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

And you're listening to The Important Cinema Club. And today, we're doing something that we've

never done before, an all mailbag episode. That's right. Our upcoming David Cronenberg

episode is still coming, but we had so many

letters to get through. And we thought it might be fun just to have an episode where we give back

to society. And like, there's a lot of letters in here. I may be reading a letter that I've already

read. If someone is like writing them down as we do them every episode, uh, that's a little scary. But let's, we're taking it from a different perspective. Maybe we'll have a completely different answer. Well, as the Daniels have taught us, there are infinite multiverses. And for some of those letters, we may be seeing some different realities. And that's valid. And if your letter doesn't get read, let me just say, I've read it. If you suggested like filmmakers that I've never heard about, I put them in a list, oftentimes we'll get letters and it'll be filmmakers that me and Will, like we can't really say anything about them. Yeah. So that's the thing. We don't want to just do a bunch of letters on this episode where it's us saying, well, we're not familiar with that person, but he's on the list.

So just know that you were seen, you were heard.

And we have actually got great suggestions of filmmakers that we have done, you know,

from the four corners of the earth.

So don't stop sending suggestions.

So our first letter is from Andrew and they ask,

Dear Will and Justin, can I suggest William Reynolds as a topic for an episode? I like to say,

like, we don't want people. We don't know. But like, do you know who William Reynolds is? I do not.

Who's William Reynolds? He edited some great movies like The Godfather and the Day the Earth Stood Still. He was also gay. His top four or five on Letterbox are pretty foundational, well-known films. Maybe it was the exception of sound of music, which I have affection for, but don't love. I had never really considered him until someone I follow on Letterbox recently mentioned him in a review and brought him to my attention. I love looking at editor credits, same thing with cinematographers, because you never know what they worked on. Like, how did they get involved in these groups of people? Like, if you look at William Reynolds, so he knew Robert Wise. That's why he would have done The Sound of Music, the Day the Earth stood still, and Robert Wise being an editor as well. Robert Wise is a guy

that, like, you don't really hear people champion him that much, right? Robert Wise has a bit of

a complicated reputation because... He butchered the magnificent Ambersons. Well, yeah, actually,

that is kind of how he's gone down in history. Even though he was just following orders.

Yeah. Because he also cut Citizen Kane, didn't he? He cut Citizen Kane, yeah. And I mean, his early films as a director, the noir films, like the set-up. Oh, they're great. I mean, I love his valutin horror film, The Body Snatcher. And then he becomes sort of symbolic of the guy who becomes like the studio journeyman who makes big bloated

like 60s the sound of music the sand pebbles star trek the motion picture which i kind of like but but even so

i mean i've read back in the day like robert wise defenders especially like french critics because he

was one of those journeymen so if you can find that value in you know know, the really kind of obscure little films, that's where you want to, you know, champion them. But William Reynolds, the editor, like, man, he started on 52nd Street. It's swinging. It's zinging was the biggest stars of swing lane to entertain you as never before. That's a real like, we got 42nd Street at home.

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