The Rewatchables | Episode Summary

Film: Shampoo (1975)
Host: Bill Simmons
Guests: Cameron Crowe, Sean Fennessey
Date: December 9, 2025

Overview:

This energetic episode of The Rewatchables brings legendary filmmaker and author Cameron Crowe to the table, along with regulars Bill Simmons and Sean Fennessey, for an in-depth exploration of Hal Ashby’s 1975 classic, Shampoo. The conversation centers on the film’s unique blend of political context, sexual revolution, and Hollywood satire, the distinctive personas of Warren Beatty (who starred and co-wrote), and the enduring impact of the movie’s cast, craft, and subtext. The hosts dive into Ashby’s directorial genius, Robert Towne’s writing depth, and the film’s place in the pantheon of 1970s cinema.

Key Discussion Points and Insights

1. Why Shampoo? (02:35–04:14)

• Cameron Crowe: Picked Shampoo because of its authentic evocation of its era and its importance in his own film education, admiring how it "bubbled up" among its filmic contemporaries for its music, character interplay, and generational shift in style.
  • “I just thought, like, here’s a new generation really in play of moviemakers that I’m going to love.” (03:04 — Crowe)
• Sean Fennessey: Views Shampoo as a generational signpost: “Politically relevant, sexually and socially relevant. It’s a huge movie star movie and a movie star persona movie. A movie star actively riffing on their persona... It’s just very watchable and funny… a popcorn movie about its time, which is a very hard thing to pull off.” (04:39 — Fennessey)

2. Warren Beatty and the Question of Persona (07:10–10:47)

• The Performance: The hosts debate whether Beatty’s performance is "bravura" or "quietly bravura," marveling at how his personal legend and screen persona bleed together.
  • “He floats through these scenes... his seduction is, in fact, how he’s kind of slightly bewildered by what’s happening. But I’m incredibly handsome.” (08:20 — Crowe)
• Real Life Parallels: Anecdotes about Beatty’s lifestyle and approach to acting reinforce the blurring of man and myth.
  • “He gives himself, like, a showcase moment” in the scene cutting Jackie’s hair—an example of how Beatty wove his own allure into the movie. (10:47 — Crowe)

3. Layered Themes: Not Just a Sex Comedy (05:18–08:01)

• The film pretends to be multiple genres—a sex farce, a party film, and political satire—while actually being a profound commentary on generational disconnection and the 1960s' end.
  • “It’s so cool how it’s pretending to be three different movies when it’s really the fourth movie.” (06:05 — Simmons)
  • “You walk away watching it a second or third time thinking, like, ‘hmm. We’re a little fucked.’ There’s a very bummer ending in this movie, really interesting to talk about.” (08:01 — Fennessey)

4. Politics, Satire, and the Hollywood Lens (06:06–06:59; 13:55–15:17)

• Shampoo’s subtle embedding of Nixon’s 1968 election night and generational politics is highlighted, with Crowe praising the film for having no dogma and letting subtext breathe.
  • "There’s no dogma... Nixon is in scenes and stuff and actively, like in a scene, you can just see him." (06:06 — Crowe)
• Simmons spotlights Beatty’s own explanation of the film: a response to political dishonesty and generational “selling out.”

5. Goldie Hawn: The Heart of the Film (15:17–18:59)

• Crowe singles out Goldie Hawn’s “Jill” as the film’s only truth-telling, non-cynical character, a proto-‘70s independent woman, even seeing a connection to Kate Hudson’s Penny Lane in Almost Famous.
  • “She takes off in a heroic way and actually is the only truth-telling character to George... Goldie steals the movie.” (15:17 – Crowe)

6. Beatty’s Star Power and Selectiveness (19:05–20:12)

• Beatty’s extreme control over his roles and tendency to turn down major parts are discussed, illustrating his desire to curate his myth.
  • “He didn’t want to take risks.” (19:29 — Simmons)
• Crowe and Simmons agree that Shampoo epitomizes what Beatty’s true on-screen persona is.

7. Production, Set Dynamics, and Collaborations (21:18–23:43)

• Crowe shares insights on the sometimes chaotic, multi-voice set, paralleling that with his own experiences as a director.
• Tells a story about Tom Cruise’s approach to Jerry Maguire—a model of collaborative, non-overbearing star power.

8. Cultural and Historical Context (53:09–54:46)

• The hosts marvel at 1975’s legendary Best Picture lineup and speculate about the creative energy in that era.
  • “We used to know how to make movies.” (52:48 — Simmons)

9. Noteworthy Anecdotes & Easter Eggs

• Music Notes: Paul Simon and Joni Mitchell contributed unused musical themes, with Beatty picking a less revealing, more ambiguous closing song to maintain his character’s enigma. (11:27–12:59)
• Cameron Crowe's own life: Shares stories of Warren Beatty cold-calling him with encouragement after Almost Famous’ poor opening and Annette Bening’s supportive handoff.
  • “He goes, ‘I just want you to know, you made a great movie. And there’s no actor in town that wouldn’t want to work with you. I just wanted to tell you that.’ And he hung up.” (30:28–31:01 — Crowe on Beatty)

10. Iconic Supporting Cast & Characters (35:12–45:49)

• Raves for Julie Christie as the ideal counterweight to Beatty, and Goldie Hawn’s then-incipient stardom.
• Jack Warden’s turn as Lester: Consensus is that casting is perfect; no current equivalent exists for that specific old Hollywood persona.

Notable Quotes

• “It’s not homework. It’s a popcorn movie about its time, which is a very hard thing to pull off.” (04:39 — Fennessey)
• “He lassos that... and he’s also running the movie, right? At the same time. There is no movie without him.” (21:12–21:19 — Crowe on Beatty)
• “Julie Christie’s quote: As long as I can remember, when I see a pretty woman and I go after and I make her, it’s like, I’m going to live forever.” (33:50 — via Simmons)
• “Jill is the only one that claws her way out of that.” (113:46 — Crowe on Goldie Hawn’s character)

Highlighted Segments and Timestamps

• Cameron’s Backstory with the Film (02:35–04:14)
• Beatty’s Persona/Ego (08:20–10:47)
• On the Hidden Depths of Shampoo (05:18–08:01)
• Goldie Hawn and Almost Famous Connection (15:17–18:59)
• Beatty’s Selectivity in Roles (19:05–19:57)
• Creative On-Set Dynamics (21:18–23:24)
• Warren Beatty’s Encouragement (30:28–31:01)
• Iconic Party Scene & 1970s LA (69:02–70:29)
• Legacy: 1975’s “Best Picture” Lineup (52:36–53:56)

Most Rewatchable Scene (58:47–63:59)

• Final Nominees:
  • Bistro stare-down party scene (62:25 — Crowe’s pick)
  • Lester and George’s “women only talk about one thing” conversation (62:31–63:59 — Fennessey’s/Simmons’ pick)

What’s the Most 1975/1968 Thing? (64:00–67:52)

• Riding a motorcycle without a helmet.
• The sprawling, laid-back, less congested LA.
• The extras and party people at election night—"They don’t exist anymore." (65:57 — Crowe)

Production Lore & Behind-the-Scenes (71:44–73:02)

• Lee Grant walked off the film for two days over a disagreement about her character.
• Crowe’s “Steven Seagal shitting on himself award” query.

“What’s Aged the Best” (76:37–80:23)

• Kovacs’ cinematography and the tension in on-screen kisses.
• Warden and Beatty’s scenes together.
• Young Carrie Fisher’s bold debut.
• Soundtrack’s classic use of the Beach Boys, Beatles, and Hendrix.

“What’s Aged the Worst” (86:12–88:27)

• Some dated language and attitudes.
• The Paul Simon musical cues.
• Allegations about Beatty’s behavior toward Fisher.

“Picking Nits” (102:25–106:26)

• Whose house is the party in, exactly?
• How did Beatty’s character get his motorcycle to the last party when arriving by car?
• Various nitpicks for both Shampoo and Jerry Maguire.

Legacy, Craft, and Lasting Takeaways

• Shampoo as Cultural Artifact: The film is both a product and critique of its time—an artifact of sexual politics, the political climate, and the end of ‘60s utopianism.
• Crowe’s Personal Connection: Admits, “I love writing and I love directing,” and that Shampoo shaped “kind of the first language of writing... writing for pure joy.”
• Selling Out: “Everyone sells out. [But] Jill is the only one who claws her way out.” (113:46–113:53 — Crowe)
• Beatty’s Apex?: Hosts agree Shampoo may be peak Beatty, perfectly aligning persona, power, and artistry.
• Crowe’s Book and Career Reflection (124:23–129:57): Crowe talks about writing for joy, reflecting on his unique path, and what he loves most about capturing and creating memorable character moments.

Final Takeaways

• The episode buzzes with admiration for Shampoo’s layered narrative, iconic performances, and the cultural moment it reflects.
• Goldie Hawn is championed as the film’s true north, while Beatty’s enigmatic, self-mythologizing aura is dissected by three obsessed cinephiles.
• The group revels in the mechanics, comedy, sadness, and insight that make Shampoo more than just a ‘sex comedy’ or period piece—proving its place in the Rewatchables canon.

For anyone interested in ‘70s cinema, star-driven Hollywood, or the bittersweet flavor of a generation’s end, this episode is a must-listen—a deep and affectionate collage of analysis, lore, and love for movies and the people who make them.