborator Paul H to come over
11:31
and basically fix it Um Paul here is an
11:36
absolutely excellent editor who also
11:40
edited Carrie and and Star Wars and
11:43
Planes Trains and Automobiles And um I I
11:46
read his book and he actually explains
11:49
that um he he was somewhere else and he
11:52
had to take the plane over to Brian the
11:55
Palmer
11:56
um in order to edit and he was reading
11:58
the screenplay on the plane and he says
12:01
in the book I didn't get it and I
12:06
started over
12:08
he started over and and he still didn't
12:11
get it and so he met the Palmer and they
12:13
talked about it and he still didn't get
12:16
it And why didn't he get it Well you
12:19
have to understand that the Palmer with
12:21
Raising King he was trying he was trying
12:24
to up his game He was trying to walk a a
12:27
tight rope You know as an audience
12:29
you're constantly secondguing And his uh
12:34
his thing was like normally with this
12:36
kind of mystery movie you go with a
12:39
police officer and you uh assemble
12:42
information and every piece of
12:44
information leads you closer to the
12:47
solution right And his joke in the film
12:52
was actually that what if every piece of
12:55
information you're getting is worthless
12:57
What if every piece of information
13:00
cannot be trusted because it's part of a
13:02
dream or it's part of a memory or uh
13:06
people are thinking different things
13:10
So that that was actually the playground
13:12
he had in mind So it was really a
13:15
tightroppe situation like if you if you
13:17
would go too far and for some he he has
13:20
gone too far but uh if you go too far
13:23
then the audience will they think well
13:25
this is madness Yeah I do like the fact
13:28
that you you mentioned that it was sort
13:31
of the Palma returning to a sandbox he
13:34
had played in a decade or so earlier and
13:38
was coming off of those less than sort
13:40
of critically or commercially successful
13:42
films So it definitely makes sense that
13:45
he would have gotten a little bit more
13:49
creative if you will in terms of his
13:50
approach to storytelling One thing I
13:52
wanted to just see while while we were
13:55
talking through this I I almost wonder
13:57
if
13:58
De Palama and his approach to
14:00
storytelling
14:02
influenced sort of the decade that
14:04
followed in films where you got
14:06
filmmakers like Christopher Nolan
14:08
experimenting with sequencing and time
14:10
within movies and Tarantino Um I never
14:14
really thought about it until you just
14:15
mentioned it but do you think at all
14:16
that
14:18
Dealama and his approach
14:21
even if somebody saw that script would
14:24
have been sort of inspired by that
14:27
approach to storytelling
14:30
Yeah I'm not sure if they would have
14:31
been inspired by Raising Kane as it was
14:34
actually released but I do think that
14:37
the audience was maybe more ready for it
14:39
since you know Momento by Christopher
14:42
Nolan and um what was the other one you
14:45
said Yeah Tarantino Yeah
14:49
So yeah the audience was more used to it
14:51
that that that kind of thing could
14:53
happen can happen in a film Yeah So it
14:57
it definitely helped the recut and I'm
15:00
not sure how people would have reacted
15:02
um if he would have released it um the
15:05
way he he thought he would um make it
15:09
But it was it was a real struggle in the
15:11
edit he he couldn't really get it right
15:14
and and I think part of the problem is
15:16
that his editors didn't really
15:20
understand what he was going for and and
15:22
and sometimes the editor has to help the
15:25
director like
15:27
um because there's one little thing that
15:30
I'm doing and it's actually something
15:32
that the Palma hates but I'm repeating a
15:36
little bit of a scene just to make sure
15:38
that the audience is with us and In
15:41
order to do that I had to uh find an
15:45
establishing shot And Brian the Palmer I
15:49
don't know if you know but he doesn't do
15:51
establishing shots If he if he does one
15:55
he makes sure it's like a crane and
15:58
you'll see a street and then the crane
16:00
goes down and then somebody comes closer
16:03
and then a scene is starting Yeah And uh
16:06
that's that's what I also had to get
16:09
There's this epilogue in the in in the
16:11
film which uh plays in the park and I
16:14
had to lift the beginning of a shot
16:17
there and have make a counter movement
16:20
in order to to make it a sort of u
16:23
establishing shot That was the only
16:25
thing I could think of I didn't have a
16:28
footage that was left on the cutting
16:30
room floor of course Yeah Well obviously
16:32
it didn't bother Dama enough for him to
16:34
say don't include this Uh that is one
16:37
thing I did want to point out though
16:38
that I think is amazing about this
16:40
director's cut is it's virtually the
16:44
same film but just resequenced there
16:46
Like you said there's no inserted
16:48
deleted scenes There's no remove scenes
16:50
or anything like that And I think that's
16:52
the amazing thing about it is you can
16:54
take this film that plays fine in its
16:57
theatrical version but not add or take
17:00
anything away just reorder and it puts
17:04
the film in a new light and makes it
17:06
possibly
17:07
accessible for you know a certain
17:10
percentage of the audience And that's
17:11
the thing I think is fascinating about
17:12
that director's cut Yeah And it's like
17:16
it's like it's also the film itself now
17:19
has a split personality right Yes Which
17:22
is very dep um I I I don't want to get
17:24
too into the weeds on this but uh you
17:27
talked about recutting the recut for the
17:30
the Blu-ray release Do you want to talk
17:33
a little bit about the mechanics behind
17:34
that without I mean without I guess
17:37
getting too incredibly technical but
17:39
what elements were you working from
17:43
Um well it it was done with with the
17:45
master and I wanted to do it myself but
17:48
actually they didn't allow me to do it
17:50
myself So I had to um I had to supervise
17:54
from a distance Uh so uh somebody else
17:58
did it for me and I basically said well
18:01
here's my recut and it has to be like
18:03
this And then they made traditions and
18:05
they sent it back to me and then I said
18:07
"No the transition has you have to make
18:09
sure that the sound is is faded in a lot
18:12
earlier." And you know so that's that's
18:15
the way how we did it And and there was
18:16
also a thing with the lawyers from
18:18
Universal Uh we had to
18:21
make sure we had to explain to them in
18:24
advance that nothing would be added to
18:26
the film and nothing would be taken away
18:28
because that would have been a legal
18:30
problem as well So it was just um sheer
18:34
luck that my re-edit Well I didn't have
18:37
anything else I could have carved out
18:39
scenes but I of course I didn't Yeah
18:41
Because I like the movie Uh but uh that
18:45
actually works out It it repeats a
18:47
little bit but we left that piece piece
18:49
of information out with to the lawyers
18:52
because they they wouldn't understand I
18:54
think Yeah So uh you mentioned um the
18:57
the Blu-ray and um it was actually I
19:00
I've got I got the Blu-ray within the
19:02
last I want to say two months and that's
19:04
what's kind of it's probably around the
19:06
time I I reached out to you and we
19:07
finally made this happen But um so uh
19:10
the director's cut is is included on the
19:13
Blu- Blu-ray and that original video
19:17
essay is included as well correct Yes
19:21
Yeah Yeah I made a special edit of it
19:23
Yeah That's the only thing that I
19:25
requested I I I've done I've worked on
19:28
it for free but I said I I really want
19:30
to make sure that my name is mentioned
19:32
because um um because I was the person
19:36
behind it So I made sure that the video
19:38
essay was on it and I also shot an sort
19:41
of introduction Yeah That people can
19:43
watch before they uh watch the adit Yeah
19:46
It really is a special release and I
19:49
can't even imagine how good it must feel
19:52
every time you see that sitting on the
19:54
shelf and knowing that that release as
19:56
it is would not exist without your
19:58
participation in sort of resurrecting
20:02
Raising Kane in its original vision
20:05
Yeah it it it it does feel good actually
20:08
I'm on IMDb under Raising Kane I'm now
20:11
one of the editors which is really cool
20:14
Yeah Yeah
20:16
So uh as as you know uh as our listeners
20:19
know every episode is normally built
20:21
around a film and a particular sequence
20:24
and I know you've you've talked Raising
20:25
Kane to death uh and rightfully so But I
20:28
I did want to offer you the opportunity
20:31
while we were prep preparing to to to
20:33
sit down and chat I asked you if there
20:35
was another DAPA film you might want to
20:37
look at and a particular scene And I'm
20:40
so happy that you picked a scene uh from
20:43
Dama's 10th film 1978's The Fury Do you
Analyzing The Fury’s Staircase Scene
20:47
want to talk a little bit about The Fury
20:49
and uh you know your exposure to it
20:52
before we get to the actual scene Yeah I
20:55
I honestly I don't think it's one of his
20:58
better films Neither does he Um it
21:00
hasn't aged particularly well It's it's
21:02
an odd mix of colors It's it's part
21:06
horror movie part spy thriller and with
21:09
some really awkward funny bits thrown in
21:12
And the character of Kirk Douglas
21:14
doesn't work for me like at all But at
21:18
the time this was the best thing that
21:19
Palmer could get off the ground And he
21:21
he got big stu studio money to do the
21:24
fury because he had a lot of success
21:26
with Carrie which was a story about a
21:29
teenage girl with telekinesis Yeah In
21:32
the eyes of the average Hollywood suit
21:34
there is no better way than to follow
21:36
that up with another movie about a
21:38
teenage girl with telekinesis
21:40
And maybe because the pollen felt he was
21:42
repeating himself his heart wasn't
21:45
really into it So the movie as a whole
21:48
doesn't seem very inspired but
21:51
there are scenes in there that are very
21:53
clearly that are very clearly and
21:56
inspired and they are probably the
21:58
reason uh the reasons why he agreed to
22:01
do to take the job to begin with There
22:04
are wonderful set pieces in the Fury
22:06
that are vintage vintage de Palmer and
22:09
most of them of them involve Amy Irving
22:12
having these visions and I'm I'm talking
22:15
about the scene on the staircase most of
22:17
all uh when she touches the hand of the
22:21
person who she's walking with down the
22:24
stairs and and um and all of a sudden
22:27
she has this vision of of Robin and the
22:31
way the poem visualizes this vision is
22:33
so unique to him Yes Yeah Normally when
22:36
someone has a vision on screen there's a
22:38
flash and um the filmmaker simply cuts
22:42
to a different time and place and you
22:45
know like Christopher Walker in the dead
22:46
zone Yeah The same scene he's touching
22:49
the future president's
22:52
hand cut to a flashforward scene of the
22:54
guy pushing the red button you know
22:57
that's the classic way And even a pro
22:59
like Croninberg does does it like that
23:01
but not the palma You know as soon as
23:03
Amy touched the hand of the person you
23:07
have these flash cuts getting closer and
23:10
closer to the hand she's touching and it
23:13
features a scar You can see it you know
23:15
in a split second and next thing you see
23:18
is Amy alone in the room and she's kind
23:21
of still on the staircase but at the
23:23
same time she isn't She's literally
23:26
inside her vision of what happened
23:29
earlier on the in on the same spot which
23:32
reveals where the scar is from And and
23:34
and just as Amy is momentarily lost
23:37
inside this vision we as the audience
23:39
feel like we're falling into the film
23:41
It's it's like a dizzying moment with
23:44
the camera swirling around You're like
23:46
what's going on here Yeah Yeah And I'm
23:49
pretty sure that no one of the crew
23:51
understood what the Palmer was going for
23:53
because it's a very elaborate vision
23:56
involving process shots of Amy before
23:59
green screen Uh a matching circular
24:02
movement of the camera on both the
24:04
foreground and the background Yeah And
24:07
slow motion mixed with real time and
24:09
cutting back and forth between Amy's
24:12
vision and her reality It's insane Yeah
24:14
And Yeah
24:17
And I also do want to shout out uh John
24:19
Williams score during the sequence His
24:21
score throughout the film is very sort
24:22
of I want to say it's very Hitchcockian
24:26
It's it's it's a gutsy John Williams
24:28
score in my opinion Uh and the the other
24:30
thing I did want to mention is you
24:32
talked about how complex it is from a
24:34
technical standpoint but watching the
24:36
the scene back and watching the film
24:38
back prior to sitting down for this is a
24:41
lot of times when you're doing those
24:43
process shots you know sometimes by the
24:46
time they got the shot you know uh
24:48
assembled the way they needed you were
24:49
what on like third or fourth generation
24:52
But the one thing that stands out to me
24:54
about that sequence is the clarity that
24:57
exists within that shot is it doesn't
25:00
look heavily processed which also I
25:02
think really screws with your your mind
25:04
a little bit because a lot of times
25:06
we're aware we're watching a special
25:08
effect or uh or some kind of trick being
25:11
played And and in that sequence it's
25:13
really um one thing I'll say about it is
25:17
it has a very modern feel to it And I
25:19
think a lot of um filmmakers you know
25:23
were were are working with that sort of
25:25
virtual reality idea It's almost like
25:28
Amy Irving's character was dropped into
25:30
a a virtual reality environment
25:33
Exactly Yeah And and and and I would
25:35
just say to filmmakers look at look at
25:37
this um at these examples because you
25:41
know he the poem is not being lazy He
25:44
keeps he gives you a vision that you've
25:46
never seen before And um I think that's
25:50
that's so cool that he does that Well
25:53
the one thing I've always said that I
25:54
love about Deama is
25:57
he knows he knows he's making a movie
26:00
and as an audience we know we're
26:02
watching a movie and there's nothing
26:04
wrong with that I think a lot of times
26:05
is we're going to the movies to escape
26:07
things We don't have to feel like we're
26:08
experiencing real life And that's the
26:11
thing I've always appreciated about DAMA
26:13
is everybody when you sign up to watch a
26:16
DAMA movie you're signing up to watch a
26:18
movie and and and you're gonna you're
26:20
gonna let certain things go or you're
26:22
going to let certain things take you
26:24
over and and I think a lot of filmmakers
26:26
sometimes take the art of film a little
26:28
too seriously
26:31
Yeah Yeah I I agree with you Yes And and
26:34
he's the he's the opposite of an
26:36
invisible narrator you know He's very
26:39
visible as a director as as um you know
26:42
you know there's a director behind the
26:44
scenes but at the same time he's
26:48
so seductive and convincing that you
26:51
know you know you're watching a movie
26:53
and at the same time you're into the
26:55
movie Yeah It's it's great Yeah No And
26:58
and I also think um that any sequence in
27:02
a DAMA film that you might question
27:04
he'll be able to defend which is also um
27:07
one thing I I've seem to have picked up
27:08
from him as a a filmmaker and as as a
27:11
visionary is when he's got an idea in
27:13
his head that he wants to execute he's
27:15
going to execute it and they have to
27:16
figure out how to execute it And I love
27:19
the thing that's one of the things I
27:20
love about Deama is he doesn't he
27:23
doesn't just settle If he wants to do
27:26
something he's going to do it And
27:29
the world needs more people like that
27:32
It's probably the reason why he wants to
27:34
do it That's that's what he wants to do
27:35
He's a visual artist you know Uh so uh
27:39
it has to be done his way Uh otherwise
27:42
it it makes no sense Yeah Um thank you
27:45
so much for those notes on the Fury I
27:47
think you perfectly illustrated it And
27:50
it's a film I hadn't watched in a in in
27:52
quite a while cuz like you said um it's
27:54
it's not one of his best The Palama even
27:56
admits it was more of a a paycheck movie
27:58
for lack of a better term but uh I still
Final Thoughts & Pete’s Future Projects
28:01
enjoyed it Your criticisms are are
28:04
totally valid and but that sequence on
28:06
the staircase with Charles Durning is
28:08
just is just amazing And uh thank you so
28:11
much for picking that sequence because I
28:13
always love talking through movies and
28:15
sequences that we might not be aware of
28:17
when we think about you know classic
28:20
dama shots Yeah Because there are lots
28:24
of them Lots of great scenes in the P So
28:27
well well hopefully uh you can come on
28:30
again and we can talk about another one
28:31
of those but for now we're out of time
28:33
And I do want to thank you Pete Um is is
28:36
there a place that uh people could best
28:38
find your works or you know how to stay
28:40
uptodate on you I'll I'll put all this
28:42
information in the show notes of course
28:43
as well Yeah I have a website called
28:45
directorama.net
28:48
and that is just my personal portfolio
28:51
So all right Excellent I'll I'll include
28:54
that in the notes And again I I do hope
28:56
that we can sit down and chat another
28:59
film at some time in the future You have
29:00
an open invite So anytime you have an
29:02
opening in your schedule uh or your
29:04
calendar and you say "You know what Let
29:05
me call up Craig and uh and see if he
29:07
wants to chat again because I'm always
29:08
ready for it." Cool Craig Let's do that
29:12
All right Thanks again All right See you