Is that true?īurt Reynolds: He was set to do it and something, probably good sense, told him he couldn't make a picture off the lot. I heard that Steven Spielberg was originally supposed to direct it. Quint: I read something about White Lightning and I don't know if it's true or not, so maybe you can clear it up for me.
DOM DELUISE BURT REYNOLDS SMOKEY AND THE BANDIT 2 MOVIE
Movie posters don't look like these days.īurt Reynolds: No, they don't. Quint: White Lightning's still one of my favorite movies of yours and the art is just amazing, so I jumped at the chance to pick this up when I saw it. I'd totally be down for a lengthy follow-up, but for now let's take a look at this Hal Needham-centric chat, which also happens to delve into Reynolds talking about being “hurt” by a young Steven Spielberg, praising Sally Field and calling himself a whore for doing Smokey and the Bandit 2. At the end of the interview Reynolds shook my hand, but held on, pulled me in closer and said “I will see you again, for sure.” There may be hope for a follow up, though. Reynolds is great, honest as all hell and we don't get nearly enough time to dig into his filmography as I would have liked. The conversation itself is typical of these interviews with living legends of cinema. Burt seemed surprised it was real and started pointing out some of the details, like the angry Ned Beatty Sheriff in the background shaking his fist, and saying how well done it is up close.
Vittum smiled big and started asking me questions on how I got it. Moss called it the second he saw it ("That's White Lightning!" and jumped out of his chair to get a closer look. Naturally I couldn't resist bringing the art in for a show and tell, so the interview starts shortly after I walked into the room with Burt, doc director Jesse Moss and the executive director of Burt's Institue for Film & Theater, Todd Vittum, original art in hand. In person this thing is staggeringly beautiful and vibrant. The crown jewel of my collection is Tom Jung's painting for the White Lightning Style B poster. It's a small collection (I'm not a rich man and collecting original art of any kind is a pricey hobby), but a quality one. I'm talking about the actual paintings that became movie posters. It was specifically about talking about his work with Hal Needham, which meant he was there to discuss his best films like Smokey and the Bandit, Hooper and the Gator McKlusky movies. This chat was a dream come true because it wasn't tied to pimping some random thing Reynolds did for a few bucks.
Much of this omniscience is glimpsed in the fantastic Jesse Moss documentary THE BANDIT which airs on CMT tomorrow evening and had a big premiere at SXSW where I actually got the chance to sit down with Mr. Burt Reynolds was there every time you turned on your TV, being interviewed on talk shows or appearing on game shows or being discussed in the news. This man ruled the '70s and early '80s, not only in terms of box office draw, but also in exposure. The latter describes an actor who is so huge in their moment, who radiates charm and charisma to such a degree, that they become an icon, a legend. To me there are famous actors and there are movie stars. To most people it simply means someone who is famous (even if temporarily) for starring in a film. The term “movie star” gets thrown around a lot.
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