From the get-go Coppola admits that this is probably his favorite film out of all of the ones he’s made and also the one closest to his heart. He talks about the evolution of the film’s memorable score and how he and Mickey Rourke modeled the Motorcycle Boy after Albert Camus. Coppola speaks admiringly of the cast who were willing to experiment and improvise. This track is a real treat for fans of this movie as he speaks fondly about it, offering many excellent anecdotes and observations.

The brief moment that Coppola becomes quiet during this commentary is quite distracting and noticeable because it is the only time he pauses for the entire ninety minute running length. He seems to have a lot to get of his chest with this one and although maybe not as quite as confessional as some of his other commentaries, is no less honest, compelling and fascinating - things we always come to expect with Coppola. One of his personal favorite projects he speaks candidly about its commercial failure, working with S.E. Hinton (he points out her cameo), the relationship Coppola had with his brother and how it mirrored Rusty James' relationship with Motorcycle Boy, the use of time as a theme and working with Stewart Copeland on the score and his desire to film in black and white (other than the brief moments of color). The funniest story is how he got Chris Marker, director of the famed Le Jetee to come and work with him on the second unit, but Marker left after a week stating that there was nothing interesting to shot in Tulsa.