Original subtitles

One of the great things about making movies

is it's a communal art form.

You have all these artists working together

to make something beautiful

and meaningful to other people, you know.

The relationships, the friendships,

the closeness that you develop,

that quality, Peter wants in his films.

He's exposing a part of his personal life.

Just after one decade of great prominence and success,

he found his true self as a filmmaker.

"They All Laughed" was his most pure vision

of what he's most drawn to.

It's almost unfathomable when you look back

to think how famous Peter was.

And then, also... but it just shows

how big he was that... you know, how far he fell.

No one should go through

what he's gone through with his movies

and what happened on "They All Laughed."

Devastating from a personal level.

You know, I don't know how you ever recover from that.

We didn't know Dorothy that long, you know.

I mean, we knew her for a year.

I think, for me, I mean,

I do feel like I lost my father that day.

[music playing]

♪ I was sitting down ♪

♪ All by myself ♪

♪ Listening to everybody ♪

♪ Everybody saying be like everybody else ♪

♪ Oh, you see ♪

♪ I gotta be me ♪

♪ And there ain't nobody just like this ♪

♪ I got to be me ♪

Well, I'd first met Peter,

and he was writing for "Esquire" magazine, I think.

And he pretty much knew everything

there was to know about movies and films,

and he was just a fascinating guy to talk to,

because he had already interviewed

all these great directors and actors,

and he was out here doing second unit work on a movie

called "The Wild Angels" for Roger Corman.

ANNOUNCER: They're wild and no angels.

Law-defying,

getting their kicks from violence and torture.

I had something happen to me on "The Wild Angels."

There was a fight with the townies and the Angels,

and there were very few townies.

There were, like, four.

And Roger leans over to me. He says,

"Run in there as a townie."

And they were the real Hell's Angels, right?

They were the real Hell's Angels.

They hated me, because they hated Roger,

and I was always standing next to him.

And I got in there, and they started beating the shit out of me.

Oh, no. Really? Oh, really.

I just said, "Fuck this,"

and I fell down on the ground.

When is he gonna say, "Cut?" Fuck it.

And it was the longest time

I ever heard to hear the word, "Cut."

Peter really wanted to be a director.

Mr. Corman had said, "Well, I could give you

the money to make your first movie."

If anybody ever got to do what they really always wanted to do,

it's you making pictures.

It's true. Are these rumors true

that you've spent probably 80% of your life

either seeing movies, reading about them, writing about them,

or cutting them up, or something?

Not cutting them up.

I never cut a picture till I did one, you know.

Your own? Yeah.

But, uh, seeing 'em, yeah. Yeah.

And writing about 'em a little bit,

but seeing 'em a lot. With Peter,

he's making movies on the heels of this whole other career

of being a film sort of historian.

You know, Peter obviously was very connected

to all the guys who came before him,

and, you know, he interviewed them all,

and he studied them, and he knew them so well.

In Peter's early movies, that's a big part of them.

I mean, first he's got a movie which is not even his choice.

ANNOUNCER: A typical American family at dinner.

Mum and dad, their beautiful daughter-in-law,

and their only sun, Joe,

a homicidal maniac.

[gunshot]

Hey, what are you doing?

Aah!

ANDERSON: But he took this thing,

and he made it about Boris Karloff, the movie star.

What's it all about?

What?

Everybody's dead.

I feel like a dinosaur.

Oh, I know how people think of me these days,

old-fashioned, outmoded.

Well, not after this picture, they wouldn't.

You can't change your whole lifetime with one picture.

What have you got if you quit?

That movie, as you know,

was a kind of success for a first film for a young man.

Low-budget, Roger Cowman,

Boris Karloff for a few days.

It had to be that he owed them a few days.

But that's how it all began.

This is a work of art.

This is the kind of property

I'm gonna be proud to put my name on.

Are you writing this down, Ed?

Sometimes I think making movies

is... is kind of magical in a way,

and there are a couple of different kinds of magic.

You know, there's the magic that you see magicians do,

like sleight-of-hand, and that's...

And movies certainly have that.

It's really about creating illusion, you know.

And then there's that other kind of magic of...

you know, the real... the real magic,

you know, turning you know, water into wine, lead into gold,

that kind of stuff, alchemy.

And, uh, Peter has both of those kinds of magic.

The... The latter kind, you know, the real magic,

that comes out a lot with the vibe

and the kind of atmosphere that you create

for this thing to happen, you know.

The balls that Peter would have

to just hang on a moment

and let the life go on between the actors in that moment,

you know, rather than cutting, cutting,

close... You know, he just let it sit there, you know?

Mose, let's give him some money.

Mose, let's give him some money.

No!

Just a little bit. We got $305.16.

Whole 'nother business giving it away.

It's bad enough you give away bibles.

But they're poorly!

The whole country's poorly. I told you before.

But Frank D. Roosevelt said we gotta look out for one another.

I don't care about Frank D. Roosevelt.

But he says it. That so?

Why don't you ask Frank D. Roosevelt

what he thinks about taking care of himself?

You think he don't eat off silver trays?

He could eat off tabletops

like the rest of us, but he don't.

You know why? Because that would make him look common.

And, besides, Frank D. Roosevelt ain't running this thing.

I'm runnin' it, so don't you make up no rules

about what we're gonna give away.

It's my money, too, you know.

$200 belongs to me, and don't you forget that.

You want it? Well, just put my share in my pocket,

and I'll take you to a train station.

How do you like that?

Get the map! Find out where the nearest depot is!

Nothin' but trouble, anyway.

First you charge too much.

Then you want to give it away.

Where are we now?

We just left Plainfield.

$12 for a bible. Then it's up to 24.

If I stay with you, I'll spend the rest of my life in jail!

There's a depot in Lincoln.

You can take me to Lincoln!

You bet I will. Where's Lincoln?

Clear over there! Ah, boy.

You think I'm gonna take you clear over there

just to get you to some depot?

Then keep going east. We'll hit one in Sylvan Grove.

Where's Sylvan Grove? Right here!

Well, th-that'll take us down through Lucas.

You gotta go through something to get to Sylvan Grove.

I am not complaining! I'm just saying it'll take you through Lucas.

You gotta go through Paradise and Walden

and Lorraine... Lorraine, huh?

If you want to get to Sylvan Grove!

Well, those are pretty good towns in there.

We could do some business in there.

Well, it won't matter much.

We're near out of bibles anyway.

What do you mean, we're out of bibles?

Why didn't you tell me we were out of bibles?

You look in the box, too, don't you?

Well, you know, you got an excuse for everything.

'Cause you blame me for everything.

If we were running out of bibles,

you should have told me we were running out of bibles!

Well, we're running out of bibles!

Well, then we gotta get new ones!

Then let's get new ones!

We can pick some up in Great Bend.

Great Bend's the other way.

Well, we gotta have bibles, don't we?

Let's see now. We can veer down to Lucas,

and we'll veer over to Wilson,

veer off to Lorraine and Bushton.

We could... We could veer off to Hoisington.

Just have to keep on veering, that's all.

I think if, like in "The Last Picture Show,"

whew... I even break...

I'm just thinking about it.

That last scene with Cloris and Tim.

My God, every time I think about it,

just amazing.

I'm sorry I'm still in my bathrobe.

What am I doing apologizing to you?

Why am I always apologizing to you, you little bastard?

Three months, I been apologizing to you

without you even being here!

I haven't done anything wrung.

Why can't I quit apologizing?

You're the one ought to be sorry!

I wouldn't still be in my bathrobe.

If it hadn't have been for you,

I'd have had my clothes on hours ago.

You're the one made me quit caring if I got dressed or not!

Cloris, not too long ago, I was talking to her about that scene,

and I said, "You know, that scene just kills me."

And she goes, "Oh, I'm so pissed at Peter."

I said, "What do you mean?"

She says, "That was the first take.

I could have done it so much better."

I said, "Cloris, get outta here!"

This weekend sees the opening

of the Ninth Annual New York Film Festival

at the Vivian Beaumont Theater at Lincoln Center in New York City.

"Camera Three" today will focus on the work of two American directors,

Peter Bogdanovich and Henry Jaglom,

where Mr. Bogdanovich is represented by "The Last Picture Show"

and Mr. Jaglom by "A Safe Place."

How do you feel about having your film in it, the reaction?

Well, I'm dying to see it with a big audience, you know. I never...

I have only seen it, uh, with intimate groups of three, you know.

And I'm dying to see it with...

what is it, 800 people or something? Yeah.

It's a rather heavy drama,

but I'm looking forward to where they laugh on purpose.

♪ If you love me ♪

♪ Half as much as I love you... ♪

I didn't take acting lessons before.

So, certainly for me to have my first teacher be Peter Bogdanovich

in one of the greatest movies

of all time was just extraordinary.

♪ You're nice to me ♪

♪ When there's no one else around... ♪

Owen Wilson and I were both very, very taken with that movie,

and it has always meant a lot to us.

And I think "Bottle Rocket,"

the first movie that I directed

that Owen Wilson and I made together,

we were probably trying to do our own version of "The Last Picture Show."

The craziest thing is in my first shot in the movie,

I come all the way back with Jeff Bridges, and I say...

"Hi. What y'all doin' back here in the dark?"

And right before I went to do my first take,

Peter said to me, "I don't know

who I'm more in love with, Cybill or Jacy."

[laughs]

So that was my...

That was what was inspiring me when I went up that thing.

I had that look on my face from him saying that.

Do you think that "The Last Picture Show"

is a John Ford type movie?

No. I think it's a Peter Bogdanovich type movie.

Well, were you influenced by John Ford,

do you think, in the way it was made?

Well, I think I've been influenced by all the movies I've seen.

Peter became fucking famous.

I mean, I was too young to actually really realize how famous he was,

but the fact that I knew Peter Bogdanovich

did "The Last Picture Show" when I was in first grade

should have told you something.

♪ We must remember this ♪

C-minor seventh?

♪ A kiss is still a kiss ♪

ANNOUNCER: In a rare glimpse of two artists at work,

we are afforded an insight

into how director Peter Bogdanovich,

working with stars Barbra Streisand and Ryan O'Neal

can manage to put these two performers together

and create that almost indefinable thing

which is most simply described as a motion picture

called "What's Up, Doc?"

♪ ...goes by ♪

I didn't even know they were shooting that.

Well, Laszlo comes up to me,

and he says, "Barbra's being made up,

"and it's a very complicated camera move.

Could you rehearse it once?"

I said, "Sure."

Behind my back, they turn on... they turned it on.

And then when it was over, they just did that for sync, you know.

I didn't know that.

And, uh, John Calley calls me up,

the head of the studio, the next day.

He says, "Have you seen the dailies yet?" I said, "No."

He says, "Well, you're in for a surprise."

I said, "What are you talking about?"

He says, "You'll see."

Comes on, and I said, "Oh, my God!

You shot it, Laszlo!" Everybody laughed.

♪ What the future... ♪

It was so funny when I went to kiss Ryan and all that,

that they used it. [laughter]

If you want to see how famous Peter is,

If you want to see how famous Peter is,

watch the trailers for his first movies.

And this is Ryan O'Neal.

You remember him from "Love Story" and...

"Peyton Place." "Peyton Place,"

and "Games"... "Wild Rovers."

and "The Big Bounce" was one of his bigger hits.

Also, a Warner Bros...

Miss Barbra Streisand over here.

You remember her from "Funny Face."

Barbra Streisand has never been so inconsequential

to a trailer for a Barbra Streisand movie ever.

Because it was the day in the life of groovy Peter Bogdanovich

making his groovy movie called "What's Up, Doc?"

"And here's my friends Babs and Ryan."

ANNOUNCER: This is San Francisco,

the city chosen by one of the most brilliant

and sensitive new generation of filmmakers, Peter Bogdanovich.

Watch the trailers for "What's Up, Doc?"

Watch the trailers for "Daisy Miller."

Watch the trailers for "Paper Moon."

Watch the trailers for "Saint Jack."

They're trailers of Peter making the movie.

ANNOUNCER: This year, Peter Bogdanovich

has made a movie in color, "Daisy Miller,"

starring Cybill Shepherd.

TARANTINO: That's what we're selling.

We're selling Peter's making a movie.

BOGDANOVICH: When success came, I remember Orson Welles

said to me at one point, "You don't know who you are."

'Cause he was telling me to get a print from Hollywood to send to Paris,

And I said, "I don't think they'll do that."

He says, "You ask them to, they'll do it.

You don't know who you are."

And he was right. I didn't know.

Because during that very successful period,

I remember feeling sort of strange,

like everybody hated me

or was looking at me in strange ways,

and I look back on it now,

and I think I was just uncomfortable.

Except when I was alone with Cybill.

TARANTINO: He guest hosted the Johnny Carson show twice.

Johnny Carson, who never had directors even on as guests.

Peter hosted it, hosted it twice.

They're waiting to kill us both.

No. Listen, this is part of the...

what I call the envy barrier.

Yeah, what is that?

What is that, the envy barrier? It's success.

No. When you..

When you're as successful as you are

and you have a gorgeous lady, as you do have...

Who is that?

[laughter] What is her name, anyway?

Cybill, uh...

Yeah, let's not discuss what... Yes.

Right. Go ahead.

You have her. You have four pictures in a row

that make, like, $30 million.

A guy has to learn to hate you.

[laughter]

TARANTINO: But Peter got slammed big time

for doing those talk show appearances,

for being on the "Dinah Shore Show,"

for, you know, going on talk shows

and being funny and doing impersonations

and chatting people up, and, you know, like,

how dare a director try to be that much of a celebrity?

And I got accused of that myself, but I didn't care much,

and no one cares about that now anyway,

and directors are always on talk shows now.

MAN: I think that people resented how famous he was

and just how much about his life they knew about,

whereas somebody like Scorsese,

people don't know who he was with on a Saturday,

you know, and people don't care,

but with Bogdanovich, his personality

was so in the public consciousness.

[jazz playing]

♪ Why can't you behave? ♪

♪ Oh, why can't you behave? ♪

He was, uh, really successful

really young, 28, 29,

and, um, Peter's very humble now.

He wasn't always humble.

We all know that. Um...

especially people that were working with him

when he was younger know that.

BRIDGES: People often think of him,

uh, he's a very arrogant, highfalutin,

full of himself cat, you know.

And he is all those things,

but he's also very down-to-earth

and has a whole other side that...

the public, uh, is probably not privy to, I think.

It's not that he was arrogant in my mind,

as much as that he... he was confident

and that he was confident

in that he actually really knew what he was doing

and what he wanted, and he was very sure

that he was going to have it,

and that can be confusing to people.

And then he was very sensitive within all that.

So if he became loud or very direct,

people thought he was an asshole.

He was really fighting for what he believed in.

You know, I remember waiting outside "The New York Times"

for their review of "The Last Picture Show,"

which is, of course, one of the greatest reviews ever.

We did the same thing for "At Long Last Love,"

only it was the opposite reaction.

People just hated that movie,

and they hated us, and they hated

that we seemed like we had it all.

I thought he took... took a bad rap with Cybill Shepherd.

I... I think people went too much the other way.

MARSHALL: Sometimes you get caught up

in what I call the other side of Hollywood

and in the publicity of it all,

and... and you forget about,

you know, what you're here to do,

which is make movies and tell stories.

Certainly, he had a relationship

with Cybill Shepherd, and that ended.

Peter thought there was so much noise

that was not about the stories that he was telling,

that he wanted to take a break

and then come back in a kind of a different way

to tell a different story like "Saint Jack."

[music playing]

BOGDANOVICH: We're on the island of Singapore

making a movie here.

Singapore's in the South China Sea

right off the coast of Malaya.

They call it Malaysia now.

Singapore, it's kind of like a United States of Asia.

2 1/2 million people

on an island not much bigger than Manhattan,

Chinese people from every province,

Malays, Tamils, Sikhs, Ceylonese, Eurasians,

and, of course, the any mo.

That's what they call us over here, redheads,

the English, the Australians, and a few Americans.

The picture we're making

is about one of those Americans, Jack Flowers.

Jack's a pimp.

Mr. Flowers, you're... you're a ponce, aren't you?

It's hard to say what anyone is.

Well, I only mention it, because, personally speaking,

I can never bring myself to pay.

William, people make love for so many crazy reasons.

Why shouldn't money be one of them?

MAN: I got a call that night.

He said, "Ben, I'm thinking of doing a picture in Singapore.

I'd like you to do it."

I said, "That's terrific."

He says, "Yeah, I have a script.

"Why don't you come by the house,

"have a drink tonight, and I'll give you

the script. See if you like it."

And it was "Saint Jack."

I read it. I didn't like it. I loved it.

Jack. Yeah?

You knowing the two?

Oh, yeah, I know him. Hi, Henry.

They're okay, honey.

Good evening.

Good evening.

Beautiful. Where's she from?

Ceylon.

Ceylon? Yeah.

They call it Sri Lanka now.

Yeah, I know.

Screwed up all the names.

Zanzibar, the Congo, Siam, Persia,

all gone.

MAN: Really, some people were killed because of that fucking thing!

Just a minute, huh? Yeah, sure.

The first review I ever wrote of anything,

for my high school newspaper,

I wrote a piece about seeing Ben Gazzara off-Broadway

in Calder Willingham's play, "End as a Man."

I was electrified by Benny.

He was the most exciting young actor

to come along in New York since Brando.

I'd never seen such explosive silence.

I met him in '77

when John Cassavetes was making, um, "Opening Night"

and he invited me to the set to be a recognizable extra.

I am so drunk, I can hardly stand on these two feet.

I wouldn't know.

I will call you when I'm a little clearer?

Promise?

Peter? Peter?

And I was introduced to Benny,

and then we all had lunch,

and Benny said, "Order whatever you want."

"John's paying. John's paying. Order what you like."

Then he used to do that with me later in Singapore.

He'd say, "Whatever you like,

Peter's paying" [laughs]

So "Saint Jack" was kind of... I remember seeing that movie

and being so happy for Peter,

because it was like kind of a shot in the arm, you know.

He had gotten into these bigger productions,

you know, more money to work with,

and with "Saint Jack," he didn't.

It was down and dirty. It was just like,

you know, "Last Picture Show" days, you know.

And he... God, he pulled that off so brilliantly.

And as you pan, there's Denholm

standing there, looking at her.

Peter and I and George Morfogen, his dear friend,

great actor, too, on his own.

He was in "They All Laughed." Yeah.

But there he was just there protecting Peter's back.

Peter said, "What would you think

about being associate producer?"

And the first thing I said... And I remember exactly.

I don't always remember exactly, but I remember, yeah.

I said, "Peter, I've never done that."

He said, "I know."

And then I was in Singapore not long after that.

So we'd meet every night in Peter's room

and write the scene that we were gonna shoot the next day,

and it was so exciting.

I mean, really involved with the creation of the pimp.

And we walked around Singapore together.

We went to the cathouses, you know,

the... all the older places

that are not there anymore, Bugis Street.

Benny and I had some female interaction

when we were doing "Saint Jack,"

and I heard about his life,

he heard about mine,

and I thought it would be interesting to make a movie about that,

about, you know, sex in the city.

[chuckles]

WOMAN: Director Peter Bogdanovich is in New York City

to shoot his new comedy, "They All Laughed."

The film stars Audrey Hepburn, John Ritter, and Ben Gazzara.

Bogdanovich returned last year

with the critically acclaimed "Saint Jack,"

winning Best Picture in the Venice Film Festival.

They hope to recapture that magic here in New York

as they round out the cast with Audrey's sun, Sean Ferrer,

and Bogdanovich's daughters,

as well as George Morfogen, Colleen Camp,

model Patti Hansen, and Playmate of the Year, Dorothy Stratten.

Well, Peter, good luck in the Big Apple.

[music playing]

TARANTINO: There was a real breeziness about the film that...

On one hand, it made it not look American at all.

It brought to mind, um,

movies that would take place in Paris.

Bogdanovich made that summer in New York

seem like Paris at its most magical

in its most loved film.

Even with all of Woody Allen's love letters to New York,

there was never a New York quite as magical.

All of a sudden, it's a New York

full of nice people doing nice things,

and there actually really is no true melodrama in the movie.

The people meet each other and... and ultimately hook up.

And there's just this fizzy Coke can freshness

and, uh, little bubbles about the whole movie.

"They All Laughed," it has this sort of fantasy thing.

You know, it moves among all these characters.

The story is not very important.

It's just a little thread to keep them all interacting

and keep these romances and these kind of love affairs among them

and its friendships mixing around.

I can see why he feels like it's the most distilled version

of what he's most drawn to as a filmmaker.

I'll tell you, this movie is an interesting film.

I... I recommend it highly.

It's a different kind of a detective story.

Ben Gazzara and I... and me, and...

Me. Me, John. I, me.

No, you're not in it.

No, I'm not in it. I know.

And this guy named Blaine Novak,

who is, uh, one of the last of the hippies.

The three of us are detectives,

and it's a different kind of detective story,

and we're following around beautiful women.

I like the beginning, where you don't know what's gonna happen.

It's very, um, tantalizing, because you don't know...

There's something that's slightly unsavory

or shadowy about these people coming in...

There's a lot of characters who are introduced.

Then, of course the helicopter

comes down. Audrey Hepburn emerges.

It's like a total

movie star entrance of this legendary actress.

But she's... you know,

almost filmed almost like a... like a paparazzi.

And we see everyone's perspective.

It's like everyone is in everyone else's crosshairs.

I think that's much harder to do than it looks.

To me, it looks effortless.

A movie I saw that I loved was "Rio Bravo,"

which begins with a sequence that runs about five minutes,

sets up the entire story without any word of dialogue.

And originally the opening of "They All Laughed" had no dialogue.

You could see them talking, but you don't hear it.

Then later, after I screened it a couple times,

I realized I needed to throw in a couple of words

just here and there, the, "Wife,"

just a few words here

just to give the audience a little bit of a hint.

My wife. How do you do, Mrs. Niotes?

I'm glad you got my cable.

It's one of those films

that it's sort of a last hurrah for the seventies.

I know there's this kind of battle

between what film was kind of the last film of the seventies.

You know, I've heard "Blowout" mentioned.

Obviously, "Heaven's Gate."

But to me, "They All Laughed" is kind of like

the end of that very personal period of filmmaking.

The way Peter moves the camera around

and the kind of gentle approach with blocking and staging

that he's had over the years, longer takes.

There's American reference,

but the European one, I think, is Renoir.

I think that movie, of all Peter's movies,

has a kind of spirit that I feel like I really connect to

and I think about a lot,

you know, when I'm making my own movies.

Modern movies are... exist because of Peter.

His OCD filmmaking where he's paying attention to every little detail,

we see that in a Wes Anderson film,

where he actually makes these maps in these Criterion discs

where you get to see the whole universe

and all the blueprints of everything.

There's something so modern about that movie

at the same time that it's in touch with what came before it.

You want to watch "They All Laughed" multiple times.

You want to study the film.

That's how I think it's influenced Wes Anderson and Quentin Tarantino.

It's... it's hyper cinema.

Daddy, can I have a pineapple?

What are you gonna do with a pineapple in school?

Who's gonna cut it for you?

Your mother will buy you a pineapple.

How is your mother?

She's okay. She's okay.

She threw a jar of roses at Dad.

I mean at Cliff. Roses, huh?

I don't know why I called him Dad.

I don't call him that anymore.

Don't worry about it, kid.

Mummy likes for us to call him Dad.

No, she doesn't care.

Don't worry about it. This is kid shit.

Call the guy whatever you want.

I mean, you see a lot more of him than me.

I'm the one who left.

We're just investigating my father's life.

My mom is a whole 'nother complicated issue,

and she suffered,

and she had a lot of success,

but with success comes a lot of other things.

Peter got a job in a summer stock company, 1961, in Phoenicia, New York.

Through that job, he met Polly,

and then they married soon after in New York,

and I was the best man,

and there were only three of us in the room.

It was a very strong professional relationship.

She's a terrific designer and a great aesthetic,

and they worked well together.

But people change and prefer other things

or prefer other people.

Sometimes we wish you were together.

But then we wouldn't have met Christy or Alicia.

I like how, with the two lead male characters,

with John Ritter and Ben Gazzara, that,

you know, there are big parts of Peter Bogdanovich

in both of those characters.

I mean, physically, you know,

with the glasses that John Ritter's wearing.

I mean, there's many obvious signs.

But then, also, the fact that the girls

playing Ben Gazzara's daughters are Peter's daughters.

I don't think I could have been that natural

without my dad in back of the camera.

You know, I mean, it was really... Yeah.

I was talking to him, really, you know.

Yeah, we were playing ourselves, too. I mean, really.

Yeah. Pretty much.

[country music playing]

[country music playing]

Daddy!

Daddy! Daddy!

Oh, you're smoking. Johnny

Jesus. How'd that get there?

I don't like to make a personal movie

and just make a personal movie the way the French did.

I like to cloak it in a genre,

so I thought maybe it'd be interesting

to have something about detectives.

And every character that we wrote was based

on somebody that was going to play the part.

Gazzara was based on Ben, what I knew about Ben,

and Audrey was based on Audrey.

Dorothy was based on Dorothy.

And I wrote the first draft.

John Ritter's character was... the whole draft

was moping around about losing a girlfriend.

It was gonna have a photograph of Cybill,

uh, 'cause, you know, we'd broken up.

Then when I met Dorothy,

I thought it'd be great to have her in the picture.

It struck me that it would be great

for John... John's character

to have someone that he falls for

and sort of parallel with Ben, who falls for Audrey,

John would fall for somebody,

and... and the same idea,

pursue her in the line of work,

but pursue her in his personal life as well.

The same two stories.

It's just one has a happy ending,

and one has an unhappy ending,

and they're very different.

So the movie evolved,

and I went to Los Angeles and wrote it.

I flew back to Los Angeles partially

to have just the peace of sitting in my house.

Another reason was to see Dorothy.

[music playing]

♪ The sleepless nights ♪

♪ The daily fights ♪

♪ The quick toboggan when you reach the heights ♪

♪ I miss the kisses, and I miss the bites ♪

♪ I wish I were in love again ♪

♪ The broken dates ♪

♪ The endless waits ♪

♪ The lovely loving and the hateful hates ♪

♪ The conversation with the flying plates... ♪

I think one of the reasons

that there was so much power

behind Peter and Dorothy's, you know, love affair

is that Dorothy answered everything that was missing,

everything that had been hurt,

every part of him that was insecure.

It infused him with energy and joy.

It made this very serious,

sometimes serious director, be very giggly

and warm and effusive,

so she had a really great warm spot in his life.

Well, I was in love with her

the way that I never have been before or since.

It just seemed like we had wings, you know.

Every little thing had power.

I mean, we just sat and watched some kids play baseball

or walking through the park

or going through the carousels.

When I would get upset in a production meeting

or she'd hear me starting to raise my voice at something,

she'd come over and whisper in my ear,

"Your heart, darling. Your heart."

Heh. Never failed to knock me out.

And I'd laugh, and I'd say, "Yeah, you're right. Yeah."

"Your heart, darling. Your heart."

It was so funny, so sweet.

But, you know, she seemed meek and mild, but she wasn't.

What do you notice first about a man?

Man's walking down the street

or you walk into a room,

what's the first thing you notice?

Stand up.

[laughter]

[whistling]

Um...

[laughs] His chest.

I notice a man's chest first.

Mm-hmm. All right.

Very nice. Very nice.

Good. Good.

[laughter]

Feel so self-conscious about my chest.

[laughter]

Later on, I said to her,

"What made you tell Johnny to stand up?"

She said, "Well, I was annoyed by his question.

"It got... I got angry about the question,

so I said, 'Stand up."'

At 20, I couldn't believe that brilliance of that maneuver.

Did you write Dorothy's part for her?

Oh, every word, you know. Her whole relation...

I knew she was unhappy in her marriage,

and I knew he was... husband was a bit of a pain in the ass.

That's all I knew.

So he's kind of that guy in the window.

He's the guy in the window

who's kind of giving her shit.

For a movie like "They All Laughed," what is the set like?

For most of the scenes on the streets of New York,

where we were shooting in the streets of the city,

the crew was 20 blocks away with the trucks,

and we had a very small... maybe five, six people with us.

And we were on the streets of New York

with Audrey Hepburn, Ben Gazzara, John Ritter, Dorothy Stratten.

Uh, and we had no money for extras,

so we couldn't close down the streets.

We had real people walking.

So we couldn't have trucks parked,

so Audrey had no dressing room, no trailers, nothing.

We... We had a hotel room in certain places,

but otherwise, they'd wait in stores for us,

and we did everything with signals and shit.

Well, that seems to have found its way into the movie,

because everybody's giving each other signals,

and everybody's hiding in stores

and behind bushes and things.

Yes. It kind of goes with the making of the picture.

I'm not really very hungry, Christy.

Oh, you're not? No.

Would you like some new shoes? New shoes?

I said, "Would you like some new shoes?"

Those are pretty old, aren't they?

Well, thanks a lot, Charles.

These happen to be an original

thirties design from the thirties.

That's what I mean. Wouldn't you like some new ones?

Robby Muller was at his peak at the time,

a European cinematographer,

did wonderful work with Wim Wenders,

Great with light and natural, you know, location shooting.

He managed without any real formality

or pretentiousness to his work,

uh, give it an artful veneer.

The New York that it's set in is so unadorned.

I mean, it's beautiful. It's... it's real New York,

but then it's ingenious in how this kind of fairy tale

is going on in a very real city.

For the last few years leading up to '81,

with '81 being the big year for this,

the movies had been demonizing New York,

making New York look like the most crime-ridden place

and the most filthy place

or the most dangerous place ever.

Can you dig it? Can you dig it?

[yelling]

And in the midst of all that,

Peter does "They All Laughed,"

which is just this incredible love letter to New York.

In Peter Bogdanovich's New York,

you hop into a cab, and Patti Hansen's the cabdriver.

Patti Hanson, all right?

And she just immediately starts effing with you.

You weird like your friend with the beard?

Me? Oh, no, Sam. Me, I'm a charmer.

Get off up here.

I'd like to.

Oh, Sam.

Being in love with Dorothy is what inspired the picture,

and I think that it has... it has a feeling

as of being in love, the picture.

It... it has a certain sparkle to it

that none of my other pictures had.

[slow jazz playing]

MAN: It's one of the movies

that is most insistent about people watching each other

and the camera watching them.

It encourages voyeurism as much

as the most obsessive Hitchcock or De Palma film,

but it's different from them in that

it's completely attuned to the yearning of the characters.

Scorsese, Coppola, Altman, Friedkin, all those guys,

they were pretty much steeped into film history,

and they had particular attitudes towards it.

Bogdanovich, by contrast, is much more reverent.

He's much more tender.

He's much more romantic.

But I just kept a card file of every film I saw,

and if I saw it again, I would write, you know, what I thought of it.

So I started in '52 and every year through '70,

and I stopped in '70, so 19 years.

♪ It's just ordinary story about the way things go ♪

♪ Around and around, nobody knows ♪

♪ But the highway goes on forever... ♪

Father. Father!

Here. Look at this. It's beautiful. I want it.

HASKELL: He has great women in his movies,

which is very unusual for an American director.

American directors are just basically interested in other men

and in men's pictures and in men's intrigues and men's action.

And it's not just the woman at the center,

but often the supporting women are as interesting

or more interesting than the... than the lead.

SHEPHERD: He has one of the most wonderful attitudes

towards women that I've ever seen a man have.

He loves and respects.

He was one of the few people

that ever treated me as an intellectual equal.

There were four women in the picture that I cared about a lot.

There were four women in the picture that I cared about a lot.

Dorothy was the... She was the muse for this film.

Audrey, whom I didn't know well, but I loved her movies,

I loved her as an actress,

and I came to love her as a person.

And Patti Hansen and I, had a little romance with her.

It didn't end in an unfriendly way.

It's just we weren't right for each other.

You ought to be an actress or a model or something.

You're gorgeous. Thanks.

I used to do a little modeling.

It's a pain in the ass, you know.

Well, it's all a pain in the ass, honey,

unless you're in love, of course.

And that's a pain in the ass.

The biggest! Right.

Colleen, whom I had a long relationship with her,

a complicated relationship with her.

I liked her very much.

I loved her, actually,

wrote the part for her.

Colleen was at my dad's house quite a bit,

but Colleen was a good friend, too,

and good with us and just funny.

Christy's so funny. I like her.

I like Alicia. I like Alicia, too.

I didn't say I didn't like her.

You like Christy better.

No, I don't. I like them both.

Sometimes I feel sorry for Christy, though.

Why is that, angel?

I don't know.

Christy is funny, Daddy.

Christy's in love with you, Daddy.

Yeah, well, I love her, too.

But you're not in love with her.

What the hell do you know about it?

Women's intuition.

It's women's intuition, Daddy.

Will you cut that out?

Instead of having to imagine somebody that I was talking about,

Christy is Colleen in the movie,

but Colleen was a part of our family at that point.

CAMP: We'd had a fight over something kind of silly,

and he says, "I've just written you this huge part in a movie,"

and we were not remotely dating when this movie started.

It had been like a year before.

And I said, "Well, I don't care if you wrote me the part.

It's just not gonna happen."

I said, "You're gonna do this.

"It's a great part. I wrote it for you.

Don't be silly." So of course she did it.

I think Colleen Camp is just terrific,

and then she reminds of some earlier Hollywood actress,

that kind of fast-talking, the slightly ditzy quality.

She had a little bit of Lombard, a little bit of Jean Arthur,

even a little bit of Debbie Reynolds in her rhythm.

Why don't I give you a massage, Charles?

Why don't I give you a touch assist?

A what? A touch assist.

A touch assist.

It'll relieve all your pressure, Charles.

You'll feel like a cloud in pants.

In terms of the dialogue, what was so great

is that Peter had this Howard Hawks,

Preston Sturges kind of overlapping dialogue,

and that's what was so interesting,

because, you know, as my dad said,

"I'm a woman of a few thousand words,"

and I actually speak them very quickly.

Good morning, Amy. You're looking very well this morning.

Why, thank you, Christy. Very well.

Thank you, Christy.

Where's Mr. Russo's desk, Amy? Do you know?

Right over there, Christy,

not too far from Mr. Russo himself.

Thank you, Amy.

I can see you're all working very hard today.

Good morning, Christy. How are you?

Good morning, Judas.

I have a few things here that belong to Mr. Russo,

and I'm sure he'll be needing them

a lot more than I will.

Colleen Camp is just a hoot,

and the way she is in "They All Laughed"

is exactly the way she is in real life,

the way she talks, and her commanding,

you know, bubbly personality

and verbal, uh, aspect is perfectly represented.

Just to have anybody in... like that in your life when you're young...

She's just funny, you know, and sweet.

I love Peter and his family, and,

you know, we've been really close friends since 1975.

Why, look at those beautiful shoes, Harold.

Aren't those nice shoes?

[indistinct chatter]

Can I help you?

We'd like to see some of the new shoes.

Yes. Well, we don't sell used ones here, sir.

Oh, that's good.

This way.

Hmm?

Oh, excuse me. I'm terribly...

Oh. Sorry.

The adherence to Hollywood archetypes

and Hollywood filmmaking,

it's just injected with a very personalized element,

represented by casting friends and family members.

His real secretary, Linda MacEwen,

plays the secretary of Leon Leondopolous.

Certainly, I was involved with doing his notes

when he was rewriting, when he was writing the script.

And, of course, I was thrilled,

uh, to get to work with him on that side of the camera.

A friend, distributor, Blaine Novak,

is thrown into the picture and is brilliant.

You would think this is one of the premier

comic supporting actors of the seventies.

So where'd you pick these two up?

BOTH: We're sisters.

They're my sisters.

They're his sisters.

I really fell right into that one, didn't I?

Audrey in the movie comes across,

in my opinion, like an icon,

her own clothes, the way she moved,

the way she was, because Peter wrote the part for her.

I said, "Audrey, you gotta do the picture,

because I wrote it for you."

"Oh, Peter, don't say that,

because then if I don't do it, I'll feel so terrible."

You know, she told me once

she didn't think she was a good actress.

I said...[ laughs]

I said, "Listen, I'm gonna run all your films for you

"and show you more of a moment

"what any actress would give their life,

"their soul, their-anything

"to be able to do what you do on the screen.

"Are you kidding me? You have greatness.

"You light up the screen.

"Your... Your smile on the screen

is like a thousand searchlights."

RICHEY: Gazzara's eyes are so soulful.

I mean, there's just... there's, like,

so much poetry in his eyes

in the way that he looks at Audrey Hepburn

and the way that he sells it on the screen,

and I keep... keep flashing back

to the last times that he sees her in the movie,

when she's taking off in that helicopter,

which is just one of the most

kind of heartbreaking shots ever.

I mean, you can really see this guy

is one of the great American actors.

He has that kind of world-weariness

that you don't usually see in American actors,

a kind of Mastroianni almost quality, I think.

And that sort of mural ambiguity

and the sexy past.

You know, you don't have to spell it out.

You just know that he's had a lot of women, and...

Oh, yeah. He has his very expressive eyes,

and he's always been one of my favorite actors.

We knew Ben from "Saint Jack,"

and he gave us our first cigar.

Yeah. We smoked a cigar on "Saint Jack."

When we were 7 and 10.

10 or something.

Both got viciously ill. Yeah.

'Cause we wanted to try the cigar,

and Peter would always say no, Dad.

Then he's like, "Let the kids try a cigar,"

and we did... and it was in Singapore,

and we both got pretty sick the next day.

I don't think that night.

My mother never forgot.

Yeah, never forgot.

I've never told anybody this.

I've never told anybody this.

I did "They All Laughed"

in the middle of a clinical depression.

I was in a deep depression

in the making of every inch of that film.

You know that?

I'll tell you, I've had cancer.

I prefer cancer.

With cancer, you fight to get well.

With depression, you can't fight.

You can't even fight.

If I were another director...

Peter Bogdanovich, I would have fired me.

Another director would have said, "Go home."

But somehow, I was prepared.

I never held anything up.

My work was so easy.

I just went through it moment by moment.

I'm not saying.

I don't think she's saying... You're always watching us.

Are you saying that you don't trust me

to take care of these three midgets?

No, I'm saying I don't know

who's going to take care of me.

John will.

That's what I'm afraid of.

You're not making sense, Mother.

I remember one time Peter actually sent me

and the two girls to see a Broadway show.

And he got us a car,

and one of the adults took us. I can't remember who.

And I went to their room at the Plaza to pick them up,

and Dorothy walked in in a bikini.

And you gotta remember Dorothy at this point

was, you know, Playmate of the Year.

So I was just like...

She walked in. She went, "Hey, Glenn."

I'm like, "Hey, Dorothy,"

like that, and she walked out.

And all I could think was, "I have so many straight friends

that would fucking love this moment!" [laughs]

'Cause Dorothy was more than stunning in person.

I mean, you think she looks beautiful in this movie?

Honestly, Dorothy in real life was angelic.

Dorothy was already a mother to her sister,

but it wasn't even that her sister was around.

It was just this nature.

Like there would be adults,

and all of them probably big players

in the movie business at that time

at the Plaza Hotel in New York,

and she would, like, be on the floor with us coloring.

In a way very much like my mother,

she was not aware,

nor did she really value her looks

as being something unusual or special.

I mean, that's who she was.

There wasn't really a bad bone in that woman's body.

And I don't know how she ended up...

I mean, we know how she ended up posing for "Playboy,"

but that is the most ridiculous...

Yeah. If you knew her... scenario.

It was like, "What?" Like, she was so...

I mean, it just goes to show you you have...

She was modest. She was so modest.

Modest. Yeah.

You have a certain image about...

Although she did skinny dip couple times.

Really? Yeah.

Well, it probably was just us.

Yeah, no, it was just us, yeah.

SCARPELLI: In the scene where John would follow Dorothy

back to her apartment

and she would have a, you know...

a fight with this husband of hers,

I think, was very symbolic of, you know,

what Dorothy had been going through,

because everybody on the set knew

that Peter and Dorothy were definitely beginning a life together.

I mean, there was no question.

They were ready to live the rest of their lives together.

You could see it. You could feel it.

I think she'd been in this relationship long enough

and realized that it was an abusive relationship,

yet he was really the one

that brought her to Hollywood

and helped her, you know.

And at that age, you have a tendency to excuse and adapt

and stay in situations that may not be healthy,

because you feel, "Well, maybe he deserves better,"

or, "I can't drop him now that I'm successful,

because that's not who I am."

And yet the wonderful relationship with Peter developed.

Uh, they were very sweet to each other.

[swing music playing]

But the thing about it that's so wonderful

is it's a sort of a distillation

of the whole idea of "They All Laughed,"

which goes back to the great screwball comedies

that Peter reveres so much.

It's the men trying to catch up with the women.

It's the guy falling flat on his face

and being caught by Dolores,

the girls being 2 steps or 10 steps ahead of the guys.

Are you okay?

I'm very well, thank you. How are you?

Ritter and Dorothy, that relationship...

I... I just couldn't get over how important

John Ritter's performance is to that movie,

because he's a farceur without shtick.

The attraction for Dorothy is so sweet, so lovely, so tender,

and how it affects his ability to function,

how he becomes awkward. Who, me?

Of course, Charles is like the absent-minded professor, you know.

What? Who? Charles.

This is Charles.

Charles, this is Dolores.

Hello, Charles.

Nice to meet you, Dolores.

And this is Jose, Charles. Charles!

Hello. Who are you?

I'm Charles, Jose. How are you?

I'm Jose. Oh, good.

He was brilliant, and, uh, he's so easy to work with.

I called him. I said, "Would you like to play me in a movie?"

He said, "What time? Where do I show up?"

He didn't even ask to read the script.

And that's the kind of guy he was.

I was listening to country music to use in the picture,

and one of the albums I bought was a Johnny Cash album,

a new one called "Gone Girl,"

and on that album is a very interesting song

called a "Song For the Life."

The piano is very virtuoso,

so I said, "Who played the piano?"

And I looked it up.

Earl Poole Ball, unlikely name, but there it is.

We flew Earl up,

got an upright piano put into the Plaza Hotel.

I liked him a lot,

and I asked him to be in the picture

and write a couple of songs with me.

It was the first time I'd ever been to New York City,

and I'd never been in a hotel room that had a piano inside.

So... And he had books all over the wall, lots of books.

Made me want to have more books.

He had some music playing

that I was involved with with Jo-El Sunnier.

He had Jo-El's album playing.

It was like... I felt like I'd come home.

I had this one song I wanted to write

based on a card that Dorothy had sent me,

called "One Day Since Yesterday."

♪ What can you do to stop the feelings? ♪

♪ Can you just crush 'em in your hand? ♪

Before I left to go back to New York,

I'd flown in to Los Angeles to see Dorothy

and to work on the script.

Dorothy and I went down to Santa Monica Beach,

and we just went for a walk.

♪ Like two lovers in those stories ♪

♪ Walkin' slowly hand in hand ♪

I think both of us wanted to kiss.

It just didn't happen for a long time,

and we just kept walking and walking and walking.

It was a great walk.

And at one point, we both stopped,

and just the kiss happened.

And it was a...

It was a memorable kiss.

♪ Was it just one day since yesterday... ♪

The next day, I had to go back to New York,

and I... she found a card of a girl in a dress

on a beach, jumping up in the air joyously.

And inside, she'd written "One day since yesterday."

♪ Was it just one day since yesterday? ♪

♪ Will it all be again? ♪

[cheering]

Thank you!

He had a lot of it already written,

He had a lot of it already written,

a lot of the poetry going,

and it was just like, okay, that flows really good,

so I... I worked on a melody for it,

and in a couple or three hours, we had a song.

Earl and I had recorded it on a cassette.

When Dorothy came to New York and we played it for her,

she was very touched.

I used to sing all the time to girls

when I was... when I was courting

or even when we'd already established as a relationship.

I would sing all the time.

And it came out of the fact that,

in musicals that I liked, like "Singing in the Rain"

or "On The Town"

or "Bandwagon" or...

you know, musicals,

people sang all the time to each other.

I thought, well, that's nice.

I'll just do the same thing. Why not?

SHEPHERD: What was that one he was always singing?

Um...

♪ Fools rush in, so here am I ♪

♪ Very glad to be unhappy ♪

♪ I can't win, so here I am ♪

♪ More than glad to be unhappy ♪

♪ Unrequited love's a bore ♪

♪ And I've got it pretty bad ♪

♪ But for someone you adore ♪

♪ It's a pleasure to be sad ♪

And that song was something that wooed me

and endeared him to me,

and we sing it together still.

I had a neighbor at the time.

I don't remember her name.

She did tarot readings.

And the card that was in the middle,

that was the most important card

was the tower struck by lightning.

She literally turned white as a sheet

when she saw the spread.

And I looked at her, and she says,

"Anna, I really... I hate to tell you this.

"I'm terribly sorry to tell you this,

"but something devastating

is going to happen to your brother."

And it was the middle of the night.

And Linda, who was my girlfriend at the time, called me

and said that something terrible has happened.

It's the kind of thing that you're told,

in the middle that you ask, "Again, what did you just say?"

It was unreal, totally shocking,

and I actually almost didn't believe what I was hearing.

I remember something was wrung,

because every single phone

on his 6 to 12 phone lines were lit up,

every single one.

And Peter was nowhere to be found.

The radio was playing quietly in the background,

and I all of a sudden heard something

about, you know, dead, Playmate, Dorothy Stratten,

and then murder.

I got the call from Polly.

She said, "Anna, something terrible has happened.

"Please go over to the house

and see that the children are all right."

"What happened?"

"Dorothy has been murdered

"by her estranged husband.

"Please go over there immediately.

I'm terrified for the children."

You hear things on the news,

and, you know, you keep on doing your business,

and it's just like you just, you know...

You just don't realize that this is somebody's family.

This is somebody's mother or sister, you know.

You know, Peter was hysterical pretty much,

and Blaine was trying to control him

from literally not getting in a car

and driving off the side of a cliff.

I've never seen my brother like that.

You hear that news, and you try to imagine

the circumstances that could have led to this. Why?

I'm in Positano, in Italy,

and I see a headline.

"Dorothy Stratten Murdered,"

and I pick it up, and, uh, my God.

Peter and I, unfortunately,

after "They All Laughed,"

we were estranged.

I wasn't talking to Peter,

he wasn't talking to me,

so I didn't pick up a phone and call.

I did nothing but feel terrible.

I don't know if you knew,

but they... somebody told me and said,

"But you can't tell Louise that her sister's dead."

So I had to pretend for, like, half an hour...

I was just looking at her, going, "Oh, my God, her sister's dead."

They told her that she was taken on a modeling trip.

Yeah, and I thought, "Why are they lying?"

Like, I was so pissed off.

And then, afterwards, I found out

that her mother wanted to break her the news,

which, okay, totally understandable now.

But as a child, the fact that I had to pretend like I didn't...

I felt like I was betraying her.

My mom chose not to talk about it,

and the way that she survived was to pretend

that, you know, she didn't exist, I guess.

Um, and pictures were taken down.

We were not allowed to talk about her.

We weren't allowed to bring up her name.

Dorothy was serious.

She was rather quiet and thoughtful,

um, certainly kind.

Um...

Maybe we should stop for a second.

I think he was trying to get comfort from us,

but he couldn't even walk.

I just remember that he wanted to come to us

and that he was crawling on the flour.

At first, they told us we couldn't see him,

and we were both like, "We're going."

We're going upstairs to see him.

And I know that... that he was on, like, a daybed in...

like, not even in his bedroom.

Because he was with Dorothy.

Yeah, he was staying with Dorothy in his bedroom,

so I think they moved him into another room,

and I'm sure he hadn't slept.

[sighs]

Yeah, sorry.

Poor dad.

[woman vocalizing]

Everybody was trying to get him to go back to work on the movie,

just... just jump right back into working.

People were pushing him to do...

At first, he was like, "I can't do it."

And then I think he got pushed into it.

And then he decided, "Well, I should do it."

When she was killed,

the picture wasn't even finished editing yet.

I remember thinking this is not good.

No.

He should not be watching dailies of Dorothy

over and over and over and over.

I don't understand how he even did it.

He couldn't sit around doing nothing.

Yeah, that's true.

There was no way. He... He had to work.

John was there a lot,

during a lot of those screenings, John Ritter,

'cause my dad would just weep through those screenings,

and it was just so hard.

Before the film opened,

we did some looping here in Burbank.

And he said, "Put on reel five,"

which was the final reel.

And I remember the scene where John and Dorothy

kind of get their glasses locked.

And as I was watching that for the first time,

I just happened to turn around to look at Peter.

I was maybe 14 years old,

but I will never forget that look on his face

of such deep, honest love

and grief and loss,

but love.

This line here, this is your heart line.

It shows you're very emotional.

Emotions are terrific.

Besides, nobody can help how they feel.

Uh-uh. Now here's a problem.

What's that?

You're married, right?

Right.

Well, that line's a little short. It's weak.

But that's not what I'm worried about.

No?

There's a bad romance here.

Oh, really?

Very bad. You see this line?

It goes nowhere.

Buy, that doesn't leave me with much, does it?

Well, now, I... I don't know.

There's... There's something new right here.

It's very promising.

You see this line?

It goes on forever.

Maybe that's my skating line.

Your skating line?

No, that's your true passion line.

But you see, it's clear of the marriage line.

It doesn't start till...

Are you getting a divorce?

It's astonishing, because, obviously,

the spirit of the film

is very, uh, intoxicating and romantic.

And you could say, well, he made it to display...

or, you know, his feelings about Dorothy

and how wonderful she was and so on.

But still, there's nothing about the way the film is made

that reflects the tragedy that had taken place.

♪ These little town blues ♪

♪ Are melting away ♪

♪ I'll make a brand-new start of it... ♪

The songs that Sinatra supplied

from the "Trilogy" collection that had just come out,

that was such a huge hit at the time,

I can't imagine "They All Laughed" without those songs.

And also the way that Bogdanovich uses the music in the movie,

where it's not...

It doesn't have a score, you know.

It's... it's people, they're hearing it on the radio.

They're hearing it in a club.

It's just part of the sounds of the city.

I called them, and I said I wanted to use

four songs from "Trilogy" in the picture.

"New York, New York,"

which was playing everywhere that summer...

spring and summer.

It was everywhere you'd go, it was playing.

"More Than You Know,"

Uh, "You and Me," a song I loved,

and, uh, "They All Laughed," the title of the song.

I said, "We don't have a lot of money, Frank,

"but I'd like to use the four songs.

You think you could get me a deal?"

He said, "I'll get back to you, kid."

He calls me back a few days later.

He gets me the whole package, all four songs,

the publishing, the sync license,

the, uh, performance rights, everything, $5,000.

He said, "Can you manage that?"

I said, "Jesus, Frank, thank you."

That was a friend.

♪ They all laughed at Christopher Columbus... ♪

We had a preview of the picture down in Florida,

and it wasn't a great preview.

It wasn't terrible,

but I didn't feel the audience was completely with it.

There was a... a great feeling

that, uh, Peter was full of himself,

that he had great hubris,

uh, that he... success had gone to his head,

and, um, there was a great feeling

of schadenfreude about Peter,

that, you know, he had to be brought back down to Earth.

Now, "They All Laughed" came in the wake

of the tragedy of Dorothy Stratten and so on.

That people would continue their vicious attitude

toward Peter even after that,

I think, is embarrassing

and doesn't speak well of these people,

um, but people had it out for him.

♪ And they laughed at me wanting you... ♪

Peter had problems with "They All Laughed"

in the fact that they didn't believe

in the film somehow, and they were...

Fox was just gonna put it out in a very small way.

Dorothy's murder made me not trust anybody,

and in that time, I lost my temper a few times.

I was difficult to work with.

I was... made snap decisions

and just wouldn't be talked out of them,

and one of them was that I would buy the film back

and distribute the movie myself.

♪ Har har har ♪

♪ Who's got the last laugh now? ♪

Big mistake.

[laughter from song]

Uh, buying back the film,

when I first heard about that, I thought, oh, God.

You know, what's he doing?

Because how could that work?

How is that gonna work, ever?

I mortgaged my house, which was not in mortgage.

I owned it outright.

I can understand him wanting to keep his baby alive

and his tribute to Dorothy alive somehow,

but an individual doesn't have the power.

For a multitude of reasons,

we all took a hard stance.

The leader in that was Blaine,

and that sort of broke their relationship.

I remember the sort of peak of it

was a screaming scene in the parking lot

at the Bel-Air house.

Peter looked at me and said,

"Well, how do you feel about it, Sean?

Where do you stand?"

I was young. It wasn't my place

to sort of jump up and say here's my opinion.

But I think he knew at that point

that we all felt

that we wanted to preserve him and save him.

And I said to him, "Peter, the artist doesn't have to do this."

Advice of that kind, you say it once, and that's it.

I didn't say it ever again.

On one hand, we're trying to protect him.

We all loved the film,

but we don't want him to risk a life's worth of savings,

of... of equity in his home

at a time when he's really trying

to prove to the world that it's a great film,

that... And all of this is exacerbated

by the terrible emotional state that he's in.

BALL: It was just what he needed to do at the time.

All this was in Dorothy's memory in a way, I think.

The thing that they had together was that film and those songs

and the music from that film.

He spent a lot of money doing that.

At that point, he had lost so much, he wasn't worried about money.

[music playing]

There wasn't, though, this idea

of the American independent cinema

and independent distributors

like... like Miramax came to represent.

There were... There were some, obviously,

in the mid-eighties that kind of got going.

It was a little too early for that.

You know, Roger Corman had his company.

Cannon Films came along and so on.

But there wasn't this thriving, vibrant, independent scene yet.

But the idea behind Moon Pictures was a great idea.

I mean, I find it as admirable as Coppola with Zoetrope.

CAMP: There was many things

that I wish could have happened for the film,

because when Peter bought the film back from Fox

and he did his own release...

But you need an infrastructure

to release, you know, a movie

and a... and a song or a soundtrack.

BALL: I'm on one side of the single singing a song,

and Colleen's on the other side, I think.

Peter did not want to sell it to a record label.

He wanted to release his own under Moon Records.

[music continues ]

I saw "They All Laughed" its third weekend

in 1981 when it opened in Los Angeles.

It played at the Laemmle Music Hall, which is now three screens,

but back then, it was one screen.

And so when "They All Laughed" opened,

it opened exclusively at the Laemmle Music Hall

for about at least a month, if not a little bit more.

And it got great reviews.

So, literally, it was like a line.

You know, it was lines all the way outside with Lesley Ann Warren

and, you know, all these like, you know,

notable people of the day.

Beverly D'Angelo or somebody,

you know, going to see... going to see the film,

and... and it just killed.

It just played like gangbusters.

I'd never quite seen something exactly like that before.

Me being a really young man in love with movies,

in love with the idea of movies,

never had a girlfriend before,

in love with the idea of being in love,

all that kind of stuff just really hit me in particular

in a really charmed, pixilated,

Cupid's arrow kind of way.

And then when we went on the city break,

we got into Mann's Theaters,

'cause we wanted to be in the Mann's Theater in Westwood.

We were the top-grossing picture in Westwood that first week.

And they pulled us out to put in "Reds" because Paramount,

so we got screwed.

That happened all the time.

You can't... You can't self-distribute,

because you have no clout.

It would have been something extraordinary, I think.

I mean, we'd be... we'd be having a different conversation

if Moon Pictures had taken off

and "They All Laughed" had... you know,

somehow, he'd been able to successfully distribute it.

Uh, it would... We'd be having a different conversation.

This is Les Nessman with Show Beat.

Our guest today, the actress Colleen Camp.

You're here in the Queen City

for the opening of the new...

Bogdin-an-anovich film, are you not?

[laugh track]

Bogdanovich.

Yes. Well, whatever.

"They All Laughed."

Excuse me?

That's the name of the picture.

It opens here in Cincinnati on Friday.

And what about all the sex and violence?

Excuse me?

Well, I am one American

who is sick and tired of slow-motion death.

[laugh track]

I think it's about time that Hollywood made films

we decent Americans could watch.

I worked at this video store.

The guy who owned that video store,

part of the getting to know him

and, you know, that whole thing happening

was just coming in and talking about movies.

And it was just a little bit after "They All Laughed" had come out,

and he saw it, and he loved it,

and I saw it, and I loved it.

And we started talking about Dorothy Stratten,

about how sad it was, you know, that...

you know, that she was gone.

And he described the perfect thing.

'Cause I actually felt the same-J felt the same thing, too,

but I liked the way he described it. His name was Lance Lawson.

You knew she was dead when you bought a ticket,

and then you forget about it.

She's so just charming.

She's just an enchanting, movie-starrish, charming presence

and a funny little comedienne

and fit so well into this fabric of all these characters.

When the movie's over and you're having the closing credits

and then it cuts to Dorothy Stratten

and when you see her name there,

it was like the entire theater remembered she was murdered.

You actually forget,

and something about seeing her face

and her name at the end of the movie

just reminded everybody in the theater,

and then there was just this giant sense of loss.

Just the auditorium just had this one collective sense of loss.

BOGDANOVICH: See, it was an insane period.

We played 19 weeks in Seattle, one theater.

Big hit in Philadelphia.

We had big hits here and there,

but we ran out of money,

couldn't keep it going.

When you look back on it, you can say,

well, that was the only way that that movie could be seen.

And, you know, if it had been me,

I probably would have done the same thing.

Because art, I mean, it's just... it's like your baby.

And especially because of Dorothy was killed.

I mean, it was the wrong thing to do, you know.

Financially, I mean, it bottomed him out.

But he did it for the art.

[music playing]

I know Peter did an awful lot of thinking after that,

and he wrote quite a compelling book about Dorothy

and about the details of the murder,

because those were real and concrete,

and they were from the real world.

I was very worried about Peter for a long time,

and I think "The Killing of the Unicorn,"

which is one of the saddest books I've ever read,

it helped him to somewhat process it.

But, no, I don't think you ever recover from that.

"If 'They All Laughed' was going to be the way I wanted it to be,

"its characters would behave with politeness and good humor.

"There would be grace in their sadness

and stoicism in their dealings with love."

"Earl Ball and Jo-El Sonnier had written a song

that summed up my feelings about the film."

"'lf you love someone, you want what's best for them."'

"Just One Day Since Yesterday."

After Dorothy was killed, I stayed at home.

John calls me up one day.

He says, "I want you to come over to the house tomorrow.

"I'm making a picture, and I need you

to direct me in a scene with Diahnne Abbott."

I said, "John, you've directed yourself in a number of pictures.

You don't need me."

"I'm asking you as a favor, one friend to another,

"to come over and direct me in the scene.

You telling me you're not gonna do it?"

I said, "But, John, you don't need me.

"Why would you want... What can I do?

What do you need me for?"

"Look, I'm asking you to come over

"and direct me in a scene.

Are you saying you're not gonna do it?"

"Okay, I'll do it, John, but you don't...

"Okay. Well, show up, and come at 2:00," or whatever it was.

So we shot a couple of shots of Diahnne pulling up in her car.

I did it in one shot.

Rehearsed the stuff with John,

and they were terrific. I didn't...

I just sort of shot two angles on both of them,

and that was it. I went home.

In the final film, he thanks me.

And I called him, and I said,

"John, what did you thank me for?"

He said, "I wanted to give you co-director credit,

but they wouldn't let me." He's crazy.

Then I figured it out a long time after the fact.

He just did it to get me out of the house,

just did it to get me on a movie set again,

'cause it did feel like home.

I agreed to do "Mask" because of Dorothy, really.

We went to Doubleday's Book Shop, which...

There was a book about the real Elephant Man.

She wanted to buy the book.

I said, "You sure you want to buy that?"

"Yes," she said very definitely.

I couldn't figure out what the attraction was.

So I thought, well, extreme beauty has the same effect

on the person that has it as extreme ugliness.

It sets you apart, makes you different.

It didn't make her happy. In fact, it killed her.

That's why I thought it would be interesting to make "Mask,"

because it's the same feeling of being outside,

not being the same as everybody else.

[stereo playing nearby]

[stereo playing nearby]

Well, you sure as hell aren't gonna get a scholarship

if you stay in the sack all day, are you?

You had a Spanish test, didn't you, Rocky?

Afraid of a little Spanish test, huh?

Cold.

Well, you got your covers off of you.

Don't pull this shit with me, Rocky!

Do you hear me? Wake up.

Come on, baby. Make yourself well.

Rocky, wake up.

[music playing]

BOGDANOVICH: You see, the kid that the movie was about

was a big fan of The Beatles and Springsteen.

Those were his favorites.

So I thought, well, we'll use Bruce.

You know, Bruce had never let anybody use his stuff,

but I asked him, and he said, "Sure, go ahead.

You can use anything you want except 'Born to Run."'

For some reason, I was in New York

with Colleen and a few other people.

And she said, "You're going to go

to the Springsteen concert tomorrow night."

I said, "I'm not gonna go to a fucking rock 'n' roll concert."

She said, "You're going. It'd be good for you."

I said, "I don't want to go."

She said, "You're going."

"All right."

So I... They literally dragged me there.

Well, I was overwhelmed. I thought it was great,

like a kind of rock opera. Its sound was so loud.

You know, it was like, "Can you hear me?

We're getting through to you here."

It was... it was beautiful.

I was listening to a lot of his music in the car,

trying to decide what to use for the ending,

and I played "Promised Land,"

and it hit me. That was it.

♪ Blow away the dreams that tear you apart ♪

♪ Blow away the dreams... ♪

I completely fell apart.

I started sobbing.

I don't know why.

And I had to pull over...

couldn't go on.

♪ Mister, I ain't a buy ♪

♪ No, I'm a man ♪

♪ And I believe in a promised land... ♪

That was it. That was the song to end the picture with.

And, um...

so when they took it out of the picture

when I was out of the country,

I went insane.

I really lost it,

sued the studio,

went completely insane.

MORFOGEN: As the director, as the artist,

he was absolutely right.

But as the political animal,

there's danger.

I felt that I had made the picture in a way for Dorothy,

and they were taking that away, too.

This was not in Bruce's hands.

Universal and CBS Records could not make a deal.

I thought it was pretty clear

that the battle was lost about that.

Peter was not willing to let that go.

And it was not a very good thing to do politically,

to put it mildly.

I was never so despised in Hollywood.

Dear Bruce, that the music didn't end up in the picture

is a regret I'll always have,

a lousy feeling of letting everybody down.

In the past, my enthusiasms

have always been ascribed to ulterior motives,

but they have always been simply my enthusiasms.

I'm heartbroken that the music didn't end up in the picture,

and the past year of my life, I wouldn't wish on my own worst enemy.

I managed to get the work print for him

out of the studio, which I did,

but I didn't do it dishonestly.

He... He says that I stole it.

I didn't steal it.

I asked the cutter, the film editor.

I said, "Peter has something he wants to look at."

She let me have it, all the reels.

I mean, I know he tells the story differently,

because people have come up and said,

"Hey, I heard that you did..." dah-dah-dah-dah.

I mean, if I had, I'd confess to it, but I didn't.

What I did was I got permission to remove the reels from the lot.

They were in the trunk of my car.

The guard did not ask me to open the trunk.

If he had, I would have said, "The editor has given me permission."

If he would have called, he would have been corroborated...

I would have been corroborated.

But I knew there was also another scenario at play.

Well, that was the reason that he's able to have

the cut with the Springsteen being restored.

It's a huge difference.

I mean, this is not out of any disrespect to the other guy, you know,

but it... There's just a difference.

It's in the spirit of the movie.

It's in the spirit of Rocky.

It's, um... it's great.

It's great.

Took me 20 years to get it right.

[music playing]

All of the movies Peter has made since "They All Laughed"

have been in a different vein.

They've been for hire.

CROCE: He gravitates towards his own material to reflect on,

so, hence, he goes to "Texasville" to rethink

a lot of the material that was in, uh, "The Last Picture Show."

Howdy. Didn't mean to scare you.

I'm not scared.

I guess I just assumed I had this lake to myself.

Don't I know you from somewhere?

Peter's work after "They All Laughed"

is even more profoundly female-centric,

partially due to his interest in Robert Graves,

which began after the murder of Dorothy Stratten.

So what's this movie about?

It's the oldest story in the book.

Two guys and a girl,

John Wayne and James Stewart, Vera Miles.

What happens?

Well, let's see.

♪ Old John and Jimmy ♪

♪ They both love Miss Vera ♪

♪ Now you know in time ♪

♪ Somethin's bound to go wrong ♪

Because of what had happened was so shocking

and shockingly diametrically opposed

to anything I believed in the world,

that I refused to take anything on face value any longer.

And then Robert Graves' work, every conclusion

has something to do with the battle of the sexes,

a real battle of the sexes.

[gunshot]

With murder and rape in the struggle

between the male or the female principal.

I realized later that what I was looking for

in all the reading I did after Dorothy was killed

was looking for a place in history

where it wouldn't have happened.

That's where I wanted to be.

Well, it was... I found it,

but it was, like, 3,000 years before Christ.

I would have been happy then.

She wouldn't have been killed.

No movies, but what the hell?

Anything, I think, that touches on Hollywood or celebrity,

uh, certainly Peter sees a lot of himself in.

Why does anyone do anything?

Why does that other idiot go out of the front door

holding two plates of sardines?

I mean, I'm not getting at you, love.

'Course not, Lloyd. I mean, why do I?

I mean, Jesus, when you come to think about it, why do I?

Who knows? Who knows?

You see, Freddie?

I've gotten a lesson in appreciating Peter.

I tended to underrate him, uh, for a time.

People weren't thinking about how special

each and every project he made.

Even if it's a TV episode of "The Sopranos,"

Peter brought his excitement

and passion of cinema to that "Sopranos" episode.

And you could tell that he directed it.

And then with the Tom Petty documentary. That was...

God, I just watched that a couple of nights ago again.

It was such a great in-depth story,

and you could tell his interviewing all those guys,

how comfortable he made them feel

so they could get the goods.

For a long time, "They All Laughed"

was just a film that I read about.

I think I saw it for the first time on VHS,

like in the later eighties.

When I first saw the movie,

it was sort of a bit lost, you know.

It wasn't so readily available

for... for a number of years.

Most people, they... they think everything is out there,

every movie that's made can be seen.

Obviously, that's completely untrue.

There's tons of films that are out of circulation

because of copyright issues,

or people thought that they don't have enough of a market for these films.

The first time I heard about "They All Laughed" was from Quentin Tarantino.

It was before "Jackie Brown,"

when Tarantino released this kind of 10 best of...

his 10 favorite films,

and "They All Laughed" was on there.

You know, and to see him champion "They All Laughed"

and to get this momentum,

it's just been great, you know, to go from a movie

that you couldn't find anywhere

to finally people starting to appreciate it.

The movie's gonna really be worth its salt.

It can't just be that it captured a moment in time

when you saw it, right? 'Cause that almost says

a movie's had nothing to do with it.

It was just all you,

and it was all your circumstances,

and that was just the right fodder for your own shit.

Um, now, that can be the case and that you still love those movies,

but, you know, a real movie, it's gonna grow as it goes on.

There was a point that I thought

I had ruined the movie by seeing it too much.

After having not seen it for six or seven years,

I actually watched it again, and I called Peter up.

I go, "Hey, man, I didn't tell you about this,

"but I was afraid I kind of ruined it for myself.

"I hadn't seen it in a long time

"and watched it again,

and it really grabbed me in a different way."

And he goes, "Oh, wow, I'm really... l know exactly what you mean.

"I've done that with movies, too, before.

"And I've lost some for all times,

"and others, you know, I get them back,

"and I'm really glad that 'They All Laughed'

had the kind of stuff for you to get it back again." [laughs]

I think Georgina's in love with me.

How about you?

Oh, I don't know.

I love her, of course,

but I don't know if I'm in love with her.

We're going to write to each other...

That's good.

And see how it goes.

No commitments, eh?

It's better that way, don't you think, Mother?

Much better, darling.

BRIDGES: Life happens, you know, to us all.

You know, chances are you're gonna get the full catastrophe,

you know, the whole gamut of emotions

and all the different things.

Of course, what you're living through,

you bring to your work.

The movie that's left on the side

is kind of a remnant of that experience,

but the real experience continues on

with the people, you know.

Everybody literally became best friends,

and I absolutely love Patti Hansen,

and I loved Dorothy, was very close to Dorothy,

and I'm very close to her sister and her mother.

We've stuck it out.

We've stuck it together through all these years.

Culleen... And she's a big sister to me.

Anna is a big sister to me.

I think it completely changed our entire family.

I mean, and then we also started really getting to know her family,

which became our family.

Marlon Brando says in "One-Eyed Jacks,"

"You didn't give me no selection."

Um, I mean, I didn't have any...

There was no other way to do it.

Just seemed natural.

Peter and I, we became very close with this tragedy,

and we were like... like a life raft

together in... in getting through it.

It was like a shipwreck, and we both ended up

hanging on to the same piece of driftwood.

Things just evolved.

It seemed natural enough to me.

It's the same kind of kindness and generosity

and angelic personality.

It was a lifesaver for me to have her in my life.

During our darkest times, we wrote a screwball comedy together.

Well, we transformed this time that was so heavy

into something that was quite funny, actually.

Nobody's voyage is free of pain.

It's how much you're able to admit, I think.

How much you're able to admit finally is what makes you an artist,

not only your pain, but your pleasure...

[chuckles]

Your... your anger... What are you doing?

Your insanity,

your sense of humor.

Got some splinters, eh, Johnny?

Got a few, Sam.

♪ When you love someone ♪

♪ You want what's best for them ♪

♪ That's how it is, that's how it's always been ♪

BOGDANOVICH: ♪ When you love someone ♪

♪ You want what's best for them ♪

♪ That's how it is, that's how it's always been ♪

A lot of people think, if you're in love,

it should be what's good for you,

but it should be what's good for the person you love.

That's why murder is the worst crime there is.

Take away somebody's life...

who the fuck do you think you are?

Just got chills. I just got chills,

because...

Yeah, Peter wrote a book

called "Pieces of Time,"

and there's a story behind that,

and I don't know if he ever told you the story,

and I'm not gonna tell the story.

But it was a piece of time.

LOUIS ARMSTRONG: ♪ The odds were a hundred to one against me ♪

♪ The world thought the heights were too high to climb ♪

♪ But people from Missouri never incensed me ♪

♪ Oh, I wasn't a bit concerned ♪

♪ For from history, I had learned ♪

♪ How many, many times the worm had turned ♪

All right, ready, and action!

♪ They all laughed at Christopher Columbus ♪

♪ When he said the world was round... ♪

This new film, it's not necessarily an homage to "They All Laughed,"

but it's picking up the thread.

I think what was exciting for us

when we read that script was that it felt

like it had a connection to "They All Laughed."

You know, I mean, in a way that it almost

could have been made right after.

Georgie, one more.

♪ They told Marconi ♪

♪ Wireless was a phony ♪

♪ It's the same old cry... ♪

Peter was conscious of that.

He wanted to do a movie like "They All Laughed,"

which he hadn't been able to do in all these years.

♪ Reaching for the moon, but, uh... ♪

We had this idea that what it should be

is a lost Bogdanovich movie,

and even though it's got Owen Wilson and Jennifer Aniston...

Great. Here's my therapist.

[gasps]

Our pitch was we just say

this is a movie that was made in 1981.

No kidding. Me, I'm all, "It's kind of funny."

I feel like the sort of "Saint Jack,"

"They All Laughed" duo,

he was really finding a kind of different kind of groove there.

It was exciting to see Peter kind of return to that way of doing things.

The way that Peter kind of films scenes,

it's sort of, you know, there'll be a four-page scene,

and he'll film it in one shut,

so you know, he's not kind of cutting in,

and we're not doing over the shoulders and things.

So I think as an actor, that kind of makes it more exciting.

Every time an actor gets to have a chance to work with him,

they are given a most extraordinary gift,

and they will never be the same.

We're all looking at each other,

going, "This is about just going for it."

It feels like I'm in an old movie.

The amount of people that have come just to do three or four lines in this

is a testament to his incredible importance to this business.

Very nice.

Cut.

♪ Darling, let's take a bow ♪

♪ Oh, yes ♪

♪ For ha ha ha ♪ ♪ Ho ho ho ♪

♪ Who's got the last laugh now? ♪

[music playing]

Before this interview, I googled him just to kind of brush up

and see what other people said.

I didn't know he was conceived in Europe and born in America.

A little tidbit for you.

It's one of my favorite pictures, I think, I've ever taken of him.

It shows what it feels like

being scoped by one of the great directors.

BOGDANOVICH: Subsequent to that preview, I showed it to Frank Capra.

I wasn't close to him, but Capra was good at comedy,

so I called him in Palm Desert, and I said,

"Could I send a limo down to pick you up,

"and come up and see my picture?

I'd like to know what you think of it."

He said, "Well, I'll come," he says,

"if you don't get angry if I tell you the truth."

I said, "No, I want the truth."

He said, "Well, the last person that asked me to do that

got really angry when I told him I didn't like it."

"Well, what was that?"

"Well, Coppola sent a limo for me

"to look at 'Apocalypse Now.' I told him I hated it.

He didn't like that, got angry at me."

"I won't get angry, Frank.

I just want to see what you think."

So he came to see it. We screened it for him.

And after the movie was over, he came out.

He says, "Good picture, kid. Your first reel's too fast."

Heh. That was all he said.

He went through a very uncalled-for period in his career.

He makes great movies.

He tells great stories.

He's always on budget.

He's always on schedule, you know.

And I think that some of the younger directors today

could learn something from looking back

at the masters like Ford and Hawks and Walsh and Peter.

The love never went away.

The love never went away. It just changed,

and the respect just grew and grew,

and we're just best friends.

That sort of three-dimensional world

of loss and love and hope

and also how important love is.

You just hope. You hope that life will be like that, you know.

If you stop feeling that way, you know, then you're really lost.

There was a moment in that shoe store scene that I remember,

which is her doing a double take.

And I remember registering it as a good double take,

to get somebody to imitate it if you need a double take.

That was particularly difficult, because it was John's point of view,

and the camera was moving, so she had to look...

If you study it, you'll see she's looking into the lens.

Well, I did study it. [laughs]

"Jackie Brown" was a long movie.

It's like 2 hours, 40 minutes, something like that.

Ended up sitting next to Peter at the New York premiere.

And so the movie's over,

Peter goes, "Wow, how long was that movie?"

I go, "Oh, that's not a good sign."

You know, and he goes, "Wow, I mean,

"it just seemed like nothing. It's like 2 1/2 hours.

"I thought it was like 90 minutes or something, I was so into it.

That is the shortest long movie since 'Rio Bravo'.“

And I go, wow, that's a hell of a compliment

coming from him, all right?

"I wanted to make the shortest long movie since 'Rio Bravo'.“

"Well, you've done it.

That is the shortest long movie since 'Rio Bravo'.“

What a game last night. You watch the Knicks?

Oh, of course. Are you kidding me?

That was huge.

And, you know, that was major league.

I mean, what a game.

That was major league. What a great game.