What the corpus says about Pat Garrett and Billy the Kid (1973)

You are a clerk at Video Culture, a video store. A customer just finished Pat Garrett and Billy the Kid (1973) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about Pat Garrett and Billy the Kid (1973) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:13:32 · Adam Nayman (0.85)] Pat Garrett and Billy the Kid ⇒ I'm Not There (the host's read) · lineage · Haynes styles one segment after Pat Garrett and Billy the Kid and another after Pennebaker, so the film is also different period filmmaking. · "he styles one whole segment after, you know, Pat Garrett and Noie the Kid."
[The Rewatchables · ‘The Royal Tenenbaums’ · 0:46:23 · Chris Ryan (0.50)] The Royal Tenenbaums ↔ Pat Garrett and Billy the Kid · craft · The film uses Bob Dylan's music from Pat Garrett and Billy the Kid a couple of times. · "and also the use of Bob Dylan's music from Pat Garrett and Billy and the Kid, a couple of times is beautiful."
[The Big Picture · The 25 Best Movies of the Century: No. 12 - 'The Royal Tenenbaums’ · 0:20:30 · Sean Fennessey (0.40)] The Royal Tenenbaums ↔ Pat Garrett and Billy the Kid · craft · The wordless acoustic guitar theme from Pat Garrett and Billy the Kid is one of the film's needle drops. · "And then the theme from Pacyard and Billy the Kid in that amazing, you know, that's just like a worldless acoustic guitar composition."
[pairs] Pat Garrett and Billy the Kid ↔ The Royal Tenenbaums · said 2 times in 2 episodes
[Blank Check — Patreon · Vanilla Sky · 1:45:35 · unknown (0.40)] The Royal Tenenbaums ↔ Vanilla Sky · programming · Tenenbaums opened the same week as Vanilla Sky in 5 theaters and averaged $55,000. · "Tenenbaums comes out that very week on 5 theaters and it grosses $276,000"
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:11:55 · Adam Nayman (0.85)] Superstar: The Karen Carpenter Story ⇒ I'm Not There (the host's read) · lineage · Todd Haynes's first film, the Barbie-doll Karen Carpenter story, is the progenitor of I'm Not There's foregrounded cliches. · "a movie that's kind of the spiritual progenitor if I'm not there, which is Superstar, which is the 1st thing Todd Haynes ever made"
[The Rewatchables · ‘The Royal Tenenbaums’ · 0:07:20 · Andy Greenwald (0.60)] The Royal Tenenbaums ↔ Pulp Fiction · lineage · Both are 'emptying the cupboard' of their makers' influences and obsessions, introducing a whole cinematic world through soundtrack, look and talk. · "it's like pulp fiction or Grand Royal magazine, where it's just like the emptying of the cupboard of influences and obsessions."
[The Big Picture · ‘Elvis,’ ‘Walk Hard’ and Top Five Music Biopics · 1:13:58 · Adam Nayman (0.65)] I'm Not There ↔ Inside Llewyn Davis · craft · Adam would rather listen to Llewyn Davis sometimes than Dylan, a different disguised music biopic. · "I actually rather listen to Lewin Davis sometimes in Bob Dylan, which is a whole other kind of disguised music biopic."
[The Rewatchables · ‘The Royal Tenenbaums’ · 0:31:25 · Chris Ryan (0.50)] The Royal Tenenbaums ↔ Franny and Zooey · lineage · The movie is a Salinger pastiche; Anderson would need a Salinger adaptation as IP cover today. · "he would have to make Franny and Zooey. Like he would have to make an adaptation of a Salinger novel"
[The Rewatchables · ‘The Royal Tenenbaums’ · 0:53:10 · Andy Greenwald (0.50)] Jean-Luc Godard ⇒ The Royal Tenenbaums (the maker said so: Matt Zoller Seitz's book on the movie) · lineage · The mosaic of book covers was inspired by a Godard movie doing something similar. · "he was inspired by, I think it was a Godard movie that did something similar, of course."
[The Rewatchables · ‘The Royal Tenenbaums’ · 1:15:51 · Chris Ryan (0.50)] Louis Malle ⇒ The Royal Tenenbaums (the host's read) · lineage · French New Wave directors listed among its influences. · "some of the influences on this movie include films by Louis Maule. Um, uh, Francois Truffaux, Sholu Qadar, the French New Wave."
[The Rewatchables · ‘The Royal Tenenbaums’ · 1:15:59 · Chris Ryan (0.50)] Francois Truffaut ⇒ The Royal Tenenbaums (the host's read) · lineage · French New Wave influence. · "Francois Truffaux, Sholu Qadar, the French New Wave."
[The Rewatchables · ‘The Royal Tenenbaums’ · 1:16:15 · Chris Ryan (0.50)] The Magnificent Ambersons ⇒ The Royal Tenenbaums (the host's read) · lineage · Named as a huge influence; rewatching Ambersons shows how much of it is in Tenenbaums. · "it's wild how much, uh, ten bombs or how much Amberson's is in ten bombs."
[The Big Picture · The 25 Best Movies of the Century: No. 12 - 'The Royal Tenenbaums’ · 0:05:35 · unknown (0.40)] The Catcher in the Rye / Franny and Zooey ⇒ The Royal Tenenbaums (the host's read) · lineage · Salinger's Glass-family stories are the key literary influence. · "Zoe is like the key influence on this film"
[speaker] Adam Nayman · latest sketch, The Big Picture · The Final Girl Film Canon and ‘Teenage Sex and Death at Camp Miasma’ · Self-described slasher fan who likes a movie that plays with tropes intelligently; admires Miasma's playfulness and sincerity but dislikes its showbiz satire. Soft spot for Texas Chain Saw, wrestling and Toronto sports. Wary of the idea that references alone make a movie smart. · stances: Miasma is academic but playfully so; Better filmmakers deserve less intention-guessing; Don't need to love slashers to love Miasma
[speaker] Chris Ryan · latest sketch, The Rewatchables · ‘Friday the 13th’ · A franchise and genre scholar who likes Jason, the early sequels, and Manhattan; attention to trivia, tropes and critic reception. Treats slashers as a canon with tiers. · stances: Parts 1, 2, 4 and Manhattan are the good ones; The series finds its legs at 4
[speaker] Sean Fennessey · latest sketch, The Big Picture · ‘Resident Evil’ Absolutely Rips! · Loves gory, funny, fast genre movies with craft and confidence, especially 87-minute films that never overstay. Can't stand ponderous elevated horror that fills out its runtime with introspection and sad family history. A sucker for the Carpenter-era lineage, Die Hard homages, and directors who break studio dogma. · stances: Resident Evil is one of the best films of the year; Horror movies have become a drag; fun genre experiences are needed; Short running times are a virtue; Video-game films work best when great filmmakers get creative license
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)
[bits] The Rewatchables: Apex Mountain (The moment a star peaks; where on the mountain a performance sits); Who Won the Movie (The hosts name the person who came out of the film best off); The Ebert review (Roger Ebert's original review and star rating read aloud. Ebert is cited, never on the show); Casting what-ifs (Who was almost cast, or who should have been); Most rewatchable scene (The scene each host would stop on while flipping channels); Aged best / aged worst (What holds up and what does not); Picking Nits (The little things in a film the hosts love that they don't think totally work: the nits); Double feature (The film each host would pair it with; a programming pick)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with Pat Garrett and Billy the Kid (1973); name it the way the line names it. Don't recommend Pat Garrett and Billy the Kid (1973) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.