Latest / The Director's Chair Network / Raising Cain (Director’s Cut) & The Fury (Staircase Scene)
Transcript
- :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 0:14 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 0:25 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