Sergio Leone

Episode 77 – @ScottPropAndRoll

During the pandemic, Austin-based prop master and art director Scott A. Reeder started messing around on TikTok, combining short but entertaining behind-the-scenes tidbits — alongside dad jokes. One-point-five million followers later, this work-based lark has turned into a phenomenon. On this episode, I’m joined by Jacob Gay, a former Evansville native who works with Scott on the CW’s current Walker reboot. The three of us discuss:

  • How his daughter prompted Scott, who’d always been shy about telling jokes, to make his first post;

  • Scott’s work on both generations of TV’s Walker;

  • and how his brilliant paper/rock/scissors Good, the Bad, and the Ugly parody was overshadowed by a breakthrough walking-home-from-the-bar joke.

Also:

  • How Reeder translated his professional craftsman expertise into a social network following;

  • why social networks are becoming promotional to working, below the line crew members;

  • and the nuts and bolts of monetizing a social media from a side-gig into a main income stream.

Scott A. Reeder is a prop master and art director who’s worked in TV and film (Machete, the Friday the 13th remake, Grindhouse, The Leftovers, Friday Night Lights, Panic, and Walker: Texas Ranger), including his work as co-writer/director (Boondoggle). His TIkTok, YouTube, Instagram, and various social media accounts can be found through his Linktr.ee.

Jacob Gay is a production specialist working in the Austin, TX film and television community. Originally from Evansville, IN, he loves comedies, playing the mandolin and watching basketball (go Pacers!). And podcasts, too, obviously.

Episode 60 – 'Two-Lane Blacktop' & 'Getting Straight'

Two filmmakers’ filmmakers, ones who both honed their craft in ’60s low-budget B drive-thru movies before achieving gradual and undeniable acclaim, died this past week: Monte Hellman and Richard Rush. I’m joined by Ted Haycraft to discuss Hellman’s most celebrated film and, arguably, Rush’s most interesting one. On this episode we discuss:

  • how Two-Lane was greenlit in the wake of Easy Rider, only to be abandoned by the studio on release and for decades after;

  • its European vibe as a race movie where no one wants to win;

  • the chiseled minimalism of its screenplay by Rudy Wulitzer;

  • Warren Oates’ rambling, engaged performance;

  • and Hellman’s varied resume, including everything from RoboCop to Head to Reservoir Dogs to an added prologue for the network television premiere of A Fistful of Dollars in 1977.

Also:

  • If Richard Rush invented the technique of racking focus;

  • how Getting Straight is depressingly still relevant today;

  • my seesawing views on this admittedly literate film over repeated viewings;

  • and whether or not the movie is speaking for itself through Harry (Elliott Gould) when he’s yelling at women who talk back to him.

Ted Haycraft is film critic for Evansville’s WFIE-14 and co-hosts Cinema Chat on its Midday show. He can also be found on Cinema Chat’s Facebook page.

Two-Lane Blacktop is not currently streaming or available on VOD. Physical media is available from Criterion.

Getting Straight is available on VOD, with physical media is available from Sony.