The Director's Chair Network

Unraveling Brian De Palma’s Raising Cain & The Fury with Filmmaker Pete Gelderblom!

What if a fan’s passion project could reshape a cinematic masterpiece? 🤯 In this episode of The Goat: A Brian De Palma Fan Podcast, we dive into the fascinating story of how filmmaker Pete Gelderblom re-edited Brian De Palma’s Raising Cain to create its official Director’s Cut, plus we unpack an iconic scene from The Fury. Don’t miss this thrilling conversation! 

Join us as we chat with Pete Gelderblom, the filmmaker who took Raising Cain—a cult classic with a troubled theatrical release—and resequenced it into the vision De Palma originally intended. We also explore a mind-bending staircase scene from The Fury, showcasing De Palma’s innovative storytelling. Whether you’re a De Palma fanatic or a film buff curious about editing’s impact on cinema, this episode is packed with insights!

Creators and Guests

Host
Craig Cohen
Guest
Pete Gelderblom

What is The Director's Chair Network?

Join Ryan and many featured guests and other hosts as they break down and review a variety of directors and their films!
So far, this podcast has featured films from Edward Zwick, John Hughes, Brian De Palma, and Michael Mann.
Soon, we will feature Edgar Wright, Sam Peckinpah, Paul Verhoeven, and David Fincher!

:00
if you think you know what happened two
0:03
moms disappear from the same playground
0:05
You're wrong from Brian Dealma
0:09
Raising Kane rated R Hello and welcome
0:12
back to the goat a Brian Dealma fan
0:14
podcast And today I am super thrilled to
0:17
bring on filmmaker Pete Gelderblam Pete
0:21
welcome Yes that's me Yeah And you're
0:25
joining us from the Netherlands Yes I am
0:28
Yeah Excellent So for people that might
0:31
not recognize the name I wanted to get
0:34
you on this show because I think the
0:36
story behind this is just fascinating So
0:39
unless I'm mistaken Brian Deama only has
0:42
one released director's cut and that is
0:45
Raising Cane Correct Yeah that's correct
0:49
And you're basically responsible for it
0:54
Yeah It sounds crazy doesn't it I know
0:56
it's detailed on the internet and it's
0:58
on the it's on the Blu-ray but can you
1:00
give a people a little bit of the
1:01
history of what led to you
1:06
recutting Raising Kane and Brian Deama
1:09
deciding that part of the home video
1:12
release would be including it as his
1:14
director's cut
Pete Gelderblom on Recutting Raising Cain
1:16
Yeah I I'll do my best First a little
1:19
background I'm I am a filmmaker uh in
1:21
the broadest sense of the word I do uh a
1:24
lot of work for high air TV commercials
1:26
and commissioned films Besides that I
1:29
also direct documentaries drama and
1:32
video essays
1:34
But there was a time that I was the
1:36
founder of a a film criticism website
1:39
called 24 lies a second and it featured
1:42
a lot of interesting film criticism
1:45
Uh and it also had a forum that was
1:47
quite the palma centric and you know how
1:51
a forum works right
1:54
someone will start a thread and there
1:56
was this French guy called Lauron for
1:59
show and he was a a frequent
2:02
collaborator on this forum and he had
2:04
extensively interviewed the Palmer for a
2:07
book he was writing a French book a big
2:10
interview book and having all this
2:13
inside information he mentioned that uh
2:16
the poem I wasn't pleased with the
2:18
structure of raising cane and that
2:20
immediately piqued my interest and so I
2:24
asked okay what what was the structure
2:26
then
2:28
Lauron said yeah well I I don't know
2:31
exactly but it was supposed to start
2:33
with the story of the wife Jenny
2:37
and immediately it clicked for me
2:40
because when I saw um the movie Raising
2:44
Kane Um I I love the movie but I was a
2:46
diploma freak already And remember I
2:49
remember I was going with my
2:52
ex-girlfriend actually Uh but she she
2:56
knew that I was crazy about the poem and
2:58
I was looking forward to this one
2:59
because before that he had done Wise
3:02
Guys and The Bonfire of the Vanities
3:05
which I do not exactly um consider as as
3:09
the high points of his career So I was
3:11
looking forward to you know the Palmer
3:14
back in form and I love the film but at
3:18
the same time I could notice that the in
3:21
the cinema where where that the people
3:23
in the cinema that I I saw it um they
3:27
really did they it didn't click for them
3:29
They they didn't understand it They were
3:31
laughing for the wrong reasons And I
3:35
think um already after 6 minutes or so
3:38
my ex-girlfriend leaned over to me and
3:41
she said "What kind of freakish movie is
3:45
this?" It's like so I have always known
3:49
that it's an acquired taste you know
3:52
It's a it's a it's a the Palma film that
3:55
the Palma lovers actually really like
3:58
most of them Uh but the general public
4:01
not so much And I think one of the
4:04
reasons is because he played around in
4:07
the editing a little too much and at a
4:10
certain moment he decided to uh throw
4:13
things around and it actually hurt the
4:16
film and that's what he uh believed
4:19
himself and he was talking about it with
4:21
Lon for show So I knew this information
4:25
and um I had the DVD and I was you know
4:29
um I was playing the DVD and I was
4:31
trying with the chapter numbers like
4:34
okay so it would have started with this
4:37
scene in the clock shop and uh but I
4:40
couldn't get it right with the chapters
4:42
alone
4:43
but I I knew it would work It it um it
4:47
totally made sense for me to start the
4:48
movie off that way So at a certain
4:50
moment I think it was
4:53
actually one or two years later that I
4:56
decided okay uh I'm going to try this So
5:00
I just loaded uh the DVD into my
5:02
computer and I I started re-editing the
5:05
film and I actually asked around if
5:10
there was maybe a screenplay uh that I
5:12
could base myself on and Jeff Baron who
5:16
runs the Palma Alam which is a DAM news
5:19
site Yes He had a an earlier version of
5:23
the screenplay
5:25
uh called Father's Day and he he dug it
5:28
up somewhere in the dark interweb I
5:31
don't know how he cut it So I had this
5:33
vision of the Palmer of what he wanted
5:36
to make and there were still it was a
5:39
little rough around the edges It wasn't
5:41
as good as the final film but um the
5:44
flow was was better
5:47
and I could more or less base myself um
5:51
with with doing the recut uh on um uh
5:55
what the Palmer was going for
5:58
So I when it was ready I thought okay uh
6:01
this is great I think the the movie is
6:04
even better now It would be nice if
6:07
people could see it And I thought maybe
6:10
I should do a video essay on it And then
6:12
I asked Matt Soler Zites who I know from
6:15
um from the blog world I said you know I
6:20
have this recut of Raising Kane um and
6:23
I'm going to do a video essay Are you
6:24
interested to put it on uh IndieWire
6:28
And um he said yes but actually wouldn't
6:33
we would see the whole we would want to
6:34
see the whole movie actually And we were
6:37
thinking can we do that Um
6:41
wouldn't Universal Pictures be become
6:43
very angry And then we decided to to do
6:47
it anyway and to uh put a banner under
6:49
it which said you know that for
6:51
educational purposes only And we thought
6:54
you know whenever Universal uh starts
6:57
complaining we will we will put it down
6:59
We will take it off the internet They
7:01
never complained actually And this was
7:03
on Vimeo right It's still on the
7:05
internet Yeah Yeah I was just going to
7:06
say I I believe that's how I was
7:08
initially familiar with it and last I
7:10
checked the Vimeo link was still there
7:13
Yeah but definitely see the Blu-ray
7:16
version though because that's it's the
7:18
quality is a lot better Yeah
7:20
But uh anyway uh we we put up on the
7:23
internet and uh I think a year later or
7:25
so I uh saw interviews with the Palmer
7:30
which explained that he actually had
7:32
found it uh himself and that he
7:35
preferred it over his own cut
7:38
uh which is madness of course and I
7:41
thought well that's is that's great but
7:43
I thought okay so that's it and um and
7:46
great and at a certain moment I was in
7:49
Scotland land I was filming in Scotland
7:51
and suddenly I got this message late in
7:54
the evening and it was Jeff from the
7:56
Palm Alamad
7:59
and um
8:01
he messaged me He said "Wow look what I
8:04
got in the mail." And it was a note by
8:07
Brian De Palmer and I have the note
8:10
right here Oh wow In the Palmer's Yeah
8:12
In the Palmer's words he said "Hi Jeff I
8:16
just saw the Raising Kane recut and I
8:18
think it's great It's what we didn't
8:21
accomplish in the initial release of the
8:23
film It's what I originally wanted the
8:26
movie to be Could you contact the
8:28
company releasing the Blu-ray and tell
8:30
them I think it's important they include
8:32
it with the new release If you need me
8:35
to talk to some at the company just give
8:37
me a number and a name And
8:39
congratulations to Pablum He's restored
8:42
the true story of raising Kane Thanks
8:45
Brian the Palmer Amazing
8:49
So as I was floating on air for for
8:52
about a week with his message and and I
8:55
thought however this turns out I'm going
8:58
to cooperate You know this this has to
9:00
has to be done If he wants uh this cut
9:03
on the Blu-ray uh and I certainly want
9:06
it myself then um I'll make sure to to
9:09
supervise it because basically he just
9:12
said I want this cut on uh on the on the
9:15
Blu-ray but of course I my cut was done
9:18
from the DVD Yeah So I thought you know
9:21
we should have the the real master and
9:23
do it for real That's awesome And from
9:25
what I understand
De Palma’s Approval & Blu-ray Release
9:27
that was like not including this was a
9:30
non-starter for the PAMA Like there
9:32
wouldn't be the Shout Factory Blu-ray if
9:35
this cut wasn't included on the on the
9:38
release
9:39
Yeah if you watch the documentary about
9:42
Brian De Palmer he's actually
9:43
complaining He's complaining again about
9:45
this structure that that he felt it
9:47
didn't work and it should have started
9:50
another way So I think he was frustrated
9:52
about it Yeah But he's as a filmmaker
9:55
he's a kind of guy like okay onwards you
9:59
know next movie Uh he doesn't really
10:02
look back Uh but in this case I think he
10:05
was really pleased that someone actually
10:08
took the time to uh to fix it Yeah I
10:11
actually watched the segment on the DAPA
10:13
documentary about raising Kane last
10:16
night before we got ready to sit down
10:18
here and yeah I think he said that he
10:21
kind of like he kind of psyched himself
10:24
out and got so excited or so drawn in by
10:28
Lithggo's performance that he he was
10:30
like "We have to frontload the film with
10:32
the Lithgow stuff." And it almost feels
10:35
like he second-guessed his instincts and
10:39
nobody stopped him Uh yeah Yeah that was
10:43
certainly that is certainly what I what
10:45
he has been saying And there was also
10:47
this thing that the original uh
10:50
structure asked for a a giant flashback
10:56
like a flashback of 20 minutes or
10:58
something and that had not been done
11:01
before So he was worried you know are we
11:04
will we lose the or the audience with
11:06
this So there were things yeah he was he
11:10
was doubtful and but I think what also
11:13
plagued him is that um he was working it
11:16
with one or two editors in the beginning
11:19
and it didn't work out Uh I I I think
11:23
they didn't really have a feel for what
11:25
he was going for And then he asked um
11:28
his old collaborator Paul H to come over
11:31
and basically fix it Um Paul here is an
11:36
absolutely excellent editor who also
11:40
edited Carrie and and Star Wars and
11:43
Planes Trains and Automobiles And um I I
11:46
read his book and he actually explains
11:49
that um he he was somewhere else and he
11:52
had to take the plane over to Brian the
11:55
Palmer
11:56
um in order to edit and he was reading
11:58
the screenplay on the plane and he says
12:01
in the book I didn't get it and I
12:06
started over
12:08
he started over and and he still didn't
12:11
get it and so he met the Palmer and they
12:13
talked about it and he still didn't get
12:16
it And why didn't he get it Well you
12:19
have to understand that the Palmer with
12:21
Raising King he was trying he was trying
12:24
to up his game He was trying to walk a a
12:27
tight rope You know as an audience
12:29
you're constantly secondguing And his uh
12:34
his thing was like normally with this
12:36
kind of mystery movie you go with a
12:39
police officer and you uh assemble
12:42
information and every piece of
12:44
information leads you closer to the
12:47
solution right And his joke in the film
12:52
was actually that what if every piece of
12:55
information you're getting is worthless
12:57
What if every piece of information
13:00
cannot be trusted because it's part of a
13:02
dream or it's part of a memory or uh
13:06
people are thinking different things
13:10
So that that was actually the playground
13:12
he had in mind So it was really a
13:15
tightroppe situation like if you if you
13:17
would go too far and for some he he has
13:20
gone too far but uh if you go too far
13:23
then the audience will they think well
13:25
this is madness Yeah I do like the fact
13:28
that you you mentioned that it was sort
13:31
of the Palma returning to a sandbox he
13:34
had played in a decade or so earlier and
13:38
was coming off of those less than sort
13:40
of critically or commercially successful
13:42
films So it definitely makes sense that
13:45
he would have gotten a little bit more
13:49
creative if you will in terms of his
13:50
approach to storytelling One thing I
13:52
wanted to just see while while we were
13:55
talking through this I I almost wonder
13:57
if
13:58
De Palama and his approach to
14:00
storytelling
14:02
influenced sort of the decade that
14:04
followed in films where you got
14:06
filmmakers like Christopher Nolan
14:08
experimenting with sequencing and time
14:10
within movies and Tarantino Um I never
14:14
really thought about it until you just
14:15
mentioned it but do you think at all
14:16
that
14:18
Dealama and his approach
14:21
even if somebody saw that script would
14:24
have been sort of inspired by that
14:27
approach to storytelling
14:30
Yeah I'm not sure if they would have
14:31
been inspired by Raising Kane as it was
14:34
actually released but I do think that
14:37
the audience was maybe more ready for it
14:39
since you know Momento by Christopher
14:42
Nolan and um what was the other one you
14:45
said Yeah Tarantino Yeah
14:49
So yeah the audience was more used to it
14:51
that that that kind of thing could
14:53
happen can happen in a film Yeah So it
14:57
it definitely helped the recut and I'm
15:00
not sure how people would have reacted
15:02
um if he would have released it um the
15:05
way he he thought he would um make it
15:09
But it was it was a real struggle in the
15:11
edit he he couldn't really get it right
15:14
and and I think part of the problem is
15:16
that his editors didn't really
15:20
understand what he was going for and and
15:22
and sometimes the editor has to help the
15:25
director like
15:27
um because there's one little thing that
15:30
I'm doing and it's actually something
15:32
that the Palma hates but I'm repeating a
15:36
little bit of a scene just to make sure
15:38
that the audience is with us and In
15:41
order to do that I had to uh find an
15:45
establishing shot And Brian the Palmer I
15:49
don't know if you know but he doesn't do
15:51
establishing shots If he if he does one
15:55
he makes sure it's like a crane and
15:58
you'll see a street and then the crane
16:00
goes down and then somebody comes closer
16:03
and then a scene is starting Yeah And uh
16:06
that's that's what I also had to get
16:09
There's this epilogue in the in in the
16:11
film which uh plays in the park and I
16:14
had to lift the beginning of a shot
16:17
there and have make a counter movement
16:20
in order to to make it a sort of u
16:23
establishing shot That was the only
16:25
thing I could think of I didn't have a
16:28
footage that was left on the cutting
16:30
room floor of course Yeah Well obviously
16:32
it didn't bother Dama enough for him to
16:34
say don't include this Uh that is one
16:37
thing I did want to point out though
16:38
that I think is amazing about this
16:40
director's cut is it's virtually the
16:44
same film but just resequenced there
16:46
Like you said there's no inserted
16:48
deleted scenes There's no remove scenes
16:50
or anything like that And I think that's
16:52
the amazing thing about it is you can
16:54
take this film that plays fine in its
16:57
theatrical version but not add or take
17:00
anything away just reorder and it puts
17:04
the film in a new light and makes it
17:06
possibly
17:07
accessible for you know a certain
17:10
percentage of the audience And that's
17:11
the thing I think is fascinating about
17:12
that director's cut Yeah And it's like
17:16
it's like it's also the film itself now
17:19
has a split personality right Yes Which
17:22
is very dep um I I I don't want to get
17:24
too into the weeds on this but uh you
17:27
talked about recutting the recut for the
17:30
the Blu-ray release Do you want to talk
17:33
a little bit about the mechanics behind
17:34
that without I mean without I guess
17:37
getting too incredibly technical but
17:39
what elements were you working from
17:43
Um well it it was done with with the
17:45
master and I wanted to do it myself but
17:48
actually they didn't allow me to do it
17:50
myself So I had to um I had to supervise
17:54
from a distance Uh so uh somebody else
17:58
did it for me and I basically said well
18:01
here's my recut and it has to be like
18:03
this And then they made traditions and
18:05
they sent it back to me and then I said
18:07
"No the transition has you have to make
18:09
sure that the sound is is faded in a lot
18:12
earlier." And you know so that's that's
18:15
the way how we did it And and there was
18:16
also a thing with the lawyers from
18:18
Universal Uh we had to
18:21
make sure we had to explain to them in
18:24
advance that nothing would be added to
18:26
the film and nothing would be taken away
18:28
because that would have been a legal
18:30
problem as well So it was just um sheer
18:34
luck that my re-edit Well I didn't have
18:37
anything else I could have carved out
18:39
scenes but I of course I didn't Yeah
18:41
Because I like the movie Uh but uh that
18:45
actually works out It it repeats a
18:47
little bit but we left that piece piece
18:49
of information out with to the lawyers
18:52
because they they wouldn't understand I
18:54
think Yeah So uh you mentioned um the
18:57
the Blu-ray and um it was actually I
19:00
I've got I got the Blu-ray within the
19:02
last I want to say two months and that's
19:04
what's kind of it's probably around the
19:06
time I I reached out to you and we
19:07
finally made this happen But um so uh
19:10
the director's cut is is included on the
19:13
Blu- Blu-ray and that original video
19:17
essay is included as well correct Yes
19:21
Yeah Yeah I made a special edit of it
19:23
Yeah That's the only thing that I
19:25
requested I I I've done I've worked on
19:28
it for free but I said I I really want
19:30
to make sure that my name is mentioned
19:32
because um um because I was the person
19:36
behind it So I made sure that the video
19:38
essay was on it and I also shot an sort
19:41
of introduction Yeah That people can
19:43
watch before they uh watch the adit Yeah
19:46
It really is a special release and I
19:49
can't even imagine how good it must feel
19:52
every time you see that sitting on the
19:54
shelf and knowing that that release as
19:56
it is would not exist without your
19:58
participation in sort of resurrecting
20:02
Raising Kane in its original vision
20:05
Yeah it it it it does feel good actually
20:08
I'm on IMDb under Raising Kane I'm now
20:11
one of the editors which is really cool
20:14
Yeah Yeah
20:16
So uh as as you know uh as our listeners
20:19
know every episode is normally built
20:21
around a film and a particular sequence
20:24
and I know you've you've talked Raising
20:25
Kane to death uh and rightfully so But I
20:28
I did want to offer you the opportunity
20:31
while we were prep preparing to to to
20:33
sit down and chat I asked you if there
20:35
was another DAPA film you might want to
20:37
look at and a particular scene And I'm
20:40
so happy that you picked a scene uh from
20:43
Dama's 10th film 1978's The Fury Do you
Analyzing The Fury’s Staircase Scene
20:47
want to talk a little bit about The Fury
20:49
and uh you know your exposure to it
20:52
before we get to the actual scene Yeah I
20:55
I honestly I don't think it's one of his
20:58
better films Neither does he Um it
21:00
hasn't aged particularly well It's it's
21:02
an odd mix of colors It's it's part
21:06
horror movie part spy thriller and with
21:09
some really awkward funny bits thrown in
21:12
And the character of Kirk Douglas
21:14
doesn't work for me like at all But at
21:18
the time this was the best thing that
21:19
Palmer could get off the ground And he
21:21
he got big stu studio money to do the
21:24
fury because he had a lot of success
21:26
with Carrie which was a story about a
21:29
teenage girl with telekinesis Yeah In
21:32
the eyes of the average Hollywood suit
21:34
there is no better way than to follow
21:36
that up with another movie about a
21:38
teenage girl with telekinesis
21:40
And maybe because the pollen felt he was
21:42
repeating himself his heart wasn't
21:45
really into it So the movie as a whole
21:48
doesn't seem very inspired but
21:51
there are scenes in there that are very
21:53
clearly that are very clearly and
21:56
inspired and they are probably the
21:58
reason uh the reasons why he agreed to
22:01
do to take the job to begin with There
22:04
are wonderful set pieces in the Fury
22:06
that are vintage vintage de Palmer and
22:09
most of them of them involve Amy Irving
22:12
having these visions and I'm I'm talking
22:15
about the scene on the staircase most of
22:17
all uh when she touches the hand of the
22:21
person who she's walking with down the
22:24
stairs and and um and all of a sudden
22:27
she has this vision of of Robin and the
22:31
way the poem visualizes this vision is
22:33
so unique to him Yes Yeah Normally when
22:36
someone has a vision on screen there's a
22:38
flash and um the filmmaker simply cuts
22:42
to a different time and place and you
22:45
know like Christopher Walker in the dead
22:46
zone Yeah The same scene he's touching
22:49
the future president's
22:52
hand cut to a flashforward scene of the
22:54
guy pushing the red button you know
22:57
that's the classic way And even a pro
22:59
like Croninberg does does it like that
23:01
but not the palma You know as soon as
23:03
Amy touched the hand of the person you
23:07
have these flash cuts getting closer and
23:10
closer to the hand she's touching and it
23:13
features a scar You can see it you know
23:15
in a split second and next thing you see
23:18
is Amy alone in the room and she's kind
23:21
of still on the staircase but at the
23:23
same time she isn't She's literally
23:26
inside her vision of what happened
23:29
earlier on the in on the same spot which
23:32
reveals where the scar is from And and
23:34
and just as Amy is momentarily lost
23:37
inside this vision we as the audience
23:39
feel like we're falling into the film
23:41
It's it's like a dizzying moment with
23:44
the camera swirling around You're like
23:46
what's going on here Yeah Yeah And I'm
23:49
pretty sure that no one of the crew
23:51
understood what the Palmer was going for
23:53
because it's a very elaborate vision
23:56
involving process shots of Amy before
23:59
green screen Uh a matching circular
24:02
movement of the camera on both the
24:04
foreground and the background Yeah And
24:07
slow motion mixed with real time and
24:09
cutting back and forth between Amy's
24:12
vision and her reality It's insane Yeah
24:14
And Yeah
24:17
And I also do want to shout out uh John
24:19
Williams score during the sequence His
24:21
score throughout the film is very sort
24:22
of I want to say it's very Hitchcockian
24:26
It's it's it's a gutsy John Williams
24:28
score in my opinion Uh and the the other
24:30
thing I did want to mention is you
24:32
talked about how complex it is from a
24:34
technical standpoint but watching the
24:36
the scene back and watching the film
24:38
back prior to sitting down for this is a
24:41
lot of times when you're doing those
24:43
process shots you know sometimes by the
24:46
time they got the shot you know uh
24:48
assembled the way they needed you were
24:49
what on like third or fourth generation
24:52
But the one thing that stands out to me
24:54
about that sequence is the clarity that
24:57
exists within that shot is it doesn't
25:00
look heavily processed which also I
25:02
think really screws with your your mind
25:04
a little bit because a lot of times
25:06
we're aware we're watching a special
25:08
effect or uh or some kind of trick being
25:11
played And and in that sequence it's
25:13
really um one thing I'll say about it is
25:17
it has a very modern feel to it And I
25:19
think a lot of um filmmakers you know
25:23
were were are working with that sort of
25:25
virtual reality idea It's almost like
25:28
Amy Irving's character was dropped into
25:30
a a virtual reality environment
25:33
Exactly Yeah And and and and I would
25:35
just say to filmmakers look at look at
25:37
this um at these examples because you
25:41
know he the poem is not being lazy He
25:44
keeps he gives you a vision that you've
25:46
never seen before And um I think that's
25:50
that's so cool that he does that Well
25:53
the one thing I've always said that I
25:54
love about Deama is
25:57
he knows he knows he's making a movie
26:00
and as an audience we know we're
26:02
watching a movie and there's nothing
26:04
wrong with that I think a lot of times
26:05
is we're going to the movies to escape
26:07
things We don't have to feel like we're
26:08
experiencing real life And that's the
26:11
thing I've always appreciated about DAMA
26:13
is everybody when you sign up to watch a
26:16
DAMA movie you're signing up to watch a
26:18
movie and and and you're gonna you're
26:20
gonna let certain things go or you're
26:22
going to let certain things take you
26:24
over and and I think a lot of filmmakers
26:26
sometimes take the art of film a little
26:28
too seriously
26:31
Yeah Yeah I I agree with you Yes And and
26:34
he's the he's the opposite of an
26:36
invisible narrator you know He's very
26:39
visible as a director as as um you know
26:42
you know there's a director behind the
26:44
scenes but at the same time he's
26:48
so seductive and convincing that you
26:51
know you know you're watching a movie
26:53
and at the same time you're into the
26:55
movie Yeah It's it's great Yeah No And
26:58
and I also think um that any sequence in
27:02
a DAMA film that you might question
27:04
he'll be able to defend which is also um
27:07
one thing I I've seem to have picked up
27:08
from him as a a filmmaker and as as a
27:11
visionary is when he's got an idea in
27:13
his head that he wants to execute he's
27:15
going to execute it and they have to
27:16
figure out how to execute it And I love
27:19
the thing that's one of the things I
27:20
love about Deama is he doesn't he
27:23
doesn't just settle If he wants to do
27:26
something he's going to do it And
27:29
the world needs more people like that
27:32
It's probably the reason why he wants to
27:34
do it That's that's what he wants to do
27:35
He's a visual artist you know Uh so uh
27:39
it has to be done his way Uh otherwise
27:42
it it makes no sense Yeah Um thank you
27:45
so much for those notes on the Fury I
27:47
think you perfectly illustrated it And
27:50
it's a film I hadn't watched in a in in
27:52
quite a while cuz like you said um it's
27:54
it's not one of his best The Palama even
27:56
admits it was more of a a paycheck movie
27:58
for lack of a better term but uh I still
Final Thoughts & Pete’s Future Projects
28:01
enjoyed it Your criticisms are are
28:04
totally valid and but that sequence on
28:06
the staircase with Charles Durning is
28:08
just is just amazing And uh thank you so
28:11
much for picking that sequence because I
28:13
always love talking through movies and
28:15
sequences that we might not be aware of
28:17
when we think about you know classic
28:20
dama shots Yeah Because there are lots
28:24
of them Lots of great scenes in the P So
28:27
well well hopefully uh you can come on
28:30
again and we can talk about another one
28:31
of those but for now we're out of time
28:33
And I do want to thank you Pete Um is is
28:36
there a place that uh people could best
28:38
find your works or you know how to stay
28:40
uptodate on you I'll I'll put all this
28:42
information in the show notes of course
28:43
as well Yeah I have a website called
28:45
directorama.net
28:48
and that is just my personal portfolio
28:51
So all right Excellent I'll I'll include
28:54
that in the notes And again I I do hope
28:56
that we can sit down and chat another
28:59
film at some time in the future You have
29:00
an open invite So anytime you have an
29:02
opening in your schedule uh or your
29:04
calendar and you say "You know what Let
29:05
me call up Craig and uh and see if he
29:07
wants to chat again because I'm always
29:08
ready for it." Cool Craig Let's do that
29:12
All right Thanks again All right See you