The Lambs' Q&A with Film Critic David Thomson

Summary

Film critics David Thomson and Foster Hirsch engage in a thoughtful discussion about the past, present and future of film directors. They analyze the careers of legendary directors like Scorsese and Tarantino, debate the problematic legacy of controversial figures like Woody Allen, and explore how shifting cultural norms are impacting creative expression. While they disagree on various directors, they find common ground discussing cinema's role depicting the American experience. They remain optimistic about film's future, even as streaming and other forces transform viewing habits.

Takeaways

• 😊 David and Foster have different opinions on some directors and films, but appreciate discussing cinema openly
• 🎥 David believes high quality TV series now surpass movies for cultural impact
• 😢 David worries people may not return to theaters post-pandemic, threatening film culture
• 👀 David had to reconsider some comfortable assumptions when writing the book to adapt to current cultural standards
• 😠 David refuses to dismiss great directors like Allen and Polanski despite their personal controversies
• 🎭 David argues cinema must explore romance and sexuality freely even if it makes some people uncomfortable
• 🎒 David selected Scorsese and Tarantino's latest films to show the crisis in America's relationship with cinema
• 📽 David highlights excellent work by minority directors, wanting to judge them as just directors, not minorities
• 🎞 David explores how being an outsider to American culture shaped his perspectives on its cinema
• 🤔 David and Foster debate favorites like Howard Hawks but appreciate discussing different opinions

Q & A

What does Thompson say initially drew him to film and shaped his lifelong passion for cinema?

Thompson says that from a very young age, around 4 years old, his parents took him to see films which had a huge impact on him. Even when he was terrified by a film, he still wanted to go back and be frightened again, so he developed an 'obsessive, compulsive relationship with the movies'.

How does Thompson compare the quality of recent TV/streaming series to recent theatrical releases?

Thompson feels that in recent years, the long-form streaming and TV series have been more impressive and involving than most of the films playing in theaters. He thinks we may be developing a habit of staying home to watch high-quality series rather than going out to theaters.

What two recent films does Thompson critique, and why does he find them problematic?

Thompson critiques Martin Scorsese's The Irishman and Quentin Tarantino's Once Upon a Time in Hollywood. He found them both overly long, expensive vanity projects that didn't have much cultural impact. He also feels they represented missed opportunities to make truly meaningful films.

How did Thompson's perspective as a Brit impact his view of American culture and cinema?

Having grown up in the UK, Thompson saw America as a land of culture, creativity and idealism. He says that as an outsider, he may have a more critical view of the 'American romance' than someone born in the US would have.

Who are some of Thompson's favorite directors that he wishes he could have included in the book?

He wishes he could have included Max Ophüls, French documentarian Chris Marker, Michael Powell, Elia Kazan, and Douglas Sirk. He explains why each would have brought something unique to the book.

How does Thompson address the challenges of writing about cinema amidst shifting cultural norms and cancel culture?

He admits feeling pressure not to offend or say certain things, but refuses to completely outlaw discussing filmmakers like Allen or Polanski based solely on their controversial personal lives. He warns of the dangers of letting 'illiberal forces' dictate such prejudices.

Why does Thompson argue against throwing out all of cinema because it has encouraged some 'bad' people?

He says most directors have been 'tough, ruthless, selfish' people with bad personal track records, but we can't discount the whole art form because of that. People are complex, and even people who've done bad things can create great art.

What are Thompson's critiques of both Triumph of the Will and Leni Riefenstahl?

While an extremely skilled visual stylist, he calls Riefenstahl's confidence in telling the Nazis how to stage events for her 'breathtaking'. He says Triumph is terrifying post-1945 but wonders if it was truly more propagandistic than many American films of the era.

Why does Thompson argue against biblical films, and what does he say often happens to even the biggest hits of the genre?

He dislikes nearly all biblical films, feeling the Bible is better left as a book to read. He argues that even massive biblical hit films like Ben Hur fade from memory quickly and aren't being watched anymore, showing their lack of lasting impact.

What does Thompson say the purchase of MGM by Amazon signifies about the film industry's future?

He says it shows the primacy of back catalog & streaming over theatrical releases. While Amazon may still fund films, their main incentive is to exploit MGM's library across their streaming platform over the next decade.