Longtime pals and collaborators, Alexander Payne and Kevin Tent, reunite as soon as extra for his or her eighth characteristic movie, The Holdovers!
The Holdovers plot abstract
The Holdovers tells the story of Paul Hunham (Paul Giamatti), a curmudgeonly teacher at a New England prep college who stays on campus throughout Christmas break to babysit a handful of scholars with nowhere to go. He quickly varieties an unlikely bond with a brainy however broken troublemaker, and likewise with the college’s head cook dinner, a lady who simply misplaced a son within the Vietnam War.
In our dialogue with Alexander Payne and Kevin Tent, ACE, we speak about:
- The advantages of being an amiable, reasonably priced, and out there editor
- Demonstrating your capability to not edit
- Coming out of the Criterion closet
- Giving a corridor go to snort early within the movie
- How it takes an viewers to finish a movie
Check out The Rough Cut podcast to hearken to this interview.
Editing The Holdovers
Matt Feury: For as a lot as I wish to suppose I do know you guys, I’ve to confess, I’m just a little fuzzy on the way you met. Alexander, did you simply put an advert in The Weekly for an amiable, but reasonably priced editor? Or was it a pal of a pal? Was it an agent? How did you discover Kevin?
Alexander Payne: I had lastly scored my first characteristic and I didn’t have an editor. I referred to as up an editor I knew named Carol Kravitz Aykanian. She was at AFI after I was at UCLA within the Nineteen Eighties. I referred to as her and mentioned, “Hey Carol, you’re too busy and probably too expensive to cut this feature. Can you recommend someone?” She really useful two names, Bill Johnson and Kevin Tent. I met each of them and, sorry Bill, wound up selecting Kevin.
Kevin Tent, ACE: Bill was busy that day anyway.
Alexander Payne: Bill went on to have an exceptional profession modifying and directing The West Wing and so forth and so forth. Anyway, Kevin dropped off his VHS reel at my home in Koreatown in Los Angeles at about seven thirty-one within the morning and right here we’re almost thirty years later.
MF: I like to tease Kevin and say that if I launched him to individuals right this moment, I’d say, “Meet Kevin Tent, Oscar-nominated editor of The Descendants, Sideways, and now The Holdovers.” But if you happen to met him again in 1996, I’d have mentioned, “Meet Kevin Tent, editor of Not of This Earth, Frankenhooker, and Basket Case 2.” Basket Case 2, which was not almost nearly as good as the primary Basket Case.
Kevin Tent: Absolutely.
MF: So, he dropped off that VHS. What did you see in his work that made you go, “This is the guy?”
Alexander Payne: The first clip on his reel was a two-minute take with no modifying in any respect. I referred to as him up and I mentioned, “Hey, what’s with putting on a two-minute-long fluid master on your reel?” He says, “That shows I know when not to cut.”
“That shows I know when not to cut.”
Kevin Tent: I don’t bear in mind saying that precisely, however that could be a good clip. It was from a film referred to as Guncrazy, directed by Tamra Davis. It is an extended grasp that strikes round, however then it will get intense, shortly. That was sort of jarring. We didn’t have the protection, so it wasn’t like I may reduce into it anyway. But it labored since you obtained lulled after which abruptly it obtained violent. It was just a little stunning.
MF: I’ve heard that The Holdovers started its life as a TV pilot that author David Hemingson pitched to Alexander. Then he mentioned, “I don’t want to do this as a TV pilot. Let’s do this as a feature.” Did you already know about The Holdovers earlier than it was rewritten as a characteristic? Does Alexander ask you for notes on these items? How does he deliver you into the fold when he begins a undertaking?
Kevin Tent: What you may have just isn’t fully correct, however it’s shut.
MF: Not uncommon.
Alexander Payne: It’s not correct in any respect.
MF: I’m off to an excellent begin.
Kevin Tent: I used to be attempting to be well mannered.
Alexander Payne: It’s easy. I stole the concept from a 1935 French film that I’d seen at a movie competition a few dozen years in the past. I assumed, “That’s a good premise for a movie. Not how the story pans out, but the premise.” I used to be sitting on this premise for years considering, “I have to go out to a prep school someday and research that idea because I’m not from that world.”
Then, about 5 years in the past, I acquired, fully randomly, a TV pilot set at a boarding college. That’s after I referred to as up the author and mentioned, “Hey, you’ve written a great pilot. I want to do it. But would you consider writing a story for me set in that same world?” That’s the way it occurred.
Kevin Tent: I feel you had round forty-five pages written, proper?
Alexander Payne: Could be. David was sharing parts of drafts with me through the course of.
Kevin Tent: I bear in mind studying forty-five pages and considering, “This seems great.” It was not a full concept. You normally ship me the script once you’re considering significantly about one thing. You have so many balls within the air, however once you begin specializing in one thing, you’ll normally ship it to me.
Alexander Payne: Yeah. Just to get his learn, largely as a pal and filmmaking companion. If it’s passing muster then he seems to be into his editorial crystal ball and tells me, “That scene will probably hit the floor and that scene will probably hit the floor.” But at first, it’s nearly the way it bounces off him. “Is this a movie?”
MF: This is one other factor I may be getting flawed, however I consider The Holdovers is the primary characteristic that you just’ve directed the place you didn’t have a hand in writing or adapting it.
Alexander Payne: Again, you’re solely partially appropriate. Out of eight options, it’s the second the place I don’t have a screenwriting credit score, which is okay. Ten years in the past, Nebraska got here to me as a screenplay. Sure, I get below the hood, bevel the sides, and put in a few of my jokes. But that was Bob Nelson‘s conception and execution.
The Holdovers was my first expertise directing a author. I had the concept. David Hemingson and I hashed out the story concept collectively. He would ship me completely different variations the story in order that I may say sure or put the kibosh on it. We hashed it out collectively.
He wrote a script and got here up with a bunch of stuff that I by no means would have considered. Then I needed to get below the hood just a little bit and make it extra private to me. In the top, David and I wound up with a narrative that was my premise, his screenplay, and private to us each.
MF: Does that change your course of with Kevin or the way in which you’re employed collectively within the chopping room?
Alexander Payne: Zero. By the time it’s going into the directorial sausage grinder, it comes out the opposite aspect in publish as materials for us to edit. That course of is at all times precisely the identical. Each film has its specific tone that we cope with, however the place the sausage comes from has nothing to do with what we’re doing on the again finish.
MF: Kevin, I don’t know if you happen to’ve ever seen Alexander’s Criterion Closet Picks video the place he picks out a few of his favourite films from the Criterion Collection. Regardless, I’m positive you already know what a severe cinephile he’s. Knowing that he has that deep nicely to attract from, does he ever offer you reference films to take a look at?
Kevin Tent: Yes, that’s occurred. Mostly, he’ll see films and say, “You have got to see this movie. This is something else.” When we first began working collectively, it was just a little overwhelming as a result of he had such a library of movies in his head. I went to just a little movie college over right here out on Vermont Avenue, LAC College.
Alexander Payne: No, no, no. That’s a superb movie college. Come on.
Kevin Tent: It was. It was good for me. But there was little or no concept. There was one movie historical past class. We watched eight movies in an entire semester. But I attempted to catch up as a result of he would say, “Have you ever seen High and Low?” and I’d be like, “No, I never saw High and Low.” Then I’d go and see that. I attempted to catch up over time however there’s no technique to meet up with his library of movies. He nonetheless goes and sees movies on a regular basis.
Regarding The Holdovers, if there have been movies that influenced us, I had in all probability seen these. Films from the Seventies and stuff like that.
MF: After eight movies collectively, you each have a physique of labor that’s now influencing different individuals. You’ve created so many issues to attract from. For instance, in Sideways, Paul Giamatti’s character is a instructor, identical to in The Holdovers. He additionally has considerably of an obsession with porno magazines in each films.
Alexander Payne: No, he doesn’t have a look at porn in The Holdovers.
MF: Isn’t he sneaking a glance? Is that one of many college students?
Alexander Payne: Yeah, Angus did. That was Angus.
MF: I’m going guilty that on the modifying. But it was a reference to a porn journal. There’s additionally a shot in The Holdovers the place you’re dissolving right into a sluggish zoom into Angus on the telephone. It jogged my memory of a shot in Sideways the place Miles is on the telephone within the hospital. You do a sluggish dissolve into him on the telephone with Maya. Clearly, I’ve watched Sideways one too many instances. Do you discover issues like that? Are you conscious of issues like that?
Alexander Payne: No, and I’m just a little depressed by that query. I didn’t comprehend it was so repetitive.
MF: I’m the repetitive one. I used to be simply in search of issues like that, I suppose.
Alexander Payne: By the way in which, Kevin, you already know what I purchased off eBay this week? I purchased a print of Sideways. I’m positive it’s a launch print. I used to be capable of cut price with him just a little bit and obtained the value down. I’ve to reply prints in storage which have by no means been screened and I wish to preserve it that means for so long as I can. But since subsequent yr is the 20 th anniversary, I assumed it won’t be unhealthy to have an additional print mendacity round.
Kevin Tent: I’m wondering if it’s in good high quality or not.
Alexander Payne: The vendor didn’t know, however I purchased it anyway and I’m going to take it right down to the bench at Film Streams in Omaha and examine it to see what sort of form it’s in.
Kevin Tent: Wow.
Alexander Payne: Anyway, sorry. Parentheses.
Kevin Tent: Matt, relating to the dissolves, that’s been arising as a result of we used a number of them in The Holdovers, however we’ve at all times used them. It’s been a part of our movie language since Citizen Ruth. We did some lengthy dissolves on Laura Dern in one of many scenes. We’ve at all times liked dissolves. There are a few attention-grabbing ones in The Holdovers. I feel individuals thought they had been errors. No, we did that on objective.
“People thought they were mistakes. No, we did that on purpose.”
MF: Let’s see if I can get this subsequent one near proper. And I’ve to be sort of proper as a result of I used to be there for it. Kevin, you had been so variety to place me along with Alexander so I may deliver my daughter to return see him shoot for a day.
Alexander Payne: That was nice. That was enjoyable. How’s she doing?
MF: She’s nice. We had been there on the set the day that Alexander shot what I’ll name the “Crossing the Rubicon” scene. Teacher Paul Hunham is chasing the scholar, Angus Tully, by the college hallways into the gymnasium. Angus proceeds to take an ill-advised leap over a pommel horse. I do know it’s solely someday out of a complete shoot, however there have been a few issues that stood out to me.
The first was the way in which you let issues play out. There had been lengthy takes. You let the actors act. It was such a really relaxed setting. The different factor that stood out was how environment friendly you and the forged and crew had been at shifting round.
There’s this previous saying that it’s not the takes that take the time, it’s the time between the takes that take the time. That just isn’t what I noticed in your set. You spent on a regular basis on the efficiency and let the actors do these lengthy takes. When it was completed, you had been off to the subsequent setup. Before you knew it, we had been rolling once more.
Alexander Payne: You need to preserve it shifting. I can do this if I’ve obtained an excellent grip and electrical crew. If they will lay dolly monitor or get the gear up and down, and get issues lit shortly, then I’m good. I want time for efficiency.
“You have to keep it moving.”
MF: Kevin, how does that play out for you? You’re specializing in simply two or three characters. For an editor, there aren’t a number of locations to cover when the director has these lengthy takes which might be solely two individuals. Some of those quieter, dialog-driven scenes seem to be the toughest kind of belongings you would possibly work on.
Kevin Tent: Sometimes it’s difficult. Alexander will get wonderful performances from actors and I feel that’s as a result of he lets them take their time and discover the traces correctly. We strive to not reduce an excessive amount of. We strive to not make issues too cutty. It is a problem to maintain issues shifting and to choose up the tempo whereas protecting the performances stable.
That was in all probability our greatest problem, and we had some difficult scenes. We had some pretty lengthy speaking scenes and we had been attempting to condense them because the movie was evolving.
MF: The tagline for the movie is “Discomfort and Joy.” Is this a comedy with surprisingly touching, emotional beats, or is it a drama with a fantastic humorousness? Having seen the movie, I feel it’s the latter. How do you play up the comedy versus the drama? Is that one thing that’s at all times a fragile course of in these movies?
Kevin Tent: In this movie, sure. Not a lot in different movies. I’m occupied with The Descendents, the place we toned again the comedy as a result of it felt just a little pressured. I feel the tone sort of got here prepackaged on this one. Nothing ever appeared pressured when it got here to the comedy.
In the previous, we now have regulated that editorially. But I don’t bear in mind doing that in The Holdovers. I feel we knew the second when Angus dislocated his shoulder was going to be humorous. And Paul’s face is simply so expressive. He’s so hilarious.
Alexander Payne: Let me simply say one particular factor. It doesn’t reply your query straight. So usually within the first reel of a film, if it’s a comedy and there’s a combination of the tones, both an early viewer or your financier will say, “Give them permission to laugh.” Do one thing early within the film that makes fun so individuals have permission to snort. That’s advantageous.
But on this film, the credit score sequence has a reasonably melancholy track over it. Maybe we trusted that it was going to be a comedy, however the first reel permits everybody to let or not it’s melancholy as nicely. It has this wintery montage and moody music. But then we abruptly reduce off the music and go contained in the condo, in order that sort of says each. It says, “This is melancholy. This is a drama and a comedy, right?” Then Paul Giamatti is available in and also you wish to snort instantly due to what he does.
Kevin Tent: And the Preparation H scene.
MF: So humorous you deliver that up, Kevin. I couldn’t assist however discover that your credit score is available in proper after the insert shot of the Preparation H.
Alexander Payne: It’s two pictures earlier than. No, it’s proper after. You’re proper.
MF: I get a number of issues flawed, however Kevin’s title and Preparation H? I get that proper.
Kevin Tent: I wished it proper on the Preparation H, however Alexander wouldn’t permit it.
MF: I used to be going to ask if you happen to had any management over that. Was that simply the place it landed and also you mentioned, “I gotta push this over a few frames!”
Kevin Tent: The credit are at all times tremendous fluid till they’re finalized. I can’t bear in mind how the credit all shook out. We had attention-grabbing credit on this too. We did old-school credit, which was a number of enjoyable. Our sound designer obtained a essential entrance credit score, our music editor obtained one, and so did Mindy Elliott, our longtime assistant.
MF: Kevin, I feel having your title over the Preparation H was an injustice, however I loved the hell out of it. Going again to the start of the movie, we begin with the college nonetheless in session. You see the youngsters and the lecturers, after which it’s simply “The Holdovers”, which is an prolonged group of youngsters. That will get peeled away till it’s simply Paul, Angus, and Mary. We get to know them and revel in spending time with them.
Then, it’s down to only Paul and Angus. You work your means into the core of the film and the core of the characters. I requested about balancing comedy versus drama. How tough is it to stability context and worldbuilding once you additionally wish to get to only being with these three characters?
Alexander Payne: Mechanically, within the screenplay, the one factor that we would have liked to assist out was the deus ex machina of all the opposite boys being taken away by the helicopter. What you described was what David Hemingson wished within the screenplay, which was to maintain the viewers guessing inside this pretty typical story. If you don’t know something in regards to the film, you suppose, “It’s about Paul and these boys.”
Actually, it’s not about these boys. It’s about Paul and this one boy, after which the cook dinner. They’re going to be caught on the college. Actually, no, they’re going to go to a Christmas celebration after which they’re going to wind up taking a highway journey to Boston. So, if I understood your query appropriately, which I could not have, I feel you’re speaking extra about how the screenplay capabilities than the editorial course of.
MF: Mostly. I wished to ask in regards to the impulse to shorten the start. In different phrases, the momentum builds once you’re with these three. You wish to be with these three characters. I used to be questioning if there’s a pure impulse to tighten that half in editorial once you shouldn’t, as a result of issues gained’t repay the identical means in the long run.
Alexander Payne: Somewhat bit. In conventional Syd Field, Robert McKee-style screenplay writing, these different 4 boys ought to have left by web page thirty, proper? In our script, they depart on web page forty. So you go, “It’s too late for them to leave.” But then again, having them depart so comparatively late, by conventional requirements, makes it a shock. It lulls the viewers extra into considering, “This movie is about this group of five.” Then, “No, it’s more of a surprise!” That form of factor.
We took our time with the credit score sequence. Then, within the first reel, we now have the scene with the principal. When you may have super-talky scenes, you wish to tighten them up as a lot as you’ll be able to. We hit that scene between Paul and the principal a couple of instances. I nonetheless suppose two pictures in there want about six extra frames, however oh nicely.
Kevin Tent: We can add that. We’ll determine it out. I can’t add an excessive amount of to that. We did tighten rather a lot from the place it was initially. I do know we tightened a number of the scenes to get to the place the boys had been leaving sooner. We’re at all times doing that inside scenes, dropping traces, that sort of stuff. But I feel the screenplay is so wonderful.
Alexander Payne: It was fairly tight. We had a decent screenplay.
Kevin Tent: And simply the reveal of Paul. Midway by the film, you discover out that he mainly ran away from house. Then you discover out that his dad beat him. You discover out all these items about him so late. Normally, individuals attempt to set these issues up proper initially. I appreciated the way in which issues had been slowly revealed within the film.
“I appreciated the way things were slowly revealed in the movie.”
Alexander Payne: Matt, I bear in mind having you and your daughter on set. The stuntman was there that day doing all of the flips over the pommel horse, and I saved turning to her and asking, “Did you like this one? Which one did you think was funny?” I liked having her on set.
Kevin Tent: I feel she picked out which take we printed. She selected take seven out of eight or one thing like that.
Alexander Payne: She appreciated these final ones.
MF: And she’s been drunk with energy ever since. There’s no telling her something now.
Alexander Payne: Just wait until she turns into president of ACE. Then you’ll see how drunk she will get.
MF: Is there a specific scene that was the toughest to do? Also, which scene was your favourite? Maybe it’s the identical scene.
Kevin Tent: Hardest? Probably a few of the scenes the place they’re watching The Newlywed Game. Probably these scenes. They had been lengthy. I feel we dropped some traces in these scenes to try to preserve them shifting. Those are in all probability essentially the most tough, I feel. Alexander, what in regards to the scene the place we get to fulfill the boys in entrance of the truck after they first get held over? That was just a little difficult.
Alexander Payne: That was difficult as a result of it’s the worst-covered scene. It wound up being awkwardly lined. It snowed that morning after which the solar got here out and it was melting. We needed to squeeze one other scene in on the again half of the day, so I used to be rushed. We made it work, lastly, however let’s simply say there’s a number of line crossing in that scene. But it goes by fairly nicely.
MF: Kevin, you talked about establishing the time interval with the credit. Needle drops additionally to set the time interval. What is the method that you just and Alexander have for that? Do you exit by yourself and select music? Does he come to you with a playlist? How does that work?
Kevin Tent: Usually, we don’t begin occupied with music till afterward. On this one I began placing music and Mindy, our affiliate editor and assistant editor for years, began placing music in. Then, we labored with Richard Ford, who’s a music editor and does rather a lot with all types of music. We introduced him in pretty early to begin serving to us with each rating and needle drops.
But needle drops are simply the place titles fall till you get to the top of the film. You can’t get too dedicated to something as a result of it prices a lot cash and it’s such a forwards and backwards. “We can get this song, we can’t get that song.” It’s an extended course of.
When I began engaged on this film, I couldn’t hear the music. But Mindy put one of many Christmas songs by The Swingle Singers in. I can’t bear in mind if she gave it to me or if she put it in, however that grew to become one thing thematic that we used rather a lot, which was nice.
MF: Other than audio, how about visible results? Your final movie collectively, Downsizing, actually employed a number of visible results. You wouldn’t suppose that performs an element a lot on this one, however you needed to make Boston in 2020 to seem like Boston in 1970. Alexander talked about the shortage of snow. I don’t recall us having a lot snow up to now few years, however I’m positive in December 1970 there was a ton.
Alexander Payne: We did have a number of snow. Most of the snow within the movie is actual, in all probability seventy-five p.c. It was then supplemented with a improbable native particular results man who’s on set. He advised me that he made 200 tons of snow out of chipped ice to unfold out everywhere in the grounds after we wanted it.
He additionally had little Styrofoam sculptures, fluffy cotton issues to place round, and snow blankets, that are white issues that you just lay over grass. That makes it simpler for visible results to put within the snow later. But most of it’s actual. Most of the scenes the place you see the snow flurries had been actual snow flurries.
MF: Wow. Okay.
Alexander Payne: There had been some massive snowstorms within the winter of 2022. We had been capturing in January, February, and March. We obtained dumped on a lot that we misplaced three days of capturing as a result of it was too harmful to maneuver the vans in.
MF: Maybe I blocked all that out. I will need to have seen you in March as a result of there was no snow on the bottom then. Going again to the 70s type of capturing, you shot digital and made it seem like movie. Did you ever take into account capturing 35mm?
Alexander Payne: We did, in a giant means. I wished to. The DP, Eigil Bryld, and I shot assessments on digital, 35mm, and even 16mm. We realized that we had been going to need to do in publish that it didn’t make an entire lot of distinction. We determined that we would as nicely shoot digital and have that ease bodily and within the finances as a result of we had been going to have to take action a lot to the picture. Film shares are so good nowadays. Good which means tight grain.
MF: Kevin, if he had shot on movie, would you may have thought-about chopping on a Moviola or a KEM?
Kevin Tent: No. No, sir. We’d be utilizing our Avid. Sideways was shot on movie. We labored with a adverse on that.
Alexander Payne: And The Descendants. The Descendants was shot on movie and I feel we conformed the adverse. Nebraska was the primary movie I ever shot on digital.
Kevin Tent: Citizen Ruth was reduce on movie. We had the previous Moviola and the KEMs and all that stuff. I had reduce my first Avid factor proper earlier than that. I saved telling Alexander, “You’re going to love this Avid thing. You’re going to love it.”
Alexander Payne: And I mentioned, “That’s just a fad.”
MF: There’s nonetheless time so that you can be proper. So, eight movies collectively. Eight movies and a TV pilot. Was that Hung? Was that the pilot?
Alexander Payne: Yeah.
Groton School, one of many 5 faculties used to create Barton Academy in The Holdovers
MF: I obtained one proper for as soon as. Every undertaking you do, it’s best to study some issues. You ought to take away one thing from it. Is there something specifically for every of you that you just realized from engaged on The Holdovers?
Alexander Payne: Yeah. I’m available in the market for a brand new editor.
Kevin Tent: Gosh, I don’t know. You hope that you just preserve refining your abilities and your craft and all that stuff. We didn’t completely screw it up. That’s an excellent factor. I simply hope individuals benefit from the film. I hope lots of people see it as a result of I feel in a means it’s simply so recent.
Alexander Payne: And see it with an viewers, proper?
Kevin Tent: Reviewers have been saying, “They don’t make them like this anymore” and so they don’t. I feel that’s refreshing. It’s humorous, my son’s pals have been seeing it. They’re younger, they’re of their twenties, and so they’re connecting with it, which I feel is attention-grabbing. I feel there’s a starvation on the market for character-driven movies with easy tales. Just good little tales.
“I think there’s a hunger out there for character-driven films with simple stories.”
MF: Absolutely. Have you guys seen it with an viewers but? Was there something in regards to the viewers’s response that shocked you?
Alexander Payne: I’ve seen it with an viewers many instances by now. I like seeing my movies with an viewers, particularly in the event that they’re working as a result of that’s when the expertise of constructing it’s full. It takes an viewers, not one viewer, however an viewers to finish a film, particularly if it’s a comedy. Kevin, I by no means anticipated so many laughs through the cherry jubilee scene. That’s what I by no means noticed coming.
“It takes an audience to complete a movie.”
Kevin Tent: I feel that’s as a result of it’s such a heat snort. They’re so having fun with the movie at that time that it’s an expression of how a lot enjoyable they’re having. It’s not an excellent humorous scene, however there’s one thing about it that’s shifting them.
MF: I feel the performances you bought out of the actors is what made it so humorous. That’s simply my opinion. I’m now not going to say I’m an skilled on Alexander Payne and Kevin Tent.
Kevin Tent: No, you’ve completed nicely, Matt. You’ve completed nicely.
Alexander Payne: No, this has been enjoyable. This has been enjoyable.
MF: To wrap it up, Alexander, your information of movies is intimidating. I’d simply like to know, what’s Alexander Payne’s responsible pleasure film? What film do you like that has no enterprise being wherever close to the Criterion Collection?
Alexander Payne: Here’s the cope with movie nerds. First of all, thanks for saying I do know some films. I do. But I additionally accuse myself of not realizing films as a result of I’ve met individuals whose information completely dwarfs my very own. I’ll by no means catch as much as that. It’s not a contest, it’s about having all the identical pleasures as these pals of mine who’ve seen these great movies.
I’ll advocate a film. It’s not a responsible pleasure. It’s a film that I’ve been championing for years. I feel it’s a uncared for masterpiece. It is a 1951 Western referred to as Westward, The Women by director William A. Wellman.
It’s in regards to the transporting of 150 ladies from Chicago to California to change into wives. It’s based mostly on an concept by Frank Capra and written by Charles Schnee, who additionally famously wrote Red River and The Bad and the Beautiful. It’s a powerful film. But the factor is, there’s no such factor as a responsible pleasure. You are entitled to like any film you like, regardless of how trashy different individuals suppose it’s.
Kevin Tent: And that film is Frankenhooker.
MF: I used to be going to advocate Basket Case 2.
