This man had no filter. Pretty amazing.

I'll miss Friedkin making movies but I'll miss hearing him talk movies even more. Rest In Peace, Billy.

@aidanmca4177

5 ай бұрын

DONT SEARCH WILLIAM FRIEDKIN ON BIRTH OF A NATION

@Starchdread

5 ай бұрын

I totally agree. He was as hilarious and interesting as Herzog whenever he spoke.

The Movies That Made Me podcast is excellent. Love Joe Dante.

I wish Friedkin was hired to narrate a movie, He would've been on my list of voices to use for something like that.

Welles knew what he was doing with Wind, he was making fun of the New Hollywood of the 1970s

@bluemooninthedaylight8073

5 ай бұрын

He was clearly having fun with it too while also layering different narratives together. It's not a movie for everyone, but it does have its charms.

@stevencoffin328

3 ай бұрын

I think he was making fun of New Hollywood but he also loved the New Hollywood movies because they gave directors the freedom he never had. He was clearly having fun and enjoyed experimenting with new ideas and techniques. If you see interviews of him talking about Other Side of the Wind he is clearly excited about filming it this way.

Um. If I get to see two versions of Justice League I get to see Welles’ last film, Mr. Fried-Kin

F for Fake is amazing. I hope everyone reading this comment gives it a try (or another try, if they missed its brilliance as I first did)

@nicholasbintner4677

4 ай бұрын

I LOVE that film

I must confess it was only when I heard Friedkin refer to 'Citizen Kane' as "biblical" that the potentially homophonic nature of the title occurred to me!

I liked the Other Side of the Wind. While it doesn't have any of the hallmarks of Welles black and white greats, the true tell that its an Orson Welles film of this period is the obsession with (painfully so at times) Oja Kodar. This carries over from F for Fake. Its a problematic relationship in many regards, but it was authentically Welles.

@tectorgorch8698

5 ай бұрын

I, too, got really tired of seeing OK's ass over and over again in F is for Fake, but what the hey: Groucho Marx, Henry Miller, W.C. Fields, all of these old lions had a younger woman around to take care of them so good for them.

No one talks better shit than friedkin I swear 😂

Touch of Evil absolutely rocks!!! That long tracking shot in the beginning, the first time you see a car drive down an alleyway in real- time in film, Charlton Heston......AND Wells’s performance and downward spiral the entire film.

Why would Welles want to hold Antonioni's jockstrap?

Is that Dante interviewing Freidkin ?

I like the fact that Friedkin doesn't worship Welles, and criticizes some of his films.

rip to the fucking lovable madman but i disagree with him on the other side of the wind

My our god of abraham bless you shalom lo claim.

Actually Welles explained in a BBC interview the idea as Friedkin calls it behind Kane. The film was in part a commentary on the- as Welles put- Acquistive society and about a man "of very real gifts". It was not as Friedkin notes about that notion of gaining the world and losing his soul though it Is certainly easy to see the film as such.

Opinions!

Wiiliam tem razão em relação ao ultimo filme de Welles mostrado pela Netflix ,e um projeto inacabado,experimental q nunca deveria ter sido lançado comercialmente como um novo filme do Orson Wells .

During this podcast, Joe Dante’s intelligence and depth was shown to be lacking when next to Friedkin

The Exorcist is probably one of my top five favorite movies but I 100% disagree with Friedkin on this. I think Welles made a better Antonioni movie than anything Antonioni ever made. Maybe I just haven't seen the "good" Antonioni movies but I personally think his movies are the most textbook pretentious films I've ever seen.

While I do love certain William Friedkin films (e.g., The French Connection, The Exorcist (although I think it's not scary at all), Sorcerer and Cruising), for him to say all of Orson Welles films other than Citizen Kane are rubbish is ridiculous and just an attention-grabbing comment. How can you say such films as The Magnificent Ambersons, Othello, Touch of Evil, The Trial, Chimes at Midnight, or F for Fake are rubbish?!?! Each of those films has style AND substance. Keep in mind William Friedkin is also the director who brought us Deal of the Century, so...

@TheRealNormanBates

5 ай бұрын

Hey! I like *Deal of the Century!* “Hey buddy! Your car has a nice flame job! But you know what it needs? (breaks out a flamethrower) Just a little touch up!” Granted, it’s definitely one of Friedkin’s second tier movies, but I was entertained. His post 80’s films on the other hand? Not terrible, but definitely lacking. Same with John Carpenter (hell, a lot of directors). It is like people have a limited amount of talent, and at one point you realize that turnip just doesn’t have any more juice to squeeze.

@boudusaved4719

5 ай бұрын

@@TheRealNormanBates I agree with you, in general, but Orson Welles always made great films. I think Friedkin is just jealous.

@chanceotter8121

4 ай бұрын

He didn’t say Welles other films were rubbish. I heard him say ‘Touch of Evil’, ‘The Trial’ are authentically Wellesian, true to Welles unique filmmaking genius. I heard him say ‘The Other Side of The Wind’ was rubbish, and he wished it was left unfinished. He implies he dislikes the style Welles adapted for ‘Wind’ and ‘F for Fake.’ And with the jockstrap statement, in Friedkin’s usual hyperbolic braggadocio, he was stating Antonioni was making masterpieces like Red Desert and Blow Up, while Welles had abandoned his unique visual style to parody Antonioni’s in the film within the film in Wind and used a very choppy editing style closer to Dennis Hopper’s in Easy Rider (another parody) for the rest, which in Friedkin’s opinion was rubbish, and that neither ‘Wind’ or ‘Fake’ can compare to ‘Kane’ or ‘Touch of Evil’ or compare to La Notte, Red Desert, or Blow Up. Fair enough opinion. Maybe not said diplomatically. And I think Friedkin may have been making a dig at Bogdanovich as well.

@boudusaved4719

4 ай бұрын

@@chanceotter8121Perhaps you should listen to this video again. He clearly says it from 0:49 to 0:52.

@chanceotter8121

4 ай бұрын

Yep he does! But I still think it was hyperbole and mainly aimed at ‘Wind’ and I think a jab at Bogdanovich. Friedkin has introduced The Stranger and Ambersons at film festivals and has devoted time to tracking down lost Ambersons footage and was an adviser on the current attempt to reconstruct Ambersons to Welles cut using the script, animation, and Welles collection of frames from the lost footage. He called Touch of Evil the best film of 1998, the year if it’s reissue. And in the clip he praised the visual style of The Trial, though Friedkin called the film ‘the anti-Kafka’ version of the book, and since Friedkin kept a portrait of Kafka in his office he might disagree with Welles interpretation of the novel, but recognized the visual style purely as Welles, not an imitation of anybody else, which was his point. I have no idea what he thought of the Shakespeare adaptations. Friedkin was a great raconteur, who in his latter years liked to speak his mind to get a reaction, like another of his filmmaking subjects and role models, Fritz Lang, and frankly like Welles himself. Friedkin has always been consistent that Citizen Kane changed his life and is the greatest film ever made. I will allow him a little dramatic flair. The complete interview with Dante and Olson is very entertaining.

I love Friedkin but I'd take a lesser Welles film like The Stranger over Antonioni's best snooze fest

@shiven513

5 ай бұрын

I don’t get the hate for Antonioni, Red Desert is one of the most intense and dramatic films I have ever seen.

friedkins last film is better thene orsen last