Pauline Kael

Cited on the shows, as a critic is, not present.

Wikidata Q436910: matched by corpus:resolve, told apart by the only person by that name on Wikidata.

Counted as other. The films the hosts said they were tied to, which the two lists below run through too: Citizen Kane (1941); Lolita (1962); A Clockwork Orange (1971); Saturday Night Fever (1977); Raging Bull (1980); The Big Chill (1983); Beverly Hills Cop (1984); After Hours (1985); Compromising Positions (1985); The Color of Money (1986); Empire of the Sun (1987).

Draws on

What the speakers say they, or a film of theirs, drew on. Each is a speaker's account: “the maker said so” when they report the maker's own words, “the host's read” when the read is theirs.

The Hustler (1961): 7 lines

  1. lineage (callback) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). The mentoring conversation Newman has with Vince and Carmen mirrors the one George C. Scott has with Newman in The Hustler; both films also go on the road.
    “that's basically the George C. Scott has the same conversation with Paul Newman and the Hustler.”
    The Rewatchables · ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:44:53 · Chris Ryan (0.65 sure it was them)
  2. lineage (sequel/continuation) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). Newman's Eddie Felson in 1986 becomes the George C. Scott hustler-mentor character of the original, and the sequel answers rather than remakes it.
    “the Newman character in the color of money becomes the George C. Scott character in the Hustler.”
    The Rewatchables · ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:45:31 · Sean Fennessey (0.60 sure it was them)
  3. lineage (lineage) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). The Color of Money revisits Eddie Felson years later, with Paul Newman in his twilight and a new protege.
    “Now we find Paul Newman bringing up like a new protégé.”
    The Big Picture · ‘Gladiator II’ Is Here. Are We Not Entertained? · 1:47:28 · Chris Ryan (0.60 sure it was them)
  4. lineage (callback) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). Newman getting drunk and hustled by Amos is the first time he plays the Jackie Gleason role of the original, drunk and overconfident.
    “it's basically the 1st time he plays Jackie Gleason and the hustler where he's just like wasted and thinks he's going to win and then gets gets hustled.”
    The Rewatchables · ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:45:56 · Sean Fennessey (0.50 sure it was them)
  5. lineage (source material) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). The film is theoretically based on Walter Tevis's follow-up novel to The Hustler but has almost nothing to do with it; Minnesota Fats was in the novel.
    “this is theoretically based on Walter Tevis's follow-up novel to the Hustler, but the movie has almost nothing to do with the novel”
    The Rewatchables · ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:52:26 · Sean Fennessey (0.50 sure it was them)
  6. unmapped (continuing tragedy) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). The Color of Money carries the original film's tragedy as backstory without explaining it in a monologue.
    “And that's all the backstory for this movie, which is so interesting that he doesn't give the big monologue explaining what happened in the 1st film.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:12:13 · unknown (0.30 sure it was them)
  7. lineage (sequel) · through The Color of Money (1986), which they were tied to as critic: The Hustler ⇒ The Color of Money (the host's read). The Color of Money is the sequel to The Hustler, but built from a new script that keeps only the title of the Tevis sequel novel.
    “Even when they start developing scripts and go, like, throw all that out, start fresh, they kept writing in parts from Minnesota fats.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:13:06 · unknown (0.30 sure it was them)

The Last Temptation of Christ (1988): 3 lines

  1. career (personal projection) · through After Hours (1985), which they were tied to as critic, hated it: The Last Temptation of Christ ⇒ After Hours (the maker said so: Scorsese quoted in an oral history). Scorsese worked Kafka's Before the Law into the club doorman scene to reflect his frustration over Last Temptation.
    “inspired by Franz Kafka's before the law. And Scorsese said the short story reflected his frustration toward the production of the Last Temptation of Christ.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:23:31 · Sean Fennessey (0.50 sure it was them)
  2. unmapped (cause) · through After Hours (1985), which they were tied to as critic, hated it: The Last Temptation of Christ ⇒ After Hours (the maker said so: a Scorsese quote on After Hours being a reaction to the Last Temptation ordeal). After Paramount collapsed Last Temptation, Scorsese wanted a cheap, personal film; After Hours is his reaction to the Hollywood ordeal.
    “it's a reaction against my year and a half into Hollywood trying to get last temptation to Christ made.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:50:49 · unknown host (quoting Scorsese) (0.35 sure it was them)
  3. unmapped (sliding door) · through After Hours (1985), which they were tied to as critic, hated it: The Last Temptation of Christ ⇒ After Hours (the host's read). Paramount cancelling Last Temptation sent Scorsese to a small fast job; one of movie history's sliding doors.
    “it is one of the massive sliding doors in movie history because him not making it leads to him making this movie”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:03 · Sean Fennessey (0.60 sure it was them)

Anthony Burgess: 2 lines

  1. unmapped (book vs film) · through A Clockwork Orange (1971), which they were tied to as critic (called A Clockwork Orange prurient; 'bag of tricks'): Anthony Burgess ⇒ A Clockwork Orange (the host's read). Reading the novel again, the speaker finds it almost the same as the film, dialogue and all.
    “The dialogue is, it's just unbelievable how little he changed”
    Blank Check — Patreon · A Clockwork Orange with Alex Ross Perry (Ad-Free) · 1:17:42 · Alex Ross Perry (0.80 sure it was them)
  2. lineage (adaptation) · through A Clockwork Orange (1971), which they were tied to as critic (called A Clockwork Orange prurient; 'bag of tricks'): Anthony Burgess ⇒ A Clockwork Orange (the host's read). The film adapts Burgess's novel, and Kubrick found he had to change very little.
    “Kubrick reads the book and is like, I didn't have to do much.”
    Blank Check — Patreon · A Clockwork Orange with Alex Ross Perry (Ad-Free) · 1:20:24 · unknown (0.30 sure it was them)

Raiders of the Lost Ark (1981): 2 lines

  1. craft (shot design) · through Empire of the Sun (1987), which they were tied to as critic: Raiders of the Lost Ark ⇒ Empire of the Sun (the host's read). Same slow reveal as Indiana Jones in pieces before the hero shot.
    “which similarly has the like Spielberg taking 5 minutes to show you Indiana Jones in pieces before you really get the hero shot”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 1:38:17 · Griffin Newman (0.50 sure it was them)
  2. craft (camera-movement coverage) · through The Color of Money (1986), which they were tied to as critic: Raiders of the Lost Ark ⇒ The Color of Money (the host's read). Scorsese covers scenes with morphing moving master shots, like Spielberg's quick efficient coverage, to stay under schedule.
    “But he's doing like all this Spielberg, like coverage with camera movement.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 1:21:44 · unknown (0.30 sure it was them)

1970s cop movies: 1 line

  1. lineage (tone lineage) · through Beverly Hills Cop (1984), which they were tied to as critic: 1970s cop movies ⇒ Beverly Hills Cop (the host's read). The first film feels like an extension of 70s cop movies, especially the Detroit material, while the sequel feels glossy and 80s.
    “There's a world in which that almost feels like an extension of like 70s cop movies.”
    The Rewatchables · ‘Beverly Hills Cop II’ With Bill Simmons and Chris Ryan · 0:07:52 · Chris Ryan (0.70 sure it was them)

2001: A Space Odyssey (1968): 1 line

  1. unmapped (self-reference) · through A Clockwork Orange (1971), which they were tied to as critic (called A Clockwork Orange prurient; 'bag of tricks'): 2001: A Space Odyssey ⇒ A Clockwork Orange (the host's read). The record store scene shows the 2001 soundtrack, which the speakers read as Kubrick nodding at his own movie.
    “but he's kind of like being like, guys, I made that movie.”
    Blank Check — Patreon · A Clockwork Orange with Alex Ross Perry (Ad-Free) · 1:44:54 · Alex Ross Perry (0.50 sure it was them)

After Hours (1985): 1 line, within their own work

  1. career (career bridge) · through The Color of Money (1986), which they were tied to as critic: After Hours ⇒ The Color of Money (the host's read). The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
    “that same thing, that camera is flying across the pool table.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:30:24 · Sean Fennessey (0.60 sure it was them)

Annie Hall (1977): 1 line

  1. unmapped (zeitgeist precedent) · through Raging Bull (1980), which they were tied to as critic who panned the film: Annie Hall ⇒ Raging Bull (the host's read). Annie Hall established the late-70s map for human-frailty stories with comedy and fragile men, which Scorsese then exploited to horrify.
    “part of that map is is Annie Hall.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:32:35 · Griffin Newman or David Sims (0.40 sure it was them)

Baby It's You (1983): 1 line

  1. lineage (production lineage) · through After Hours (1985), which they were tied to as critic, hated it: Baby It's You ⇒ After Hours (the host's read). Without Baby It's You (Dunn/Robinson, Arquette, Ballhaus) there is no After Hours, since it brought Ballhaus to Scorsese.
    “without that movie, we don't have after hours either because they bring Michael Bauhaus to Scorsese.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:16:29 · Sean Fennessey (0.60 sure it was them)

David Lean: 1 line

  1. lineage (origin of project) · through Empire of the Sun (1987), which they were tied to as critic: David Lean ⇒ Empire of the Sun (the host's read). Lean asked Spielberg to check on the rights, then lost interest and handed the novel to him.
    “He asks Spielberg to check in on the rights for him.”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 0:57:53 · Griffin Newman (0.50 sure it was them)

Ernst Lubitsch: 1 line

  1. unmapped (comic technique) · through After Hours (1985), which they were tied to as critic, hated it: Ernst Lubitsch ⇒ After Hours (the host's read). The film's elegant timing and characterization is Scorsese flexing Lubitsch, his filmmaking hero.
    “this is the movie where Marty gets to flex a little Lubich stuff, who was obviously a big filmmaking hero of his”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:39:55 · unknown (0.30 sure it was them)

Fritz Lang: 1 line

  1. lineage (influence) · through After Hours (1985), which they were tied to as critic, hated it: Fritz Lang ⇒ After Hours (the maker said so: Scorsese's own account of his influences on the film). Lang's nighttime nightmare noirs (M, Manhunt, Woman in the Window) were influences.
    “And then some Fritz Lange movies. like M, Manhunt, Woman in the Window, you know, nighttime noiry, nightmare movies, stuff like that.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:36 · unknown host (0.35 sure it was them)

Gone with the Wind (1939): 1 line

  1. unmapped (scene reference) · through Empire of the Sun (1987), which they were tied to as critic: Gone with the Wind ⇒ Empire of the Sun (the host's read). Jim stands before the Gone with the Wind poster, echoing Spielberg's remark to Alice Walker that it is one of his favorites.
    “I mean, you have that moment where he's standing in front of the giant gone with the wind poster, right?”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 1:31:05 · Griffin Newman (0.60 sure it was them)

Herman Mankiewicz: 1 line

  1. unmapped (adapting lived experience) · through Citizen Kane (1941), which they were tied to as critic, wrote Raising Kane: Herman Mankiewicz ⇒ Citizen Kane (the host's read). Sean says Citizen Kane is Welles adapting an experience Herman Mankiewicz had inside the Hearst circle.
    “so in a way, this is him adapting an experience that Herman Mankowitz had”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 0:41:24 · Sean Fennessey (0.70 sure it was them)

In the Heat of the Night (1967): 1 line

  1. lineage (lineage) · through Beverly Hills Cop (1984), which they were tied to as critic: In the Heat of the Night ⇒ Beverly Hills Cop (the host's read). Described as In the Heat of the Night meets Beverly Hills; both are fish-out-of-water movies.
    “said that the Beverly Hills Cop is essentially in the heat of the night meets Beverly Hills.”
    The Rewatchables · ‘Beverly Hills Cop’ With Bill Simmons, Wesley Morris, Sean Fennessey, and Chris Ryan · 0:27:42 · unknown (0.40 sure it was them)

Isle of the Dead (1945): 1 line

  1. lineage (influence) · through After Hours (1985), which they were tied to as critic, hated it: Isle of the Dead ⇒ After Hours (the maker said so: Scorsese's own account of his influences on the film). Scorsese cited Isle of the Dead, a one-night Greek island story, as an influence.
    “Isle of the Dead, a Val Luton movie that takes place like over one night on a Greek island.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:19 · unknown host (0.35 sure it was them)

Italianamerican (1974): 1 line

  1. lineage (dialogue rhythm source) · through Raging Bull (1980), which they were tied to as critic who panned the film: Italianamerican ⇒ Raging Bull (the host's read). Scorsese's parents fighting in Italianamerican and American Boy taught him the rhythm replicated in Raging Bull's family fight scenes.
    “And so much of his parents fighting in Italian American is the feeling of the family fight scenes in this movie.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:58:33 · Griffin Newman or David Sims (0.40 sure it was them)

J.G. Ballard: 1 line

  1. lineage (source) · through Empire of the Sun (1987), which they were tied to as critic: J.G. Ballard ⇒ Empire of the Sun (the host's read). The novel is darker than the film, which sanitized it and condensed characters.
    “There is definitely a lot of sanitizing happening and a lot of kind of condensing of characters and turning them into more of a more of a Hollywoody plot element.”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 1:01:53 · Bilge Ebiri (0.75 sure it was them)

Jaws (1975): 1 line

  1. craft (shot design) · through Empire of the Sun (1987), which they were tied to as critic: Jaws ⇒ Empire of the Sun (the host's read). Spielberg reveals Malkovich in pieces like Jaws and Indiana Jones, withholding the hero shot.
    “he introduces him both like he's Jaws and like he's Indiana Jones”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 1:38:17 · Griffin Newman (0.50 sure it was them)

Joe Frank: 1 line

  1. unmapped (alleged plagiarism) · through After Hours (1985), which they were tied to as critic, hated it: Joe Frank ⇒ After Hours (the maker said so: Joe Frank himself, as reported in a 2000 Salon profile). Joe Frank's 1982 monologue 'Lies' was allegedly lifted for After Hours' opening act; 'Lies' was the script's first title.
    “the opening act is basically ripping off a 1982 monologue he had called lies, which is the 1st title of this script.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:37:27 · unknown host (reading JJ Bersch's research) (0.40 sure it was them)

Lolita (1955 novel): 1 line

  1. lineage (adaptation) · through Lolita (1962), which they were tied to as critic who reviewed it: Lolita (1955 novel) ⇒ Lolita (the host's read). The 1962 film is adapted from Nabokov's novel; the speaker reads Crowther's review saying the film keeps the names and a resemblance of plot.
    “They made a movie from a script in which the characters have the same name as the characters in the book, and the plot bears a resemblance to the original”
    Blank Check — Patreon · Lolita with Fran Hoepfner (Ad-Free) · 1:47:47 · unknown (0.30 sure it was them)

Michael Eisner: 1 line

  1. industry (industry) · through Beverly Hills Cop (1984), which they were tied to as critic: Michael Eisner ⇒ Beverly Hills Cop (the maker said so: a podcast the speaker did with Eisner). Eisner claims he came up with the idea after a speeding ticket in 1975; Simpson claimed it from 1977.
    “in 1975, he got a speeding ticket with a cop, thought the guy was a little bit of a dick”
    The Rewatchables · ‘Beverly Hills Cop’ With Bill Simmons, Wesley Morris, Sean Fennessey, and Chris Ryan · 1:06:23 · Bill Simmons (0.60 sure it was them)

Michael Ovitz: 1 line

  1. industry (packager) · through The Color of Money (1986), which they were tied to as critic: Michael Ovitz ⇒ The Color of Money (the host's read). Ovitz engineered the Newman-plus-Scorsese pairing, nudging Newman to write a letter and nudging Scorsese toward a commercial project.
    “I know he's an artiste. He's probably not going to want to do like a commercial thing. So I'm going to try and like nudge him towards something commercial.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:55:45 · unknown (0.30 sure it was them)

New York, New York (1977): 1 line

  1. career (career crisis) · through Raging Bull (1980), which they were tied to as critic who panned the film: New York, New York ⇒ Raging Bull (the host's read). New York, New York's failure and bad reviews, with drugs and a collapsing marriage, pushed Scorsese toward making Raging Bull as a lifeline.
    “New York, New York comes out to bad reviews.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 0:46:51 · Griffin Newman or David Sims (0.40 sure it was them)

Nik Cohn: 1 line

  1. lineage (lineage) · through Saturday Night Fever (1977), which they were tied to as critic: Nik Cohn ⇒ Saturday Night Fever (the host's read). The film comes from a 1976 New York magazine article, later admitted to be mostly fabricated.
    “this article written by Nick Cohen”
    The Rewatchables · ‘Saturday Night Fever’ With Bill Simmons and Jimmy Kimmel · 0:17:23 · Bill Simmons (0.85 sure it was them)

North by Northwest (1959): 1 line

  1. lineage (influence) · through After Hours (1985), which they were tied to as critic, hated it: North by Northwest ⇒ After Hours (the maker said so: Scorsese's own account of his influences on the film). The world-against-him framed-man structure of North by Northwest was an influence.
    “That's sort of like the world is against him. He's been framed.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:51:28 · unknown host (0.35 sure it was them)

On the Waterfront (1954): 1 line

  1. unmapped (meta ending) · through Raging Bull (1980), which they were tied to as critic who panned the film: On the Waterfront ⇒ Raging Bull (the host's read). LaMotta recites the Waterfront monologue flat; the film swapped it in for Shakespeare, which Michael Powell vetoed.
    “So they they instead go for the on the waterfront because that's kind of like that's his iconography.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 0:55:17 · Griffin Newman or David Sims (0.40 sure it was them)

Paul Newman: 1 line

  1. unmapped (mentorship) · through The Color of Money (1986), which they were tied to as critic: Paul Newman ⇒ The Color of Money (the host's read). Cruise picked up tips on managing movie stardom from Paul Newman on The Color of Money.
    “he picked up from the Paul Newmans of the world when appearing in the color of money.”
    The Big Picture · The Tom Cruise Hall of Fame · 0:44:17 · Sean Fennessey (0.40 sure it was them)

Raging Bull (1980): 1 line, within their own work

  1. people (origin of collaboration) · through The Color of Money (1986), which they were tied to as critic: Raging Bull ⇒ The Color of Money (the host's read). Newman watched Raging Bull on Ovitz's recommendation and wanted to work with Scorsese.
    “Paul Newman watches Raging Bull on, I guess Ovid's his recommendation and says, like, that's one of the best things I've ever seen.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:53:44 · unknown (0.30 sure it was them)

Rear Window (1954): 1 line

  1. lineage (stealth homage) · through After Hours (1985), which they were tied to as critic, hated it: Rear Window ⇒ After Hours (the host's read). The neighborhood shooting seen through a window is a Hitchcock rear-window moment never mentioned again; Hitchcock and Fritz Lang noir are influences.
    “there's Hitchcock and Fritz Lange Noir movies are a huge influence on this movie, and that's like such a perfect rear window moment”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:58:09 · Sean Fennessey (0.60 sure it was them)

Return of the Secaucus 7: 1 line

  1. lineage (lineage) · through The Big Chill (1983), which they were tied to as critic: Return of the Secaucus 7 ⇒ The Big Chill (the host's read). Called a precursor to The Big Chill.
    “precursor to this movie, Socaucus 7 is like this.”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:05:04 · unknown (0.40 sure it was them)

Rocky (1976): 1 line

  1. theme (anti-genre) · through Raging Bull (1980), which they were tied to as critic who panned the film: Rocky ⇒ Raging Bull (the maker said so). Scorsese shot in black and white to differentiate from Rocky-era bright red-white-and-blue boxing movies, and producer Winkler produced both.
    “Number one, I want to differentiate from the Rockies and all the other sort of boxing movies right now.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:08:55 · Griffin Newman or David Sims (0.40 sure it was them)

The French Connection (1971): 1 line

  1. lineage (lineage) · through Beverly Hills Cop (1984), which they were tied to as critic: The French Connection ⇒ Beverly Hills Cop (the host's read). Recast Popeye Doyle as Axel Foley and the movie barely changes; the apartments are essentially the same.
    “Like you take the French connection and you recast Dean Hackman's, you make Popeye Doyle, Axel Foley.”
    The Rewatchables · ‘Beverly Hills Cop’ With Bill Simmons, Wesley Morris, Sean Fennessey, and Chris Ryan · 0:23:34 · Wesley Morris (0.70 sure it was them)

The King of Comedy (1982): 1 line

  1. industry (studio retreat) · through After Hours (1985), which they were tied to as critic, hated it: The King of Comedy ⇒ After Hours (the maker said so: Scorsese's quote, via Biskind). King of Comedy bombing and Fox pulling it set up Scorsese's retreat to small-scale After Hours; he said 70s directors had lost to studios.
    “And that was when I really understood that the 70s were over for me”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:18:28 · Bill Simmons (0.50 sure it was them)

The Wizard of Oz (1939): 1 line

  1. lineage (homage) · through After Hours (1985), which they were tied to as critic, hated it: The Wizard of Oz ⇒ After Hours (the host's read). Dark-side-of-the-yellow-brick-road version; Dorothy walks into black and white instead of color, with 'surrender Dorothy' graffiti and Marcy's Seconal tie to Judy Garland.
    “it is like very much a Wizard of Oz kind of homage, and it's like if Dorothy instead walked into the black and white darkness”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:11:14 · Sean Fennessey (0.60 sure it was them)

William Randolph Hearst: 1 line

  1. unmapped (subject) · through Citizen Kane (1941), which they were tied to as critic, wrote Raising Kane: William Randolph Hearst ⇒ Citizen Kane (the host's read). Mankiewicz's script was a thinly veiled attack on his friend Hearst.
    “I'm going to make fun of my my pal, Jordan, you know, William Randall first.”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 0:39:21 · David Sims (0.40 sure it was them)

Drawn on by

What the speakers say drew on them or a film of theirs, marked the same way.

Goodfellas (1990): 2 lines

  1. unmapped (stylistic seed) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ Goodfellas (the host's read). Sean says the fast cutting, whip-pans and close-ups in After Hours are the seeds of Goodfellas' look, via cinematographer Michael Ballhaus.
    “just seeing all the seeds of Goodfellas and all these little edits and camera shots.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:04:02 · Sean Fennessey (0.70 sure it was them)
  2. career (career hinge) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ Goodfellas (the host's read). Bill says Goodfellas does not happen if After Hours does not happen first; the cancelled Last Temptation is the sliding door.
    “I don't know if Goodfellas happens.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:17:21 · Sean Fennessey (0.50 sure it was them)

Mank (2020): 2 lines

  1. lineage (visual influence) · through Citizen Kane (1941), which they were tied to as critic, wrote Raising Kane: Citizen Kane ⇒ Mank (the maker said so: David's interview with cinematographer Erik Messerschmidt). Messerschmidt told the interviewer he wanted low, deep-focus photography evoking Citizen Kane, not noir.
    “He's like, no, I want to do it low to the ground, lots of deep focus, evoking citizen Kane.”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 1:13:08 · David Sims (0.80 sure it was them)
  2. lineage (subject / source) · through Citizen Kane (1941), which they were tied to as critic, wrote Raising Kane: Citizen Kane ⇒ Mank (the host's read). Mank is partly inspired by Pauline Kael's essay on who truly authored Citizen Kane.
    “it's in part inspired by that very famous Pauline Kale, story raising Kane, about the true authorship of Citizen Kane”
    The Big Picture · Emergency Mailbag: The Oscars Are Streaming and Hollywood Is Fighting Over Trolls | The Big Picture · 0:58:09 · Sean Fennessey (0.55 sure it was them)

Schindler's List (1993): 2 lines

  1. contrast (method contrast) · through Empire of the Sun (1987), which they were tied to as critic: Empire of the Sun ⇒ Schindler's List (the host's read). On Schindler Spielberg refused to storyboard, almost as a reaction to criticism of the puppet-show control in Empire.
    “Schindler, the infamous thing, is that he was like, I won't storyboard this.”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 0:31:40 · Griffin Newman (0.50 sure it was them)
  2. unmapped (dry run) · through Empire of the Sun (1987), which they were tied to as critic: Empire of the Sun ⇒ Schindler's List (the host's read). Schindler's List is the more successful grown-up film that erased Empire of the Sun from memory; it was seen as the dry run.
    “Look back as this was the dry run before he totally cracked it on Shell.”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 0:30:35 · Griffin Newman (0.40 sure it was them)

Staying Alive (1983): 2 lines

  1. lineage (lineage) · through Saturday Night Fever (1977), which they were tied to as critic: Saturday Night Fever ⇒ Staying Alive (the host's read). The sequel; the hosts agree it is a bad one but Simmons is glad it exists and thinks it did not ruin the original.
    “I'm glad it exists.”
    The Rewatchables · ‘Saturday Night Fever’ With Bill Simmons and Jimmy Kimmel · 1:17:52 · Bill Simmons (0.80 sure it was them)
  2. contrast (contrast) · through Saturday Night Fever (1977), which they were tied to as critic: Saturday Night Fever ⇒ Staying Alive (the host's read). Staying Alive is so different that it did not ruin the original the way most sequels would.
    “it's just so different from Saturday Night Fever that it didn't ruin it in the same way most sequels would.”
    The Rewatchables · ‘Saturday Night Fever’ With Bill Simmons and Jimmy Kimmel · 1:18:06 · Bill Simmons (0.80 sure it was them)

The Color of Money (1986): 2 lines, within their own work

  1. career (career bridge) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ The Color of Money (the host's read). The camera moves of After Hours carry into Color of Money's pool table, tied to Ballhaus; both lead to Goodfellas.
    “that same thing, that camera is flying across the pool table.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:30:24 · Sean Fennessey (0.60 sure it was them)
  2. people (origin of collaboration) · through Raging Bull (1980), which they were tied to as critic who panned the film: Raging Bull ⇒ The Color of Money (the host's read). Newman watched Raging Bull on Ovitz's recommendation and wanted to work with Scorsese.
    “Paul Newman watches Raging Bull on, I guess Ovid's his recommendation and says, like, that's one of the best things I've ever seen.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:53:44 · unknown (0.30 sure it was them)

10 Years: 1 line

  1. lineage (lineage) · through The Big Chill (1983), which they were tied to as critic: The Big Chill ⇒ 10 Years (the host's read). Another reunion-with-a-great-cast attempt that did not match The Big Chill.
    “I kind of like 10 years.”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:05:20 · unknown (0.40 sure it was them)

Airplane! (1980): 1 line

  1. lineage (lineage) · through Saturday Night Fever (1977), which they were tied to as critic: Saturday Night Fever ⇒ Airplane! (the host's read). Airplane! parodies this film's romance scene three years later with Robert Hays and Julie Hagerty.
    “The airplane parody scene.”
    The Rewatchables · ‘Saturday Night Fever’ With Bill Simmons and Jimmy Kimmel · 0:50:19 · Jimmy Kimmel (0.50 sure it was them)

Beautiful Girls (1996): 1 line

  1. lineage (lineage) · through The Big Chill (1983), which they were tied to as critic: The Big Chill ⇒ Beautiful Girls (the host's read). Named among the later films that tried and failed to be the Big Chill for a new generation, along with About Alex.
    “I remember beautiful girls tried in the mid 90s and there's a movie called About Alex and the mid 2010s.”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:04:50 · unknown (0.40 sure it was them)

Bill Clinton: 1 line

  1. theme (theme) · through The Big Chill (1983), which they were tied to as critic: The Big Chill ⇒ Bill Clinton (the host's read). EW's 15th anniversary review blamed The Big Chill for soundtrack albums, 30-something, and Bill Clinton.
    “Hell, blame the big show for Bill Quinton.”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 1:29:42 · unknown (0.40 sure it was them)

Date Night (2010): 1 line

  1. theme (genre mutation) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ Date Night (the host's read). Date Night is After Hours turned into an action movie, piling on too much incident.
    “Date night is action movie after hours.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:40 · unknown host (0.40 sure it was them)

Doom (2005): 1 line

  1. unmapped (cultural legacy) · through The Color of Money (1986), which they were tied to as critic: The Color of Money ⇒ Doom (the host's read). Cruise saying 'Doom' in the pool hall scene led a software company to name its video game Doom.
    “That leads to the software company coming up with the name for their new revolutionary video game.”
    The Rewatchables · ‘The Color of Money’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:59:44 · Bill Simmons (0.60 sure it was them)

Fighting with My Family (2019): 1 line

  1. craft (craft) · through Saturday Night Fever (1977), which they were tied to as critic: Saturday Night Fever ⇒ Fighting with My Family (the maker said so: Merchant in this interview). Merchant treats the wrestling matches like the dance numbers in Saturday Night Fever, each with different moves building to a big finale.
    “the way that the wrestling sequences are almost little dance numbers.”
    The Big Picture · Pro Wrestling Goes to the Movies, Plus Stephen Merchant on ‘Fighting With My Family’ | Interview (Ep. 130) · 0:47:51 · Stephen Merchant (0.95 sure it was them)

Go (1999): 1 line

  1. lineage (influence) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ Go (the host's read). Go is late-90s After Hours with weird cameos.
    “they should have paid royalties to Sworses.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:36 · Bill Simmons (0.50 sure it was them)

Gone Girl (2014): 1 line

  1. theme (character type (Desi)) · through Lolita (1962), which they were tied to as critic who reviewed it: Lolita ⇒ Gone Girl (the maker said so: In the commentary). On the commentary Fincher says he wanted a Claire Quilty type for Desi and found it in Neil Patrick Harris.
    “Fincher said he wanted a Claire quilty type and he's like, what's a modern Claire quilty type?”
    Blank Check — Patreon · Gone Girl with Esther Zuckerman (Ad-Free) · 2:18:15 · unknown (0.30 sure it was them)

Her Smell (2018): 1 line

  1. lineage (inspiration) · through A Clockwork Orange (1971), which they were tied to as critic (called A Clockwork Orange prurient; 'bag of tricks'): A Clockwork Orange ⇒ Her Smell (the maker said so: Alex Ross Perry, the writer of Her Smell, speaking on this episode). The speaker says the film's five-act structure was a huge inspiration while writing Her Smell.
    “This movie, I think, and this was a huge inspiration in when I was writing her smell.”
    Blank Check — Patreon · A Clockwork Orange with Alex Ross Perry (Ad-Free) · 1:28:51 · Alex Ross Perry (0.80 sure it was them)

Hometown (TV series): 1 line

  1. lineage (lineage) · through The Big Chill (1983), which they were tied to as critic: The Big Chill ⇒ Hometown (TV series) (the host's read). The Big Chill was adapted as a short-lived 16-episode TV series called Hometown in 1986.
    “As the short-lived series hometown?”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 1:11:06 · unknown (0.30 sure it was them)

Mad Magazine's Saturday Night Fever parody: 1 line

  1. lineage (lineage) · through Saturday Night Fever (1977), which they were tied to as critic: Saturday Night Fever ⇒ Mad Magazine's Saturday Night Fever parody (the host's read). Kimmel says he read the Mad parody before he saw the movie.
    “I think maybe I probably read the parody of the movie before I saw the movie.”
    The Rewatchables · ‘Saturday Night Fever’ With Bill Simmons and Jimmy Kimmel · 0:50:52 · Jimmy Kimmel (0.80 sure it was them)

Oh Father (Madonna video): 1 line

  1. unmapped (tribute) · through Citizen Kane (1941), which they were tied to as critic, wrote Raising Kane: Citizen Kane ⇒ Oh Father (Madonna video) (the host's read). Oh Father is called Fincher's first Citizen Kane tribute.
    “This was his 1st Citizen Kane tribute.”
    Blank Check — Patreon · David Fincher Music Videos · 1:17:07 · unknown (0.40 sure it was them)

Peter Bogdanovich: 1 line

  1. unmapped (rebuttal) · them, directly: Pauline Kael ⇒ Peter Bogdanovich (the host's read). Bogdanovich wrote a big rebuttal essay to Kael's Raising Kane.
    “Peter McDanovich famously wrote a big rebuttal essay.”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 0:38:45 · David Sims (0.60 sure it was them)

Reality Bites (1994): 1 line

  1. theme (theme) · through The Big Chill (1983), which they were tied to as critic: The Big Chill ⇒ Reality Bites (the host's read). Reality Bites is the young-person reaction to the sold-out generation The Big Chill depicts.
    “And then that's why like reality bites hits and you see reality bites and you're like, oh, that's why Troy is like, fuck everything.”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:12:44 · unknown (0.40 sure it was them)

Robert Carringer: 1 line

  1. unmapped (rebuttal) · them, directly: Pauline Kael ⇒ Robert Carringer (the host's read). Carringer's book is recommended as the definitive text debunking Kael's Raising Kane.
    “That's the book that is like the definitive text that debunks Kale's book”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 0:42:09 · Sean Fennessey (0.80 sure it was them)

Shawn Ryan: 1 line

  1. programming (programming) · through Beverly Hills Cop (1984), which they were tied to as critic: Beverly Hills Cop ⇒ Shawn Ryan (the host's read). Shawn Ryan tried a Beverly Hills Cop TV show; CBS made a pilot that didn't work.
    “that CBS did a pilot for and apparently it didn't work.”
    The Rewatchables · ‘Beverly Hills Cop’ With Bill Simmons, Wesley Morris, Sean Fennessey, and Chris Ryan · 1:09:37 · Bill Simmons (0.50 sure it was them)

Teenage Sex and Death at Camp Miasma (2026): 1 line

  1. lineage (lineage) · through A Clockwork Orange (1971), which they were tied to as critic (called A Clockwork Orange prurient; 'bag of tricks'): A Clockwork Orange ⇒ Teenage Sex and Death at Camp Miasma (the host's read). The contrapuntal needle drop descends from Singin' in the Rain in Clockwork Orange and Stuck in the Middle with You in Reservoir Dogs.
    “all the way back to singing in the rain in Clockwork Orange or stuck in the middle with you in, in, in, in Reservoir dogs.”
    The Big Picture · The Final Girl Film Canon and ‘Teenage Sex and Death at Camp Miasma’ With Gillian Anderson, Hannah Einbinder, and Jane Schoenbrun! · 0:22:08 · Adam Nayman (0.55 sure it was them)

The Intervention: 1 line

  1. lineage (lineage) · through The Big Chill (1983), which they were tied to as critic: The Big Chill ⇒ The Intervention (the host's read). Another indie friends-weekend film in the same vortex.
    “There was a movie called The Intervention.”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:05:24 · unknown (0.40 sure it was them)

The King of Comedy (1982): 1 line

  1. lineage (spiritual sequel) · through Raging Bull (1980), which they were tied to as critic who panned the film: Raging Bull ⇒ The King of Comedy (the host's read). King of Comedy is a part-2 of sorts about a delusional comedian, echoing LaMotta's stand-up, and is part of a De Niro trilogy with Taxi Driver.
    “There's the king of comedy, the spiritual sequel to Raging Bull.”
    Blank Check with Griffin & David · Raging Bull with David Krumholtz · 1:55:42 · unknown host (0.30 sure it was them)

The Last Temptation of Christ (1988): 1 line

  1. career (career enabler) · through The Color of Money (1986), which they were tied to as critic: The Color of Money ⇒ The Last Temptation of Christ (the host's read). The paycheck-gig hit stabilizes Scorsese's career and makes Last Temptation and Goodfellas possible.
    “Must admit though, it is the guarantor that allows him to immediately then make. Last temptation of Christ in Goodfellas.”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 0:17:57 · unknown (0.30 sure it was them)

The Lovebirds (2020): 1 line

  1. lineage (unofficial remake) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ The Lovebirds (the host's read). The Lovebirds tried to be the After Hours of its day but never works.
    “on paper, you were like, yeah, sure, it's been too long since someone tried to make after hours.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:35:09 · unknown host (0.35 sure it was them)

The Night Before (2015): 1 line

  1. lineage (unofficial remake) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ The Night Before (the host's read). After Hours is the template for modern one-crazy-night New York comedies, none of which reach it.
    “It is one of those movies that kind of is like unofficially remade every 5 years.”
    Blank Check with Griffin & David · After Hours with Alison Sivitz · 0:34:18 · unknown host (0.40 sure it was them)

The Simpsons (TV): 1 line

  1. unmapped (parodied) · through A Clockwork Orange (1971), which they were tied to as critic (called A Clockwork Orange prurient; 'bag of tricks'): A Clockwork Orange ⇒ The Simpsons (TV) (the host's read). The Simpsons reference this film a lot.
    “But the Simpsons reference is clockwork orange. a lot.”
    Blank Check — Patreon · A Clockwork Orange with Alex Ross Perry (Ad-Free) · 2:29:53 · Griffin Newman (0.40 sure it was them)

Top Gun: Maverick (2022): 1 line

  1. lineage (legacy-sequel heirs) · through The Color of Money (1986), which they were tied to as critic: The Color of Money ⇒ Top Gun: Maverick (the host's read). Gap-based legacy sequels like Top Gun Maverick, Tron Legacy and Blade Runner follow the template Color of Money invented, though in 1986 sequels were derided.
    “now we get more and more like your your Tron legacies and your Top Gun Mavericks, where it's just casually... 37, 40 years later”
    Blank Check with Griffin & David · The Color of Money with Chris Ryan · 1:07:05 · David Sims (0.40 sure it was them)

Tropic Thunder (2008): 1 line

  1. lineage (inspiration) · through Empire of the Sun (1987), which they were tied to as critic: Empire of the Sun ⇒ Tropic Thunder (the host's read). Ben Stiller, on the Empire set as a young actor, was inspired by actors playing at suffering to make Tropic Thunder two decades later.
    “Which, of course, this is one of this movie's greatest, like, lasting legacies is that this, this is what inspires Tropic Thunder.”
    Blank Check with Griffin & David · Empire of the Sun with Bilge Ebiri · 1:49:05 · Griffin Newman (0.60 sure it was them)

Uncut Gems (2019): 1 line

  1. lineage (influence) · through After Hours (1985), which they were tied to as critic, hated it: After Hours ⇒ Uncut Gems (the host's read). Uncut Gems owes a heavy debt to After Hours; Go is also described as owing it royalties.
    “could a movie owe more of a debt to after hours than the cut gems.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 1:31:19 · Sean Fennessey (0.50 sure it was them)

What the speakers said they did

Other (13) everyone in other

What was said about them, by kind

unmapped (3)

  1. unmapped (critical dissent): Pauline Kael → After Hours. Kael called it a hired-hand vacuous piece of consumer goods; the hosts say that misses the movie.
    “Scorsese's using his skills and even his personality like a hired hand.”
    The Rewatchables · ‘After Hours’ with Bill Simmons and Sean Fennessey · 0:41:20 · Bill Simmons (0.50 sure it was them)
  2. unmapped (rebuttal): Pauline Kael → Peter Bogdanovich. Bogdanovich wrote a big rebuttal essay to Kael's Raising Kane.
    “Peter McDanovich famously wrote a big rebuttal essay.”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 0:38:45 · David Sims (0.60 sure it was them)
  3. unmapped (rebuttal): Pauline Kael → Robert Carringer. Carringer's book is recommended as the definitive text debunking Kael's Raising Kane.
    “That's the book that is like the definitive text that debunks Kale's book”
    Blank Check — Patreon · Mank with Sean Fennessey (Ad-Free) · 0:42:09 · Sean Fennessey (0.80 sure it was them)

verdict (3)

  1. verdict (verdict): Pauline Kael → The Big Chill. Kael did not much like it, calling the seven characters a psych-major version of a bomber crew.
    “you begin to see the film's flabby side”
    The Rewatchables · ‘The Big Chill’ With Bill Simmons, Chris Ryan, and Sean Fennessey · 0:32:10 · unknown (0.40 sure it was them)
  2. verdict (verdict): Beverly Hills Cop → Pauline Kael. Kael disliked the film because she saw Eddie's competence as a joke on white people.
    “his stardom was was offensive to her because he was using it in her opinion as a joke on white people and how dumb they were”
    The Rewatchables · ‘Beverly Hills Cop’ With Bill Simmons, Wesley Morris, Sean Fennessey, and Chris Ryan · 1:18:06 · Wesley Morris (0.80 sure it was them)
  3. verdict (verdict): The French Connection → Pauline Kael. Kael has an interesting take on how black audiences respond to The French Connection, brought up to explain her BHC reaction.
    “she's got a really interesting take on, on, on French Connection, for instance”
    The Rewatchables · ‘Beverly Hills Cop’ With Bill Simmons, Wesley Morris, Sean Fennessey, and Chris Ryan · 1:19:52 · Wesley Morris (0.60 sure it was them)

Fun items about them

  1. fun, about Pauline Kael: Kael's review of the film mocks Bosley Crowther.
    “she makes fun of Bosley Crowther in this very review.”
    Blank Check — Patreon · Lolita with Fran Hoepfner (Ad-Free) · 1:48:56 · unknown (0.00 sure it was them)