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Blow Out poster

Blow Out

year 1981decade 80sdirector Brian De Palma

108 minutes

Cast

Selected cast credits · Film reference

John Travolta Jack Terry
Nancy Allen Sally
John Lithgow Burke
Dennis Franz Manny Karp
John Aquino Detective Mackey
Curt May Frank Donahue
John McMartin Lawrence Henry
J. Patrick McNamara Detective at hospital
Amanda Cleveland Coed lover
Roger Wilson Coed lover
Cindy Manion Dancing coed
Missy O’Shea Dancing coed
Marcy Bigelman Ecstatic coed
Ann Kelly Studious coed
Dean Bennett Campus guard
Archie Lang Mixer
Dave Roberts Anchorman
Claire Carter Anchorwoman
Maurice Copeland Jack Manners
John Hoffmeister Governor George McRyan
David De Felice Boy lover
Barbara Sigel Girl lover
Tom McCarthy Policeman at hospital
Reginald M. Wallace Policeman at hospital
Robert L. Penrose Hospital administrator
Larry Woody Doctor
Dick McGarvin TV newscaster
Michael Borghese Newsdealer
Rossana Fichera Receptionist
James Jeter Film lab man
Luddy Tramontana Freddie Corso
Sid Doherty Cop in car
Milt Fields Mobster
Bud Seese Corrupt Captain
Maureen Sullivan First murder victim
Brian Corrigan Cop at Karp’s office
Elaine Filoon Screamer
Robin Sherwood Screamer
Tim Choate Sailor
B. J. Cyrus Sailor’s friend
Dave De Angelis Sailor’s friend
Thomas Finn Sailor’s friend
Tony Devon Sailor’s friend
Henry Cohen Ambulance attendant
Bernie Rachelle Ambulance attendant
William Tarman Security guard

Blow Out | The Rewatchables

host Bill Simmonshost Chris Ryanhost Sean Fennesseyguest Wesley Morris theme Naughty November
Explore episodeClose episode

Producer credits not yet identified.

Recasting Couch

Keep Allen disputed; Sarandon, Winger, Close, Lange, Kidder and Fisher proposed

In the discussion (17)
Approx. transcript time · 00:11:26Read transcript
  • Redford or Hoffman are imagined in a 1970s version, but neither would supply Travolta’s particular lightness and finesse.
  • Travolta is imagined in Tom Hanks’s 1980s roles, Romancing the Stone, Beverly Hills Cop and Amadeus, praising his combined dancing and everyman abilities.
  • Purple Rain is jokingly floated and doubted, while Manhunter receives enthusiastic support as a hypothetical Travolta vehicle.
  • Gere is imagined in Urban Cowboy’s Scott Glenn role but not Travolta’s lead.
  • Travolta in No Way Out and Field of Dreams is imagined; Field of Dreams versus Bull Durham suitability is disputed, including whether he looks like a baseball player.
  • Travolta in Die Hard is enthusiastically supported; missing an action vehicle around 1986–1988 is considered a lost opportunity.
  • Travolta is imagined as Danny in Prince of the City.
  • Nancy Allen is the recasting target despite admiration for Dressed to Kill and Carrie; repeated casting of a romantic partner is compared to Sondra Locke, while Allen is said to improve in the second half.
  • Susan Sarandon, Debra Winger, a young Glenn Close and Jessica Lange are proposed for more star power.
  • Lange is initially considered the only proposed actor suited to the character’s ditziness; Allen’s apparent dullness is defended as manipulation plus genuine hospital sedation.
  • Allen is defended through her attentive eyes in the bar scene; the alternatives might project too much intelligence and professionalism, including Lange’s light rather than ditzy Tootsie performance.
  • Sarandon remains a possible alternative, but Allen’s Bronx background makes her believable as Philadelphian in a way Lange may not.
  • Margot Kidder and Carrie Fisher are proposed then rejected as different or too smart; Allen’s lightness is defended as exactly right, while the desire for a new actress persists.
  • Harrison Ford is proposed as capable of the lead but acknowledged to produce a different performance.
  • Roy Scheider could make it work as a more 1970s film; Redford is doubted as too beautiful and insufficiently East Coast, while Pacino and Gere remain conceivable.
  • Stallone is jokingly the worst case because he would rewrite the material.
  • The invited producer agrees Allen works better by the end despite disliking her early performance.

Most Rewatchable Scene

Photo-film assembly; station murder; final pursuit

In the discussion (15)
Approx. transcript time · 00:12:19Read transcript
  • Jack assembling photographs into a film and synchronizing sound is praised for Travolta’s effortless, convincingly practiced concentration.
  • The nighttime sound recording is praised for confident equipment handling and planted frog, owl and bridge sounds that become recognizable on replay.
  • Travolta’s hospital questioning is praised for natural, fully present reactions, especially asking the suited stranger who he is while being told to forget the rescued woman.
  • The opening Co-Ed Frenzy fakeout is admired as an accomplished, pleasurable imitation of a trashy slasher, including the first-person knife framing and Steadicam work.
  • The opening Co-Ed Frenzy-to-editing-booth-to-title sequence is a favorite, compared with Goodfellas’ opening; forceful title cards are celebrated.
  • The car accident and owl sound-recording sequence are favorites; the figure under the bridge was only noticed on a thirteenth viewing, aided by improved picture quality.
  • The hospital pressure to keep quiet is a scene candidate, with the wife’s ignorance used to justify a cover-up; a real-life witness might face more violent silencing.
  • Cutting photographs into a homemade filmstrip and subsequently creating the shooting video are admired as distinct related scenes.
  • The spinning camera amid spinning reels as the erased tapes are discovered is praised for making the viewer dizzy and expressing the idea cinematically.
  • Burke’s train-station killing of a sex worker is defended as rewatchable through craftsmanship despite its unpleasantness; its Philadelphia locations and Dressed to Kill echoes are appreciated.
  • Sally’s murder amid patriotic Philadelphia celebrations and fireworks is a major scene candidate; the bicentennial atmosphere makes the sequence feel rooted in 1976 rather than 1981.
  • The final good-scream scene completes the opening search perversely but movingly; using Sally’s death recording is defended as evidence of Jack’s complete emotional destruction.
  • The 30th Street Station sequence, including Burke killing the wrong woman again and later taking Sally while Jack listens, is an explicit favorite.
  • The final pursuit, slow-motion race, deaths, fireworks and hard cut to the theater are another explicit favorite; Donaggio’s score makes it breathtaking.
  • Making the photo-based film is selected for enjoyment of the process, followed by a second agreement.

What’s Aged the Best?

Analog craft; Travolta; expert jobs; local news; Philadelphia; Franz; film stock; diopter; fake films; names; dubbing; craft team; conspiracy relevance; split screens

In the discussion (15)
Approx. transcript time · 00:16:31Read transcript
  • The tactile analog equipment and manual labor are cherished; an iPhone-era version would be easier and less singular, though De Palma might still find an expressive visual method.
  • Travolta at the end of his first star era is praised, especially his relaxed, believable station-bar flirting while Sally does her makeup.
  • Movie characters who are world-class at unusual jobs remain a favorite.
  • The era when threatening to go on local television carried weight is nostalgically praised.
  • Early 1980s Philadelphia, its recognizable locations and geographically honest cuts are praised; the city dictates the action rather than being rearranged to suit it.
  • Early Dennis Franz is praised, including his unmistakable Chicago quality and connection to Dressed to Kill.
  • High-quality film stock supports the extensive night photography.
  • Manny Karp is admired as a character name.
  • De Palma’s use of the split diopter is praised as unmatched.
  • De Palma’s fake films within films are celebrated, including Body Double’s music-video and pornography crossover.
  • The cop’s instruction to save paranoia for public television is enjoyed.
  • The dubbing-session performer’s knowing smile while pulling another woman’s hair is praised as a quintessentially perverse directorial moment.
  • The craft team is praised: Sylbert’s run Heaven Can Wait, Hardcore, Kramer vs. Kramer and Blow Out, and Hirsch’s The Fury, Empire Strikes Back, Blow Out and Creepshow illustrate remarkable consecutive work.
  • The consuming belief in political conspiracy is considered newly relevant to online conspiracy culture.
  • The filmmaking and split screens are praised; the slow-motion owl still produces a visceral shock.

Half-Assed Internet Research

Career choices; Blow-Up inspiration; budget; reviews; local casting; Allen’s reception; insomnia; stolen footage; reshoot; dam; parade; Murder à la Mod

In the discussion (13)
Approx. transcript time · 00:32:05Read transcript
  • Travolta reportedly turned down An Officer and a Gentleman, Splash and American Gigolo while choosing Staying Alive, Two of a Kind and Perfect during his decline.
  • Blow Out is described as a reimagining or homage to 1966’s Blow-Up, shifting perception from eye to ear; the earlier film’s influence is distinguished from rewatchability.
  • The film reportedly cost 18 million dollars and made 13 million, following Dressed to Kill’s success; the bleak ending is offered as a reason for commercial failure.
  • Pauline Kael’s rave compares De Palma’s achievement to Altman and Coppola transcending genre, and praises Travolta and Allen.
  • Philadelphia weatherman Dave Roberts appears early in the film and is identified as David Boreanaz’s father; the discussion corrects confusion between him and the actor playing Frank Donahue.
  • Allen reportedly received both Golden Globe new-star recognition and a Razzie nomination for Dressed to Kill, illustrating her divisive reception; her subsequent career moved toward genre work including RoboCop.
  • Travolta reportedly had insomnia throughout filming, which is thought to help his tired appearance and performance.
  • Two reels of parade footage were reportedly lost when a delivery van was stolen during a doughnut stop, requiring a 750000-dollar Philadelphia reshoot.
  • Kovács reportedly shot the replacement ending because Zsigmond had moved on; its visual relationship to the rest of the film is questioned.
  • Missy Cleveland, the shower performer, is identified as Playboy’s April 1979 Playmate.
  • The water crash required a 60-foot-long 15-foot-tall dam and environmental involvement; the parade used 11 cameras,1000 extras and 25 stunt drivers.
  • Manny watches De Palma’s first film, Murder à la Mod, on television.
  • De Palma wanted to make Prince of the City, which ultimately went to Lumet, considered well suited to it.

Roger Ebert's review

In the discussion (1)
Approx. transcript time · 00:55:46Read transcript
  • Ebert gives four stars, praising cinematic intelligence and an audience actively sharing the discovery. No denominator is spoken.

Dracula the Musical Award for Best Imitation of Real Art

Co-Ed Frenzy

In the discussion (2)
Approx. transcript time · 00:57:52Read transcript
  • Co-Ed Frenzy wins the Dracula the Musical Award for Best Imitations of Real Art.
  • The fake films include Bloodbath, Bloodbath II, Bad Day at Blood, Blood Beach, Bordello of Blood and Co-Ed Frenzy; The Lure of the Triangle poster depicts the front of underwear.

The Butch’s Girlfriend Award for the Weakest Link in the Film

Lithgow’s extreme craziness

In the discussion (2)
Approx. transcript time · 01:18:14Read transcript
  • Lithgow’s Burke is the weak-link candidate for excessive craziness: a political setup escalating into serial murder strains plausibility, though the objection is to degree rather than eliminating him.
  • The portrayal is defended through De Palma’s recurring maniacal Lithgow roles and because Burke’s serial-killer cover story ultimately succeeds in hiding the political connection.

What’s Aged the Worst?

Score; rescue-based pressure for a drink; hospital smoking

In the discussion (3)
Approx. transcript time · 01:20:39Read transcript
  • The score is disputed: its jaunty early 1980s quality jars for some, while another likes it; the climax is the exception for a critic.
  • Jack invoking the rescue to demand a drink is criticized as entitled; his investigative motive and Sally’s involvement in the conspiracy are offered as defenses but do not persuade the critic.
  • Smoking in the emergency room has aged poorly.

The Ron Burgundy Flute Award for the Best Time for a Pee Break

Hospital visit; flashback defended

In the discussion (2)
Approx. transcript time · 01:23:23Read transcript
  • Jack visiting the dazed Sally in hospital is the pee-break choice.
  • The sound-recording flashback is questioned as a possible break but defended for motivation, stylistic variety and establishing an earlier trauma before Sally’s death.

The Stephen A. Smith Hottest Take Award

Travolta’s best performance

In the discussion (1)
Approx. transcript time · 01:25:12Read transcript
  • Blow Out is proposed as Travolta’s best performance, combining Saturday Night Fever’s charisma with mature craft; Grease is raised for his irreplaceable star contribution but distinguished from acting craft.

Casting What-Ifs

Pacino first choice for Jack; Travolta pushed for Allen

In the discussion (2)
Approx. transcript time · 01:26:07Read transcript
  • Pacino was reportedly the first choice for Jack; the alternative is considered interesting but more haunted and operatic, losing Travolta’s surprising lightness.
  • Travolta reportedly insisted on Allen and had supported her since Carrie; Allen welcomed working with him again.

Probably Unanswerable Questions

Donahue’s competence; Liberty Day; best Philadelphia film

In the discussion (4)
Approx. transcript time · 01:27:54Read transcript
  • Frank Donahue delaying a callback on the story of his life raises doubt about his competence.
  • A real Philadelphia Liberty Day is proposed; the existing July 4 celebration and a reported historical Liberty Loans Parade are discussed.
  • Blow Out as the best Philadelphia film is considered alongside Philadelphia, Trading Places, Rocky and Twelve Monkeys.
  • Blow Out is a favorite Philadelphia movie with agreement; another preference ranks Trading Places first and Blow Out second for the former’s less obvious locations and critique of old Philadelphia. Silver Linings Playbook’s eligibility is doubted.

Apex Mountain

No affirmative selection

In the discussion (4)
Approx. transcript time · 01:36:54Read transcript
  • De Palma is rejected here in favor of Dressed to Kill’s commercial freedom; Scarface is an alternative, and producer George Litto’s Filmways position is credited with enabling Blow Out.
  • Travolta receives a negative Apex judgment.
  • Nancy Allen is probably not the Apex choice.
  • Lithgow receives a negative Apex judgment.

Picking Nits

Political stakes; missing copies; ceiling hiding; news audience; Manny; sudden darkness; crash recovery

In the discussion (7)
Approx. transcript time · 01:38:36Read transcript
  • A plausible presidential contender’s death should have triggered enormous media attention and tighter hospital control; Jack would be followed and the loose handling of witnesses is doubted.
  • Jack should make more tape copies or arrange automatic delivery to a newspaper; the time required to duplicate material is offered as a partial defense.
  • Hiding evidence above removable ceiling panels is criticized as too obvious.
  • Frank Donahue’s claimed eight-million nightly audience is challenged against Philadelphia’s population and competing stations, despite a broader regional audience defense.
  • Manny’s continued presence and the lack of police follow-up on his history of scam photographs are questioned.
  • The rapid shift from daylight to darkness is criticized, with East Coast sunset offered in defense.
  • Jack’s rapid recovery from a serious crash and release after driving through a parade are considered implausible.

Sequel, Prequel, Limited Series, or All-Black Remake

All-Black cast; expanded modern prestige series

In the discussion (2)
Approx. transcript time · 01:43:46Read transcript
  • An all-Black Philadelphia cast is proposed enthusiastically.
  • A 2022 prestige series could expand the politician’s story and pervasive phone imagery; Fincher is suggested but disputed over whether he would preserve the fun and De Palma’s distinctive style.

Is This Movie Better With…?

Hall; Buscemi; Jenkins as cop; Walsh as Manny; Hahn as Sally

In the discussion (4)
Approx. transcript time · 01:45:03Read transcript
  • Philip Baker Hall and Steve Buscemi are imagined as additions without specific roles.
  • Wayne Jenkins initially seems hard to place, then the skeptical cop is proposed.
  • J.T. Walsh is proposed as Manny.
  • Kathryn Hahn is enthusiastically proposed as Sally, leading to a Bernthal-and-Hahn remake idea.

Just One Oscar

De Palma

In the discussion (1)
Approx. transcript time · 01:47:37Read transcript
  • De Palma is the agreed single-Oscar recipient.

The Andy and Red – Zihuatanejo Award for What Happens the Next Day?

Drinking; bookstore; conspiracy broadcasting; presidential run; eventual murder

In the discussion (5)
Approx. transcript time · 01:53:42Read transcript
  • Jack is imagined abandoning filmmaking and drinking himself to death after combined professional and romantic devastation.
  • Alternatives include a used political bookstore and a late-night conspiracy radio show.
  • A presidential run on a truth-seeking platform is jokingly proposed.
  • Jack’s eventual murder is predicted; speculation about Burke is corrected because he has already been stabbed to death.
  • Jack is imagined producing fringe true-crime audio or gaining a marginal conspiracy following; a present-day Travolta sequel is proposed and debated.

The Coach Finstock Award for Best Life Lesson

Make multiple copies; cast a scream queen who can scream

In the discussion (2)
Approx. transcript time · 01:56:09Read transcript
  • Make multiple copies of assassination evidence, at least three, and hide one in an off-site locker.
  • Ensure a scream queen can actually scream.

Producer review

Movie-making, circular structure and audio craft

In the discussion (1)
Approx. transcript time · 01:58:12Read transcript
  • The invited producer enjoys the movie-making subject and circular construction, and compares Jack’s audio work to podcast production.

More from the conversation

The four-person panel introduces the third Naughty November installment, also called Neo November.
Approx. transcript time · 00:01:42Read transcript
The film is praised as a great Philadelphia movie, a great filmmaking movie and the greatest movie about sound; Travolta’s movie-star performance is a personal favorite.
Approx. transcript time · 00:02:58Read transcript
The mystery’s suspense centers on what will happen to Jack rather than the assassinated candidate’s political agenda.
Approx. transcript time · 00:04:14Read transcript
A De Palma documentary anecdote about seeking an idea rather than a generic city establishing shot frames the film’s dense visual, auditory and thematic inventiveness.
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De Palma’s technical command is praised through film reconstruction and a spinning-camera sequence; this is proposed as his masterpiece while Carrie, Mission: Impossible and Dressed to Kill are alternative favorites.
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A casual top-ten-ever thought is not an enumerated ranking; the film’s influence on Fincher and Tarantino is asserted.
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An early childhood theatrical viewing became more appreciative through repeated cable encounters with inventive individual scenes.
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The commercial failure and lack of awards are contrasted with the film’s quality; its bleak late-New-Hollywood sensibility seemed out of step with Raiders, SupermanIIand Stripes.
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American Gigolo is discussed as an immediate 1980sbreak while Blow Out retains 1970sparanoia alongside brighter imagery and movie-star appeal.
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Believable professional competence is compared with All the President’s Men and Michael Clayton; close-ups of hands and machinery make the craft legible.
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Repeated listening and rewatching connect the film’s craft with the Zapruder footage and political investigation; The Fabelmans is compared for showing physical film editing.
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Whether the film is anti-conspiratorial or cynical is debated: labor can uncover truth, yet Jack’s discovery fails to alter the official story and power escapes scrutiny.
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The best-conspiracy-film question elicits the Pakula trilogy, especially The Parallax View and All the President’s Men, alongside JFK.
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JFK is interpreted as exposing hypocrisy and prejudice among powerful figures; final preferences include All the President’s Men and JFK.
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JFK is distinguished as a filmmaker’s conspiracy theory itself, while Blow Out, the Pakula films and The Conversation follow investigators exploring conspiracies.
Approx. transcript time · 00:24:54Read transcript
Executive Action and procedural conspiracy films are distinguished from Blow Out; Blow Out is one favorite conspiracy thriller but not favorite conspiracy movie, while All the President’s Men is praised.
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The decline of political-conspiracy movies is connected to Reagan-era optimism and a shift toward corporate conspiracies, with Silkwood and The China Syndrome as examples.
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1980s corporate films are discussed as outsiders succeeding inside business hierarchies, including Secret of My Success, Trading Places and Wall Street.
Approx. transcript time · 00:28:15Read transcript
In the Line of Fire and The Firm are cited as a more commercial early-1990 s revival of conspiracy stories.
Approx. transcript time · 00:29:06Read transcript
Scientology’s possible influence on career choices is discussed; Travolta’s ordinary-guy quality and hair in Blow Out are admired.
Approx. transcript time · 00:32:54Read transcript
Tarantino’s love for Blow Out is linked to the Pulp Fiction comeback; Face/Off, Get Shorty, Michael, Phenomenon and Broken Arrow illustrate the subsequent resurgence.
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Broken Arrow prompts enthusiasm for Samantha Mathis and John Woo and interest in a future episode.
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The failure of major directors to use Travolta is lamented alongside the decline of dark, personal movies and pressure toward more commercial filmmaking.
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The bleak ending surprises a spouse on a recent viewing and is considered damaging to word of mouth; the final appearance is only Sally’s recorded scream.
Approx. transcript time · 00:35:02Read transcript
Perfect and Two of a Kind performances are defended; Perfect is called underrated and Travolta’s decline partly bad luck.
Approx. transcript time · 00:36:54Read transcript
A challenge to name two recent Travolta films exposes his reduced visibility: Gotti, I Am Wrath, Speed Kills, Trading Paint and The Poison Rose are listed; From Paris with Love is corrected to 2010.
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Whether Travolta should remain a leading man is disputed; changing appearance is criticized, while talent, age 68 and his legacy support another comeback. Savages and his Robert Shapiro TV performance are discussed, with prestige television proposed.
Approx. transcript time · 00:37:55Read transcript
A future Perfect episode is enthusiastically requested, with interest in James Bridges.
Approx. transcript time · 00:39:31Read transcript
The possible effect of Scientology and public rumors on Travolta’s casting is raised uncertainly; a reported Schrader comment about American Gigolo is discussed as speculation, not established personal fact.
Approx. transcript time · 00:39:51Read transcript
Turning down Splash and An Officer and a Gentleman is considered a decisive error; the latter is credited to Winger, Gossett and the song rather than Gere alone.
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Gere’s vacancy is contrasted with his vivid villainous performances in Internal Affairs and Chicago; a future Gere-themed month is floated.
Approx. transcript time · 00:41:39Read transcript
Richard Gere, Tom Hanks and eventually Kevin Costner are described as market correctors for Travolta.
Approx. transcript time · 00:42:30Read transcript
American Gigolo as a missed Travolta role is disputed: Schrader’s idea-driven use of a blank presence may clash with Travolta’s independent charisma, whereas Blow Out combines ideas with star power.
Approx. transcript time · 00:43:59Read transcript
De Palma’s grim physical filmmaking is linked to watching his surgeon father and to cynicism about power, marriage and human behavior, rather than guilt alone.
Approx. transcript time · 00:46:41Read transcript
Carrie, The Fury and The Untouchables illustrate De Palma’s pleasure in elaborate violence and suspense.
Approx. transcript time · 00:50:35Read transcript
The 1982 Best Picture nominees are Chariots of Fire, Atlantic City, On Golden Pond, Raiders of the Lost Ark and Reds. Chariots is the agreed replacement target for Blow Out; Atlantic City is briefly considered and defended.
Approx. transcript time · 00:51:12Read transcript
On Golden Pond’s value is disputed, from moving depiction of aging to a sleeping pill.
Approx. transcript time · 00:52:07Read transcript
De Palma is proposed over Mark Rydell for directing, with Hugh Hudson also removable; Blow Out and Raiders are treated as neck-and-neck achievements, while Reds is respected.
Approx. transcript time · 00:52:39Read transcript
Travolta is proposed for a Best Actor nomination, with Henry Fonda the favored removal despite his overdue legacy; Beatty, Lancaster, Moore and Newman are the other nominees discussed.
Approx. transcript time · 00:53:36Read transcript
Oscar career-compensation logic is debated; Absence of Malice’s journalism, portrayal of women and smoking are criticized despite Newman’s performance.
Approx. transcript time · 00:54:29Read transcript
The accident’s Chappaquiddick inspiration prompts discussion of Kennedy’s political future and uncertainty about whether the fictional politician parallels Kennedy or McGovern.
Approx. transcript time · 00:59:55Read transcript
Body Double illustrates De Palma’s extended pursuit sequences and voyeurism; the reported studio rejection of Annette Haven led to Melanie Griffith’s memorable performance.
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The climax is the only sequence where the score works for one participant.
Approx. transcript time · 01:08:32Read transcript
Philadelphia teasing turns into a sports argument about Chase Utley and alleged intent to injure opponents.
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The film’s rise from a commercial failure to a decade-best reputation is offered as evidence of how well it aged.
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The film’s expensiveness is considered subtle, with the large chase and parade providing visible budget explanations.
Approx. transcript time · 01:36:32Read transcript
A joking theory that Jack dies in the crash launches a disputed death-dream interpretation of Top Gun: Maverick.
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Bernthal’s appeal and range are debated, with support for his acting and podcast but objections to American Gigolo and a Lena Dunham film.
Approx. transcript time · 01:45:54Read transcript
De Palma’s Hitchcock-imitator reputation is discussed as initially limiting appreciation; Scarface, Casualties of War and The Untouchables broadened that image, while Blow Out also shares Rear Window’s perceptual uncertainty.
Approx. transcript time · 01:51:09Read transcript
A mid 1970s Dick Cavett interview with De Palma and Scorsese is recommended for their uncooperative, confident responses; press backlash is linked to De Palma’s self-assurance.
Approx. transcript time · 01:52:05Read transcript
Favorite versus best Travolta performance is distinguished: Saturday Night Fever remains one favorite, while Blow Out is called his best acting; Grease and Pulp Fiction illustrate irreplaceable star presence. The top-ten movie-star-performance remark supplies no enumerated list.
Approx. transcript time · 01:56:42Read transcript
Closing identifies this as the third Naughty/Neo-November episode and credits producer Craig in two inconsistent ASR surname forms; a sweatier fourth installment is teased.
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