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 this week, we're talking about a giant in cinema.

All roads lead to this man.

Peter Bogdanovich.

And I mean, like, all roads lead to him in the sense that, like, who is he? You may be asking yourself. Well, but, you know, you may be asking that if you're a layman, in which case, stop listen to this podcast right now. But, but, like, if you're interested in film and you become interested in figures like Orson Wells, Roger Corman, John Ford, God

knows who else. Howard Hawks. Howard Hawks. The new American cinema of the 70s, people like

Scorsese and Friedkin and Coppola. Eventually, all these roads lead to Peter Bogdanovich.

I think I discovered Peter Bogdanovich for the first time, probably writing an introduction

for This Is Orson Wells. That's where I discovered him too. He co-wrote it with Wells, because it's a book

composed principally of just an interview that he did with him over years. And it was posthumously published

after Wells' death. Not Peter Bogdanovich's death. Is he still kicking around? Well,

technically. All right.

So Peter Bogdanovich is a director that I don't know if I can say that I love.

I appreciate him as a film maker.

Yeah, I like Peter Bogdanovich is definitely a pillar of American cinephelia.

Arguably one of the first, like, cinefiles who really made a name for himself as a cinephile before he became a director. And in the way that you think of somebody like Quentin Tarantino or Martin Scorsese as, like, the cinephile filmmaker, the filmmaker who makes movies that are about the movies he loved growing up, and that are pastiches of those films.

This is... And we'll never escape this pastiche kind of frame that he's in.

So Peter Bergdanovich, as he likes to say in every interview that he's ever done, started

with Roger Corman.

Even before that, he started as a critic.

He wrote little pamphlets and stuff for the Museum of Modern Art.

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