Hello, my name's Justin the Klu, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club. And Will is currently traversing around Australia.

So we're talking about Australian filmmakers. Or are they? I mean, we're talking about probably the greatest Australian filmmaker,

a man who, when I think Australian director, no joke, this is the first name I think of. It is

Brian Trenchard Smith, folks. Even though he is English. Boo. Just went to Australia because he couldn't get in the unions in England. Listen, if you direct BMX bandits, that makes you an Australian filmmaker in my books. The Bob Clark rule. They're like, oh, Bob Clark is Canadian, right? It's like, no, technically he's not. Yeah. So, Brian Tredchard Smith, though, if you're a fan of genre cinema, you probably saw not quite Hollywood.

And he was a star of that documentary as a talking head.

Like he was there to tell you the stories, you know, show clips of the gory stuff that he's done in his films, action.

Like, he's done it all.

And he's continued to work, you know, from the 70s into the 2000s as well. He is

a true journeyman in the sense that he's always found a niche for himself to keep pumping out work.

So I want to read just a little bit from an article I found on Talk House. The title is,

How I Swade the 2004 presidential election with my pro-Bush 9-11 movie, bracket, even though I'm a lefty, bracket.

Right in the lead up to the 2004 election, he made a made-for-TV movie starring, I believe, Timothy Bottoms, called DC-9-11 Time of Crisis, which is basically like the nation's pride, you know, of the George W. Bush administration.

Just a complete hagiography.

Early in the article, he wrote, for six months after making DC 9-11 time of crisis, my agents had trouble getting me meetings with network executives.

I'm not hiring the guy that made the Bush movie, was one comment.

Another said to me directly, I can't forgive you for helping Bush get a second term.

Critics praised or reviled it along party lines.

He later goes on to explain why he made the film.

He says, when Jerry Offsay, then Showtimes president of programming, calls you late at night and asks you to take over a

movie shooting in two weeks because the director has fallen ill, you say yes. Even if not a word of

the script has been changed, because that was the deal Showtime had to make when acquiring the

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