Hello, my name's Justin Clueh, I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today we're going to get stylish because we're talking about the cinema of the top vulgarotourist, Tony Scott.

That's right. We're talking about a director who has several different reputations.

To mainstream critics, Tony Scott was Ridley Scott's trashy, hacky little brother.

Yeah, the guy who directed stuff like Top Gun and made movies for the highest dollar.

All style, no substance. And to lay film goers,

maybe they know his name, maybe they don't, but they certainly know his work. True romance,

Crimson Tide, Days of Thunder, Beverly Hills Cop 2. That's just the tip of the iceberg. And Tony

Scott has also become one of those figures that has been kind of re-appraised by,

how can we call it, Millennium Film Critics? Yeah, I think that's right. Kind of like the Mooby

generation. The movie generation. Have you ever used Movie Will? Yes, I have used Mooby,

believe it or not. I have a subscription. Really? I am also a subscriber. Please

sponsor us, movie. Yeah, it's a beautiful service. To a younger and I think smaller contingent of film

critics, Tony Scott is considered a great artist. I have read a lot of critical writing,

comparing him as a visual stylist to everyone from painters like Jackson Pollock and JMW Turner to

experimental filmmakers like Stan Brackage. And that may sound peculiar if all you've seen of

Tony Scott are the best known ones from the 80s and 90s like Top Gun. But in the last decade of

Tony Scott's career, he had a very radical

shift in his visual and editing style. How would you describe that shift? I would describe it as

very scattershot, throw everything up against the wall at a hyperactive speed, see what sticks,

hope some beautiful images come out of it. I think we're going to be talking about Tony Scott primarily as a visual filmmaker here,

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