Hello, my name is Justin Clue, and I'm here today with Will Slown.

And you're listening to The Important Cinema Club. And today, we're talking about the man who loved

giant breasts. Yes, we're talking about Mr. Russ Meyer, a filmmaker that I have to say I have never really explored at

lengths, even though I feel like I've seen most of his films over my cinephile life. Yeah, I mean,

he was one of those guys who, when we were getting interested in movies, when we were reading

video hounds, cult flicks, and trash picks, he was one of the OGs of, like, cult cinema.

You got your Herschel Gordon Lewis's, your Roger Cormons, your Ed Woods.

And there's Russ Meyer.

He was a guy who, you know, was a very cany self-promoter and, you know, obviously did

very well distributing his own nudie, cutie movies, became known as

the King of Exploitation. And then in the 80s, when cult movies were being sort of codified as a

concept, he was one of the O'Too. I mean, that poster image of Faster Pussycat Kill Kill is like

one of the iconic ones. Speaking of Colfix and Trash Biggs is right there on the cover.

So, yes, as you alluded to earlier, this is a filmmaker who loved Bress.

His movies offer many and varied pleasures for both above the neck and below the waist.

But overwhelmingly, tits are his main subject.

And also, Charles Napier's beautiful form, his granite face. I love

myself from Charles Napier. Fantastic. You know, one of Ross Meyer's major legacies is that he was a good

filmmaker, which, you know, in nudie-cudy-cudy movies, the early sexploitation films was not always

that common. That he had a vision, there was energy behind his filmmaking, and that there was also a

style that you can associate with his work, this kind of almost static, but very rapidly

edited in your face images, that any time you read about his kind of approach to filmmaking, people will always

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