‘Shampoo’ With Bill Simmons, Cameron Crowe, and Sean Fennessey

Key Takeaways

Shampoo" (1975) is praised for capturing its era with subtle social and political commentary.
Warren Beatty's distinct persona and performance in "Shampoo" are central to the film's appeal.
Goldie Hawn's character, Jill, is highlighted as a standout for embodying truthfulness and rejecting compromise.
The 1970s was a uniquely dynamic period for filmmaking, fostering strong directorial voices and creative camaraderie.
The film skillfully balances "popcorn" entertainment with deeper thematic exploration of "selling out."

Cameron Crowe described 'Shampoo' as "squishy, fun stuff" and a "popcorn movie about its time," avoiding a "slog."
Bill Simmons noted his evolving view, from a focus on nudity as a teenager to appreciating the film as a commentary on the late 1960s in his 50s.
The film subtly included political events, such as Nixon's re-election, without being overtly didactic.

Warren Beatty was aware of his on-screen persona, turning down roles like "The Sundance Kid" and "Michael Corleone" to avoid perceived risks.
His performance in the documentary "Truth or Dare" reportedly mirrored his off-screen persona.
Bill Simmons selected 'Shampoo' as Beatty's best performance, citing its unique fit, while another participant favored 'Reds' for its departure from his typical roles.

Cameron Crowe recounted a call from Warren Beatty, who praised 'Shampoo' as a "great movie" and expressed confidence in Crowe's future work.
Beatty later reminded Crowe of this call at a Vanity Fair party after Crowe won an Oscar, stating, "See what I said? Came true."
The host suggested Beatty is an "under-understood" figure in American cinema due to his fewer films but significant contributions.

The film's abrupt ending was deemed more effective than a considered 1975 epilogue, which would have shown messy character lives.
Director Hal Ashby was characterized as calm during production conflicts and praised for his belief in the editing process.
Jack Warden's performance as Lester was lauded, alongside his strong career run between 1975 and 1982 in films like 'All the President's Men' and 'The Verdict.'

A key scene debate between Robert Towne and Warren Beatty involved whether Beatty's character should confess affairs standing or sitting; Towne's choice to have him sit enhanced the scene's impact.
'Shampoo' was a commercial success, grossing $60 million from a $4 million budget and ranking as the third-highest film of 1975.
Lee Grant won Best Supporting Actress, thanking Towne and Beatty as the film's "shepherds and architects."

Nominations for most rewatchable scenes included George visiting Jill after Felicia, the chaotic hair salon, and George doing Jackie's hair.
Other notable scenes were George confessing love to Lucy with a specific song, and the disorienting opening sex scene.
The discussion also identified "most 1975" elements despite the 1968 setting, such as Warren Beatty's hair, the word 'groovy,' and riding motorcycles without helmets.

'Shampoo' captured Los Angeles in 1968 as an unrecognizable, smaller, and more approachable city with winding roads and lower building heights.
An anecdote about actress Lee Grant walking off set during filming was shared, alongside a humorous comparison to Steven Seagal.
The film explores Hollywood's past and present through the role of a hairdresser, emphasizing the intimate nature of the profession and its significance in Hollywood's focus on appearance.

The discussion highlighted specific elements such as the pairing of Warren Beatty and Jack Warden, and the impressive real estate of Lester's house.
Carrie Fisher's early comedic performance was noted, with speakers speculating on her career path without "Star Wars," citing her talent in "When Harry Met Sally."
The "stealth homage" award was presented to William Castle for his appearance as Sid Roth, who propositions Jackie at a party.

Instances of "overacting" were identified, including Warren Beatty's crying scene and Jay Robinson's performance as Norman.
Cameron Crowe offered his "least rewatchable" take on 'Shampoo' within Hal Ashby's successful run.
Goldie Hawn's "adorable" screen presence was discussed, with speculation she missed out on the late 80s/90s rom-com boom, potentially taking roles from Meg Ryan.

Cameron Crowe noted Philip Seymour Hoffman's portrayal of Lester Bangs in 'Almost Famous', highlighting Hoffman's suggestion for a quieter, more intimate approach in a scene which Crowe found spectacular.
The "picking nits" segment began with confusion about whose house a party was at and why a character would be upset about going to his own house.
Practicalities of securing a $10,000 salon loan in 1968 were questioned, citing George's simplistic "just trust me, bro" approach.

Participants discussed potential movie memorabilia, focusing on the Triumph motorcycle and a specific leather jacket, though opinions differed on their iconic status.
The blow dryer was highlighted as a significant prop, leading to a discussion of "rewatchable studio props."
The film's core thematic takeaway was identified as "selling out," which involves characters making compromises for comfort or security, though not all agree on this interpretation.

The discussion turned to emerging stars, with Timothée Chalamet and Leonardo DiCaprio identified as having strong audience connections.
DiCaprio's early career in "Growing Pains" and "This Boy's Life" highlighted his talent and ability to evoke empathy.
Speakers debated whether original, character-based dramas can still draw audiences based solely on star appeal, noting how superhero movies may have shifted career goals for younger actors.