We got Sally Field onboard [in Smokey and the Bandit] and it changed the entire dynamic. About a third of the way into filming, I was in the car with Sally and there was this little moment where we kind of looked at each other, and then we both turned and looked over at Hal [Needham]. He gave us a thumbs up and said, "Yeah!" And we kind of knew there was some magic going on.
I'm really much more like Phil Potter from [the 1979 film] Starting Over. People do think I'm the Bandit [from Smokey and the Bandit ], and I'm a lot more serious than that.
I don't see no more Billie Holidays, no more Marvin Gayes, no more Smokey Robinsons. I don't even see no more Nirvanas.
Smokey and the Bandit was the first picture [Hal Needham ] directed, and I knew he could handle it. I had just directed Gator, and he saw my style and used that as a pattern.
Smokey Robinson writes the heartfelt songs, whereas it was my job to write the songs about weakness and failure in love.
Smokey, this is not 'Nam. This is bowling. There are rules.
I have the background singers of Ray Charles, the background singers of Smokey Robinson, and the background singers of Barry White and I built a choir around that.
Smokey Joe (Williams) could throw harder than anyone.
