club.” I rambled about Geoff Richler introducing Bringing Up Baby to the handful of us assembled, how he explained that no one had dovetailed their lines like this, like Hepburn and Grant did, before Howard Hawks—who’d also directed the 1932 Scarface we were about to screen—whipped them into overlapping comedic frenzy. It was the first time I’d watched a movie for anything other than plot. It wasn’t long before I was interested in the camera work and the history and, eventually, the theory of film.
