FILMOGRAPHY

Peckinpah: I think the role of the critic is very important to films, and that’s why I get so goddamn angry when the critics don’t pick up on good films and go along with bullshit, as they did on Bogdanovich’s film, The Last Picture Show, which was a crashing bore, and ignore something like Two-Lane Black-top, which I thought was a potential work of art. The Last Picture Show was artsy-craftsy, jacksy-offsky and a real pain in the ass. I was supposed to have dinner one night with Ben Johnson, who was superb in it, but I knew Peter would be there and I’d have to hit him right in the fucking mouth, so I didn’t go. I really hated that film.

Playboy: What films have you liked recently?

Peckinpah: My own. I make marvelous films. I think Junior Bonner, which I shot in 40 days, may possibly be my best picture. I’m truly delighted with it. And I don’t think McQueen has ever been better, which is saying a lot. The picture’s about three days in the life of a bull rider, a loner on the rodeo circuit.

Playboy: What about The Godfather?

Peckinpah: Haven’t seen it — but I hate Coppola, too.

Playboy: Why?

Peckinpah: Because I hear the film is great and the only movies I want to like are my movies. I don’t want any other son of a bitch making good movies.