Hello, my name is Justin DeClew and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, we're talking about the extreme of filmmaking or we're talking about beham to be specific that's right

we're talking about michael bay and this is a topic that we are returning to this is part of a

series of episodes where we revisit topics from early in the run of the show back in 2015 on

episode three yep we did michael bay and john We were like, I don't think we'll have

enough with John Wu and his filmography, the defining action filmmaker of all time. We didn't

quite figure out the format of the show yet. We thought maybe it'll be double features,

but we compare and contrast things. And I haven't gone back to listen to that episode because I think I was probably

very lazy on it. Well, you didn't really know what, again, the format was research that you'd

have to do or even like how we would structure these conversations. And Michael Bay is also not a

favorite of yours. Well, I also think I was probably lazy, you know, just not having listened to it.

I think I was lazy because I think I compared like, well, Michael Bay is the good, the bad one.

I mean, the bad one.

And John Wu's the good one.

And I want to try to interrogate some of that a little bit as we go forward.

And we have to say that the place Michael Bay had when we recorded that episode, I think

is not where he is now.

For certain kinds of cinephiles, especially in the 2000s, Michael Bay was public enemy number

one.

He was an assault on good taste, on film grammar.

He was everything that was bad about, you know...

...