Hi everyone and thank you for tuning in to episode 135 of Awards Chatter, the Hollywood Reporters Awards Podcast.

I'm the host Scott Feinberg and my guest today is one of America's all-time great

filmmakers and writers on film, Peter Bogdanovich.

Born and raised in New York, the 77-year-old first made his name through a trio of films he directed in consecutive years during the early 70s,

when he was in his early 30s and at the vanguard of a new

Hollywood sometimes described as the American New Wave. 1971's the last

picture show, 1972's What's Up Doc, and 1973's Paper Moon, each a period piece in the mold of the classic

films with which Bogdanovich had become obsessed during his youth.

Like the great filmmakers of the French New Wave, he too wrote about films long before he ever made

them.

In his case, monographs for museums and articles for magazines, which led to a move to Los Angeles and to relationships with many of the great older

filmmakers whose work had long inspired him.

In LA, a chance meeting with Roger Corman led to a job and ultimately to his first opportunity to actually make a film himself.

1968's Targets, starring an Agent Boris Karloff in one of his last roles.

That low budget film, in turn turn led to the last picture show, an adaptation of a Larry

McMurtry novel which resulted in eight Oscar nominations including one for

Bogdanovich for Best Director, two Oscar wins in each of the supporting acting categories, the end

of Bogdanovich's marriage to production designer Polly Platt, the beginning of his relationship

with one of the film stars stars Civil Shepherd and many of

the professional opportunities that followed, some of which Bogdanovich seized and others

of which, like the opportunity to direct the Godfather, he did not. I sat down with Bogdanovich at the

Hollywood Roosevelt Hotel moments after he had participated in a TCM film

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