The Big Picture

Garbage Crime Returns! The Post-‘Heat’ Movie Awards and ‘Crime 101’ With Bart Layton!

February 20, 2026

Key Takeaways Copied to clipboard!

  • The episode of The Big Picture, \ 
  • centers on discussing the film *Crime 101* as a modern iteration of the 
  • genre heavily influenced by Michael Mann's *Heat*. 
  • The hosts paid tribute to the recently deceased actor Robert Duvall, highlighting his unparalleled significance in post-1960s Hollywood cinema and his mastery of the Meisner acting technique. 
  • The ongoing corporate drama surrounding the potential acquisition of Warner Brothers by Paramount over Netflix is viewed with deep frustration by the hosts as a depressing example of asset management overriding artistic legacy. 
  • The influence of Michael Mann's *Heat* is most visible not in major studio releases but in the proliferation of low-budget, straight-to-VOD "garbage crime" movies. 
  • Filmmakers like Bart Layton are drawn to the heist movie structure because its inherent suspense framework allows them to subtly smuggle in deeper commentary on class, status anxiety, and the search for meaning. 
  • There is a perceived transitional moment in crime cinema where filmmakers are leaning on 70s/80s influences and actors are eager to participate, yet the path for mid-budget, sophisticated crime dramas to secure studio backing is becoming increasingly difficult. 
  • The film *The Graduate* remains highly relevant and emotionally impactful for modern young audiences, contrasting with a perceived modern Hollywood tendency to prioritize action intensity over emotional depth. 
  • The theatrical viewing experience is crucial for appreciating certain films like *Poor Things*, as the communal, captive environment enhances the overall impact compared to home viewing. 
  • Filmmaking for large-scale action sequences, such as the car chases discussed in relation to *The Live and Die in LA* and the production of *Crime 101*, relied on significantly more dangerous, less regulated practices in earlier eras compared to contemporary health and safety standards. 

Segments

Podcast Programming Updates
Copied to clipboard!
(00:02:42)
  • Key Takeaway: Jason Concepcion returns to The Ringer network hosting a new show called ‘Wait a Second’ with Tyler Parker.
  • Summary: Jason Concepcion and Tyler Parker are hosting a new show titled ‘Wait a Second,’ with Bill Simmons as the first guest and Sean Fennessey scheduled for the second episode. Sean Fennessey also announced he will host a live episode of The Big Picture featuring Steven Spielberg at the South by Southwest Film and TV Festival on March 13th. Spielberg’s new film, ‘Disclosure Day,’ is slated for a June release.
Tribute to Robert Duvall
Copied to clipboard!
(00:05:37)
  • Key Takeaway: Robert Duvall’s career is characterized by an unparalleled quantity of significant works in the 1970s, including multiple Francis Ford Coppola films.
  • Summary: Duvall appeared in major films like The Godfathers 1 & 2, Apocalypse Now, MASH, and Network during his peak period, leading one critic to call him the ‘American Olivier.’ His acting style was rooted in the Meisner technique, emphasizing emotional presence in the moment over deep psychological backstory. His signature role is often considered Gus McRae in Lonesome Dove.
Warner Bros. Acquisition Saga
Copied to clipboard!
(00:14:33)
  • Key Takeaway: Paramount is actively attempting to strong-arm the acquisition of Warner Brothers with a higher bid ($108 billion vs. Netflix’s $83 billion), despite prior rejections.
  • Summary: Warner Brothers has historically been a central asset in media consolidation, having been sold multiple times since the Warner family owned it, including sales to Seven Arts, Kinney National Company, Time Inc./AOL, and AT&T/Discovery. The current situation is depressing because the collective acceptance suggests no good outcome for the studio’s creative legacy, regardless of whether Paramount or Netflix prevails. Paramount’s bid is reportedly favored by a cohort of activist Warner Brothers shareholders.
Review of Crime 101
Copied to clipboard!
(00:27:40)
  • Key Takeaway: Crime 101 is a contemporary Los Angeles crime saga that contrasts with Heat by incorporating themes of wellness, therapy, and yoga into its characters’ lives.
  • Summary: The film, based on a Don Winslow novella and starring Chris Hemsworth and Mark Ruffalo, features precise, tense heist sequences but ultimately presents a more ’therapized’ narrative than Heat’s abyss-staring conclusion. The movie is praised for its class-conscious depiction of various Los Angeles locales, from downtown to the beach, and for showcasing Hemsworth playing a character with noticeable ticks and struggles with eye contact.
Ranking Los Angeles Freeways
Copied to clipboard!
(00:42:30)
  • Key Takeaway: The I-2 (the Sepulveda Pass) is considered the elite Los Angeles freeway, while the I-101 interchange with the I-110 is the least favorite due to its dangerous merging structure.
  • Summary: The I-2 is lauded for its drivability, allowing speeds near 90 mph, contrasting sharply with the universally disliked I-405. The I-101 is criticized for the sun glare affecting drivers, and the PCH is deemed overrated as a driving experience because it rarely delivers the promised feeling of open-road freedom.
Post-Heat Crime Film Analysis
Copied to clipboard!
(00:50:00)
  • Key Takeaway: The influence of Heat on crime cinema became most apparent in mainstream filmmaking starting around 2008 with The Dark Knight, which heavily referenced Mann’s architectural shooting style and professional rituals.
  • Summary: While many imitators exist, The Dark Knight’s opening heist and serious tone marked a new era where Heat became a recognized text for new filmmakers, preceding films like Den of Thieves which are considered prime examples of ‘garbage heat.’ Films like James Gray’s We Own the Night also share thematic elements, such as two figures on opposite sides of the law with an emotional connection, though they may draw from other influences like Coppola.
Influences on Garbage Crime Films
Copied to clipboard!
(00:54:00)
  • Key Takeaway: The resonance of ‘garbage crime’ cinema is strongest in VOD releases featuring actors like Gerard Butler and Samuel L. Jackson, rather than in major studio films.
  • Summary: Influences on crime films include Coppola and Jerry Schatzberg, with French Connection being hugely influential on the genre. The Town is noted as influential on VOD crime movies. Craig Zoller’s Dragged Across Concrete is highlighted as a unique crime film blending 70s hard-boiled style with dark, gory comic sensibility.
Viability of Crime Movie Budgets
Copied to clipboard!
(00:57:01)
  • Key Takeaway: The high budget of films like Crime 101 is likely inflated by upfront talent fees typical of Netflix deals, and shooting in expensive locations like Los Angeles significantly impacts production costs.
  • Summary: Actors remain interested in crime movies because they grew up watching them, exemplified by Austin Butler’s desire for gun training scenes. The $90 million price tag for Crime 101 suggests inflated fees due to Netflix’s payment structure. Shooting in California, unlike Bulgaria where most films shoot for budget reasons, drives up costs significantly, as seen with One Battle shutting down Sunset Boulevard.
Transitional Moment in Crime Cinema
Copied to clipboard!
(00:58:38)
  • Key Takeaway: The current crime genre is experiencing a transitional moment, marked by a wave of actor-driven, 70s/80s-influenced films and a noticeable absence of Don Siegel-level working directors.
  • Summary: A recent wave of crime movies like No Other Choice and Den of Thieves nod heavily to 70s and 80s influences, often driven by actors. Filmmakers making these movies sometimes need to ‘step down class-wise’ to get projects financed. Guy Ritchie’s consistent output, making two movies a year, is cited as an example of the desired Don Siegel-esque constant working pace.
Crime Genre vs. Horror Genre
Copied to clipboard!
(01:01:20)
  • Key Takeaway: The crime genre currently mirrors horror in having a split market between ’elevated’ prestige projects (often A24/Saulnier-esque) and low-budget, character-driven thrillers.
  • Summary: The genre is split between elevated crime, often dealing with trauma and associated with A24, and lower-tier films populating streaming galleries, such as those starring Anthony Hopkins. Low-budget zealot thrillers like Sovereign and Standoff at Sparrow Creek offer interesting character parts that franchise movies cannot support. Henry Dunham’s upcoming film Enemies sounds like it fits the ‘garbage heatish’ mold.
Heat’s Enduring Classic Status
Copied to clipboard!
(01:04:26)
  • Key Takeaway: Heat has achieved the status of an American classic, surviving its own critiques where flaws like the Natalie Portman subplot have become part of its enduring charm.
  • Summary: Filmmaker Joanna Hogg cited Heat as the last great thing she saw, placing it in the echelon of Casablanca and The Godfather. The film’s critiques have been absorbed, making it an unusual classic created so late in cinema history. Its narrative complexity moves beyond simple ‘guy TNT cinema’ into something more spiritual and intellectually rigorous.
Post-Heat Movie Awards
Copied to clipboard!
(01:06:22)
  • Key Takeaway: The Heat-influenced crime films of recent years warrant specific awards recognizing elements like opening heists, cop/robber duos, and authentic Los Angeles settings.
  • Summary: The ‘Venice Boulevard Award’ for best opening heist set piece goes to The Town’s bank robbery, which self-consciously pulls from Heat. The ‘Couple of Regular Fellows Award’ is given to Denzel Washington and Clive Owen in Inside Man for their memorable cop/robber dynamic. Ambulance wins the ‘Randy Newman I Love LA Award’ for its exciting, high-velocity depiction of Los Angeles travel.
Heat’s Influence on Television
Copied to clipboard!
(01:10:00)
  • Key Takeaway: Television series such as Task (2000), True Detective Season 2, and Tokyo Vice have drawn heavily on Heat’s themes, setting, and character dynamics.
  • Summary: Task is cited as a globetrotting cocaine epic influenced by Mann, while True Detective Season 2 is an LA-set crime story featuring a criminal (Vince Vaughn) and a cop (Colin Farrell). Tokyo Vice, which Michael Mann directed the pilot for, explores the contemporary Japanese underworld. Too Old to Die Young also contains significant Mann influence alongside Lynchian elements.
Filmmaker Bart Layton’s Process
Copied to clipboard!
(01:20:19)
  • Key Takeaway: Bart Layton prioritizes finding material that is so all-consuming it justifies the long hiatuses between films, often driven by a desire to smuggle serious ideas into commercial frameworks.
  • Summary: Layton balances feature films with a full-time documentary production company, leading to a slower pace for his narrative features. He seeks to make sophisticated, compelling Hollywood movies reminiscent of 80s/90s thrillers like True Romance or Out of Sight. His work, including Crime 101, uses the heist framework to explore status anxiety and the consequences of chasing an unearned ‘special life.’
Researching Crime Authenticity
Copied to clipboard!
(01:31:07)
  • Key Takeaway: Authenticity in Crime 101 was achieved by basing characters on extensive research, including interviews with real LAPD officers and incarcerated jewel thieves, to avoid relying on expository dialogue.
  • Summary: Research involved interviewing real jewel thieves, revealing common backgrounds like foster care and domestic violence, which informed Chris Hemsworth’s vulnerable portrayal. The character of the fence (Nick Nolte) is based on real figures who fill a paternal void for young criminals. Layton deliberately avoided lengthy soliloquies to convey backstory, preferring subtle behavioral cues to generate audience empathy.
Filmmaking Scale and Authenticity
Copied to clipboard!
(01:47:05)
  • Key Takeaway: To maintain visceral authenticity in large-scale action sequences, Layton insisted on in-camera work, rejecting CGI temptations to ensure the audience remains connected to the character’s reality.
  • Summary: Layton’s producer reminded him that despite the larger scale, the core work remains getting performances from actors. For car chases, technology was built to allow Chris Hemsworth to drive at high speeds while maintaining a visceral, non-James Bond perspective. The decision to shoot in Los Angeles, despite the higher cost, was a non-negotiable deal-breaker to maintain the story’s geographical truth.
Last Great Things Seen
Copied to clipboard!
(01:51:49)
  • Key Takeaway: Bart Layton introduced his children to The Graduate and Dog Day Afternoon, finding that The Graduate immediately resonated as a modern masterpiece with his 15-year-old.
  • Summary: Layton believes that films prioritizing emotional intensity over pure action intensity, like The Graduate, offer a bigger overall experience. The Graduate (1967) still feels modern due to its phenomenal pacing. He hopes audiences continue to seek out these character-driven crime films in theaters.
Introducing Classic Films to Kids
Copied to clipboard!
(01:52:06)
  • Key Takeaway: The 1967 film The Graduate immediately resonated with a 15-year-old viewer, ranking it as a top film of all time.
  • Summary: The speaker introduced his children to classic films, including The Graduate and Dog Day Afternoon. The 15-year-old found The Graduate instantly compelling, placing it among his greatest films. This experience highlighted that older films, like the late 60s classic, still feel modern due to their phenomenal pacing.
Emotional vs. Action Intensity
Copied to clipboard!
(01:53:09)
  • Key Takeaway: Modern Hollywood cinema often prioritizes action intensity over the emotional intensity found in older films that took time to build audience investment.
  • Summary: Older films that invested time in character development resulted in a much bigger overall experience for the viewer. The cinema experience itself is irreplaceable, as demonstrated by audience reactions to Poor Things being overwhelmingly positive in theaters but middling at home. The constant demands on attention make focused home viewing increasingly difficult.
Preparing for Crime Movie Discussion
Copied to clipboard!
(01:53:33)
  • Key Takeaway: The speaker rewatched The Live and Die in LA to prepare for the conversation on The Big Picture regarding Los Angeles crime movies.
  • Summary: The host watched The Live and Die in LA specifically to refresh his perspective on LA crime films before the segment. The conversation then pivoted to a recent lunch meeting with director William Friedkin.
Lunch with William Friedkin
Copied to clipboard!
(01:54:48)
  • Key Takeaway: The dangerous car chase sequences in films like The Live and Die in LA were executed primarily due to a lack of stringent health and safety regulations at the time.
  • Summary: William Friedkin’s home was described as an opulent mansion reflecting the tastes of his wife, Sherry Lansing. The speaker questioned Friedkin about the dangerous car chase in The Live and Die in LA, learning that the stunts were inherently dangerous rather than relying on complex modern techniques. Friedkin shut down the 710 freeway for two full weekends to film the sequence, even intentionally having cars drive in the wrong direction to confuse the audience.
Crime 101 Freeway Sequence Challenges
Copied to clipboard!
(01:56:45)
  • Key Takeaway: Shutting down major Los Angeles freeways like the 710 for filming is logistically impossible today, forcing filmmakers of Crime 101 to use local boulevards instead.
  • Summary: The production of Crime 101 could not secure permission to shut down the 710 freeway for the necessary duration, unlike Friedkin’s earlier work. The crew had to secure blocks of local streets, such as Lancashire Boulevard, for their large-scale sequence. Lighting for miles and coordinating with local residents and businesses to maintain lights added significant scale and complexity to the shoot.
Episode Wrap and Next Week Preview
Copied to clipboard!
(01:57:52)
  • Key Takeaway: The next episode of The Big Picture will revisit the film Sinners, featuring an interview with cinematographer Autumn Durald Arkopaw.
  • Summary: The episode concluded with thanks to guest Bart Layton, co-host Chris Ryan, and production staff. The following week’s topic involves circling back to Sinners. The host plans to rewatch the film before the episode airs, which will feature insights from cinematographer Autumn Durald Arkopaw.