Interview - Bud S. Smith (Associate Producer, Editor - The Karate Kid)

Let's Talk - Cobra Kai
Episode 140: Interview - Bud S. Smith (Associate Producer, Editor - The Karate Kid)

Jason Connell shares a conversation with two-time Oscar-nominated editor Bud S. Smith, who was an Associate Producer and Editor on The Karate Kid. They discuss working with some legendary directors (William Friedkin, John G. Avildsen, Sam Raimi), as well as producing, directing, and much more.

Recorded: 03-28-23 & 12-17-20
Studio: Just Curious Media
https://www.JustCuriousMedia.com/

Listen:
https://LetsTalkCobraKai.buzzsprout.com/

Watch:
https://www.youtube.com/channel/UCNfekAT0gN4to-6j2iKhGQw/

Follow:
https://www.facebook.com/LetsTalkCobraKai/
https://www.instagram.com/LetsTalkCobraKai/
https://twitter.com/TalkCobraKai/

Hosts:
https://www.instagram.com/MrJasonConnell/
https://www.instagram.com/SalvadorLosAngeles/

Support:
https://www.patreon.com/LetsTalkCobraKai/

#justcuriousmedia #letstalkcobrakai #mrjasonconnell #salvadorlosangeles #cobrakai #thekaratekid #daniellarusso #johnnylawrence #mrmiyagi #senseikreese #ralphmacchio #williamzabka #patmorita #martinkove #allvalleykaratechampionships #martialarts

Transcript

Jason Connell: 0:01

Whoa, just curious. Welcome to Just curious media. This is let's talk Cobra Kai. And I'm Jason Connell. So I am here today with a very special episode. I interviewed bud s. Smith, the Associate Producer and editor of The Karate Kid, the classic film The origin of it all. Way back in December of 2020. It was actually December 17 of 2020. And the reason I did this interview is because I was doing an episode of Let's Talk movies, it was actually episode three, to live and die in LA. William freakin incredible masterpiece of a movie. I love it. I revisit it all the time. But while I was researching the movie, doing my notes for the episode, I came across bud s. Smith, he was co producer of that film, second unit director, supervising film editor. But what stood out to me was the fact that he was born in Tulsa, Oklahoma. So I reached out to him, we had a great conversation. His credits are in credible. And then we did an interview. And I was gonna just maybe talk about to live and die in LA, or maybe just talk about the Karate Kid. But we talked about lots of things. And I released it as episode 14 on Let's Talk movies, because it was so encompassing. It was more than the Karate Kid. Well, it's been some time and I figured this episode this interview needs to be on let's duck Cobra Kai as well. So I didn't pull everything out just leaving the Karate Kid stuff because it's not a ton. I wanted to play it in its entirety. So more about bud s. Smith. He is a two time Oscar nominated editor. Incredible. And that was for the exorcist. 1973 also with William Friedkin, who directed and Flashdance in 1983 he didn't win either. But he was nominated. And then he won a BAFTA for Best Editing of Flashdance. So, this guy, this mud guy is killing it. And him and William freaking developed a friendship. And he went on to work with freakin on the sorcerer in 1977, the brinks job 1978 Cruzi 1980 deal of the century in 1983. And beyond working with frickin but as Smith worked on some kind of wonderful with Howard Deutsch, the John Hughes movie as the editor, he directed Johnny be good in 1988 dark man 1990 Sam Raimi movie, he was editor and supervising editor and of course, dark man was Larry Drake, also from Tulsa, Oklahoma, rest in peace, spoke at my high school graduation, he did the commencement speech, but amazing, these weird parallels. So it's a wonderful conversation. He's very witty, very smart, new, any and everybody in Hollywood just was in that era, right? An era before mine, maybe even more than one era. But it's just amazing to see these talented guys who worked on tons of movies guys and girls, I should say. But something came to light during my conversation, my preliminary phone call with but I discovered this and really thought long and hard how to handle it, but I'll explain. So he had survived throat cancer in more recent times, and lost half of his tongue and had his jaw replaced. So for bud to speak, it's difficult. It's more of a soup and smoothie diet. And you have to really focus to hear all of his words. He's incredibly bright, like I mentioned, but, and he speaks very fluently, but you've got to focus. And when I first talked to him on the phone, I was like, Oh my gosh, how's this going to translate to podcasting, but that I was in post production editing the original episode that I aired it on, and I was like, it sounds great. We had a nice fluid and fun conversation. And so I figured I'd bring it here as well. And release it on let's talk Cobra Kai. So I do hope you enjoyed those watching on YouTube. Unfortunately, you're going to have to download the podcast version to hear but as Smith but it's well worth your time. Trust me on that. So without further ado, please enjoy. But as Smith but I was really fascinated like because I haven't grown up in Tulsa as well and moved to Los Angeles. It's amazing. I couldn't believe and I looked up your name where he said Also from Tulsa.

Bud S. Smith: 5:02

Oh no, I was born and salsa. And I, my parents moved because houseplant five is so

Jason Connell: 5:10

Okay, so you're more of a California.

Bud S. Smith: 5:13

I hit sure I was awesome. Yeah, you did.

Jason Connell: 5:16

You did. So you moved to California when you were five? And yes. From five years old until we started your career. Were you just always fascinated by movie making filmmaking or, like what led you towards it?

Bud S. Smith: 5:30

I was kind of a rich man. I wanted to be a racecar driver. And so when I was young, I was in high school. And I was doing that and so I a Java zero water and the documentary. And I did that with Dario Walter for 10 years. And then I moved to New York, and worked with Douglas Grayson for a try. So I've had very strange working relationships. You didn't jump ahead. That's okay. Go ahead and move on. Well, I

Jason Connell: 6:23

didn't know about the David wallpaper. I actually read a biography of his twice I enjoyed it so much. He did a bunch of documentaries. Didn't he wind up producing the Olympics in Los Angeles at one point in time?

Bud S. Smith: 6:34

Well, I didn't. I was only right.

Jason Connell: 6:41

Of course. So and then you jumped into freakin which is obviously a talking point because I've been a huge fan of William frequence forever and you worked on several of his movies. I mean, going back to the Exorcist, which you also nominated for an Oscar for film editing.

Bud S. Smith: 7:00

Yeah, the I was a billy fishin when I was doing Jack Demetri Hey handsome as young documentarian, and I was in as very low water. And we have a kid and he went off to do his, his vicious situation with Aaron Fisher there. And Fisher back in New York. And if I, I was doing a film as well as Jai Shinya, and I live five years with him, and I have run as a spaceman. As the laboratory. We run Jays. And so we just have gone to a show. And a few years later, he called me Want me to work with him on the acidosis. And they sent me a fine price range. And I said, Hey, you can't do this. Well, he's Yes. All shy away. I go, New York, and we work on on the asbestos. And I find what I say Los Angeles in his hand, Sue, and we wish to say hi to, to you. Final sound there. And we were there for like three months. During the sound. It says a way that the showing says I jump ahead.

Jason Connell: 8:51

But no apologies needed. So did you know in the middle of editing the Exorcist, just how special the film was always going to be?

Bud S. Smith: 9:00

Yeah, really? No. Yeah, just you see, one to her changes. Excellent film. And that's when I realized this was more than just high film right. So it was Fujairah shale?

Jason Connell: 9:25

Absolutely. And it still holds up today.

Bud S. Smith: 9:30

Yeah, well, I have

Jason Connell: 9:35

I bet you're very close to it indeed. And obviously you guys built a good working relationship to work on that many projects together.

Bud S. Smith: 9:43

We here took us into this.

Jason Connell: 9:52

Absolutely. So after the exorcist and sorcerer and the brinks job cruising deal of the century, it leads me to a movie that I'd like to discuss. Gus with you, which is to live and die in LA. Yeah. And on that movie, you were credited as second unit director, supervising film editor and CO producer. And I just covered this movie on my let's talk movies podcast. I've always loved this film. And you had a big role in it many roles. And so maybe you could just kind of take me behind the scenes a little bit about this production.

Bud S. Smith: 10:28

I can only show you what you know, I was one who was Billy and his came up position to live in Jaya Laya also have ish but and I say both higher shutter speed. And we just whip when we're probably a year shooting it. And we just had a location which i i was a driver, that issue is high. And show I was driving really every place we went out location, which was down a river VIVA LA and I will up the water submit size and around here I set so we kind of put that in a movie to use that

Jason Connell: 11:28

same gimmick or the same terrain and the movie Grease

Bud S. Smith: 11:31

as right after that. Yeah. After I Oh, wait.

Jason Connell: 11:38

I think Greece is actually sooner.

Bud S. Smith: 11:41

They enjoy what we Yeah,

Jason Connell: 11:44

no, no, you guys took it to a whole other level. You showed a side of Los Angeles that I didn't know existed. And yeah, that chasing? I've got to say that I've read so much behind the scenes, but I'm just reading you were there. But was it true that that was put off until the end just in case someone got injured?

Bud S. Smith: 12:02

Just session? Yeah. Pretty much I sit in the hardware location. Shoot that on a weekend. So we will shoot it Saturday and Sunday and then wrap it away and do something else. So come back and say I saw and Dash was belly is more ideas of what to do. And that was the chase down a river bottom. Comment from ever Joe was going as fast as we could. And we're horses wire sail and out of a river bottom and went down. Then we made a harvest had to go down to San Pedro and actually found downtown. Downtown San Pedro. And you couldn't tell the difference. It was just a good sanitation.

Jason Connell: 13:12

Absolutely. I noticed that there's a lot of things that are in Long Beach in that movie. Yeah.

Bud S. Smith: 13:18

But not a lot. The Song Song.

Jason Connell: 13:20

Yeah. So a second unit director, what were you shooting? What was your responsibilities?

Bud S. Smith: 13:26

I had a seven year arrow, which meant I had to go out and shoot live I was that I would shoot for high stages. And you know, I would be shooting along with Billy face and he would be shooting an actor. And I was shooting a stuntman and a chase car. Because here's a Cheyenne car chase, say who's down to Aruba was trained. And so this high has out run the train. And it has a stunt guys doing what's a zoo, which was out running this train going over this fast young lady they went and champagne. And it's just as him. Yeah. I don't know, if you tell us what's that all about?

Jason Connell: 14:26

Oh, it's great. And earlier, you had mentioned documentaries and just to kind of catch up on myself I actually produced and directed like 10 award winning documentaries. I cut my teeth on documentaries. So I have a lot of respect for them. And with documentaries, you find the story in the editing a lot of times most of the time. So I think it made you probably a more astute editor. For sure. Obviously in your credits speak for themselves. And not to put me in your class by any means. You worked on some of the greatest movies of all time.

Bud S. Smith: 14:59

Yeah, I was Jana I Aspies via Ovation drive around three very exciting places. I wish alone for a few years. And that's when i i wish highs that filmmaker. I had I been in filmmaking but raishin and filmmaker. And so I've finally shy I've made her living. And that's why you're shy various sets of film.

Jason Connell: 15:37

Yeah, all those scenes from to live and die in LA had to really be exciting for you because you were able to tap into your love for car racing. And it obviously led to one of the greatest car chase scenes and American film history is definitely a crowning achievement for that movie. I've brought it up for years. Because a movie needs like that scene that you can quickly just tell someone about like, Oh, you got to see till the night in LA, this is a great car chasing, it's more than that the movie is much more than that. And about the movie, it's one of the first times that I can recall that has that big pivotal change late in the movie or you lose your lead actor. And it just continues on. I mean, that's a device that is not very common. And I know that freak Ken had to shoot this crazy all ending. And maybe just talk a little about that about just how dramatic that was to make a movie lose your lead, and also how William freaking had to fight for that, right?

Bud S. Smith: 16:34

We shine as different engines over has a studio, and for years are one of the engines are still alive. So we had to figure out how to do that. So we went off and shot it was to Alaska. And anyway, we shot that on a chaise in LA. And Alaska, in shows was LA and we shot this is it. And Bailey Hey. So it's fair for the producers. And I say hey, so we didn't use it.

Jason Connell: 17:23

It's terrible. I No offense. I saw it on YouTube. And I'm like, No, the movie works the way it is. Yeah. What did you think of that kind of pivot in the movie at that point in time to lose chance. And that fashion in that very grotesque fashion

Bud S. Smith: 17:38

in a way that's not having says die by having a different engine. But we didn't realize that we wanted to share sewage shot in the face for this island. And wheezes and that's why we The film went out.

Jason Connell: 17:57

I mean, but the film is called to live and die in LA it's very fitted

Bud S. Smith: 18:03

that it was

Jason Connell: 18:05

and that's a great and then obviously he had some great stars in that movie had a young William Defoe, you had John Turturro and I liked it. He also cast these two relatively unknown so he just weren't caught up in their Mystique as a star. And they later became bigger names. I mean, it William Peterson who went on to have some success, of course, but I love that he cast these relatively unknown They had been together, acting in Chicago and he found them there and it was really smart. He made some smart decisions along the way. And there was also Valentin de Vargas was in the film and he had a small role and to live and die in LA. He was also great. Do you know where Valentin was born by chance? No, no Tulsa Oklahoma. True story

Bud S. Smith: 18:57

maybe I should wait.

Jason Connell: 19:00

Wait a second. I stand corrected. I had it flipped. He was born Alburquerque he passed away in Tulsa, Oklahoma.

Bud S. Smith: 19:07

Ah, so that was it?

Jason Connell: 19:13

Yes, exactly. Yeah. So I had that flipped. I remember looking this up when I was researching the film and I'm like, wait another Tulsa time, but he actually passed away. And Tulsa. But yeah. And there was other great characters in the movie. By the way. There was great performances by Steve James who passed away too soon. Dean Stockwell was fantastic in the movie as well. Yeah. Some really, really wonderful actors, but I just think it's a movie that holds up over time. It was so fun to cover on our podcast, and even the music even to get a song by Wing Chun who was huge at the time. Yeah.

Bud S. Smith: 19:49

It is, and decided he wanted me to film. So he sent him a squid and said why I first film. And they did. And what Bill it was trying to do it, it hadn't raced Fontana, right. So he bombed LA and put them up and took them over the Thai jail for missing the film. And they spent a month. And they wrote his music for the film. And I wondered, anyway, I really liked it. And I liked it. And that is I said, So it said,

Jason Connell: 20:36

the music is wonderful. It helps us the pacing throughout the whole film. But I did read that freak and said, Whatever you do, don't make a song called to live and die in LA. And of course, they made that track to the title.

Bud S. Smith: 20:51

But I said,

Jason Connell: 20:53

yeah, yeah, exactly. He kept it in there. So yeah, it's a great, it's so fitting. And I gotta say something else with that movie that you just don't see. It shows you how to make counterfeit bills. Really, essentially, it's like a lesson on how to do it.

Bud S. Smith: 21:08

I shot all right, that was second unit is finishing on a sentence that we laid it in the film, and Billy didn't have time to stop and shoot that song in church. So I had a shot. I knew where he was gonna put stuff in. Well on the phone and show I was just through it and knew Hey, I have put this stuff together. And we had out and Palmdale warehouse. It was pretty bizarre to say hi, mate nine. It was shot. So you could do if you want to. They had to do it on both sides.

Jason Connell: 21:58

Right? Well, how did you know how to do it? Did you have these people on set that showed you how to do it.

Bud S. Smith: 22:04

I was lucky enough to have done some research and I found shoe found. That had been a rashes. We had our payload chest to LA and hill that houses Joey brought his power foods in and I wasn't sure where they were. And they had this prayer machine. And I put it up all of us might shoot an arrow shirt. And then Billy went back and puts a room's a photo shots. And and you may say

Jason Connell: 22:50

oh, it looks great. When you see masters played by William Defoe. And he's cutting the bills. And he's doing all the behind the scenes how to do it all the way up to putting it in a dryer with poker chips, the whole bit. And I even read that some fake bills got into circulation. Was there some truth to that?

Bud S. Smith: 23:08

Yeah, yeah. So it had to do as a prop. Boy, he was the one ahead all of the counterfeit money. And I said his his Troy bells, and went to a liquor store and bought santoon found lots of counterfeit. And I trashed it all back to us. And we have a ration for Halloween. Yeah, so we had a we had Asians on the film. That kind of was our chance neighborhood advisor. And he has a chef can stop them from coming in.

Jason Connell: 23:56

Did you get a sense of those bills when you actually held it in your hands and felt it? Does it feel like a real bill? Does it look very passable to you? I've never even seen a counterfeit bill as far as I know. Anyway. The bills? Yeah, the bills themselves if Did you hold them and feel them? And if you didn't know any better, would you recognize them as phonies? No. Yeah, in the movie, they looked amazing. Of course, I'm seeing a movie, but it's cool to hear up close and personal that they obviously could pass for real money. Which is

Bud S. Smith: 24:25

yes, they did. Obviously he did. Yeah, he spent

Jason Connell: 24:29

them exactly. They did use them. Now many movies covered this subject matter. And that's what I was always intrigued by. And it's a movie that shows the darker side of law enforcement really life they'll break a million laws to bust one guy I enjoyed as a film watch your film view or film lover, but the ethical questions they went against any and everything that they should they crossed every line and the movie also feels like It's kind of a self fulfilling prophecy in the way that chance loses his partner. And then he loses his own life. So then Vukovich is the new guy in charge. And it's just going to keep going to the next guy in a VUCA veteran probably have a new partner, he'll show him the ropes, and then maybe he'll be often it's this kind of continues to happen.

Bud S. Smith: 25:21

light goes on. Yeah, it would pass out. You know, yeah. His outfit, his shirt and his heart and all that. And then he was open to rifles on.

Jason Connell: 25:42

Yeah, I did like that I liked the way he stepped up from the nervous guy to being the guy. And yeah, now she's his informant. And what just it stayed with me. And that's the beauty of great filmmaking, you can hold it up. 20 3040 years later, it still works. I've told so many people about it that had never seen it. And then they go and watch it. And they're riveted. Like, I had no idea this movie was out there. And I think because it wasn't as big of a hit, as it probably should have been, in my opinion. But it's a little treasure that definitely holds up because obviously yourself and frickin and the cast and crew and it's just a great film soundtrack the whole bit from head to toe. So congratulations. Thank you for putting that in the film archives for us, if you will. And if you don't mind, I'd love to pivot to this other movie that I cover on a different podcast. It's a podcast called Let's Talk Cobra Kai, that is everything Karate Kid and the new show Cobra Kai related. And of course, that is the Karate Kid. Which your editor and associate producer on. That's insane. I cannot believe this. But how did that come about? How did you get a job working with John G. Appleton. Rest in peace?

Bud S. Smith: 26:57

Oh, Ashley was Was she produces? Yeah. Oh, yes. Yeah. And I, we hit. I hit I was him. And it was just a marriage. Amazing heaven. And so he went off and dies. Yeah, he was a survivor with his girlfriend. And then he'll come back. Is this died in a hotel. It was a young guy who I know. Yes, wasn't his way.

Jason Connell: 27:34

Right. I read his autobiography several years ago loved it. Then the HBO did a whole special on his story. So I became a huge fan the way he worked with Elvis, and then Frank Sinatra. And he was just this producers producer. And he movies like Ocean's 11. And of course, he had a lot to do with the Karate Kid, which launched a huge franchise, but so you knew him you got to work on this film. But I'm telling you did you know again, maybe not like the exorcist or to live in LA. But did you know how special this project was at the time?

Bud S. Smith: 28:10

No, I did not. I didn't have clues. I didn't have a clue. But it was. So boy shine via light head high school. And I've been tested on and a five got into me. I was the horizon issue. He showed her how to do it one of Hawaii championship. Yeah, there is

Jason Connell: 28:47

I can imagine. So please tell me I mean, yeah. What was it? What was that journey?

Bud S. Smith: 28:52

It says, Wait a while, right. They'll realize you have to fill it out fill, as they do realize that that was a surprise. Should we put this five words

Jason Connell: 29:09

as your role as an associate producer on the Karate Kid? What were you doing exactly in that role? Besides the editor? We'll get to the editor in a minute, but the associate producer in you, what was your job?

Bud S. Smith: 29:21

Well, I had was to survive to elevate myself and production. And so just being a film show, I wanted to be like associate producer something that would elevate me. And yeah, why shop and I was like friends, and he made me wherever, wherever I was, and that was it.

Jason Connell: 29:48

Okay, okay. So the relationship and you got a producer credit. But really, you're an editor on this film, and I'm assuming that you had didn't really find this movie in the Edit because, I mean, it's a simple The story Yes, bullied kid learns karate wins tournament but you and I both know it's much more magical than that. I mean, you had a great team. You had the director John G. Allison, who did Rocky, and it really has some tie ins to Rocky. And of course, some themes, if you will. Yes. Bill Conti. Exactly. Yeah. And Ralph mazzio was coming off some great movies, one of which was the outsiders, which was filmed in our hometown of Tulsa, Oklahoma. And he had the chops. He's a great actor and Miyagi, played by Pat. Marita would go on to be nominated for an Oscar in his incredible role of Mr. Miyagi. So there was a lot of good things at play here. And there was other editors, right? If I'm not mistaken, are you the lead editor? Or

Bud S. Smith: 30:48

I say who I had one person was okay, there sighs my assistants, and I chose three assistants. Anyway, we had enough hateful zoos job,

Jason Connell: 31:01

but when you're in there editing and finding the solution to the flying the chopsticks and all these funny little things and moments and Conte score, what was that editing like that whole process finding?

Bud S. Smith: 31:16

John Allison shoots a lot of film. So do you have also his Jay's daily basis? And shoot the best part shot and you fail for the best pies have ever seen as far as now is John Allison, but every one I have famous US is lava. Jaikishan. Five years for him. It was always trying to find this joy and find a piece that fits it.

Jason Connell: 31:55

Speaking of Robert Downey senior he was also in to live and die in LA which was nice.

Bud S. Smith: 32:00

Yeah, he was. Yeah, he was a because of me. I was he was of the police Hasson. Yeah. And

Jason Connell: 32:12

he was great in that role. Yeah,

Bud S. Smith: 32:14

it was just a soulless thing. But

Jason Connell: 32:20

okay, pivoting back to the Karate Kid. So you're editing the movie, you have all this abundance of footage courtesy of Appleton. And you start to pull out the right takes of each scene. And you start putting it together. And of course, we can't see score. I'm sure it starts to come to life. And there is beautiful moments in this movie. But it had to be exciting to find the story in there. Yeah. What was that? Like? I think I read that Allison was also an editor. He took an editing credit. So he must. Yeah,

Bud S. Smith: 32:50

he said he's really a sloppy, hire an assistant. But he was put shots here. And so hey, I wouldn't call him in.

Jason Connell: 33:07

Okay, fair enough. Well, I'm not I just saw the credits. But you know, this is why I'm talking to the man that can set the story straight. But so anyway, you're starting to put the story together. And I mean, he already told me he had no idea it would have this sort of life, but for it to become the hit that it did. But obviously, it has to be exciting to be part of a hit. It's obviously something that's happened in your career more than a few times. But this movie, I mean, it still works today, this many years later, because this movie came out in 85, as did to live and die in LA. And in fact, it spawned several sequels and it's launched his TV show in 2018. That I don't know if you've paid attention but Cobra Kai after going on Netflix and August is was the number one show on Netflix for several months. So it all started with the Karate Kid because the show brings back ruff maggio, William Zabka Martin Cove, and they're continuing the characters on 35 years later and I'm telling you it is really well done well crafted. So not very often do you see a show revisit something and hitting the same notes and Season Three comes out in January. And it has become a crown jewel of Netflix. So you might want to take a look at it. Yeah.

Bud S. Smith: 34:25

Oh Cobra Kai COVID.

Jason Connell: 34:27

They took on the the moniker from the movie of course the Cobra Kai dojo, and it starts to tell that story you you see a different side to Johnny, Johnny Lawrence, played by William Zabka get to understand his side more you see him mature Daniel Russo. Obviously we have no Mr. Miyagi because Pat Morita passed away, but it's beautifully done. well crafted is a younger generation of Miyagi dough and Cobra Kai students and mixed with the adult versions of the Russo and Lawrence and of course, Martin Cove is amazing as usual. He was a great villain as I was growing up and it just hated it. It feared the Cobra Kai dojo. And I mean it works today, obviously, as I just pointed out because of the show, but you know what else I noticed from that movie when it came out it had a huge impact on probably martial arts across the country. In a positive way. It probably made karate dojo is open up all over the country.

Bud S. Smith: 35:26

Yeah, well, Ash was supposed to do.

Jason Connell: 35:29

That's exactly right. Yeah, this

Bud S. Smith: 35:31

is why I was with fire. La, here and I have a relationship and, and that's why it is right here.

Jason Connell: 35:45

I always wanted to meet him. And unfortunately, I didn't. But it's really amazing to hear that you guys had this bond and friendship. And that's really special.

Bud S. Smith: 35:54

If it wasn't a bearish position. If you wanted to boys, right. Yeah. So what he was he loves to come. And watch me work. That was one of his J switch. Yeah.

Jason Connell: 36:11

Why everything I read about him. He was just a larger than life character and anything he touched turned to gold. It's amazing, right?

Bud S. Smith: 36:19

Yeah. Yeah, everything is it was when I was a script. Yeah, I love T shirts. This is visually visualization, and hash and addressing it turns out it all. So I remember when we went to Favier, we went to Jim for how to favorite summer movies here. And there was full edge. And when after that was all over it. They were clapping. You know, I was out in the lobby waiting for people streaming out of the seer just fucking falls lights. I mean, I thought it was hilarious. So at that point, he had a hit on his hands. And if she changed last time, last time, million dollar film, and that was a half a half a show a one shot.

Jason Connell: 37:36

I gotta tell you, I was one of those kids. I was 14 when the movie came out. And had I been in that screening, it would have lost my mind. I saw it. I saw it in Tulsa, Oklahoma, right after it came out. And it was a game changer. For me. It was the right age. It hit me very deeply. And when you're young, and you see that and you're very impressionable, and you see a movie that way that is about young people dealing with problems and overcoming them and bullied and rising above the situation. Yeah, it's triumphant. It's something I'll never forget. And the movie has real magic to it.

Bud S. Smith: 38:12

Yeah, right. It meant a lot to it says time?

Jason Connell: 38:15

Yes, it did. Yes, it did. And in fact, a wine shop, I read that he was in production on the sequel 10 days after the original movie was released. So yes, he was very aware that he had himself a hit a hit franchise. And he was exploiting it for sure. Yeah. But

Bud S. Smith: 38:32

he knew I was off doing something. It was really a twist and it in. And I had no desire to go on with another device. Right. So that was my problem, because I probably own pilot.

Jason Connell: 38:52

Well, just to pivot really quickly, not as in depth those the two movies, I really wanted to get in depth, and thank you, but for your time on those. I just wanted to hit a couple other movies that were big to me. And obviously it's want to hear just a little bit about but you edited some kind of wonderful, directed by Howard Deutsch and written by John Yes, that was a great film as well coming of age movie, Eric Stoltz. And so what was that experience like?

Bud S. Smith: 39:17

The choice was not was considered that we were on a set where I said, I'm gonna show you a lot, but who is shooting? So every day, as the day says, and he was shoot so far when I filmed that people were asleep and yes, 50 cents or something. So that was how is judge who is one of my favorite investors.

Jason Connell: 39:56

So your memory of some kind of wonderful was a ton of film to go Throw.

Bud S. Smith: 40:01

So how wonderful was just film of us? That high school? Yeah.

Jason Connell: 40:11

Well, I'd had that John Hughes magic about it. I did like it. He wrote it. Obviously he didn't direct it as we've talked about, but it's still enjoyable. It still holds up. It really captures that era and the 80s, which John Hughes written movies did. And great soundtrack again, had a lot of young bands, and obviously, it's made for a younger audience this movie was, but I always enjoyed it. But then this led to the next year. It's the only directing credit I saw for you, but it was Johnny be good. In 1988 I saw this movie in the theater bud

Bud S. Smith: 40:44

jovia.

Jason Connell: 40:45

Yes. Anthony Michael Hall, Uma Thurman, Robert Downey, Jr. What was that like directing this movie?

Bud S. Smith: 40:53

As soon as I was a townie shear bath on a slope, you know, way back, way back when. And Julia was just a little boy. So time. And he was one of the films his dad called lb, it was about jobs at town. And painful is a job. All the jobs table, and vice versa. So the other virus is yours. They first film show if you have a chance. Yeah. Yeah. Say for something of it. It still holds up.

Jason Connell: 41:43

But being a director on this film. Did you enjoy that role? I mean, you had always been around these other directors, you had been an editor, associate producer, lots of different things. But this is the first time I'm assuming that you are. You're helming the whole thing. Did you enjoy the job? Was it a fun, enjoyable experience? Or was it just a nightmare?

Bud S. Smith: 42:05

It really was. Because this is I asked this about locations. And I had worked with a wild person before. And that may have have do whatever I want. And show I will locations for about a month. And I chasis is my background for these young kids. I like to say Shire. And that was my base. I shot the main film. And that was all good. I mean, it was all good for me. You know, when we put it all together, I realized that we didn't have a great film. We just had an okay film. And we have fun. Have fun. exciting to work with Favier I just have a lot of different things I have I just pretty much has the same material. And I had a shoot in a shooting last time was a certain amount of money. And it was okay. I mean I I asked to do it.

Jason Connell: 43:26

Yeah, well, I was such a fan of Hall and Downey Jr. And they had teamed up prior and weird science. And then both of them went on to be on Saturday Night Live. And Hall was like the youngest cast member on that show at the time. And I remember wanting to love it. And I remember just liking it. You know, I thought oh, it's enjoyable. I like them. And they're fun. But you're right. It didn't have the staying power. The stakes weren't as high but it was a lot of these kinds of movies, a fun little comedy in the 80s. And that had to be a lot of fun to do. And then obviously, you went on to do sell for more and I just want to mention one more because there's a tie in here but was dark man 1990. The Samory Yeah, were you editor supervising editor. And of course the lead dark man was Larry Drake, born and raised in Tulsa, Oklahoma. And he spoke but I swear to you at my high school graduation, he did the commencement speech, Mary Drake rest in peace. We lost him too early, unfortunately. But that movie was kind of a big deal and Sam Raimi went on to become a very prolific director. Any good takeaways, thoughts on dark man

Bud S. Smith: 44:37

says I wasn't on the film the shot. I was on vacation. I was up in loughrea just doing nothing. And I had a call from my agent saying that Sam very well, we found his film called jars. And so I went back I sell I go back. And I traded a film on Tuesday. And it was just a fish hit. In my opinion, so I wasn't working. So I say, Oh, I'll say is this on? And I did. And I was four months of whatever. And yeah, and the shapes of Favier and with Favier and wells are really well, yeah, Julio was really happy with that I had. That was kind of a it was, for me, it was kind of a Sam Raimi went on fish or fell. I don't know what he's done since then. But nothing to my knowledge.

Jason Connell: 45:50

After dark man, he did a great film called Army of Darkness, which I really enjoyed. A simple plan came out 98 So army darkness was 92 a simple plan is a great movie. They needed Spider Man, Spider Man to Spider Man three than Drag Me To Hell. So he became a pretty big director. And it all probably started or hinged on the success of dark man, which was a hit. And I remember seeing the theater and enjoying it. So, bud, you probably saved the day because that first cut of dark man would have probably tanked at the box office.

Bud S. Smith: 46:26

Yeah. Well, that was my Sam Raimi.

Jason Connell: 46:31

That's great. You know, I just realized I have to bring up one last movie. I skip it at the top because we were talking freakin and I'd be sad if I didn't at least mention it because it is an iconic movie. And that is Flashdance. which came out in 1983. I can't. Flashdance. You won a BAFTA. And you were nominated for an Oscar. So that's two nominations, exorcist and dance. So what was that? Like? Were you on set with Flashdance? Or were you just

Bud S. Smith: 47:00

very rough time it was five. And he called me I wish you in South County. And his parents want to have a meal with me and the USA. And so I was at a hotel wherever. And I eventually dresser and it was just Hi. I have no idea what to say. And I didn't know what this author to ask about. And Jay and I have worked here. And so he trusts you raise your what, what I used to do. And so I signed on. There was a pitch for the shoot. And I was in New York. There's in New York. And I was and I say this is shit. Yeah I wish that I could. Because it was well that was supposed to be a wonderful gesture. They have a topcoat and I realized that she had been asked and and and anyway, that was a sigh of flash in

Jason Connell: 48:34

it Sure yeah Jennifer bills are coming out role it's one scene of course the maniac dance number. So you're the editor. What was that like putting this iconic scene together? Did you know you had magic in the bottle?

Bud S. Smith: 48:50

Yeah, this is my vision is to see film a different way I'm gonna shoot it may air was done in her law. And her house it was showed off on a show her foot wrapping her feet and Chaffin and then should have full body and it has to be very helpful for his stunt double. The dance level was really great. And Jennifer, it was only when she shook her head and you see her hair flat back and forth. That was about all Genesis. And Dasho was as a whole. So that was flashing Yeah,

Jason Connell: 49:41

we also had that what a feeling song and the movie, also a huge song. But a lot of music, a lot of dancing, a lot of choreography, but yeah, it worked. And it's held up for this many years later. So I can't help but think that you had something huge to do with these Movies beyond these great directors and actors and crew. You played a role in these movies success without a doubt.

Bud S. Smith: 50:09

Yeah. Well, I said so shoot, good job. Not to toot my own horn. It's just I was brought up during Jack's administration. And then for less scientific issues and measures ation of watches in zoo was filmed. If you have no slip, no, nothing, just a bunch of footage. Exactly. That was my background.

Jason Connell: 50:36

So as far as directors you worked with, I didn't get into cat people, but you work with Paul Schrader, and of course, we talked about Appleton and you are great friends with Friedkin. And so who was the most interesting director you work with, or the toughest director to work with?

Bud S. Smith: 50:49

Well, I said Billy face, he was your most imaginative. Here's her thing, and maybe read it and you will then by the way, he shot a lot. Especially when you're in Mexico, though, for sure sound, the love shots. And he was just great to work with, probably because I was with him in documentaries. And we went off and five years later, we hooked up, and I had Schleyer run with him. That was

Jason Connell: 51:33

Do you guys still talk today?

Bud S. Smith: 51:35

Oh, yeah. Now, shoot, Father knows.

Jason Connell: 51:42

He's still working. He's still working?

Bud S. Smith: 51:46

Well, we're still both alive. So that's about live and say

Jason Connell: 51:50

absolutely. Absolutely. So but how do you spend your days you watch anything interesting. On TV now?

Bud S. Smith: 51:57

Kind of fish oh, so speed that I had in my stroke. And I had operations. And I hear if I shop there has a cut my child in half, and my jaw has all been the place. And I've just been an old filmer.

Jason Connell: 52:20

Wow. Well, congrats on beating cancer. When did that all happen?

Bud S. Smith: 52:25

Almost four years ago, three years ago, for sure. And when I saw hit me, I had no idea who I was air for. I realize how lucky I was working on a daily face. And he put me in touch with UCLA. And UCLA has a best surgeons. And when they got me and UCLA they told me a pipe and patch me up. So I'm still alive because of that. But that was Billy freeze and got me feel like

Jason Connell: 53:06

is there pain? Or do you not have pain? Oh,

Bud S. Smith: 53:09

no, no. I just had chocolate. And I had it they have a central of my jaw. Right. And so I hit shoe because I kind of unless shoot babies Yeah,

Jason Connell: 53:27

soup or shakes or? Yeah. Okay. You have a great fighting spirit. You sound great. How young are you? If I may ask? A 383. Wow. It's awesome. That's awesome.

Bud S. Smith: 53:45

So five, so it's been a long time. I've done a lot in my life.

Jason Connell: 53:50

You sure haven't, you may not have become a pro racecar driver. But we're all better for the career that you did choose. I want to thank you for everything you've done and not to mention, you've given me more than an hour of your time. And it was a real pleasure. Really, my pleasure. Thank you man. Take care.

Bud S. Smith: 54:12

Alright. Bye.

Jason Connell: 54:15

So thank you so much for listening and please be sure to subscribe to the let's talk Cobra Kai podcast and the let's talk cover Guy YouTube Live Channel. You can also really help us by giving the show a five star rating on Apple podcast and for all your listeners and enjoy sharing your thoughts. You can leave us a review on Apple podcast send us a direct message or post a comment on any let's talk Cobra Kai social media platform. We also highly recommend checking out our other podcast and visiting just curious media.com No Mercy