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Speaker 1: Too Much Information is a production of iHeartRadio. Hello everyone,

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Speaker 1: and welcome to another episode of Too Much Information, the

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Speaker 1: show that brings you the secret histories and little known

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Speaker 1: facts behind your favorite movies, music, TV shows and more.

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Speaker 1: We are your green lights of granularity, your disgruntled gas

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Speaker 1: station attendance of apocrypha. You're all seeing eyes of ephemera.

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Speaker 1: You're beautiful bulls of facts. My name is Jordan run

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Speaker 1: Tag and I'm Alex Heigel. And today we are back

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Speaker 1: for the second installment in our exploration of f Scott

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Speaker 1: Fitzgerald's fabled commenting on the false promise of the American Dream.

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Speaker 1: In part one, we examined how the book The Great

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Speaker 1: Gatsby was born from Scott's upbringing as a poor interloper

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Speaker 1: in a rich man's world and the insecurities and heartbreaks

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Speaker 1: that it caused. Today, we're going to explore Scott's truly

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Speaker 1: tragic end as maybe the ultimate exam apple of a

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Speaker 1: future icon who died broke in obscurity. And then after

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Speaker 1: we talk about how this man told his own teenage

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Speaker 1: daughter that he was a failure and his wife was

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Speaker 1: burned alive in a mental hospital following her psychological collapse.

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Speaker 1: We'll pick it up with a little movie magic. We're

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Speaker 1: going to the movies, folks.

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Speaker 2: I love to do movies. Jesus, I forgot about Zelda's

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Speaker 2: horrible death.

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Speaker 1: Oh yeah, oh yeah, oh yes, yes, yes, yes. So

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Speaker 1: we'll turn things around by discussing the often tortured productions

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Speaker 1: of the cinematic adaptations, from Boz Luhrman's Lurd Extravaganza to

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Speaker 1: the seventies classic with Robert Refford, Ama Farrow and one

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Speaker 1: in the forties that nobody remembers and they lost silent

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Speaker 1: version that Scott and Zelda loathed. Higel, I know you're

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Speaker 1: not the Gatsby head that I am the Gat's head,

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Speaker 1: as we're known in the community. Did last episode change

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Speaker 1: your take on the story at all?

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Speaker 3: No?

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Speaker 2: I mean yes, I like, I don't, I don't. I

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Speaker 2: don't hate Great Gatsby. I just I am advancing my

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Speaker 2: idea that f. Scott fitzgro was a secret idiot or

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Speaker 2: a savant at least, because I do think it's funny

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Speaker 2: that he wrote the same story seventeen times and met

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Speaker 2: with obscurity each and every like failure each and every time,

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Speaker 2: and yet continued to do it so I game recognize

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Speaker 2: his game essentially.

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Speaker 1: Well, no, the first time it worked, and then it

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Speaker 1: worked less and less. Yes, yeah, and that's how they

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Speaker 1: get you. That is indeed, the first one is free, yeah,

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Speaker 1: et cetera. Yeah, well, Scott, actually he would agree with you,

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Speaker 1: because I was thinking about how we were kind of

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Speaker 1: dunking on him for writing just what was immediately in

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Speaker 1: his line of sight, over and over again forever. But

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Speaker 1: I actually found a quote about it. Oh go on,

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Speaker 1: he said. Mostly we authors must repeat ourselves. That's the truth.

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Speaker 1: We have two or three great and moving experiences in

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Speaker 1: our lives. Experience is so great and moving that, but

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Speaker 1: it doesn't seem at the time anyone else has been

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Speaker 1: so caught up and so pounded and dazzled and astonished

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Speaker 1: and beaten and broken and rescued and illuminated and rewarded

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Speaker 1: and humbled in just that way ever before. Then, we

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Speaker 1: learn our trade well or less well, and we tell

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Speaker 1: our two or three stories each time in a new disguise,

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Speaker 1: maybe ten times, maybe one hundred, as long as people

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Speaker 1: will listen.

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Speaker 2: Yeah, I mean tell that to Joyce, Carol Oates or

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Speaker 2: Stephen King or like anybody else. Like Hemingway was right there.

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Speaker 2: He had more than one idea for many stories. As

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Speaker 2: I'm told, well, Scott was.

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Speaker 1: Less prolific than Papa Hemingway. I think he only finished

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Speaker 1: four novels, I want to say, in his lifetime, so

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Speaker 1: those I kind of a better handle on Hemingway. I

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Speaker 1: feel like, though you could distill it down to kind

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Speaker 1: of the same well, three or four stories. Right. Well,

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Speaker 1: man is sad and drinks in the rain.

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Speaker 2: Sometimes it's dry, okay, correct, No, I mean he's for

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Speaker 2: like most well known ones are this is like the

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Speaker 2: Old Man in the Sea, which is man against fish.

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Speaker 1: Never cared for that one.

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Speaker 2: And obviously like farewell to Arms and sun also rises.

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Speaker 2: But then I think the most anthologized ones are hills

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Speaker 2: like White Elephants, which is yes, held up as like

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Speaker 2: a sort of er text of like the quiet part.

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Speaker 1: Loud writing.

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Speaker 2: And in a clean, well lighted place, which is actually

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Speaker 2: one of my favorites. So I'm gonna disagree with you

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Speaker 2: on that one, as I believe Joyce Carroll Oates would like,

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Speaker 2: or anybody who's written about more than one thing in

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Speaker 2: their life. Sorry, f a boy f.

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Speaker 1: He did kind of get stuck in the past A

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Speaker 1: lot didn't our boy f.

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Speaker 2: Yeah, well, you know those boats they be getting born ceaselessly,

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Speaker 2: ceaseless baby, big beautiful boats. They're ceaselessly being born, the

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Speaker 2: greatest boats. It's in the I don't have a trump

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Speaker 2: reading the past is beautiful, past is beautiful China.

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Speaker 1: I don't know, make America the past again. Oh God,

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Speaker 1: I mean.

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Speaker 2: All right, move on quickly, we got to get this

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Speaker 2: out of Come ons off, Come on, Jesus Christ.

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Speaker 1: It's funny. I remember when I was in a writing

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Speaker 1: class in high school. We were doing like peer reviews,

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Speaker 1: which I mean, I don't think I've ever received an

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Speaker 1: ego body slam quite like peer reviews in high school

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Speaker 1: writing classes.

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Speaker 2: I mean, if anybody critiqued my writing in high school,

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Speaker 2: I would have insulted them so badly they would have,

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Speaker 2: I don't know, become a racist cop or nurse faster

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Speaker 2: like the dullards in my high school. Respectfully, I know

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Speaker 2: some of you do.

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Speaker 1: Listen. I had the valedictorian read some deeply emotional thing

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Speaker 1: I wrote, and his sole comment upon handing it back

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Speaker 1: was you write about feelings as if you're the first

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Speaker 1: person to ever feel them. And he did not mean

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Speaker 1: that as a comment. But I feel like that seems

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Speaker 1: like something that Fitzgerald would have been guilty of.

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Speaker 2: Yeah, but also that guy, as a teenager in high

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Speaker 2: school gonna tell another teenager of art like sorry, unless

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Speaker 2: you're like a child prodigy. Legitimately i'd be like you.

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Speaker 2: The only thing we have in common is in area code.

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Speaker 2: Don't tell me about my art, you mean.

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Speaker 1: I always remember that. And the other comment that always

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Speaker 1: stuck with me was again, I had like a fifteen

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Speaker 1: page It was supposed to be like a two page thing,

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Speaker 1: and I was fifteen pages, of course as per tradition.

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Speaker 1: And the only thing he wrote on up at the

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Speaker 1: top you scrawled too many commas.

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Speaker 2: And it's stuck with me. Well, that is a very

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Speaker 2: real thing. But again not for somebody like Pinsion or

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Speaker 2: you know, the Russians. So that guy anyway, Well.

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Speaker 1: What's enough about literature. Let's talk about the movies.

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Speaker 3: You know.

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Speaker 1: The thing I actually like about the Gasby adaptations, which

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Speaker 1: I've met with mixed reviews over the years, is that

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Speaker 1: it really offers a chance to show the cool structure

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Speaker 1: Fitzgerald has in place for building up the suspense before

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Speaker 1: you meet Gatsby, because you're introduced first to the world

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Speaker 1: of Gatsby before you meet him, this whole spectacle of

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Speaker 1: this mysterious man, the house, the parties, the car, and

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Speaker 1: I've heard it been described as like a long driveway

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Speaker 1: approaching a mansion, you know, in those old Gilded age

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Speaker 1: Jarah Holmes. You get the long drive of the house

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Speaker 1: far away in the distance, and you expect something great

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Speaker 1: at the end. That's kind of the way that Fitzgerald

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Speaker 1: teases Gatsby until he's introduced relatively far into the book. Yeah.

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Speaker 1: I thought that was cool, and they do that really

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Speaker 1: well in the movies, not so much the Baz Luhrman one.

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Speaker 1: I think that's one of the big changes that he made,

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Speaker 1: where like Leo kind of just appears in the middle

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Speaker 1: of the party, like on a pyramid made of champagne

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Speaker 1: glasses or something.

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Speaker 2: But in the Redford one, Yeah, I believe we covered

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Speaker 2: bads on or my thoughts on baths on the pod before.

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Speaker 1: So excited for this one. Yes, yes, yes, yes. Have

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Speaker 1: you seen any of these adaptations? I forget.

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Speaker 2: I've seen the seventies one, and I have seen enough

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Speaker 2: of the Leo one to know.

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Speaker 1: I saw it in theaters. I was so excited. I

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Speaker 1: bet you were, like, we dressed up too, I know,

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Speaker 1: I know, all right, Bud, All right, folks, this is

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Speaker 1: like forty pages collectively, so no fact teesus. We're gonna

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Speaker 1: dive right in bang. Here is everything you didn't know

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Speaker 1: about the Great Gatsby's film adaptations, which plural? Is it?

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Speaker 1: The Great Scatsby, the Great Scatsbies, the Greatest s Gatsby,

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Speaker 1: only the greatest Scatsby For our listeners, it's actually only

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Speaker 1: a Great Gatsby if it's made in West egg.

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Speaker 3: They were.

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Speaker 1: Otherwise, we're sparkling Gatsby. Ah low hanging fruit. Wow, wow,

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Speaker 1: all right. When The Great Gatsby was published on April tenth,

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Speaker 1: nineteen twenty five, fifty five years before the Beatles were

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Speaker 1: officially broken up, right, Yes, and f Scott Fitzgerald was

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Speaker 1: just shy of thirty years old. That's depressing. Though he

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Speaker 1: believed it to be his most passionate and accomplished work,

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Speaker 1: the novel was not well received in its time. In fact,

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Speaker 1: it was something of a flop compared to the success

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Speaker 1: of his previous novels. This Side of Paradise and The

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Speaker 1: Beautiful and Damned Gatsby was this worst performing book. Fitzgerald

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Speaker 1: had hoped it would sell seventy five thousand copies, but

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Speaker 1: by October of that year, sales stalled under twenty thousand,

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Speaker 1: which was barely enough for his publisher, Charles Scribner and

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Speaker 1: Sons to earn their money back. Fitzgerald's sense of disappointment

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Speaker 1: was acute. Shortly after publication, he cabled his editor Maxwell Perkins,

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Speaker 1: asking for an update any news. The reply from Perkins

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Speaker 1: was cautiously optimistic, sales situation doubtful, but excellent reviews, he wrote.

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Speaker 1: Fitzgerald was disheartened. He replied a few days later, closing

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Speaker 1: his letter with the now famous phrase, yours in great depression.

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Speaker 1: Stocked financially, the book brought him very little. Scott had

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Speaker 1: turned down a ten thousand dollars offer for serial rights

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Speaker 1: to ensure that the book could be published quickly, instead

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Speaker 1: accepting a four thousand dollars advance in nineteen twenty three

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Speaker 1: and collecting about two thousand dollars in royalties. That's about

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Speaker 1: thirty six thousand dollars today. So one of the greatest

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Speaker 1: works of literature of the twentieth century netted him the

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Speaker 1: equivalent of a Honda Civic. Like I don't know that's

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Speaker 1: not bad. I don't know. Thirty six grand is you know, No,

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Speaker 1: that's today, that's today dollars. Despite the public indifference, Fitzgerald

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Speaker 1: did receive praise from a few literary contemporaries. Nice letters

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Speaker 1: came in from Willa Cather don't know them, Edith Wharton,

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Speaker 1: and T. S. Elliott, commending the novel T. S. Eliot

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Speaker 1: responsible for Cats my least favorite production.

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Speaker 2: I was gonna say, he gives it two scuttling claws

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Speaker 2: along the ocean floor. Up, a pair of dragon claws.

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Speaker 2: Two ragon claws scuttling across the ocean floor.

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Speaker 1: Up. God, I hate it so much.

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Speaker 2: Oh, I like I like Wasteland. That was one of

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Speaker 2: the first big pieces of like literature.

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Speaker 1: I h no, I mean Cats. Oh yeah, oh yeah, yeah,

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Speaker 1: yeah yeah. And now over to a section called reviews

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Speaker 1: or Variety declines to call it boffo. Boffo was a

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Speaker 1: is like a a positive term. I thought I thought

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Speaker 1: buffo was their word for ridiculous.

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Speaker 2: And I don't know it's it's a good thing.

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Speaker 1: Oh to be is thing? Yeah, okay. I didn't realize that.

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Speaker 1: Despite earning the praise of Scott's literary peers, Gatsby failed

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Speaker 1: to earn glowing reviews during its initial pressing. Two days

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Speaker 1: after its publication, The New York World published this unambiguous headline,

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Speaker 1: f Scott Fitzgerald's latest a dud. Critic Ruth Snyder declared

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Speaker 1: that the editors of her newspaper were quote quite convinced

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Speaker 1: after reading The Great Gatsby that mister Fitzgerald is not

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Speaker 1: one of the great American writers of to day. Ouch

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Speaker 1: that does heurt? Yes, that's a mean thing to say. Yeah,

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Speaker 1: it feels very personal. In the Brooklyn Daily Eagle, the

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Speaker 1: reviewer claims she could not detect quote one chemical trace

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Speaker 1: of magic, life, irony, romance, or mysticism in the entire book,

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Speaker 1: and suggested that Fitzgerald, whom she referred to as the boy,

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Speaker 1: was quote just puttering around. She continued. Why Fitzgerald should

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Speaker 1: be called an author, or why any of us should

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Speaker 1: behave as if he were, has never been satisfactorily explained

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Speaker 1: to me. Damn. So people not only were not all

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Speaker 1: that into Gatsby, they seemed to hate it enough that

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Speaker 1: it seemed to undo all of his prior success in

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Speaker 1: their eyes, which is kind of crazy. That's out. That's

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Speaker 1: a uniquely vicious. Yes. The New York Herald Tribune was

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Speaker 1: more creative in its dismissal, likening the book to quote

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Speaker 1: a literary lemon meringue, airy, ornamental, and unsubstantial, Though it

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Speaker 1: acknowledged Fitzgerald's quote nice little touches of contemporary observation. The

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Speaker 1: criticism extended beyond New York. Ralph Coughlin of the Saint

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Speaker 1: Louis Post Dispatch labeled the novel quote an inconsequential performance

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Speaker 1: from a once promising author who had, in his view,

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Speaker 1: become bored and cynical. John McClure of The Times picka

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Speaker 1: Yune called the story quote painfully forced and implausible, while

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Speaker 1: The Baltimore Evening Sun deemed it quote no more than

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Speaker 1: a glorified anecdote and not too probable at that. Not

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Speaker 1: all feedback was negative. The New York Times, in a

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Speaker 1: review by Edmond Clark, called the novel Quote a mystical

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Speaker 1: and glamorous tale of the jazz age, and praised its

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Speaker 1: depiction of wealth and yearning. Lillian c. Ford of the

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Speaker 1: Los Angeles Times subscribed it as a revelatory work that

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Speaker 1: quote leaves the reader in a mood of chastened wonder hmmm, chastened?

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Speaker 2: Wonder you say?

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Speaker 1: Yeah. Your former colleagues at The New York Post praise

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Speaker 1: Fitzgerald's prose as quote scintillating and genuinely brilliant, but these

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Speaker 1: positive takes were far outnumbered by confusion, condescension, or outright hostility.

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Speaker 1: Even reviewers who admired aspects of the book often saw

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Speaker 1: it as a step down from Fitzgerald's earlier work. Critics

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Speaker 1: compared it unfavorably to his prior books This Side of

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Speaker 1: Paradise and The Beautiful m Damned, suggesting Fitzgerald had peaked early.

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Speaker 1: Harvey Eagleton of the Dallas Morning News predicted that the

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Speaker 1: novel marked the end of Fitzgerald's artistic success. As you

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Speaker 1: might expect FITSI took.

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Speaker 2: This personally, Yeah, jesus, I mean, like, did they have

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Speaker 2: to say it was that he's done improbable?

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Speaker 3: Yeah?

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Speaker 1: Probable. It's like that's the part that really makes me nuts.

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Speaker 1: It's like, is it?

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Speaker 2: Did you know that this is just what he wanted

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Speaker 2: to happen and much of his life?

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Speaker 1: Did you know that the Fitzgerald's in capable of making things up?

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Speaker 1: Be nice to him. He's a secret idiot. Yes, these

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Speaker 1: reviews were devastating to poor sweet angel Baby Fitsy. He

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Speaker 1: felt that his defining artistic statement had been completely misunderstood

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Speaker 1: by critics, and to a certain extent, he was right.

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Speaker 1: Many interpreted the novel primarily is a crime story melodrama

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Speaker 1: about a bootlegger who gets gunned down, and found it

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Speaker 1: underwhelming in that genre. They missed its deeper themes of illusion, disillusionment,

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Speaker 1: and the myth making of self. As Fitzgerald would later lament,

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Speaker 1: of all the reviews, even the most enthusiastic, not one

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Speaker 1: had the slightest idea what the book was actually about.

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Speaker 1: He also deeply resented the criticism that the plot was implausible,

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Speaker 1: because he never meant it to be realistic. The Great

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Speaker 1: Gatsby was designed as a scenic, symbolic novel, almost dreamlike

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Speaker 1: in structure. The surreal romantic quality was the point, not

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Speaker 1: the problem, but few critics in nineteen twenty five noticed

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Speaker 1: or cared. Scott was especially hurt by reviewers failure to

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Speaker 1: notice the biographical parallels between himself and Jay Gatsby, both

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Speaker 1: men who had constructed mythic versions of themselves and attempted

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Speaker 1: to live up to those self created myths. Scott had

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Speaker 1: written a novel about the illusion of greatness, about longing

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Speaker 1: for a future that never arrives, and in the cruelest

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Speaker 1: twist of all, he found himself caught in that very

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Speaker 1: same story. Piece was released, reviewed, reviled, and dismissed. Fitzgerald

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Speaker 1: blamed the book's commercial failure on several factors. Chief among

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Speaker 1: them was the title, which he'd always felt was lackluster.

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Speaker 1: As a recall from our last episode, he struggled with

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Speaker 1: the title mightily and had lots of potentials kicking around

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Speaker 1: that were somehow worse than the one he landed on.

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Speaker 1: More significantly, he believed the novel's character driven plot, which

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Speaker 1: was populated by morally bankrupt individuals, especially the women in

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Speaker 1: his plot, alienated the largely female readership that drove the

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Speaker 1: fiction market of the time. Although Days He Began In

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Speaker 1: is the central love interest and is featured on the

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Speaker 1: novel's iconic cover, she's not exactly depicted in a flattering

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Speaker 1: light or given any kind of a redemptive arc much.

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Speaker 2: Yeah, yeah, well yeah, there are women out there. Excuse me,

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Speaker 2: there are people are out there, people out there.

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Speaker 1: This lack of a strong, likable female protagonist Fitzgerald felt

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Speaker 1: made the book a hard sell. Others have speculated that

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Speaker 1: it's focus on extreme wealth and decadence may have just

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Speaker 1: been off putting to anyone who wasn't spectacularly wealthy.

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Speaker 2: I guess that's fair. It was kind of a read

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Speaker 2: the room moment, right. Well, this is before the Depression though,

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Speaker 2: but like the Gilded Age was still marked by massive

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Speaker 2: income inequality. Sure, oh yeah, it's America. Okay, So gats

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Speaker 2: be met with its greatest success on Broadway?

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Speaker 1: Though, When you're on Broadway?

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Speaker 2: Where do you go when different song?

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Speaker 1: Oh Broadway?

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Speaker 2: I don't know why that's making me laugh? So where

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Speaker 2: do you go when the critics getting you down Broadway?

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Speaker 1: Anyway?

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Speaker 2: Uh? One year after its publication, the book was adapted

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Speaker 2: as one act play I Pull Zer Prize winner Owen

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00:19:01,920 --> 00:19:06,520
Speaker 2: Davis not related to Miles and Just Now I'm just

318
00:19:06,600 --> 00:19:12,760
Speaker 2: now learning or Lewin or Jim the creator of Garfield,

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Speaker 2: directed by George Kukor, who later won the Oscar for

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Speaker 2: My Fair Lady. After opening in nineteen twenty six, it

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Speaker 2: ran for respectable one hundred and twelve performances at the

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Speaker 2: Ambassador Theater, where it was well received by critics and

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Speaker 2: most crucially, helped Scott recoup some badly needed cash. The

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Speaker 2: success of the show, which gave Gatsby its first true

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Speaker 2: international recognition, helped pave the way for the first cinematic

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Speaker 2: adaptation later that same year.

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Speaker 1: This is also what happened to Dracula. Did you know that?

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Speaker 2: No, that, like Bella Legosi, had been doing Dracula on

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Speaker 2: Broadway or on stage before the universal film ever came out.

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Speaker 2: It was like a huge hit.

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Speaker 1: I had no idea that was a stage show.

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Speaker 2: Wow, I know, it's really crazy anything with Dracula, just

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Speaker 2: like him coming out with a guitar like Bruce springs

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Speaker 2: Steen and be talking about his dad and the children

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Speaker 2: of the Night. Count Dracula's America stage by David Byrne.

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Speaker 1: It's like Judy at Cardial.

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Speaker 2: It's like a sequin the sixty eight Dracula Comeback Special.

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Speaker 2: Scott got sixteen thousand, six hundred and sixty six dollars

339
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Speaker 2: sick from Paramount Pictures for the film rights, which is

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Speaker 2: a decent figure. It's three hundred thousand today, and the

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Speaker 2: Sixes may have jinxed him. By many accounts, the film

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Speaker 2: was terrible. It was silent era, so you know, not

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Speaker 2: a talkie starring Warner Baxter, who later won an Academy

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Speaker 2: Award for his performance in The Cisco Kid as Gatsby,

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Speaker 2: and Lois Wilson as Daisy. Now, Wilson is not a

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Speaker 2: big name today, but she was a prolific silent film

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Speaker 2: actress who worked on one hundred and fifty films during

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Speaker 2: her career. Most of them are, of course now considered lost,

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Speaker 2: and this for Scatsby adaptation is among them. About a

350
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Speaker 2: minute of footage that served as the trailer survives, but

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Speaker 2: people are not generally mourning it's lost. The Fitzgeraldes reportedly

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Speaker 2: walked out of the screening. Scott's wife Zelda, would later

353
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Speaker 2: call it rotten and awful and terrible in a letter

354
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Speaker 2: to a friend, capitalizing rotten.

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Speaker 1: It's crazy how many films have been lost. I mean

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Speaker 1: it's like dizzle rot a century early, like people's entire careers.

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Speaker 2: Yeah, it's awful, and like I'm worried about it because

358
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Speaker 2: people are not taking care of their quickly. Oh like

359
00:21:37,040 --> 00:21:39,639
Speaker 2: do you know, I mean not that he's like everybody's

360
00:21:39,680 --> 00:21:43,600
Speaker 2: cup of tea, but like all of Scherenberg's archives were

361
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Speaker 2: like destroyed in the Palisades fires.

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Speaker 1: I didn't know that.

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Speaker 2: So that's just like one of the architects of twentieth

364
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Speaker 2: century music that like now we just don't have a

365
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Speaker 2: massive quantity of his work around if it wasn't digitized,

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Speaker 2: and I don't know how much of it was. And

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Speaker 2: like you know, there's obviously stuff inherent to the early

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Speaker 2: film's medium that made them prone to catching on fire spontaneously.

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Speaker 1: Oh the celluloid Yeah, and then it's yeah integrate anyway, Yeah,

370
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Speaker 1: well that was that's the vinegar syndrome that people talk about,

371
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Speaker 1: where it does indeed, they do start to degrade into

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Speaker 1: something that smells like straight pissed vinegar.

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Speaker 2: But you know, this just happens because of corporate negligence,

374
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Speaker 2: like the universal backlot fire that like now there's no

375
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Speaker 2: master versions of like many albums by people of people

376
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Speaker 2: iconic names.

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Speaker 1: You know, God did they bury that for the longest time,

378
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Speaker 1: Like we didn't know the extent to which stuff had

379
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Speaker 1: been I believe that is. Yeah, yeah, the fire was

380
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Speaker 1: in like O eight and I want to say it

381
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Speaker 1: was like twenty thirteen or fourteen. It was a big

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Speaker 1: New York Times.

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Speaker 2: Yes, that's correct, Yeah, Times Jesus Christ Scott continued to flounder.

384
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Speaker 2: I don't know why I find that funny and cod

385
00:22:59,520 --> 00:23:02,320
Speaker 2: and scraw od. You got some weird fishes up in

386
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Speaker 2: New England, don't you?

387
00:23:03,320 --> 00:23:04,119
Speaker 1: Yeah, we do.

388
00:23:04,880 --> 00:23:07,320
Speaker 2: Following the Great Gatsby's publication, he hoped to write a

389
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Speaker 2: weighty social novel. It was to center on a murder,

390
00:23:10,280 --> 00:23:13,480
Speaker 2: specifically a mattress side. The plot was believed to be

391
00:23:13,520 --> 00:23:16,399
Speaker 2: inspired by the famous Leopold and Loob case, which involved

392
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Speaker 2: the Chicago murder of a little boy by two adolescents.

393
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Speaker 2: You're addendum here is again Scott had no good car ideas.

394
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Speaker 1: I read this thing today.

395
00:23:30,280 --> 00:23:35,639
Speaker 2: Yeah, Leopold Lobe was also rope the Hitchcock movie. That

396
00:23:35,760 --> 00:23:38,960
Speaker 2: was one of the one of the long take pioneers,

397
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Speaker 2: right right, great film, great film. Rear Windows my favorite,

398
00:23:43,280 --> 00:23:47,600
Speaker 2: but that one's up there. Who doesn't love seeing Jimmy

399
00:23:47,640 --> 00:23:50,040
Speaker 2: Stewart flop sweat around, although in this one he's actually

400
00:23:50,080 --> 00:23:53,200
Speaker 2: supposed to be like an erudite boarding school professor, which

401
00:23:53,240 --> 00:23:57,920
Speaker 2: is kind of funny because he's, you know, it's Jimmy Stewart.

402
00:23:58,560 --> 00:24:01,520
Speaker 2: This whole thing has been like a corn every man,

403
00:24:01,760 --> 00:24:05,679
Speaker 2: you know, lanky cornfred everyman who doesn't want to have

404
00:24:05,760 --> 00:24:08,800
Speaker 2: sex with the most beautiful woman in the world in

405
00:24:08,920 --> 00:24:13,439
Speaker 2: rear window. I'm still mad about that. The entire plot

406
00:24:13,520 --> 00:24:16,880
Speaker 2: of that hinges on him, like wanting to spy on neighbors.

407
00:24:18,400 --> 00:24:25,240
Speaker 2: Princess Grace is sitting there begging to have sex with him. Hilarious, hilarious,

408
00:24:26,640 --> 00:24:29,760
Speaker 2: variously called the boy who killed his mother.

409
00:24:31,359 --> 00:24:39,720
Speaker 1: He really needed help with his titles.

410
00:24:36,840 --> 00:24:41,680
Speaker 2: The World's Fair and our simply our type two others.

411
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Speaker 1: What do you mean by our type?

412
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Speaker 2: By what do you mean by type FITZI Fitzgerald only

413
00:24:49,160 --> 00:24:53,760
Speaker 2: wrote four chapters of that, so what a tragedy. Persistent

414
00:24:53,760 --> 00:24:57,760
Speaker 2: financial needs kept him churning out short stories which provided quick,

415
00:24:57,960 --> 00:25:01,240
Speaker 2: short bursts of cash. Then he had to contend with

416
00:25:01,359 --> 00:25:05,760
Speaker 2: the psychological breakdown of his wife, Zelda. As we just

417
00:25:06,160 --> 00:25:09,399
Speaker 2: spoke of last episode, Zelda was displaying signs of what

418
00:25:09,400 --> 00:25:13,200
Speaker 2: we now probably call bipolar disorder, although at the time

419
00:25:13,240 --> 00:25:16,200
Speaker 2: it was given the catch all diagnosis of schizophrenia. She

420
00:25:16,240 --> 00:25:19,560
Speaker 2: became obsessed with becoming a professional ballet dancer at the

421
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Speaker 2: age of twenty nine, which is like retirement age for

422
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Speaker 2: some dancers, but still practiced eight hours a day, maniacally

423
00:25:30,000 --> 00:25:33,200
Speaker 2: training and punishing herself past the point of physical exhaustion

424
00:25:33,280 --> 00:25:36,239
Speaker 2: and injury. She wrote a novel called Save Me the

425
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Speaker 2: Waltz around this period, and again, like her husband, the

426
00:25:40,359 --> 00:25:43,840
Speaker 2: heroine was a thinly disguised version of herself who was

427
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Speaker 2: quote consumed by a longing to succeed as a dancer.

428
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Speaker 2: It seemed to her that reaching her goal, she would

429
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Speaker 2: drive the devils that had driven her, that she would,

430
00:25:52,640 --> 00:25:55,160
Speaker 2: through the medium of dance, be able to summon love

431
00:25:55,320 --> 00:25:59,760
Speaker 2: or pity or happiness at will, marking up the wrong tree. There,

432
00:26:00,520 --> 00:26:02,520
Speaker 2: Zelda only through.

433
00:26:02,359 --> 00:26:03,480
Speaker 1: My marie.

434
00:26:06,080 --> 00:26:10,840
Speaker 2: Mimism, miming, mimetic clowning, only through the art of the

435
00:26:10,880 --> 00:26:17,359
Speaker 2: noble art of clownery, certainly not music or writing anything else.

436
00:26:17,400 --> 00:26:17,680
Speaker 1: Really.

437
00:26:19,320 --> 00:26:22,800
Speaker 2: This obsessive behavior culminated in a collapse. One evening in

438
00:26:22,840 --> 00:26:25,199
Speaker 2: April of nineteen thirty, Scott returned home to find an

439
00:26:25,240 --> 00:26:28,160
Speaker 2: exhausted Zelda seated on the floor, entranced with a pile

440
00:26:28,200 --> 00:26:31,040
Speaker 2: of sand for Brian Wilson moment. When he asked her

441
00:26:31,080 --> 00:26:33,600
Speaker 2: what she was doing, she could not speak. He summoned

442
00:26:33,600 --> 00:26:36,400
Speaker 2: a physician who examined Zelda and informed him that your

443
00:26:36,440 --> 00:26:42,280
Speaker 2: wife is mad. Do this cocaine about it? She was

444
00:26:42,280 --> 00:26:44,200
Speaker 2: in and out of sanitariums for the next few years.

445
00:26:44,480 --> 00:26:46,679
Speaker 2: Friends would recall that Scott would always light up when

446
00:26:46,720 --> 00:26:50,040
Speaker 2: she'd return home. His underlying hope was this time she'll

447
00:26:50,080 --> 00:26:52,399
Speaker 2: be different. We can still make her part of the family.

448
00:26:52,720 --> 00:26:56,560
Speaker 2: We don't have to give her up. Well he has

449
00:26:56,560 --> 00:27:05,320
Speaker 2: one up on the Kennedy's. Oh google Rosemary Kennedy Life

450
00:27:06,320 --> 00:27:10,560
Speaker 2: for more. Zelda continued, despite these best intentions to struggle.

451
00:27:11,040 --> 00:27:13,760
Speaker 2: She wrote to Scott for one of these homecomings, I'm

452
00:27:13,800 --> 00:27:15,679
Speaker 2: sorry there shall be nothing to greet you but an

453
00:27:15,680 --> 00:27:18,879
Speaker 2: empty shell. I want you to be happy. If there

454
00:27:18,880 --> 00:27:22,240
Speaker 2: were any justice, you would be happy. I love you anyway,

455
00:27:22,400 --> 00:27:25,240
Speaker 2: even if there isn't any me, or any love or

456
00:27:25,280 --> 00:27:26,000
Speaker 2: even my life.

457
00:27:26,560 --> 00:27:27,119
Speaker 1: I love you.

458
00:27:28,760 --> 00:27:32,320
Speaker 2: Oh ah.

459
00:27:34,800 --> 00:27:35,040
Speaker 3: Woo.

460
00:27:36,680 --> 00:27:39,439
Speaker 2: Yeah, that's a real get up and pace around the

461
00:27:39,600 --> 00:27:40,000
Speaker 2: room one.

462
00:27:40,040 --> 00:27:46,399
Speaker 1: I'll be right back. Oh it keeps going.

463
00:27:46,840 --> 00:27:48,760
Speaker 2: Go buckle down, buckle down.

464
00:27:48,720 --> 00:27:51,720
Speaker 1: Shovel my friend, because we are digging deeper.

465
00:27:52,680 --> 00:27:56,000
Speaker 2: Despite this, Zelda had moments of clarity, which is kind.

466
00:27:55,920 --> 00:27:59,840
Speaker 1: Of worse that she would sometimes come back, but no,

467
00:28:00,080 --> 00:28:02,800
Speaker 1: it was like Flowers for Algernon moment where she kind

468
00:28:02,800 --> 00:28:05,359
Speaker 1: of knew that she was being sucked back down.

469
00:28:06,000 --> 00:28:08,800
Speaker 2: Well, they call that, They literally call that insight. There's

470
00:28:08,840 --> 00:28:13,240
Speaker 2: a separate psychological term or psychiatric term for being aware

471
00:28:13,240 --> 00:28:15,800
Speaker 2: of your own and they grade it now, especially with

472
00:28:15,960 --> 00:28:25,000
Speaker 2: like psychosis, like you're more reality altering disorders. You're ugraded

473
00:28:25,040 --> 00:28:28,320
Speaker 2: as to what level of insight you have into how

474
00:28:28,359 --> 00:28:31,400
Speaker 2: these are affecting you and your ability to monitor them

475
00:28:31,600 --> 00:28:35,520
Speaker 2: or at least be aware of them. Wow, so that's depressing.

476
00:28:36,040 --> 00:28:38,720
Speaker 2: Despite this, she had moments of clarity. Her book included

477
00:28:38,760 --> 00:28:42,080
Speaker 2: flashes of literary brilliance, including this description of a man

478
00:28:42,160 --> 00:28:44,160
Speaker 2: who is a thinly disguised version of Scott.

479
00:28:44,280 --> 00:28:46,840
Speaker 1: This makes me want to cry, that this woman is

480
00:28:46,880 --> 00:28:51,360
Speaker 1: describing her husband this way, in this state. Please continue.

481
00:28:51,800 --> 00:28:54,520
Speaker 2: There seemed to be some heavenly support beneath his shoulder

482
00:28:54,520 --> 00:28:57,840
Speaker 2: blades that lifted his feet from the ground in ecstatic suspension,

483
00:28:58,040 --> 00:29:00,720
Speaker 2: as if he secretly enjoyed the ability to but was

484
00:29:00,800 --> 00:29:08,040
Speaker 2: walking as a compromise to convention. Zelda's psychological disintegration was

485
00:29:08,080 --> 00:29:12,600
Speaker 2: a tragedy from which neither would ever recover. Scott's secretary

486
00:29:12,600 --> 00:29:15,760
Speaker 2: of Francis kroll Ring, later said Scott was a romantic.

487
00:29:16,440 --> 00:29:19,280
Speaker 2: He had illusions about life and the sense of remembering

488
00:29:19,280 --> 00:29:21,360
Speaker 2: what it was, and would never be again was pretty

489
00:29:21,400 --> 00:29:25,080
Speaker 2: horrendous to somebody like Scott. Scott Stemens were his love life.

490
00:29:26,040 --> 00:29:28,560
Speaker 2: Here he had this incredibly romantic woman with whom he

491
00:29:28,600 --> 00:29:32,160
Speaker 2: fell deeply in love, not expecting or recognizing that untamed

492
00:29:32,160 --> 00:29:35,000
Speaker 2: wildness in her as an illness until it was too late, really,

493
00:29:35,440 --> 00:29:38,120
Speaker 2: and I think he never quite got over that shh.

494
00:29:39,920 --> 00:29:42,600
Speaker 2: It was early mid thirties, when America was in the

495
00:29:42,880 --> 00:29:45,760
Speaker 2: grip of the Great Depression, and Scott's literary stock had

496
00:29:45,760 --> 00:29:49,520
Speaker 2: fallen and Zelda's grasp on reality was slipping. One could

497
00:29:49,560 --> 00:29:52,160
Speaker 2: think of this era as the Twilight of the jazz Age.

498
00:29:53,400 --> 00:29:58,280
Speaker 2: Hundreds of flagpolesitters were coaxed down and flown at half

499
00:29:58,320 --> 00:30:03,880
Speaker 2: mast back to the sad stuff. There's a famous story

500
00:30:03,880 --> 00:30:06,040
Speaker 2: around this time where Scott threw a tea dance for

501
00:30:06,080 --> 00:30:09,000
Speaker 2: his daughter. He proceeded to drink heavily during it, and

502
00:30:09,040 --> 00:30:11,560
Speaker 2: as everyone was heading home, he paid the band to

503
00:30:11,560 --> 00:30:14,760
Speaker 2: play another hour just for him. Guests filed out as

504
00:30:14,760 --> 00:30:16,360
Speaker 2: Scott sat in a chair in the middle of an

505
00:30:16,400 --> 00:30:20,160
Speaker 2: otherwise empty ballroom, bottle of gin at his feet, listening

506
00:30:20,160 --> 00:30:21,800
Speaker 2: to the band plays songs from the Height of the

507
00:30:21,880 --> 00:30:30,120
Speaker 2: jazz Age, a name he'd popularized a decade before Poignant Image,

508
00:30:31,480 --> 00:30:33,680
Speaker 2: he'd become an object of pity among his friends. His

509
00:30:33,760 --> 00:30:37,160
Speaker 2: confidante Ernest Hemingway wrote to the Shared editor Maxwell Perkins,

510
00:30:37,800 --> 00:30:40,440
Speaker 2: poor old Scott, he should have swapped Zelda when she

511
00:30:40,560 --> 00:30:44,400
Speaker 2: was at the craziest but still saleable five or six

512
00:30:44,520 --> 00:30:45,080
Speaker 2: years ago.

513
00:30:47,400 --> 00:30:49,080
Speaker 1: Sorry for laughing in the middle back, but.

514
00:30:50,520 --> 00:30:55,200
Speaker 2: Oh Arnest had a boy papa before she was diagnosed

515
00:30:55,200 --> 00:30:58,320
Speaker 2: as nutty. He is the great tragedy of talent in

516
00:30:58,360 --> 00:30:59,400
Speaker 2: our bloody generation.

517
00:31:00,120 --> 00:31:03,720
Speaker 1: Hemingway famously advised his friend Scott in a letter during

518
00:31:03,760 --> 00:31:07,120
Speaker 1: this period, you especially have to hurt like hell before

519
00:31:07,160 --> 00:31:10,160
Speaker 1: you can write seriously. But when you get the damned hurt,

520
00:31:10,480 --> 00:31:15,160
Speaker 1: use it. And that's essentially what Scott did. Though he

521
00:31:15,240 --> 00:31:19,160
Speaker 1: was heartbroken, he recognized that his life was good material.

522
00:31:20,080 --> 00:31:22,640
Speaker 1: He used his experience with Zelda as a catalyst for

523
00:31:22,680 --> 00:31:26,640
Speaker 1: finishing his long gestating novel, Tender as the Night Said

524
00:31:26,640 --> 00:31:29,400
Speaker 1: in the French rivier during the Twilight of the jazz Age.

525
00:31:29,440 --> 00:31:32,760
Speaker 1: The nineteen thirty four novel chronicles the rise and fall

526
00:31:32,880 --> 00:31:36,640
Speaker 1: of Why Did He give him this name? Dick Diver,

527
00:31:40,760 --> 00:31:45,120
Speaker 1: a promising young psychiatrist, and his wife Nicole, who used

528
00:31:45,120 --> 00:31:48,120
Speaker 1: to be one of his patients, which is a definite

529
00:31:48,560 --> 00:31:49,680
Speaker 1: breach of ethics there.

530
00:31:49,920 --> 00:31:52,000
Speaker 2: Yeah, yeah, yeah.

531
00:31:52,600 --> 00:31:55,440
Speaker 1: The story mirrors the events in the Fitzgerald's lives, as

532
00:31:55,520 --> 00:31:58,960
Speaker 1: Dick starts his descent into alcoholism and the Cole struggles

533
00:31:58,960 --> 00:32:02,800
Speaker 1: with mental illness, believed to be the fallout from an

534
00:32:02,840 --> 00:32:06,720
Speaker 1: incestuous relationship with her father as a young woman. It's

535
00:32:06,760 --> 00:32:09,760
Speaker 1: been theorized that Zelda was sexually abused by her father

536
00:32:09,840 --> 00:32:15,840
Speaker 1: as a child. Dot dot dot. Scott spent much of

537
00:32:15,880 --> 00:32:18,680
Speaker 1: his time in this era writing short stories and essays

538
00:32:18,680 --> 00:32:22,480
Speaker 1: for magazines. One of these, written for Esquire in nineteen

539
00:32:22,560 --> 00:32:25,400
Speaker 1: thirty six, is called The Crack Up. Are you familiar

540
00:32:25,440 --> 00:32:25,600
Speaker 1: with this?

541
00:32:26,280 --> 00:32:26,600
Speaker 3: I'm not.

542
00:32:27,680 --> 00:32:32,400
Speaker 1: It's a stark, unflinching account of his own psychological and

543
00:32:32,480 --> 00:32:37,840
Speaker 1: emotional collapse during a period of personal and professional decline.

544
00:32:38,080 --> 00:32:43,520
Speaker 1: Ninety years later, it's still a harrowing read. Gone is

545
00:32:43,520 --> 00:32:46,640
Speaker 1: the romantic idealist of the jazz Age in his place

546
00:32:46,680 --> 00:32:50,760
Speaker 1: as a man hollled out by disillusionment, regret, and exhaustion.

547
00:32:51,800 --> 00:32:54,760
Speaker 1: Fitzgerald recounts a moment of clarity when he realized that

548
00:32:54,840 --> 00:32:58,200
Speaker 1: he had quote cracked, was no longer able to rely

549
00:32:58,280 --> 00:33:01,240
Speaker 1: on the emotional reserves that had once fueled his creativity

550
00:33:01,560 --> 00:33:05,920
Speaker 1: and sense of purpose. He admitted to feeling nothing, not joy,

551
00:33:06,200 --> 00:33:11,080
Speaker 1: not pain, not even the desire to continue pretending. The

552
00:33:11,200 --> 00:33:13,959
Speaker 1: essay marks a turning point in his philosophy, as he

553
00:33:14,000 --> 00:33:18,800
Speaker 1: rejects the myths he once believed in, emotional nobility, artistic heroism,

554
00:33:19,320 --> 00:33:22,080
Speaker 1: and the idea that one could persevere through sheer force

555
00:33:22,120 --> 00:33:26,800
Speaker 1: of will. Instead, he embraces a colder, more cynical survival

556
00:33:26,800 --> 00:33:31,360
Speaker 1: strategy based on emotional detachment. Okay, I'm not reading that one.

557
00:33:31,640 --> 00:33:34,200
Speaker 1: I had only been a mediocre caretaker of most of

558
00:33:34,200 --> 00:33:36,840
Speaker 1: the things left in my hands, even of my talent,

559
00:33:37,040 --> 00:33:40,080
Speaker 1: he writes, in one of many confessions that shocked readers

560
00:33:40,120 --> 00:33:44,600
Speaker 1: for their raw honesty. Unlike other personal essays of the time,

561
00:33:44,760 --> 00:33:48,360
Speaker 1: the Crack Up offers no redemptive arc or uplifting conclusion.

562
00:33:48,920 --> 00:33:52,640
Speaker 1: Fitzgerald doesn't pretend he's on the mend. He simply observes

563
00:33:52,640 --> 00:33:56,800
Speaker 1: the wreckage. In doing so, he dismantles the myth of

564
00:33:56,800 --> 00:34:00,520
Speaker 1: the ever triumphant American artist and replaces it with something darker,

565
00:34:01,040 --> 00:34:04,640
Speaker 1: more human, but also more enduring, the image of a

566
00:34:04,680 --> 00:34:08,360
Speaker 1: man who has stopped hoping for recovery, but continues on

567
00:34:08,840 --> 00:34:13,840
Speaker 1: stripped bare. Another insight into his psyche is from Sleeping

568
00:34:13,880 --> 00:34:17,440
Speaker 1: and Waking, published around the same period, also in Esquire.

569
00:34:18,360 --> 00:34:20,759
Speaker 1: I'd like to quote it, not quite in full, but

570
00:34:20,880 --> 00:34:24,359
Speaker 1: near enough. When some years ago I read a piece

571
00:34:24,360 --> 00:34:27,399
Speaker 1: by Ernest Hemingway called Now I Lay Me, I thought

572
00:34:27,440 --> 00:34:30,759
Speaker 1: there wasn't much further to say about insomnia. I see

573
00:34:30,800 --> 00:34:33,640
Speaker 1: now that that is because I'd never had much. It

574
00:34:33,680 --> 00:34:36,360
Speaker 1: appears that every man's insomnia is as different from his

575
00:34:36,400 --> 00:34:40,600
Speaker 1: neighbors as are their daytime hopes and aspirations. Now, if

576
00:34:40,680 --> 00:34:43,239
Speaker 1: insomnia is going to be one of your naturals, it

577
00:34:43,280 --> 00:34:47,480
Speaker 1: begins to appear. In the late thirties, Those seven precious

578
00:34:47,520 --> 00:34:51,359
Speaker 1: hours of sleep suddenly break in two. There is, if

579
00:34:51,440 --> 00:34:55,160
Speaker 1: one's lucky, the first sweet sleep of the night and

580
00:34:55,239 --> 00:34:58,600
Speaker 1: the last deep sleep of the morning. But between the

581
00:34:58,640 --> 00:35:04,680
Speaker 1: two appears a sinister, ever widening interval. A typical night

582
00:35:04,719 --> 00:35:09,399
Speaker 1: comes after a particularly sedentary work and cigarette day. It ends, say,

583
00:35:09,480 --> 00:35:13,440
Speaker 1: without any relaxing interval. At the time for going to bed,

584
00:35:14,000 --> 00:35:17,239
Speaker 1: all is prepared, the books, the glass of water, the

585
00:35:17,280 --> 00:35:21,080
Speaker 1: extra pajamas lest I awaken, rivulets of sweat, the illuminol

586
00:35:21,160 --> 00:35:24,560
Speaker 1: pills in the little round two sleeping pills, the notebook

587
00:35:24,600 --> 00:35:27,520
Speaker 1: and pencil in case of a night thought worth recording.

588
00:35:28,200 --> 00:35:32,160
Speaker 1: Few have been. I turn in, perhaps with a nightcap,

589
00:35:32,440 --> 00:35:35,719
Speaker 1: and read till drowsy on a last cigarette. At the

590
00:35:35,800 --> 00:35:38,360
Speaker 1: yawning point, I snapped the book on a marker, the

591
00:35:38,400 --> 00:35:41,920
Speaker 1: cigarette at the hearth, the button on the lamp. I

592
00:35:41,960 --> 00:35:44,680
Speaker 1: turned first on the left side for that. So I've

593
00:35:44,719 --> 00:35:50,280
Speaker 1: heard slows the heart, and then coma So far, so good.

594
00:35:51,000 --> 00:35:55,040
Speaker 1: From midnight until two thirty, peace in the room. Then

595
00:35:55,080 --> 00:35:58,279
Speaker 1: suddenly I'm awake, harnessed by one of the ills or

596
00:35:58,320 --> 00:36:01,960
Speaker 1: functions of the body, to vivid dream, a change in

597
00:36:02,000 --> 00:36:05,960
Speaker 1: the weather for warm or cold, the real night, the

598
00:36:06,040 --> 00:36:12,000
Speaker 1: darkest hour has begun. Horror and waste, waste and horror.

599
00:36:12,800 --> 00:36:18,320
Speaker 1: What I might have been and done that is lost, spent, gone, dissipated, unrecapturable.

600
00:36:19,080 --> 00:36:22,520
Speaker 1: I could have acted thus refrained from this, been bold

601
00:36:22,560 --> 00:36:26,239
Speaker 1: where I was timid, cautious, where I was rash. I

602
00:36:26,280 --> 00:36:29,200
Speaker 1: need not have heard her like that, nor said this

603
00:36:29,320 --> 00:36:33,600
Speaker 1: to him, nor broken myself trying to break what was unbreakable.

604
00:36:34,840 --> 00:36:38,080
Speaker 1: The horror has come now like a storm. What if

605
00:36:38,080 --> 00:36:41,520
Speaker 1: this night prefigured the night after death? What if all

606
00:36:41,600 --> 00:36:44,640
Speaker 1: thereafter was an eternal, quivering on the edge of an abyss,

607
00:36:45,160 --> 00:36:48,960
Speaker 1: with everything base and vicious in oneself urging one forward,

608
00:36:49,400 --> 00:36:52,000
Speaker 1: and the baseness and viciousness of the world just ahead.

609
00:36:53,000 --> 00:36:57,920
Speaker 1: No choice, no road, no hope, only the endless repetition

610
00:36:58,040 --> 00:37:01,800
Speaker 1: of the sordid and the semi tragic. Or to stand forever,

611
00:37:01,880 --> 00:37:05,600
Speaker 1: perhaps on the threshold of life, unable to pass it

612
00:37:05,680 --> 00:37:08,879
Speaker 1: and return to it. I am a ghost now. As

613
00:37:08,920 --> 00:37:12,120
Speaker 1: the clock strikes four on the side of the bed,

614
00:37:12,160 --> 00:37:16,120
Speaker 1: I put my head in my hands. Then silence, silence,

615
00:37:16,640 --> 00:37:20,400
Speaker 1: and suddenly, or so it seems in retrospect, suddenly I

616
00:37:20,440 --> 00:37:26,120
Speaker 1: am asleep. Sleep, real sleep, the dear cherished one, the lullaby,

617
00:37:27,080 --> 00:37:29,960
Speaker 1: so deep and warm, the bed and the pillow enfolding me,

618
00:37:30,320 --> 00:37:34,359
Speaker 1: letting me sink into peace nothingness. My dreams now after

619
00:37:34,400 --> 00:37:37,360
Speaker 1: the Catharsis of the dark hours, are of young and

620
00:37:37,400 --> 00:37:41,120
Speaker 1: lovely people doing young, lovely things, the girls I once knew,

621
00:37:41,400 --> 00:37:45,640
Speaker 1: with big brown eyes, real yellow hair. Life was like that,

622
00:37:45,800 --> 00:37:49,719
Speaker 1: after all. My spirit soars in the moment of its oblivion.

623
00:37:50,440 --> 00:37:56,680
Speaker 1: Then down, down, deep in the pillow, irresistible, iridescent. Here

624
00:37:56,719 --> 00:38:09,480
Speaker 1: is Aurora, Here is another day. Your thoughts fuck.

625
00:38:12,560 --> 00:38:18,080
Speaker 2: The man could write yeah, yes, ouch.

626
00:38:19,480 --> 00:38:26,640
Speaker 1: Ouch. He not only wrote that, he published that in

627
00:38:27,000 --> 00:38:30,960
Speaker 1: Esquire magazine. Just say what you will about self obsession,

628
00:38:31,160 --> 00:38:34,680
Speaker 1: self pity, whatever that thanks guts.

629
00:38:35,400 --> 00:38:39,520
Speaker 2: Yeah, yeah, no, I mean that's that's Is that as

630
00:38:39,520 --> 00:38:41,720
Speaker 2: grim as this gets? Or are we going further?

631
00:38:41,920 --> 00:38:44,080
Speaker 1: I mean a woman's burned alive in a couple of pages?

632
00:38:44,480 --> 00:38:47,120
Speaker 2: Oh right, yeah yeah yeah, yeah, yeah, sorry.

633
00:38:46,800 --> 00:38:50,279
Speaker 1: But I think that that might be around the bottom. Yeah,

634
00:38:50,320 --> 00:38:54,359
Speaker 1: we're hovering, We're hovering around the bottom. Yeah yeah. There

635
00:38:54,400 --> 00:38:58,840
Speaker 1: were many, including Scott's own friends, who felt that these

636
00:38:59,040 --> 00:39:07,120
Speaker 1: exceedingly raw essays were a little much unseemly display of

637
00:39:07,160 --> 00:39:11,320
Speaker 1: the soul, so to speak. Even Hemingway took a shot

638
00:39:11,320 --> 00:39:13,600
Speaker 1: at his friend Scott in a short story also an

639
00:39:13,719 --> 00:39:18,000
Speaker 1: Esquire called The Snows of Kilimanjaro. Papa h wrote he

640
00:39:18,080 --> 00:39:22,520
Speaker 1: remembered poor Scott Fitzgerald in his romantic awe and how

641
00:39:22,560 --> 00:39:25,640
Speaker 1: he had started a story once that began the richard

642
00:39:25,680 --> 00:39:28,600
Speaker 1: different from you and me, And how someone had said

643
00:39:28,600 --> 00:39:32,040
Speaker 1: to Scott, yes, they have more money, but that was

644
00:39:32,080 --> 00:39:35,080
Speaker 1: not humorous to Scott. He thought they were a special,

645
00:39:35,160 --> 00:39:39,040
Speaker 1: glamorous race, and when he found out they weren't, it

646
00:39:39,080 --> 00:39:41,719
Speaker 1: wrecked him as much as any other thing that wrecked him.

647
00:39:42,320 --> 00:39:45,640
Speaker 1: Fitzgerald was not amused, and he wrote Hemingway an aggrieved

648
00:39:45,760 --> 00:39:50,440
Speaker 1: letter upon reading this, filled with humorous slash sad parentheticals,

649
00:39:51,280 --> 00:39:55,200
Speaker 1: Dear Ernest, please lay off me in print if I

650
00:39:55,280 --> 00:39:59,200
Speaker 1: choose to write diprofundis sometimes it doesn't mean I want friends,

651
00:39:59,600 --> 00:40:04,000
Speaker 1: still friends? Then praying aloud over my corpse, No doubt

652
00:40:04,040 --> 00:40:07,040
Speaker 1: you meant it kindly. How could that have been? But

653
00:40:07,120 --> 00:40:10,000
Speaker 1: it cost me a night's sleep, only one night. I'm

654
00:40:10,040 --> 00:40:13,000
Speaker 1: tougher than you think. And when you incorporate it the

655
00:40:13,080 --> 00:40:16,680
Speaker 1: story in a book, would you mind gently gently cutting

656
00:40:16,680 --> 00:40:19,960
Speaker 1: my name? It's a fine story, one of your best,

657
00:40:20,480 --> 00:40:24,879
Speaker 1: absolutely true and under the circumstances, insightful and generous, even

658
00:40:24,880 --> 00:40:28,520
Speaker 1: though the poor Scott Fitzgerald et cetera, rather putting it mildly,

659
00:40:28,640 --> 00:40:33,560
Speaker 1: spoiled it for me. Ever, your friend parentheses despite all Scott,

660
00:40:35,800 --> 00:40:42,879
Speaker 1: where are you right now? In a good place? Yeah?

661
00:40:43,120 --> 00:40:47,080
Speaker 2: Yeah, well not many people respond well to having your

662
00:40:47,080 --> 00:40:55,320
Speaker 2: whole deal unpacked in one sentence. A short story in Esquire,

663
00:40:55,520 --> 00:40:59,840
Speaker 2: like I'm sure that one just hit him dead between

664
00:40:59,880 --> 00:41:01,880
Speaker 2: the and we had to sit down and.

665
00:41:01,880 --> 00:41:04,080
Speaker 1: Have a bottle of gin about it. Just KNEECAPPEDIM.

666
00:41:04,239 --> 00:41:07,040
Speaker 2: Yeah, come on, man, that's tough.

667
00:41:07,960 --> 00:41:13,560
Speaker 1: I mean, I will say, you know, I quoted Alan

668
00:41:13,600 --> 00:41:16,480
Speaker 1: Bennet's The History Boys last week in the opening of

669
00:41:16,480 --> 00:41:19,520
Speaker 1: the last week's episode. I'm gonna paraphrase. It was something like,

670
00:41:19,560 --> 00:41:23,520
Speaker 1: there's something very special about when you read something that

671
00:41:23,600 --> 00:41:26,680
Speaker 1: you had previously thought was something that was unique to you,

672
00:41:26,800 --> 00:41:30,520
Speaker 1: a unique thought, a unique circumstance, a unique anything. And

673
00:41:30,560 --> 00:41:34,480
Speaker 1: then you have somebody up from a century earlier writing

674
00:41:34,640 --> 00:41:38,640
Speaker 1: basically taking the thoughts from your head. And I think

675
00:41:38,680 --> 00:41:40,920
Speaker 1: the quote from Alan Bennett was it's like a hand

676
00:41:40,960 --> 00:41:44,000
Speaker 1: reaching out through time. And I find I find a

677
00:41:44,000 --> 00:41:47,000
Speaker 1: certain sense of comfort in that. Yeah, it's part of

678
00:41:47,040 --> 00:41:49,200
Speaker 1: the shared it's part of what makes us human, that

679
00:41:49,239 --> 00:41:51,440
Speaker 1: it's something that's been around for a long long time.

680
00:41:52,080 --> 00:41:55,760
Speaker 2: Yeah, I just think it's I just think it's probably

681
00:41:55,800 --> 00:41:58,600
Speaker 2: weird if it's true, more than he let on. Like

682
00:42:00,200 --> 00:42:02,759
Speaker 2: when you unpack someone's in like again, I mean, that's

683
00:42:02,760 --> 00:42:06,520
Speaker 2: like a surgical strike. That's not like a flowery like

684
00:42:07,040 --> 00:42:10,839
Speaker 2: love or sadness. That is just being like, yeah, dude,

685
00:42:10,880 --> 00:42:13,960
Speaker 2: your life is a sham. And your artistic works and

686
00:42:14,000 --> 00:42:17,120
Speaker 2: like your core belief that motivated all of your art

687
00:42:17,480 --> 00:42:19,600
Speaker 2: and essentially your life is.

688
00:42:21,440 --> 00:42:26,600
Speaker 1: Astake. I'm misunderstanding of the human experience.

689
00:42:27,360 --> 00:42:34,200
Speaker 2: You should have spent more time boxing. Yeah, no one, Yeah,

690
00:42:34,200 --> 00:42:37,200
Speaker 2: no one wants to hear that. Yeah, I get it,

691
00:42:37,320 --> 00:42:40,800
Speaker 2: I get it. Yeah, but you know, not nice of

692
00:42:40,880 --> 00:42:43,040
Speaker 2: him to write a letter, regardless of.

693
00:42:42,920 --> 00:42:44,840
Speaker 1: A Fitzgerald writing a letter to him. Yeah.

694
00:42:45,040 --> 00:42:48,320
Speaker 2: Yeah, probably it's only friends, gotcha.

695
00:42:47,920 --> 00:42:49,440
Speaker 1: Jesus Christ? Yeah.

696
00:42:49,600 --> 00:42:52,040
Speaker 2: Can you imagine the benders those two head.

697
00:42:52,120 --> 00:42:55,719
Speaker 1: I cannot No, No, I haven't read a movable feast

698
00:42:55,760 --> 00:42:59,040
Speaker 1: in a while, but I'm sure at least some are

699
00:42:59,080 --> 00:43:04,759
Speaker 1: recounted in there. Jesus yes. Anyway, Well, by the late

700
00:43:04,800 --> 00:43:07,600
Speaker 1: nineteen thirties, Scott did what a lot of lost generation

701
00:43:07,680 --> 00:43:10,840
Speaker 1: writers did who were down on their luck. He followed

702
00:43:10,840 --> 00:43:12,680
Speaker 1: the money out to Hollywood to try to make it

703
00:43:12,719 --> 00:43:16,040
Speaker 1: as a screenwriter. When talkies had come into vogue at

704
00:43:16,040 --> 00:43:18,920
Speaker 1: the end of the nineteen twenties, studio heads panicked because

705
00:43:18,960 --> 00:43:22,080
Speaker 1: none of their staff writers had ever written dialogue before.

706
00:43:22,560 --> 00:43:25,480
Speaker 1: So as a result, every studio in town started throwing

707
00:43:25,520 --> 00:43:29,320
Speaker 1: money at every novelist and playwright they could find. Suddenly

708
00:43:29,400 --> 00:43:34,160
Speaker 1: Hollywood was filled with famous writers, essentially squandering their talent.

709
00:43:35,360 --> 00:43:37,920
Speaker 1: Scott arrived in the Writer's Building at MGM in nineteen

710
00:43:37,960 --> 00:43:41,480
Speaker 1: thirty seven, and he stayed there about eighteen months, though

711
00:43:41,520 --> 00:43:44,120
Speaker 1: he only received one screen credit for his work on

712
00:43:44,280 --> 00:43:48,239
Speaker 1: three Comrades. He also contributed to Infidelity, a film that

713
00:43:48,280 --> 00:43:50,759
Speaker 1: was intended for Joan Crawford but was canceled due to

714
00:43:50,800 --> 00:43:55,080
Speaker 1: its racy subject matter and the women, which was ultimately rewritten.

715
00:43:55,800 --> 00:44:00,760
Speaker 1: Bud Schulberg, Academy Award winning screenwriter on the Waterfront, recalled

716
00:44:00,760 --> 00:44:04,640
Speaker 1: his initial impression of Scott. Unlike all the famous Eastern

717
00:44:04,640 --> 00:44:07,520
Speaker 1: writers who came to Hollywood to replenish lost fortunes and

718
00:44:07,640 --> 00:44:11,200
Speaker 1: take the money and run, Fitzgerald regarded the motion pictures

719
00:44:11,239 --> 00:44:14,359
Speaker 1: as a unique twentieth century art form that demanded as

720
00:44:14,400 --> 00:44:18,560
Speaker 1: serious attention as their novels and plays. Fitzgerald became friendly

721
00:44:18,600 --> 00:44:20,840
Speaker 1: with Clark Gable, who kept trying to get him to

722
00:44:20,840 --> 00:44:24,880
Speaker 1: write a talkie version of Gatsby with himself in the

723
00:44:24,920 --> 00:44:28,200
Speaker 1: starring role, but unfortunately it never came together. That would

724
00:44:28,200 --> 00:44:29,759
Speaker 1: have been awesome. Clark Gable as.

725
00:44:29,680 --> 00:44:33,520
Speaker 2: Gatsby, Yeah, yeah, this is Gable's good.

726
00:44:33,360 --> 00:44:34,680
Speaker 1: Era, right, yeah.

727
00:44:34,800 --> 00:44:37,520
Speaker 2: He also a culm to alcoholism.

728
00:44:37,680 --> 00:44:41,759
Speaker 1: Yes, this was right before Gone with the Winds, So yeah,

729
00:44:41,800 --> 00:44:45,440
Speaker 1: this was like prime Gable era. Well, was Zelda more

730
00:44:45,520 --> 00:44:47,760
Speaker 1: or less living the life of an invalid in the hospital.

731
00:44:47,960 --> 00:44:51,960
Speaker 1: Scott more or less acted like a single man. He

732
00:44:52,040 --> 00:44:55,520
Speaker 1: settled in the relationship with the famous gossip columnist Sheila Graham,

733
00:44:56,520 --> 00:44:59,440
Speaker 1: but he very nearly patched things up with his lost

734
00:44:59,480 --> 00:45:04,799
Speaker 1: teenage love, Geneva King, you know, the socialite who was

735
00:45:04,840 --> 00:45:07,680
Speaker 1: deemed unsuitable for a lower class boy like Scott, so

736
00:45:08,360 --> 00:45:10,879
Speaker 1: her parents married her off to a polo playing heir

737
00:45:10,920 --> 00:45:14,160
Speaker 1: to a local bank fortune, thus inspiring the entire plot

738
00:45:14,200 --> 00:45:19,560
Speaker 1: of The Great Gatsby. That one, Geneva's relationship with her

739
00:45:19,560 --> 00:45:23,359
Speaker 1: philandering petroleum executive husband had finally foundered, and she paid

740
00:45:23,400 --> 00:45:26,560
Speaker 1: Scott a visit at the Beverly Wilshire Hotel on October

741
00:45:26,640 --> 00:45:30,360
Speaker 1: nineteen thirty eight. She was the first girl I ever loved,

742
00:45:30,520 --> 00:45:33,320
Speaker 1: and I have faithfully avoided seeing her up to this moment.

743
00:45:33,440 --> 00:45:38,080
Speaker 1: To keep the illusion perfect, Scott informed his teenage daughter

744
00:45:38,719 --> 00:45:41,800
Speaker 1: for in the world of the meeting. Yeah, your mom's

745
00:45:41,800 --> 00:45:44,120
Speaker 1: in the hospital, so I'm meeting my teenage fling. I

746
00:45:44,160 --> 00:45:47,440
Speaker 1: hope that's uh, I hope that's cool with you. She

747
00:45:47,520 --> 00:45:50,799
Speaker 1: was the first girl I ever loved. You know that's

748
00:45:50,840 --> 00:45:56,400
Speaker 1: a choice. Yeah. Ultimately, this long awaited reunion with his

749
00:45:56,520 --> 00:46:00,080
Speaker 1: lost love was a disaster. If you're gonna have a

750
00:46:00,120 --> 00:46:03,560
Speaker 1: reunion with a partner who rejected you, it's kind of

751
00:46:03,600 --> 00:46:07,239
Speaker 1: advised to show up as your best self. Otherwise, the

752
00:46:07,280 --> 00:46:11,200
Speaker 1: whole revenge fantasy thing, it doesn't really play out. And

753
00:46:11,280 --> 00:46:14,160
Speaker 1: Scott was not at his best. His body had been

754
00:46:14,239 --> 00:46:17,200
Speaker 1: ravaged by alcoholism at this point, and then we'd been

755
00:46:17,239 --> 00:46:21,319
Speaker 1: on the wagon for months. The site of Geneva destabilized him,

756
00:46:21,520 --> 00:46:25,000
Speaker 1: and sensing that this rendezvous wasn't going well, he started

757
00:46:25,120 --> 00:46:29,200
Speaker 1: ordering double shots of gin. Things went south as Scott

758
00:46:29,239 --> 00:46:33,280
Speaker 1: got drunker and angrier. When Geneva asked if she'd inspired

759
00:46:33,320 --> 00:46:38,040
Speaker 1: any characters in Fitzgerald's novels, drunken Scott quipped, what bitch,

760
00:46:38,080 --> 00:46:46,359
Speaker 1: do you think you are not uncalled for? It could

761
00:46:46,400 --> 00:46:51,680
Speaker 1: have been better? Like if it had been funnier.

762
00:46:51,719 --> 00:46:59,000
Speaker 2: If it had been funnier, I mean, poor good a

763
00:46:59,080 --> 00:47:04,560
Speaker 2: secret idiot do you think was gonna happen? I?

764
00:47:06,000 --> 00:47:09,280
Speaker 4: Well, I mean he was last time they had met,

765
00:47:09,440 --> 00:47:14,160
Speaker 4: he was a poor student at Princeton with no prospects,

766
00:47:14,840 --> 00:47:18,040
Speaker 4: and now he was a I guess a pasted it

767
00:47:18,360 --> 00:47:19,000
Speaker 4: literary it.

768
00:47:19,160 --> 00:47:22,160
Speaker 1: Boy. Yeah, but it was still it was better than

769
00:47:22,200 --> 00:47:24,479
Speaker 1: he was, but not as good as he had been.

770
00:47:25,719 --> 00:47:27,399
Speaker 1: By the Christ of God, go all of us.

771
00:47:28,080 --> 00:47:34,680
Speaker 2: Yeah, Jesus Christ, boy, this is just yeah.

772
00:47:34,719 --> 00:47:37,720
Speaker 1: And it was on this note that the pair parted forever.

773
00:47:38,760 --> 00:47:42,319
Speaker 1: Geneva returned back to her home in Chicago, bitterly disappointed

774
00:47:42,320 --> 00:47:46,280
Speaker 1: by the man Scott had become. Scott used this final

775
00:47:46,280 --> 00:47:49,200
Speaker 1: meeting as the basis for his nineteen forty one short story,

776
00:47:49,680 --> 00:47:54,440
Speaker 1: posthumously published, I might add three hours between planes. I

777
00:47:54,480 --> 00:47:55,880
Speaker 1: will not be quoting that one.

778
00:47:56,400 --> 00:47:59,439
Speaker 2: Please don't know, Please stop quoting him. Actually, stop telling

779
00:47:59,520 --> 00:48:02,080
Speaker 2: me details about his life. This is this is painful

780
00:48:02,160 --> 00:48:02,400
Speaker 2: to me.

781
00:48:02,600 --> 00:48:07,040
Speaker 1: Well, how about his death? Okay? Okay. In nineteen forty,

782
00:48:07,120 --> 00:48:10,320
Speaker 1: the final year of Scott's life, only fifteen copies of

783
00:48:10,360 --> 00:48:18,719
Speaker 1: The Great Gatsby were sold fifteen fifteen thousand, fifteen. In Hollywood,

784
00:48:18,760 --> 00:48:21,320
Speaker 1: where Fitzgerald had been eking out a living as a screenwriter,

785
00:48:22,200 --> 00:48:25,040
Speaker 1: he couldn't even find his own books and stores. They

786
00:48:25,040 --> 00:48:28,680
Speaker 1: were out of print. When he received a royalty check

787
00:48:28,760 --> 00:48:31,960
Speaker 1: that August, it was for thirteen dollars and thirteen cents

788
00:48:32,840 --> 00:48:38,719
Speaker 1: and a mount both paltry and symbolically menacing mm HM.

789
00:48:38,960 --> 00:48:41,239
Speaker 1: He died four months later of a heart attack at

790
00:48:41,280 --> 00:48:46,280
Speaker 1: age forty four, just four days before Christmas, day before

791
00:48:46,280 --> 00:48:50,319
Speaker 1: my birthday. It's not believe that Fitzgerald suffered some form

792
00:48:50,320 --> 00:48:54,080
Speaker 1: of tuberculosis during his lifetime, though some suspected that diagnosis

793
00:48:54,120 --> 00:48:58,160
Speaker 1: served as a cover for his heavy drinking in the twenties. Regardless,

794
00:48:58,320 --> 00:49:00,799
Speaker 1: it was a third and final heart attack and not

795
00:49:01,000 --> 00:49:04,040
Speaker 1: tb that killed him. He went to the grave believing

796
00:49:04,120 --> 00:49:06,880
Speaker 1: himself a failure and that his work had been forgotten.

797
00:49:07,840 --> 00:49:10,279
Speaker 1: Within a decade, however, a revival in the interest of

798
00:49:10,320 --> 00:49:13,239
Speaker 1: his work would begin again. When The New York Times

799
00:49:13,320 --> 00:49:17,560
Speaker 1: publishes obituary, it referenced the Great Gatsby only as evidence

800
00:49:17,960 --> 00:49:22,320
Speaker 1: that Scott had never fulfilled his early promise. His funeral

801
00:49:22,360 --> 00:49:25,880
Speaker 1: was sparsely attended, with a few mourners, including his sister

802
00:49:26,200 --> 00:49:29,840
Speaker 1: or husband, their daughter, a gardener, and the people who'd

803
00:49:29,840 --> 00:49:32,360
Speaker 1: rented him a house where he'd written one of his books,

804
00:49:32,480 --> 00:49:36,880
Speaker 1: Tender as the Night. Fellow writer Nathaniel West died in

805
00:49:36,920 --> 00:49:40,080
Speaker 1: a car crash en route to the funeral, and that

806
00:49:40,160 --> 00:49:44,760
Speaker 1: was unfortunate because he needed the numbers writer and noted

807
00:49:44,760 --> 00:49:48,279
Speaker 1: whit Dorothy Partner also attended the funeral, and she was

808
00:49:48,360 --> 00:49:52,440
Speaker 1: heard to murmur, A poor son of a bitch, quoting

809
00:49:52,440 --> 00:49:54,960
Speaker 1: a line from the funeral scene in The Great Gatsby,

810
00:49:55,160 --> 00:50:00,960
Speaker 1: which you recall was also sparsely attended. The final indignity,

811
00:50:01,320 --> 00:50:05,680
Speaker 1: Scott was denied burial in his family's Catholic plot in Rockville, Maryland,

812
00:50:06,200 --> 00:50:10,800
Speaker 1: due to the perceived risque nature of his novels. Instead,

813
00:50:11,200 --> 00:50:14,520
Speaker 1: he was laid to rest alone in a Protestant cemetery

814
00:50:15,760 --> 00:50:23,200
Speaker 1: or I guess anything goes. Zelda paid for the plot,

815
00:50:24,080 --> 00:50:26,960
Speaker 1: and she joined him there eight years later when she

816
00:50:27,080 --> 00:50:30,520
Speaker 1: died in a fire at Highland Hospital in Asheville, North Carolina,

817
00:50:30,920 --> 00:50:33,240
Speaker 1: where she was being treated for her mental health issues.

818
00:50:34,360 --> 00:50:37,200
Speaker 1: She had been sedated and locked in her room awaiting

819
00:50:37,239 --> 00:50:40,040
Speaker 1: shock therapy when a fire broke out in the kitchen,

820
00:50:40,800 --> 00:50:44,880
Speaker 1: possibly set by a mentally deserved patient. It soon spread

821
00:50:44,920 --> 00:50:47,400
Speaker 1: to every floor of the facility, ripping through even the

822
00:50:47,440 --> 00:50:52,520
Speaker 1: fire escapes, which bizarrely were wooden. Nine women, including Zelda,

823
00:50:52,520 --> 00:50:56,560
Speaker 1: were killed. She was identified by her dental records in

824
00:50:56,600 --> 00:51:00,799
Speaker 1: one of her slippers. She was buried with Scott, but

825
00:51:00,840 --> 00:51:04,640
Speaker 1: because she'd only purchased one burial plot, she was buried

826
00:51:04,680 --> 00:51:08,799
Speaker 1: literally on top of him. There there remained for more

827
00:51:08,840 --> 00:51:13,160
Speaker 1: than twenty five years. Then, in nineteen seventy five, members

828
00:51:13,160 --> 00:51:16,040
Speaker 1: of the Rockville Women's Club petitioned to have the Fitzgerald

829
00:51:16,080 --> 00:51:19,719
Speaker 1: reinterred in their family plot at the Catholic Cemetery. The

830
00:51:19,800 --> 00:51:21,600
Speaker 1: case was taken all the way up to the Archbishop

831
00:51:21,640 --> 00:51:25,240
Speaker 1: of Washington, who immediately gave his blessing. In a statement,

832
00:51:25,800 --> 00:51:28,800
Speaker 1: he said that Fitzgerald was quote an artist who was able,

833
00:51:28,840 --> 00:51:33,120
Speaker 1: with lucidity and poetic imagination to portray the struggle between

834
00:51:33,120 --> 00:51:37,360
Speaker 1: grace and death. His characters are involved in this great drama,

835
00:51:38,040 --> 00:51:42,959
Speaker 1: seeking God and seeking grace. Today, Zeldo and f Scott

836
00:51:43,000 --> 00:51:47,880
Speaker 1: Fitzgerald lay together at Saint Mary's Church Historic Cemetery in Rockville, Maryland.

837
00:51:48,719 --> 00:51:51,200
Speaker 1: Written on their gravestonies the last line from the Great

838
00:51:51,239 --> 00:51:56,800
Speaker 1: Gatsby altogether Now so we beat on boats against the current,

839
00:51:57,480 --> 00:52:01,880
Speaker 1: born back ceaselessly into the past.

840
00:52:04,239 --> 00:52:07,279
Speaker 2: I was holding my breath that entire time. Jesus Christ,

841
00:52:12,160 --> 00:52:22,799
Speaker 2: I thought this was a novel about eggs and beautiful shirts. Ah,

842
00:52:22,960 --> 00:52:25,200
Speaker 2: that hurt on many levels.

843
00:52:25,920 --> 00:52:30,719
Speaker 1: Yeah, what was the prior record for sad It was

844
00:52:30,760 --> 00:52:32,000
Speaker 1: Dick York. It was Dick York.

845
00:52:32,120 --> 00:52:32,879
Speaker 2: Yeah, it was Dick York.

846
00:52:32,920 --> 00:52:35,240
Speaker 1: Dick York breaking into a cemetery to bury the baby

847
00:52:35,239 --> 00:52:37,040
Speaker 1: in the in the shoe box. Yeah, I think we

848
00:52:37,040 --> 00:52:42,640
Speaker 1: we might have surpassed that. Mmmm. Good question. Is that sadder?

849
00:52:42,920 --> 00:52:45,160
Speaker 1: That is sadder as an incident, but this is sadder

850
00:52:45,200 --> 00:52:47,920
Speaker 1: as a although his death too is also Okay, we tied,

851
00:52:48,280 --> 00:52:57,319
Speaker 1: We've we've we've hit the Dick York marker. Yeah, I

852
00:52:57,360 --> 00:53:00,520
Speaker 1: hope this. Make make sure this is running. I can't

853
00:53:00,520 --> 00:53:01,799
Speaker 1: take this again, Yes it is.

854
00:53:02,200 --> 00:53:07,200
Speaker 2: Yet, how did you write this soaked in your own tears?

855
00:53:07,760 --> 00:53:14,319
Speaker 1: It was cathartic. Holy sh We're going to take a

856
00:53:14,360 --> 00:53:16,759
Speaker 1: quick break, but we'll be right back with more. Too

857
00:53:16,800 --> 00:53:18,480
Speaker 1: much information in just a moment.

858
00:53:28,560 --> 00:53:33,799
Speaker 3: Wow.

859
00:53:34,040 --> 00:53:37,560
Speaker 2: Well, As we touched on earlier, the book was also

860
00:53:37,800 --> 00:53:42,920
Speaker 2: considered a failure in his lifetime. Only twenty five thousand

861
00:53:42,960 --> 00:53:45,640
Speaker 2: were sold in the fifteen years before Scott's death, with

862
00:53:45,680 --> 00:53:49,360
Speaker 2: the rest languishing on shows. Critics had dismissed it as

863
00:53:49,360 --> 00:53:52,880
Speaker 2: a nostalgic period piece, a sentimental relic of the jazz age,

864
00:53:52,920 --> 00:53:55,439
Speaker 2: but within a year of Scott's death, his close friend

865
00:53:55,560 --> 00:53:59,800
Speaker 2: Edmund Wilson republished The Great Gatsby alongside Fitzgerald's unfinished novel

866
00:54:00,080 --> 00:54:02,080
Speaker 2: last Tycoon Rollercoaster Tycoon?

867
00:54:03,560 --> 00:54:04,360
Speaker 1: Is that about?

868
00:54:04,880 --> 00:54:08,520
Speaker 2: It's not about or a thinly fictionalized version of someone,

869
00:54:08,600 --> 00:54:08,879
Speaker 2: is it?

870
00:54:08,960 --> 00:54:12,640
Speaker 1: You know? I don't know, like Andrew Carnegie. I you know,

871
00:54:12,640 --> 00:54:16,320
Speaker 1: I wouldn't be surprised or a Morgan. No, it's actually

872
00:54:16,440 --> 00:54:20,440
Speaker 1: an LA story. That's right. It's partially based on the

873
00:54:20,520 --> 00:54:27,400
Speaker 1: Hurst Louis B. Mayor and me and the Pod Louis B. Mayor. Yes,

874
00:54:28,280 --> 00:54:29,959
Speaker 1: oh my god, I didn't.

875
00:54:30,000 --> 00:54:33,480
Speaker 2: How did he worm his sickening little way in here?

876
00:54:33,880 --> 00:54:36,120
Speaker 1: Well? I think it's like it's like a takedown of.

877
00:54:36,239 --> 00:54:42,440
Speaker 2: Oh it's scathing. Yeah, okay, oh thank god? Oh man um. Anyway,

878
00:54:42,520 --> 00:54:46,480
Speaker 2: this sparked a slow but significant revival of interest. You

879
00:54:46,560 --> 00:54:49,319
Speaker 2: might also be interested to know that Capitol Records did

880
00:54:49,320 --> 00:54:52,200
Speaker 2: this with the Beach Boys Pet Sounds in the nineteen seventies.

881
00:54:52,280 --> 00:54:56,040
Speaker 2: So now we have forced both of Jordan's beloved be

882
00:54:56,160 --> 00:55:00,360
Speaker 2: Ea bands into an episode about a jazz age author.

883
00:55:00,480 --> 00:55:03,560
Speaker 1: I just think that's an interesting like two works of

884
00:55:03,600 --> 00:55:08,120
Speaker 1: genius that were unappreciated upon release were then paired with

885
00:55:08,320 --> 00:55:11,640
Speaker 1: another artistic offering from the same artist as a way

886
00:55:11,680 --> 00:55:13,520
Speaker 1: to try to juice sales, and it worked.

887
00:55:14,000 --> 00:55:17,640
Speaker 2: Yeah, there's that. In the spring of nineteen forty two,

888
00:55:17,800 --> 00:55:21,680
Speaker 2: just months after the US entered WWII the Big One,

889
00:55:22,080 --> 00:55:25,920
Speaker 2: the newly formed Council on Books in Wartime selected The

890
00:55:25,920 --> 00:55:29,680
Speaker 2: Great Gatsby as one of its Armed Services editions, compact

891
00:55:29,719 --> 00:55:33,840
Speaker 2: paperbacks designed to fit in soldiers pockets. Jesus, remember this

892
00:55:33,920 --> 00:55:36,280
Speaker 2: is what you're fighting for at home, boys, the illusion

893
00:55:36,400 --> 00:55:41,960
Speaker 2: of wealth in America and beautiful shirts. I'm picturing it

894
00:55:42,080 --> 00:55:45,000
Speaker 2: like a guy in a foxhole just taking out a

895
00:55:45,000 --> 00:55:50,320
Speaker 2: photo of a shirt. I'm generally kissing it, generally kissing

896
00:55:50,320 --> 00:55:51,799
Speaker 2: it and being like, I'm coming back to you.

897
00:55:51,840 --> 00:55:57,960
Speaker 1: Baby, a picture like those, but those like weird boats

898
00:55:57,960 --> 00:56:00,759
Speaker 1: storming Normandy and help the mast, or just all these

899
00:56:00,760 --> 00:56:05,560
Speaker 1: shirts instead of flax. Oh man, here's bad We're bad people.

900
00:56:07,600 --> 00:56:09,839
Speaker 2: By nineteen forty four, over one hundred and fifty five

901
00:56:09,920 --> 00:56:13,560
Speaker 2: thousand copies of Gatsby had been distributed to American troops overseas,

902
00:56:14,080 --> 00:56:17,560
Speaker 2: even reaching prisoners of war in Germany and Japan through

903
00:56:17,600 --> 00:56:22,000
Speaker 2: the Red Cross. The greatest distribution point coincided with D Day,

904
00:56:22,440 --> 00:56:25,800
Speaker 2: the staff of General Dwight D. Eisenhower, who was Scott's

905
00:56:25,920 --> 00:56:29,480
Speaker 2: much loathed military professor from his days as an enlisted

906
00:56:29,520 --> 00:56:33,600
Speaker 2: officer ensured that troops storming Normandy had these books in

907
00:56:33,640 --> 00:56:37,600
Speaker 2: their pockets, with some soldiers reportedly reading Gatsby as they

908
00:56:37,640 --> 00:56:38,760
Speaker 2: crossed the channel.

909
00:56:38,880 --> 00:56:40,080
Speaker 1: That's somehow even darker.

910
00:56:40,719 --> 00:56:46,359
Speaker 2: That was las book any young men read before being

911
00:56:46,480 --> 00:56:52,399
Speaker 2: riddled with machine gun fire. And nope, that's fine. I'm

912
00:56:52,400 --> 00:56:55,480
Speaker 2: not even riffing on that one. The exposure created a

913
00:56:55,520 --> 00:57:01,279
Speaker 2: new generation of readers. Just a guy coming back and

914
00:57:01,320 --> 00:57:04,560
Speaker 2: going to you know, the Iowa Writer's Workshop or whatever.

915
00:57:04,600 --> 00:57:06,600
Speaker 2: I don't think that was around. And let's just say,

916
00:57:06,600 --> 00:57:09,279
Speaker 2: Harvard on the GI Bill, what INSPI did you get

917
00:57:09,320 --> 00:57:12,320
Speaker 2: into reading? Watch a lot of my buddies die face

918
00:57:12,440 --> 00:57:16,720
Speaker 2: down in the Atlantic ocean moments after reading about beautiful shirts.

919
00:57:20,000 --> 00:57:23,320
Speaker 2: Watched this guy drown on his own intestines, and I thought,

920
00:57:24,120 --> 00:57:26,760
Speaker 2: and I thought, I really want to chronicle the lives

921
00:57:26,800 --> 00:57:27,920
Speaker 2: of the people who.

922
00:57:28,160 --> 00:57:30,480
Speaker 1: Are not doing this. Wow.

923
00:57:30,840 --> 00:57:32,360
Speaker 2: Uh wow wow wow wow wow.

924
00:57:32,560 --> 00:57:33,840
Speaker 1: Yeah. I know here we are.

925
00:57:34,520 --> 00:57:39,440
Speaker 2: Uh anyway. Literary schudriar Roger L. Pearson defined the American

926
00:57:39,600 --> 00:57:43,520
Speaker 2: dream in nineteen seventy as the belief that every individual,

927
00:57:43,720 --> 00:57:47,720
Speaker 2: regardless of their origins, may seek and achieve their desired goals, quote,

928
00:57:47,760 --> 00:57:52,000
Speaker 2: be they political, monetary or social. It is the literary

929
00:57:52,040 --> 00:57:57,680
Speaker 2: expression of the concept of America the land of opportunity,

930
00:57:57,760 --> 00:58:03,760
Speaker 2: and it was in its crib shortly after the Carter presidency.

931
00:58:05,840 --> 00:58:09,240
Speaker 2: By nineteen forty five, full length scholarly articles on Fitzgerald

932
00:58:09,280 --> 00:58:12,120
Speaker 2: are being published, and Gatsby was recognized in literary circles

933
00:58:12,120 --> 00:58:15,280
Speaker 2: as a towering work of fiction. Writers like Bud Schulberg,

934
00:58:15,480 --> 00:58:18,760
Speaker 2: Edward Neuhouse, John O'Hara, and other Losers cited it as

935
00:58:18,800 --> 00:58:21,240
Speaker 2: a profound influence. Now I'm just kidding. I just don't

936
00:58:21,280 --> 00:58:23,680
Speaker 2: know those guys. Hunter As Thompson was so inspired by

937
00:58:23,720 --> 00:58:26,120
Speaker 2: the Great Gatsby he used to type it up on

938
00:58:26,200 --> 00:58:29,400
Speaker 2: a typewriter to experience what it was like to write

939
00:58:29,440 --> 00:58:32,960
Speaker 2: that way. He also did this with Hemingway novels, and

940
00:58:33,040 --> 00:58:35,000
Speaker 2: Thompson said that Gatsby was on his mind when he

941
00:58:35,000 --> 00:58:36,680
Speaker 2: wrote Fear and Loathing in Las Vegas.

942
00:58:37,000 --> 00:58:39,280
Speaker 1: How do you feel about that? It's a weird thing

943
00:58:39,320 --> 00:58:42,680
Speaker 1: to do. I had a friend in my screenwriting department

944
00:58:42,800 --> 00:58:45,600
Speaker 1: who used to watch his favorite movies over and over

945
00:58:45,600 --> 00:58:48,640
Speaker 1: again with a pad of paper and write the story

946
00:58:48,680 --> 00:58:50,800
Speaker 1: beats out as he watched. And he just did that

947
00:58:50,840 --> 00:58:53,600
Speaker 1: as like an exercise. To try to like figure out

948
00:58:53,640 --> 00:58:56,760
Speaker 1: the rhythm of good movie writing, and I used to.

949
00:58:57,120 --> 00:58:58,640
Speaker 1: Part of me mocked him for that, and part of

950
00:58:58,680 --> 00:59:00,840
Speaker 1: me was like, oh, I get that, and that's that's

951
00:59:01,600 --> 00:59:03,640
Speaker 1: makes sense, even though I find it soul crushing.

952
00:59:04,320 --> 00:59:07,920
Speaker 2: Well, there's something too the idea. But it's not like writing.

953
00:59:08,240 --> 00:59:13,160
Speaker 2: You don't get writing chops by typing something that someone

954
00:59:13,160 --> 00:59:15,920
Speaker 2: else has, right. I think he did a little. He

955
00:59:16,040 --> 00:59:19,200
Speaker 2: was in a not especially productive acid trip when he

956
00:59:20,000 --> 00:59:21,200
Speaker 2: came up with that concept.

957
00:59:21,240 --> 00:59:22,000
Speaker 1: I want to assume.

958
00:59:22,680 --> 00:59:24,600
Speaker 2: I mean, it's not like like in music, like you're

959
00:59:24,600 --> 00:59:26,880
Speaker 2: supposed to play like licks that you like and like

960
00:59:26,920 --> 00:59:30,240
Speaker 2: that's how you learn, right, And it's like but merely

961
00:59:30,280 --> 00:59:33,240
Speaker 2: typing someone's words, I guess. I mean, look, he probably

962
00:59:33,360 --> 00:59:41,160
Speaker 2: typed pretty fast, and he was famously you know, fast

963
00:59:41,200 --> 00:59:43,200
Speaker 2: and prolific, so I guess he got you know, one

964
00:59:43,200 --> 00:59:43,400
Speaker 2: am I?

965
00:59:43,440 --> 00:59:43,960
Speaker 1: Who am I to?

966
00:59:44,160 --> 00:59:47,240
Speaker 2: Who am I to talk? We should do fear and loathing,

967
00:59:47,280 --> 00:59:48,040
Speaker 2: don't you think?

968
00:59:48,280 --> 00:59:50,520
Speaker 1: Yeah? I know, I keep it. That's another great Well,

969
00:59:50,560 --> 00:59:55,040
Speaker 1: that's another two for that's book movie you know. Oh man, Yeah,

970
00:59:55,040 --> 00:59:56,520
Speaker 1: I need a little bit of a recover from the

971
00:59:56,560 --> 01:00:00,400
Speaker 1: speaking of being prolific and writing a lot. It's this

972
01:00:00,520 --> 01:00:04,800
Speaker 1: was a forty two page outline. Yeah.

973
01:00:04,800 --> 01:00:07,479
Speaker 2: Throughout the nineteen fifties and sixties, the Great Gatsby became

974
01:00:07,480 --> 01:00:10,920
Speaker 2: a staple of high school English curricula and reached steady

975
01:00:11,000 --> 01:00:14,160
Speaker 2: annual sales of fifty to one hundred thousand copies. By

976
01:00:14,280 --> 01:00:16,880
Speaker 2: nineteen sixty, it had sold more copies in a single

977
01:00:16,960 --> 01:00:20,840
Speaker 2: year than it had during Fitzgerald's entire life, Which wasn't

978
01:00:20,880 --> 01:00:24,360
Speaker 2: that fifteen twenty five rus so not a hard thing

979
01:00:24,440 --> 01:00:30,440
Speaker 2: to do, no, okay, but still telling. And he was

980
01:00:30,480 --> 01:00:33,440
Speaker 2: dead in the ground with his wife's bones on top

981
01:00:33,520 --> 01:00:35,600
Speaker 2: of him, and did not see any of this.

982
01:00:35,640 --> 01:00:38,280
Speaker 1: From any afterlife coffin flopping.

983
01:00:40,960 --> 01:00:44,920
Speaker 2: No, I'm sure he was somewhere in writers heaven. This

984
01:00:45,040 --> 01:00:45,720
Speaker 2: is different.

985
01:00:45,800 --> 01:00:48,520
Speaker 1: Yeah, there's no such thing as a writer's evan my friends.

986
01:00:48,960 --> 01:00:52,440
Speaker 2: Yeah, it's just it's yeah, what is writers heaven? A

987
01:00:52,520 --> 01:01:01,200
Speaker 2: room full of people giving you compliments you don't really believe, like, yeah, Jesus.

988
01:01:01,640 --> 01:01:04,600
Speaker 2: The novel's popularity only grew from there. As of twenty twenty,

989
01:01:04,640 --> 01:01:07,720
Speaker 2: the Great Gatsby sold nearly thirty million copies worldwide, with

990
01:01:07,760 --> 01:01:11,200
Speaker 2: over five hundred thousand new copies purchased each year, and

991
01:01:11,320 --> 01:01:15,800
Speaker 2: translations in forty two languages. According to its publisher, Scribner's,

992
01:01:15,840 --> 01:01:18,200
Speaker 2: The Great Gatsby is now their most popular and best

993
01:01:18,200 --> 01:01:21,920
Speaker 2: selling title of all time. Truly a remarkable transformation for

994
01:01:21,960 --> 01:01:26,200
Speaker 2: a book that was nearly forgotten its author died. Naturally,

995
01:01:26,320 --> 01:01:29,000
Speaker 2: with the success of the book on such a grand scale,

996
01:01:29,120 --> 01:01:32,640
Speaker 2: Hollywood smelled blood in the water. Gatsby proved to be

997
01:01:32,640 --> 01:01:34,200
Speaker 2: a hard novel to put on the screen, though, because

998
01:01:34,240 --> 01:01:36,680
Speaker 2: so much of it occurs in the narrator Nick Carraway's head,

999
01:01:37,280 --> 01:01:40,560
Speaker 2: hence why adaptations across the years have met with middling success.

1000
01:01:40,920 --> 01:01:43,560
Speaker 2: The nineteen twenties film was hated, but three versions released

1001
01:01:43,560 --> 01:01:47,400
Speaker 2: over the next ninety years got successively better, so you say,

1002
01:01:48,080 --> 01:01:50,560
Speaker 2: starting with the nineteen forty nine release.

1003
01:01:51,480 --> 01:01:55,200
Speaker 1: Which you didn't hear this. You didn't know until yeah.

1004
01:01:56,040 --> 01:01:58,320
Speaker 2: So throughout the forties there were tentative plans afoot to

1005
01:01:58,400 --> 01:02:01,400
Speaker 2: remake Gatsby at Paramount. The studio still owned the rights

1006
01:02:01,440 --> 01:02:03,800
Speaker 2: from when they made the silent version in nineteen twenty six,

1007
01:02:03,960 --> 01:02:08,439
Speaker 2: and producer Robert Maybaum petitioned executives throughout the first half

1008
01:02:08,480 --> 01:02:12,200
Speaker 2: of the forties before the novel's popular resurgence, and he

1009
01:02:12,240 --> 01:02:14,560
Speaker 2: got a bunch of doors slammed in his face. But

1010
01:02:14,680 --> 01:02:18,040
Speaker 2: he kept on. He kept a knocking, much like the

1011
01:02:18,120 --> 01:02:18,960
Speaker 2: rolling Stones.

1012
01:02:20,680 --> 01:02:22,320
Speaker 1: He kept on keeping on, like.

1013
01:02:22,360 --> 01:02:28,000
Speaker 2: He kept r crumb. He was he was. He was

1014
01:02:28,040 --> 01:02:30,040
Speaker 2: back in the high life again, like Aerosmith.

1015
01:02:30,080 --> 01:02:33,520
Speaker 1: He was high on the hog, like the band.

1016
01:02:32,560 --> 01:02:36,240
Speaker 2: Jesus Christ oh Man. Sometimes they google that album cover

1017
01:02:36,400 --> 01:02:40,400
Speaker 2: just to laugh and laugh and laugh. If you're a band,

1018
01:02:40,440 --> 01:02:42,120
Speaker 2: if there any if any of you were fans of

1019
01:02:42,160 --> 01:02:44,919
Speaker 2: the band, do yourselves a favor and check that one out.

1020
01:02:45,320 --> 01:02:46,680
Speaker 1: Uh for really a.

1021
01:02:46,680 --> 01:02:53,200
Speaker 2: Truly illustrative, a defining illustration of boomers failing to find

1022
01:02:53,280 --> 01:02:53,880
Speaker 2: their way.

1023
01:02:54,400 --> 01:02:57,200
Speaker 1: Yes, ititched. It's up there with the Crosby Stills A

1024
01:02:57,280 --> 01:03:00,320
Speaker 1: Nash one of just like hot dogs being ro stood

1025
01:03:00,360 --> 01:03:05,400
Speaker 1: over planet Earth. Have you seen this one? No? Wait,

1026
01:03:05,960 --> 01:03:08,440
Speaker 1: I insist that you watch. What's it called? That's what

1027
01:03:08,440 --> 01:03:10,320
Speaker 1: I'm trying to remember. It's like it has like a

1028
01:03:10,400 --> 01:03:13,520
Speaker 1: hilarious name to like, live it up, Live it up,

1029
01:03:14,200 --> 01:03:18,560
Speaker 1: he stills a Nash Live it Up nineteen ninety Oh yeah,

1030
01:03:18,680 --> 01:03:21,280
Speaker 1: oh boy, that's ugly. Oh my god.

1031
01:03:21,360 --> 01:03:24,360
Speaker 2: Okay, as maybe I'm gonna recall this was late nineteen

1032
01:03:24,440 --> 01:03:27,240
Speaker 2: forty six. Scott Fitzgerald had been dead since nineteen forty

1033
01:03:27,400 --> 01:03:30,000
Speaker 2: his reputation was at its lowest EBB. The jazz age

1034
01:03:30,000 --> 01:03:32,800
Speaker 2: he celebrated was regarded as an aberration. But I saw

1035
01:03:32,840 --> 01:03:35,480
Speaker 2: similarity between what was happening in nineteen forty six to

1036
01:03:35,520 --> 01:03:37,400
Speaker 2: what had happened to the country in nineteen twenty, and

1037
01:03:37,440 --> 01:03:39,680
Speaker 2: I kept badgering the studio until it agreed to let

1038
01:03:39,760 --> 01:03:46,040
Speaker 2: us prepare a script two post war eras sure a

1039
01:03:46,120 --> 01:03:51,240
Speaker 2: chronologically correct assessment. This is when things went not not well.

1040
01:03:52,240 --> 01:03:55,120
Speaker 2: The country was still under the draconian and puritanical Production

1041
01:03:55,240 --> 01:03:59,080
Speaker 2: Code administration, so scripts that bore any resemblance to Scott's

1042
01:03:59,080 --> 01:04:02,680
Speaker 2: books repeatedly rejected due to having a quote low moral tone.

1043
01:04:03,240 --> 01:04:07,720
Speaker 2: Among the offenses were depictions of adultery, excessive drinking, unpublished manslaughter,

1044
01:04:07,920 --> 01:04:13,200
Speaker 2: unpunished manslaughter, unpublished manslaughter is a grin.

1045
01:04:13,080 --> 01:04:16,720
Speaker 1: Need to write that down. That's a good EP title.

1046
01:04:16,720 --> 01:04:21,920
Speaker 2: Unpunished manslaughter, and bootlegging. The screenplay underwent multiple rounds of rewrites,

1047
01:04:21,920 --> 01:04:24,640
Speaker 2: which moved the movie further and further from Scott's original

1048
01:04:24,760 --> 01:04:27,640
Speaker 2: vision and, most offensively to those who knew him. At least,

1049
01:04:28,000 --> 01:04:30,880
Speaker 2: the script added a voice of morality and a lengthy

1050
01:04:30,960 --> 01:04:35,040
Speaker 2: preamble that outright condemned Gatspi's behavior as immoral and leading

1051
01:04:35,080 --> 01:04:39,160
Speaker 2: to damnation. The scene featured a moment when narrator Nick Carraray,

1052
01:04:39,520 --> 01:04:42,520
Speaker 2: now married to flapper Jordan Baker, which not a plot

1053
01:04:42,520 --> 01:04:44,880
Speaker 2: point from the book. He literally quotes from the Bible

1054
01:04:45,400 --> 01:04:48,840
Speaker 2: Proverbs fourteen twelve that there is a way which seemeth

1055
01:04:48,920 --> 01:04:51,520
Speaker 2: right unto a man, but the end thereof are the

1056
01:04:51,560 --> 01:04:54,720
Speaker 2: ways of death. Maybem reluctantly made these changes in a

1057
01:04:54,760 --> 01:04:57,200
Speaker 2: desperate bid to see his beloved film produced, but he

1058
01:04:57,200 --> 01:05:01,240
Speaker 2: would regret the additions as all wrong and very unfitzgerald like.

1059
01:05:01,880 --> 01:05:04,120
Speaker 2: To moralize like that was something he never did. He

1060
01:05:04,200 --> 01:05:06,560
Speaker 2: was always indirect. It was the price I paid to

1061
01:05:06,560 --> 01:05:09,640
Speaker 2: get the film done. Critics would complain that the film

1062
01:05:09,720 --> 01:05:13,880
Speaker 2: lacked sufficient jazz age flavor. That's not jazz baby. They

1063
01:05:13,920 --> 01:05:18,320
Speaker 2: should know. The Bible isn't jazz baby. Only Halloween is

1064
01:05:19,720 --> 01:05:23,800
Speaker 2: m I was just thinking about that meme, the Miles

1065
01:05:23,920 --> 01:05:29,200
Speaker 2: Davis a fake Halloween bit. I'm going to read now unabridged.

1066
01:05:29,880 --> 01:05:32,720
Speaker 2: When I think about Halloween, my soul swells with music,

1067
01:05:32,880 --> 01:05:35,400
Speaker 2: and that's where the jazz comes from. People call me

1068
01:05:35,440 --> 01:05:38,120
Speaker 2: a genius, but baby, I'm just a servant of Halloween.

1069
01:05:39,680 --> 01:05:42,200
Speaker 1: And that's not not really. I believe it was ClickHole

1070
01:05:42,400 --> 01:05:42,800
Speaker 1: damn it.

1071
01:05:43,520 --> 01:05:49,920
Speaker 2: But someone googled or someone posted on chat is this true?

1072
01:05:52,360 --> 01:05:56,840
Speaker 2: Uh so I'm it's print the legend anyway for his lead,

1073
01:05:57,280 --> 01:05:59,680
Speaker 2: maybe I'm had his sight set on Alan Ladd for

1074
01:05:59,720 --> 01:06:02,080
Speaker 2: the role Gatsby. Lad would go on to play the

1075
01:06:02,120 --> 01:06:05,080
Speaker 2: title character of Shane in George stevens nineteen fifty three

1076
01:06:05,120 --> 01:06:09,080
Speaker 2: adaptation of the beloved Western novel. Maybaum felt that the

1077
01:06:09,080 --> 01:06:13,560
Speaker 2: Oklahoma born actor perfectly embodied the nouveau riche Gatsby. I

1078
01:06:13,640 --> 01:06:15,120
Speaker 2: was in Lad's house and he took me up to

1079
01:06:15,160 --> 01:06:17,200
Speaker 2: the second floor, where he had a wardrobe about as

1080
01:06:17,200 --> 01:06:19,560
Speaker 2: long as this room. Apparently the room that he was

1081
01:06:19,600 --> 01:06:22,280
Speaker 2: in giving this quote was quite long. He opened it

1082
01:06:22,360 --> 01:06:25,360
Speaker 2: up and there must have been hundreds of suits, jackets,

1083
01:06:25,400 --> 01:06:28,439
Speaker 2: sports jackets, slacks and suits. He looked at me and said,

1084
01:06:28,480 --> 01:06:31,680
Speaker 2: not bad Vernoki kid eh, I got goose pimples, because

1085
01:06:31,680 --> 01:06:34,320
Speaker 2: I remembered when Gatsby took Daisy to show her his mansion,

1086
01:06:34,600 --> 01:06:37,720
Speaker 2: he also showed her his wardrobe and said, I've got

1087
01:06:37,720 --> 01:06:39,480
Speaker 2: a man in England who buys me clothes.

1088
01:06:39,600 --> 01:06:41,400
Speaker 1: He sends over a selection of things. At the beginning

1089
01:06:41,440 --> 01:06:42,960
Speaker 1: of each season Spring and.

1090
01:06:42,960 --> 01:06:45,600
Speaker 2: Fall, I said to myself, my God, he is the

1091
01:06:45,640 --> 01:06:50,160
Speaker 2: great Gatsby. There's also Betty Field as Daisy, McDonald Carey

1092
01:06:50,360 --> 01:06:53,360
Speaker 2: as Nick, and it co stars the patron saint of Shrill,

1093
01:06:53,960 --> 01:06:57,880
Speaker 2: Shelley Winters as Myrtle, the gas station attendant's wife who's

1094
01:06:57,920 --> 01:07:01,160
Speaker 2: having an affair with Tom Buchanan. But Alan Ladd was

1095
01:07:01,160 --> 01:07:03,360
Speaker 2: the most instrumental in getting the film made. The studio

1096
01:07:03,400 --> 01:07:06,440
Speaker 2: executives were wary about actually green lighting it and essentially

1097
01:07:06,520 --> 01:07:08,800
Speaker 2: used the Gatsby script as a carrot to get him

1098
01:07:08,840 --> 01:07:11,880
Speaker 2: to do other projects, each time promising that his next

1099
01:07:11,880 --> 01:07:15,000
Speaker 2: movie would be Gatsby. After two years of this, Ladd

1100
01:07:15,080 --> 01:07:17,760
Speaker 2: finally got wise and threatened to go on strike, and

1101
01:07:17,880 --> 01:07:21,960
Speaker 2: ultimately the studio relented and production began in nineteen forty eight.

1102
01:07:22,200 --> 01:07:25,160
Speaker 1: For as Daisy. Producer Maybaum had a sight set on

1103
01:07:25,240 --> 01:07:29,040
Speaker 1: Betty Field. As we mentioned earlier, this caused a clash

1104
01:07:29,080 --> 01:07:33,280
Speaker 1: with the film's proposed director, John Father of Mia Farah,

1105
01:07:33,720 --> 01:07:37,600
Speaker 1: who preferred Gene Tierney. The producer went out and John

1106
01:07:37,680 --> 01:07:41,040
Speaker 1: Farrell walked off the production. In his place, they hired

1107
01:07:41,080 --> 01:07:48,680
Speaker 1: Elliot Nugent. Elliot Nugent anyone. This would prove to be

1108
01:07:48,760 --> 01:07:52,360
Speaker 1: something of a mistake because, per his Wikipedia, director Elliott

1109
01:07:52,440 --> 01:07:56,520
Speaker 1: Nugent suffered from mental illness during the shoot, and that's

1110
01:07:56,680 --> 01:08:00,560
Speaker 1: putting it mildly. The long suffering producer had to go

1111
01:08:00,640 --> 01:08:03,600
Speaker 1: up to the roof of the Hollywood Roosevelt Hotel and

1112
01:08:03,640 --> 01:08:07,439
Speaker 1: convinced the director not to jump off. In a June

1113
01:08:07,520 --> 01:08:11,000
Speaker 1: nineteen seventy eight interview, Nugent is quoted as saying, I

1114
01:08:11,120 --> 01:08:14,760
Speaker 1: felt very unhappy when I was making cats Bey. I

1115
01:08:14,800 --> 01:08:17,320
Speaker 1: thought I shouldn't be doing it and Alan Ladd shouldn't

1116
01:08:17,320 --> 01:08:19,639
Speaker 1: be playing in it. Lad wasn't quite up to it,

1117
01:08:19,880 --> 01:08:23,280
Speaker 1: but he got away with it. It was feared that Ladd,

1118
01:08:23,479 --> 01:08:27,320
Speaker 1: who apparently was a star of beadle proportions, couldn't be

1119
01:08:27,320 --> 01:08:30,559
Speaker 1: brought on location shoots without being mobbed. As a result,

1120
01:08:31,080 --> 01:08:35,440
Speaker 1: all filming was limited to sound stages, compromising visual authenticity

1121
01:08:35,479 --> 01:08:39,960
Speaker 1: and realism. It was there that more problems developed, mostly

1122
01:08:40,080 --> 01:08:44,519
Speaker 1: due to the film star Alan Ladd, was a short guy,

1123
01:08:44,880 --> 01:08:49,040
Speaker 1: which made him less than great when posed alongside his

1124
01:08:49,120 --> 01:08:52,920
Speaker 1: taller male co stars. Because of this high disparity, the

1125
01:08:52,960 --> 01:08:56,599
Speaker 1: studio built a raised platform which was covered with carpet

1126
01:08:56,800 --> 01:09:00,160
Speaker 1: that sloped down to the regular floor of the sound stage.

1127
01:09:00,760 --> 01:09:04,120
Speaker 1: Poor Alan Ladd was humiliated by this and would complain

1128
01:09:04,200 --> 01:09:07,439
Speaker 1: to the makeup designer, no more, no more. From now on,

1129
01:09:07,520 --> 01:09:09,960
Speaker 1: I'm going to demand approval of all the other male

1130
01:09:10,000 --> 01:09:14,800
Speaker 1: actors I work with. Ladd also refused to remove his

1131
01:09:14,880 --> 01:09:18,519
Speaker 1: wedding ring, and he also refused to kiss his Daisy coastar.

1132
01:09:19,360 --> 01:09:22,200
Speaker 1: His rationale was that children would be watching this film

1133
01:09:22,320 --> 01:09:24,040
Speaker 1: and he didn't want to set a bad example by

1134
01:09:24,120 --> 01:09:28,200
Speaker 1: kissing a married woman. Ultimately, he was persuaded to do it.

1135
01:09:29,320 --> 01:09:31,760
Speaker 1: Considering how worried Allan Ladd was about setting a bad

1136
01:09:31,760 --> 01:09:35,080
Speaker 1: example for children, it makes this next anecdote all the

1137
01:09:35,120 --> 01:09:39,120
Speaker 1: more surprising. He brought his five year old daughter Alana

1138
01:09:39,120 --> 01:09:42,960
Speaker 1: to the set, which was already questionable given the subject matter,

1139
01:09:44,160 --> 01:09:46,680
Speaker 1: but more than that, he chose the day that they

1140
01:09:46,720 --> 01:09:48,960
Speaker 1: were filming the scene where he gets shot to death

1141
01:09:48,960 --> 01:09:51,799
Speaker 1: in a swimming pool. When the gun was fired at Ladd,

1142
01:09:51,880 --> 01:09:54,840
Speaker 1: a capsule underneath his skin oozed blood into the pool,

1143
01:09:55,800 --> 01:09:59,000
Speaker 1: thus traumatizing poor five year old Alana, who began to

1144
01:09:59,120 --> 01:10:02,599
Speaker 1: sob the actor he fired the gun. Howard da Silva

1145
01:10:02,800 --> 01:10:05,920
Speaker 1: attempted the comforter. Look, he's coming out of the water.

1146
01:10:05,960 --> 01:10:09,240
Speaker 1: It's just pretend. But a child that age doesn't know

1147
01:10:09,360 --> 01:10:13,160
Speaker 1: pretend from not pretend. He recalled, I remember feeling quite

1148
01:10:13,200 --> 01:10:18,360
Speaker 1: strange about that. Thirty years later, Alana recalled the traumatic incident.

1149
01:10:18,920 --> 01:10:22,240
Speaker 1: I remember that day vividly, vividly. The blood hit the

1150
01:10:22,280 --> 01:10:24,800
Speaker 1: water and I started to cry. It had taken them

1151
01:10:24,800 --> 01:10:26,960
Speaker 1: the whole day to set up in two hours to

1152
01:10:27,000 --> 01:10:29,800
Speaker 1: form the capsule on his back, and I ruined the take.

1153
01:10:30,360 --> 01:10:33,400
Speaker 1: The aforementioned literary critic, Edmund Wilson, who was a close

1154
01:10:33,439 --> 01:10:36,120
Speaker 1: friend of Scott since their Princeton days, was seen as

1155
01:10:36,160 --> 01:10:39,519
Speaker 1: the custodian of the Fitzgerald literary legacy. He was the

1156
01:10:39,520 --> 01:10:43,120
Speaker 1: man behind paring Gatsby with Scott's unfinished work, the Last Tycoon.

1157
01:10:44,160 --> 01:10:46,240
Speaker 1: All this to say, his sign off on this movie

1158
01:10:46,280 --> 01:10:50,000
Speaker 1: was huge. Paramount Pictures arranged a private screening of the

1159
01:10:50,000 --> 01:10:52,759
Speaker 1: film for Wilson in hopes of earning his public endorsement.

1160
01:10:53,160 --> 01:10:55,600
Speaker 1: According to a witness, after Wilson viewed the film and

1161
01:10:55,640 --> 01:10:59,799
Speaker 1: exited the screening room, a smiling Paramount publicity man approached

1162
01:10:59,840 --> 01:11:03,120
Speaker 1: him and asked how he'd like the picture. Not very much.

1163
01:11:03,120 --> 01:11:06,400
Speaker 1: I'm afraid, replied Wilson, and he kept walking to the elevator.

1164
01:11:07,240 --> 01:11:11,080
Speaker 1: The paramount publicity man felt apparently betrayed by Wilson's reply,

1165
01:11:11,680 --> 01:11:14,519
Speaker 1: and started chasing after him. We've gone to the trouble

1166
01:11:14,600 --> 01:11:16,680
Speaker 1: making a whole movie out of your friend's book, and

1167
01:11:16,720 --> 01:11:20,439
Speaker 1: you don't even appreciate it. He was not the last

1168
01:11:20,439 --> 01:11:23,360
Speaker 1: person to give the film a lukewarm at best response.

1169
01:11:24,160 --> 01:11:27,880
Speaker 1: The New York Times review by Bossley Crowther dismissed the

1170
01:11:27,920 --> 01:11:31,080
Speaker 1: nineteen forty nine version of Gatsby as quote a limp

1171
01:11:31,240 --> 01:11:35,320
Speaker 1: sentimental romance involving a bootlegger and an old sweetheart based

1172
01:11:35,320 --> 01:11:39,280
Speaker 1: on Scott Fitzgerald's classic story, but lacking the novel's bite.

1173
01:11:40,320 --> 01:11:43,240
Speaker 1: Brother lamented that quote. The period of the nineteen twenties

1174
01:11:43,320 --> 01:11:46,559
Speaker 1: is briefly and inadequately sketched as a jumble of gay

1175
01:11:46,640 --> 01:11:51,040
Speaker 1: Long Island parties, old clothes, old songs, and old cars.

1176
01:11:51,240 --> 01:11:54,400
Speaker 2: Gay Long Island parties means something quite different these days.

1177
01:11:54,479 --> 01:11:59,120
Speaker 1: Yes, the baneful existence of prohibition and the disillusionment of

1178
01:11:59,160 --> 01:12:02,840
Speaker 1: post World War One were conspicuously absent despite the jazz

1179
01:12:02,880 --> 01:12:05,400
Speaker 1: age setting. So this would be like somebody making a

1180
01:12:05,439 --> 01:12:08,160
Speaker 1: two thousand and one era period piece without the looming

1181
01:12:08,240 --> 01:12:13,320
Speaker 1: specter of nine eleven. Essentially, Brother felt that lad was

1182
01:12:13,360 --> 01:12:16,479
Speaker 1: too solemn as Gatsby and gave the impression of quote

1183
01:12:16,520 --> 01:12:21,240
Speaker 1: a patient and saddern No, I've never read that one.

1184
01:12:21,320 --> 01:12:26,439
Speaker 2: Saturnine means it goes back to the ancient like one

1185
01:12:26,439 --> 01:12:30,200
Speaker 2: of the ideas that the planets governed your, oh, like

1186
01:12:30,280 --> 01:12:34,200
Speaker 2: your emotions, And it means like balefull and depressed.

1187
01:12:35,640 --> 01:12:39,559
Speaker 1: A patient and saturnine fellow was plagued by a desperate

1188
01:12:39,640 --> 01:12:45,960
Speaker 1: love who among us, et cetera. Part of the reason

1189
01:12:46,000 --> 01:12:48,120
Speaker 1: that I and probably a lot of you have never

1190
01:12:48,120 --> 01:12:50,479
Speaker 1: heard of the nineteen forty nine version of Gatsby is that,

1191
01:12:50,520 --> 01:12:54,320
Speaker 1: immediately prior to the nineteen seventy four edition with Robert Redford,

1192
01:12:54,320 --> 01:12:59,040
Speaker 1: Ema Farrow Paramount suppressed the distribution of this older version

1193
01:12:59,080 --> 01:13:02,080
Speaker 1: to deter a theaters from playing them and competing with

1194
01:13:02,120 --> 01:13:05,960
Speaker 1: their new release. This decision led to prints of both films,

1195
01:13:06,000 --> 01:13:08,679
Speaker 1: the nineteen forty nine version and the silent nineteen twenty

1196
01:13:08,720 --> 01:13:12,639
Speaker 1: six version, to being lost. The nineteen forty nine version

1197
01:13:12,680 --> 01:13:16,160
Speaker 1: was eventually rediscovered in twenty twelve, but the nineteen twenty

1198
01:13:16,200 --> 01:13:21,080
Speaker 1: six version, as we mentioned earlier, remains lost. Let's skip

1199
01:13:21,120 --> 01:13:23,680
Speaker 1: over my beloved fifties and sixties until we get to

1200
01:13:23,720 --> 01:13:27,960
Speaker 1: the early seventies, a time so coked out, they tapped

1201
01:13:28,000 --> 01:13:31,479
Speaker 1: a past at Truman Capoti to write the screenplay with

1202
01:13:31,600 --> 01:13:36,080
Speaker 1: a Great Gatsby good for them, would you say? Yeah?

1203
01:13:36,160 --> 01:13:39,559
Speaker 1: It's believed that the idea was that studio executives saw

1204
01:13:39,600 --> 01:13:43,479
Speaker 1: similarities between the narrator and Truman's Breakfast at Tiffany's novella

1205
01:13:43,720 --> 01:13:46,840
Speaker 1: I See That and Gatsby narrator Nick Kay. Yeah. The

1206
01:13:46,960 --> 01:13:49,280
Speaker 1: idea to remake The Great Gatsby in the seventies came

1207
01:13:49,320 --> 01:13:54,240
Speaker 1: from legendary Hollywood producer Robert Evans, he of Rosemary's Baby

1208
01:13:54,400 --> 01:13:57,760
Speaker 1: and Love Story and The Godfather in Chinatown. It's a

1209
01:13:57,760 --> 01:14:00,479
Speaker 1: great documentary about him called The Kid Stays in the Picture,

1210
01:14:00,479 --> 01:14:04,000
Speaker 1: which is highly recommended. Robert Evans wanted to make a

1211
01:14:04,040 --> 01:14:08,200
Speaker 1: movie of Gatsby for his wife Ali McGraw. He just

1212
01:14:08,280 --> 01:14:10,240
Speaker 1: made her a star by casting her in the hit

1213
01:14:10,360 --> 01:14:13,720
Speaker 1: nineteen seventy adaptation of the book Love Story. You know

1214
01:14:13,880 --> 01:14:17,200
Speaker 1: love means never having to say you're sorry, etc. And

1215
01:14:17,240 --> 01:14:19,280
Speaker 1: for a follow up, he wanted to cast her in

1216
01:14:19,320 --> 01:14:24,120
Speaker 1: Gatsby because it was her favorite book, Adorable hold On

1217
01:14:24,160 --> 01:14:27,280
Speaker 1: to that memory for a moment. Robert Evans made a

1218
01:14:27,280 --> 01:14:30,920
Speaker 1: deal with Broadway producer David Merrick as producer, and it

1219
01:14:30,960 --> 01:14:33,719
Speaker 1: was Marrek who bought the rights for Gatsby for between

1220
01:14:33,920 --> 01:14:36,639
Speaker 1: three hundred and fifty thousand and five hundred thousand from

1221
01:14:36,720 --> 01:14:42,920
Speaker 1: f Scott Fitzgerald's daughter Francis Scottie Fitzgerald. At some point

1222
01:14:43,160 --> 01:14:46,799
Speaker 1: they approached the legendary screenwriter Robert Town to write the script,

1223
01:14:47,240 --> 01:14:49,960
Speaker 1: but he passed up the gig despite the prestige and

1224
01:14:50,040 --> 01:14:52,800
Speaker 1: the one hundred and seventy five thousand dollars salary, which

1225
01:14:52,840 --> 01:14:56,360
Speaker 1: is like a million dollars today, because quote, I didn't

1226
01:14:56,400 --> 01:14:59,160
Speaker 1: want to be the unknown Hollywood screenwriter who up a

1227
01:14:59,200 --> 01:15:04,840
Speaker 1: literary class. That's fair. Yeah. Instead, he wrote Chinatown, which

1228
01:15:04,880 --> 01:15:07,439
Speaker 1: earned him an Academy Award for Best Original Screenplay in

1229
01:15:07,479 --> 01:15:11,200
Speaker 1: nineteen seventy four. The studio ultimately landed on Capodi, who

1230
01:15:11,280 --> 01:15:15,080
Speaker 1: took a unique spin on the Gatsby story. He reportedly

1231
01:15:15,120 --> 01:15:19,599
Speaker 1: planned on exploring narrator Nick Carraway's repressed homosexuality by bringing

1232
01:15:19,680 --> 01:15:21,760
Speaker 1: him out of the closet, and he wanted to make

1233
01:15:21,840 --> 01:15:24,760
Speaker 1: Jordan Baker, who was Nick's casual girlfriend in the book,

1234
01:15:24,800 --> 01:15:29,679
Speaker 1: a quote vindictive lesbian. When Truman turned down a draft,

1235
01:15:29,800 --> 01:15:32,760
Speaker 1: the executives were horrified by what he had done and

1236
01:15:32,800 --> 01:15:36,160
Speaker 1: also what he didn't do. In an interview with Deadline,

1237
01:15:36,280 --> 01:15:40,240
Speaker 1: former Paramount VP Peter Bart claimed that Truman Capote merely

1238
01:15:40,280 --> 01:15:45,320
Speaker 1: transcribed chapters of the book word for words. Bart recalled

1239
01:15:45,320 --> 01:15:48,000
Speaker 1: an intense meeting with Capote in nineteen seventy three at

1240
01:15:48,000 --> 01:15:51,800
Speaker 1: a Beverly Hills restaurant where Campodi complained to strangers at

1241
01:15:51,840 --> 01:15:54,479
Speaker 1: the next table, Oh can I do a Capote voice?

1242
01:15:55,000 --> 01:15:58,759
Speaker 2: I ra un, it's gonna come across a little.

1243
01:15:59,720 --> 01:16:00,840
Speaker 1: Yeah.

1244
01:16:00,920 --> 01:16:01,400
Speaker 4: I wrote a.

1245
01:16:01,400 --> 01:16:04,120
Speaker 1: Brilliant screenplay, and this man from Paramount is telling me

1246
01:16:04,160 --> 01:16:07,000
Speaker 1: that I didn't write it. I simply typed it. What

1247
01:16:07,080 --> 01:16:12,400
Speaker 1: should I do to him? Truman was fired, though he

1248
01:16:12,479 --> 01:16:17,640
Speaker 1: reportedly kept his three hundred thousand dollars fee. That's so

1249
01:16:17,840 --> 01:16:20,479
Speaker 1: much money for like nineteen seventy two bucks.

1250
01:16:20,880 --> 01:16:22,720
Speaker 2: That is an insane kill fee too.

1251
01:16:22,840 --> 01:16:27,000
Speaker 1: Yeah, that's insane. Now, that's an insane yeah wow. I mean, yes,

1252
01:16:27,040 --> 01:16:31,240
Speaker 1: he was Truman Capotti, but then again he was Tan Cope.

1253
01:16:31,280 --> 01:16:34,400
Speaker 1: He never never really wrote anything of consequence.

1254
01:16:34,439 --> 01:16:37,160
Speaker 2: Again, it's true, movie magic, movie magic.

1255
01:16:38,479 --> 01:16:38,719
Speaker 4: Now.

1256
01:16:38,760 --> 01:16:42,200
Speaker 1: Desperate Studio had Robert Evans punted the script to Francis

1257
01:16:42,240 --> 01:16:45,440
Speaker 1: Ford Coppola, who had just wrapped production on The Godfather.

1258
01:16:45,600 --> 01:16:48,360
Speaker 1: For Evans, the film was in the can but hadn't

1259
01:16:48,400 --> 01:16:51,240
Speaker 1: yet been released, and Francis was so unsure about how

1260
01:16:51,240 --> 01:16:54,400
Speaker 1: it would be received that he took on this gig

1261
01:16:54,840 --> 01:16:57,640
Speaker 1: because he really needed the money. He really thought The

1262
01:16:57,680 --> 01:17:01,000
Speaker 1: Godfather was gonna tank his career. It's easy to forget.

1263
01:17:01,040 --> 01:17:03,320
Speaker 1: I forgot this until we were working on the Oscars

1264
01:17:03,360 --> 01:17:07,080
Speaker 1: episode that pre Godfather. Francis had already won an Oscar

1265
01:17:07,160 --> 01:17:10,160
Speaker 1: for writing the script for Patent with George C. Scott.

1266
01:17:10,560 --> 01:17:12,040
Speaker 2: I also.

1267
01:17:13,160 --> 01:17:16,960
Speaker 1: That he actually got the gig for Gatsby when he

1268
01:17:17,000 --> 01:17:20,640
Speaker 1: did a punch up on the way we were and

1269
01:17:20,720 --> 01:17:23,639
Speaker 1: Robert Redford was like, hey, you should look at Francis.

1270
01:17:23,720 --> 01:17:24,760
Speaker 1: He would do a good job on this.

1271
01:17:25,479 --> 01:17:28,000
Speaker 2: Good for the most handsome man in the world, for

1272
01:17:28,280 --> 01:17:32,720
Speaker 2: upping an ugly Italian guy with who was probably shirtless.

1273
01:17:34,320 --> 01:17:36,280
Speaker 2: All those pictures of it. I was something from Heart

1274
01:17:36,280 --> 01:17:40,120
Speaker 2: of Darkness was circulating the other day. It's just like him,

1275
01:17:40,200 --> 01:17:42,760
Speaker 2: like in the middle, I guess in periods between heart

1276
01:17:42,760 --> 01:17:46,679
Speaker 2: attacks while filming that, but just like just in an armchair,

1277
01:17:46,760 --> 01:17:49,200
Speaker 2: just being like ranting about film how many.

1278
01:17:49,080 --> 01:17:51,280
Speaker 1: People hat a heart attack on the Apocalypse now set?

1279
01:17:51,280 --> 01:17:56,519
Speaker 1: Because I know that Martin Sheen did too, right, Yeah?

1280
01:17:56,560 --> 01:17:59,920
Speaker 2: And I thought Copla had two?

1281
01:18:00,200 --> 01:18:02,760
Speaker 1: Did he have? Jesus, I didn't know that Martin Sheen

1282
01:18:02,840 --> 01:18:10,120
Speaker 1: had a heart attack that was drug related? Uh, I'm like,

1283
01:18:10,160 --> 01:18:11,760
Speaker 1: what kind of drugs Sheen on?

1284
01:18:13,439 --> 01:18:15,280
Speaker 2: That era had to be head to be coke?

1285
01:18:15,400 --> 01:18:16,000
Speaker 1: Yeah?

1286
01:18:16,280 --> 01:18:17,200
Speaker 2: What did Copla have?

1287
01:18:17,960 --> 01:18:18,240
Speaker 1: Oh?

1288
01:18:18,400 --> 01:18:21,960
Speaker 2: He had an epileptic seizure. Oh, we regret the error,

1289
01:18:22,200 --> 01:18:25,800
Speaker 2: We regret the air and threatened to uh threatened to

1290
01:18:25,880 --> 01:18:30,000
Speaker 2: kill himself at least three times, which honestly making a movie,

1291
01:18:30,760 --> 01:18:34,200
Speaker 2: Italian making a movie. Yeah, that's that's We're still bar

1292
01:18:34,280 --> 01:18:36,200
Speaker 2: for the chorus on that. It's right down the middle.

1293
01:18:36,360 --> 01:18:38,679
Speaker 2: You know, you don't really start to take Italian seriously

1294
01:18:38,720 --> 01:18:41,920
Speaker 2: with death threats until they're actually holding the gun.

1295
01:18:42,760 --> 01:18:44,439
Speaker 1: It really does. See and I can say this as

1296
01:18:44,439 --> 01:18:47,559
Speaker 1: a as a half Italian Italian's putting to kill themselves

1297
01:18:47,600 --> 01:18:47,880
Speaker 1: a lot.

1298
01:18:48,000 --> 01:18:51,360
Speaker 2: Oh yeah, I mean it's moon struck. Christy bag made

1299
01:18:51,360 --> 01:18:52,280
Speaker 2: a big knife.

1300
01:18:52,560 --> 01:18:55,320
Speaker 1: Yes, yes, that is correct.

1301
01:18:56,920 --> 01:18:59,840
Speaker 2: Anyway, God, we've talked a lot about the Italians. I

1302
01:19:00,200 --> 01:19:02,879
Speaker 2: can say it. I'm taking it back.

1303
01:19:06,160 --> 01:19:08,000
Speaker 1: You know, it's sort of amazing the couple. I didn't

1304
01:19:08,000 --> 01:19:11,479
Speaker 1: try to end it during this production too. He admitted

1305
01:19:11,520 --> 01:19:14,240
Speaker 1: that he had read Gatsby, but wasn't familiar with it

1306
01:19:14,280 --> 01:19:17,840
Speaker 1: at the time. So, in a fitting tribute to F's

1307
01:19:17,960 --> 01:19:22,040
Speaker 1: lost generation social circle of expats, Francis checked himself into

1308
01:19:22,040 --> 01:19:26,160
Speaker 1: a hotel in Paris, apparently Oscar Wilde's old room, and

1309
01:19:26,240 --> 01:19:29,439
Speaker 1: started work. I also read these spent time in Great

1310
01:19:29,479 --> 01:19:32,240
Speaker 1: Neck Long Island, which served as the model for Gatsby's

1311
01:19:32,280 --> 01:19:36,519
Speaker 1: hometown of West Egg. Francis later recalled, I was shocked

1312
01:19:36,520 --> 01:19:39,120
Speaker 1: to find that there was almost no dialogue between Daisy

1313
01:19:39,120 --> 01:19:41,600
Speaker 1: and Gatsby and the book, and I was terrified that

1314
01:19:41,640 --> 01:19:44,000
Speaker 1: I have to make it all up, you know, do

1315
01:19:44,120 --> 01:19:47,439
Speaker 1: the writer thing. So I did a quick review of

1316
01:19:47,479 --> 01:19:50,799
Speaker 1: Fitzgerald's short stories, and as many of them were similar

1317
01:19:51,479 --> 01:19:53,160
Speaker 1: in that they were about a poor boy and a

1318
01:19:53,280 --> 01:19:56,040
Speaker 1: rich girl, I helped myself to much of the authentic

1319
01:19:56,040 --> 01:20:00,040
Speaker 1: Fitzgerald dialogue from them. I decided that perhaps an interesting

1320
01:20:00,120 --> 01:20:02,080
Speaker 1: idea would be to do one of those scenes that

1321
01:20:02,120 --> 01:20:05,360
Speaker 1: lovers typically have where they finally get together after much

1322
01:20:05,400 --> 01:20:08,639
Speaker 1: longing and have a talk all night scene, which I'd

1323
01:20:08,640 --> 01:20:11,320
Speaker 1: never seen in a film, So I did that. I

1324
01:20:11,320 --> 01:20:13,919
Speaker 1: think a six page scene in which Daisy and Gatsby

1325
01:20:14,000 --> 01:20:15,160
Speaker 1: stay up all night and talk.

1326
01:20:15,520 --> 01:20:17,280
Speaker 2: Did coble I invent that cliche?

1327
01:20:17,560 --> 01:20:19,320
Speaker 1: I if he's.

1328
01:20:19,280 --> 01:20:23,679
Speaker 2: Believed, then we have like a key story point across

1329
01:20:23,720 --> 01:20:30,040
Speaker 2: like dozens of the American ron coms to think that's wild.

1330
01:20:30,200 --> 01:20:30,960
Speaker 1: Yeah, I mean, I don't know.

1331
01:20:31,000 --> 01:20:32,720
Speaker 2: He'd be probably talking all that of his ass. There's

1332
01:20:32,720 --> 01:20:35,000
Speaker 2: a way I can google it right now. But that's crazy.

1333
01:20:35,080 --> 01:20:40,880
Speaker 2: If actually Francis Ford Coppola invented the like rom com

1334
01:20:41,000 --> 01:20:43,160
Speaker 2: trope of just staying up and talking all night.

1335
01:20:44,040 --> 01:20:48,400
Speaker 1: Ah, but before sunrise. He would go on to say,

1336
01:20:48,439 --> 01:20:50,360
Speaker 1: I remember my wife telling me that she and the

1337
01:20:50,400 --> 01:20:52,840
Speaker 1: kids were in New York when The Godfather opened as

1338
01:20:52,840 --> 01:20:55,080
Speaker 1: I was writing Gatsby, and it was a big hit,

1339
01:20:55,240 --> 01:20:57,439
Speaker 1: and there were lines around the block at five thieves

1340
01:20:57,479 --> 01:20:59,400
Speaker 1: in the city, which was unheard of at the time.

1341
01:21:00,080 --> 01:21:01,640
Speaker 1: I said, yeah, yeah, But I got to finish the

1342
01:21:01,680 --> 01:21:04,880
Speaker 1: Gatsby script, and I sent the script in just in time.

1343
01:21:05,439 --> 01:21:07,880
Speaker 1: It had taken me two or three weeks to complete.

1344
01:21:09,479 --> 01:21:12,559
Speaker 1: Frances was reasonably happy with a script, but like many

1345
01:21:12,600 --> 01:21:15,120
Speaker 1: associated with the production, he was not happy with the

1346
01:21:15,120 --> 01:21:18,599
Speaker 1: final product. On his commentary track for the DVD release

1347
01:21:18,640 --> 01:21:21,839
Speaker 1: of The Godfather, couple refers to writing the Gatsby script,

1348
01:21:22,120 --> 01:21:25,360
Speaker 1: adding not that the director paid any attention to it.

1349
01:21:25,800 --> 01:21:30,040
Speaker 1: The script that I wrote did not get made. Bitch, Bitch, bitch.

1350
01:21:35,640 --> 01:21:40,840
Speaker 2: Nineteen seventies version. Casting is the subject header here. You

1351
01:21:40,880 --> 01:21:43,439
Speaker 2: know Jordan doesn't have as much fun with them as

1352
01:21:43,439 --> 01:21:46,880
Speaker 2: I do anymore? Well, some mean after all the stuff

1353
01:21:46,920 --> 01:21:49,639
Speaker 2: I read, Yeah, about forty pages of Gatsby.

1354
01:21:50,800 --> 01:21:53,640
Speaker 1: Well no, no, no, I mean more thless like this

1355
01:21:53,680 --> 01:21:56,320
Speaker 1: is coming off of writing the Fitzgerald's Dark Knight of

1356
01:21:56,360 --> 01:21:56,840
Speaker 1: the Soul.

1357
01:21:57,120 --> 01:22:00,760
Speaker 2: That's true, that's true. Nothing witty and funny about this.

1358
01:22:02,240 --> 01:22:05,320
Speaker 2: The production seemed somewhat cursed from the start. The search

1359
01:22:05,400 --> 01:22:08,280
Speaker 2: for a Gatsby was long and drawn out. Marlon Brando

1360
01:22:08,360 --> 01:22:10,680
Speaker 2: was initially in the running to play Gatsby, but he

1361
01:22:10,760 --> 01:22:14,519
Speaker 2: wanted too much money four million dollars or about twenty

1362
01:22:14,640 --> 01:22:18,639
Speaker 2: seven million dollars today. Brando was pissed with Paramount because

1363
01:22:18,640 --> 01:22:22,880
Speaker 2: he'd surrendered his profit participation points to The Godfather for

1364
01:22:23,000 --> 01:22:27,519
Speaker 2: one hundred grand immediately prior to its release, and as

1365
01:22:27,960 --> 01:22:31,320
Speaker 2: people do when they make that decision, he immediately regretted

1366
01:22:31,360 --> 01:22:33,519
Speaker 2: it because his points of the back end would have

1367
01:22:33,600 --> 01:22:37,680
Speaker 2: far exceeded one hundred thousand dollars the most. I think

1368
01:22:37,720 --> 01:22:41,640
Speaker 2: the most famous example of that positively is Alec Ginness, right,

1369
01:22:42,120 --> 01:22:45,439
Speaker 2: was like, not at all convinced Star Wars would do anything,

1370
01:22:45,520 --> 01:22:48,559
Speaker 2: and then it just paid for the rest of his life. Well,

1371
01:22:48,560 --> 01:22:52,600
Speaker 2: didn't he also get a percentage of like merchandise merch Yeah? Yeah,

1372
01:22:52,640 --> 01:22:54,760
Speaker 2: So Brando was trying to gouge the studio with his

1373
01:22:54,800 --> 01:22:58,080
Speaker 2: next salary negotiation to recoup his difference, and admitted as

1374
01:22:58,120 --> 01:23:02,160
Speaker 2: much to studio heads. This approach failed when the studio

1375
01:23:02,200 --> 01:23:05,720
Speaker 2: execs argued quite rationally that it wasn't their fault. He'd

1376
01:23:05,760 --> 01:23:08,639
Speaker 2: made a stupid business decision and these were two different

1377
01:23:08,680 --> 01:23:12,320
Speaker 2: movies and two different business entities. In the end, they

1378
01:23:12,520 --> 01:23:15,920
Speaker 2: declined to cast Brando, which pissed him off so much

1379
01:23:15,960 --> 01:23:18,160
Speaker 2: that he refused to be in the Godfather sequel around

1380
01:23:18,200 --> 01:23:21,599
Speaker 2: the same period, and Brando was also fifty and Gatsby's

1381
01:23:21,600 --> 01:23:25,360
Speaker 2: supposed to be in his thirties. Robert Redford, who ultimately

1382
01:23:25,360 --> 01:23:28,479
Speaker 2: got the role, later commented, didn't anyone at Paramount bother

1383
01:23:28,600 --> 01:23:31,160
Speaker 2: to read the novel, to which I would reply, haven't

1384
01:23:31,160 --> 01:23:33,280
Speaker 2: you been in Hollywood long? Enough to know the answer

1385
01:23:33,360 --> 01:23:37,880
Speaker 2: to that. Rob Bob Redford. Man, his whole aur changes

1386
01:23:37,920 --> 01:23:39,280
Speaker 2: if you called Bob Redford.

1387
01:23:39,680 --> 01:23:45,280
Speaker 1: Yeah, yeah, that doesn't that sucks that do Bob is tough,

1388
01:23:45,800 --> 01:23:48,760
Speaker 1: Bob Bob out there. But Bob it's hard to pull off.

1389
01:23:49,400 --> 01:23:53,200
Speaker 1: A's Dylan. It's Dylan, right, the only I think he

1390
01:23:53,280 --> 01:23:58,759
Speaker 1: succeeds despite the Bob personally. It's true. It's true. Bobby Darren,

1391
01:23:59,400 --> 01:24:01,240
Speaker 1: Bobby's Bobby's a different thing.

1392
01:24:01,400 --> 01:24:08,479
Speaker 2: Yeah, Bob is tough. Bob's tough. He puts like a

1393
01:24:08,520 --> 01:24:11,439
Speaker 2: comically long amount of time in there.

1394
01:24:12,400 --> 01:24:14,000
Speaker 1: Bob's tough. It's tough.

1395
01:24:14,080 --> 01:24:14,360
Speaker 3: Ro to ho.

1396
01:24:15,960 --> 01:24:19,479
Speaker 2: Also, that move was stupid of him, but it resulted

1397
01:24:19,479 --> 01:24:20,639
Speaker 2: in a much better movie.

1398
01:24:21,320 --> 01:24:23,599
Speaker 1: Yeah, like the one of the greatest sequels of whole.

1399
01:24:23,439 --> 01:24:29,519
Speaker 2: Time anyway, So Brando, Yeah, man, I can't get over

1400
01:24:29,640 --> 01:24:32,800
Speaker 2: that Island of Doctor Moreau documentary. It is just so

1401
01:24:33,640 --> 01:24:36,559
Speaker 2: hilarious how much of a prick he was on that, Like.

1402
01:24:37,080 --> 01:24:38,320
Speaker 1: Are you in any way surprise?

1403
01:24:38,560 --> 01:24:42,840
Speaker 2: Like no, but it is like it's so like the

1404
01:24:43,120 --> 01:24:45,680
Speaker 2: that he and Kilmer got up to is like there

1405
01:24:45,720 --> 01:24:47,479
Speaker 2: was this one guy in that doc The documentary I'm

1406
01:24:47,520 --> 01:24:51,600
Speaker 2: talking about is called Lost Soul, which is Richard Stanley's

1407
01:24:51,640 --> 01:24:54,120
Speaker 2: Island of Doctor Moreau, which is he was the guy

1408
01:24:54,120 --> 01:24:57,800
Speaker 2: who initially got the nineteen ninety seven movie greenlit. He

1409
01:24:57,960 --> 01:25:00,519
Speaker 2: was a talented director and he just a lot of

1410
01:25:01,000 --> 01:25:04,320
Speaker 2: luck and got kicked off of it. But man, one

1411
01:25:04,360 --> 01:25:07,040
Speaker 2: of the film crew was talking about Val Kilmer, who

1412
01:25:07,120 --> 01:25:11,439
Speaker 2: was I guess charitably method acting because his character in

1413
01:25:11,479 --> 01:25:15,519
Speaker 2: the movie is like a drug addult all. And he

1414
01:25:15,640 --> 01:25:18,479
Speaker 2: was talking about like seeing Val Kilmer like reach out

1415
01:25:18,479 --> 01:25:22,639
Speaker 2: with the ember of a cigarette and just like burn

1416
01:25:22,840 --> 01:25:26,760
Speaker 2: a guy's side burns while the focus puller while he

1417
01:25:26,960 --> 01:25:31,320
Speaker 2: was filming. And Brando's famous thing was there's two things.

1418
01:25:31,360 --> 01:25:35,080
Speaker 2: One was the famous ice bucket hat because he was

1419
01:25:35,120 --> 01:25:38,400
Speaker 2: hot all the time. So he was like, well, I

1420
01:25:38,439 --> 01:25:42,400
Speaker 2: think I think Moreau would actually have an ice bucket hat,

1421
01:25:42,640 --> 01:25:45,200
Speaker 2: and they like and refused to do it, like refused

1422
01:25:45,200 --> 01:25:47,360
Speaker 2: to come out until they made him one because he

1423
01:25:47,439 --> 01:25:49,760
Speaker 2: was like hot and sweaty. So they literally made him

1424
01:25:49,760 --> 01:25:52,960
Speaker 2: a hat that you could put ice into that would

1425
01:25:53,040 --> 01:25:58,120
Speaker 2: keep his disgusting old bald Marlon Brando head. Uh yeah,

1426
01:25:58,160 --> 01:25:59,639
Speaker 2: just look at the way he looks in that movie's

1427
01:25:59,680 --> 01:26:00,799
Speaker 2: coden pancake makeup.

1428
01:26:00,840 --> 01:26:03,360
Speaker 1: It's ridiculous. He looks like a corpse. Like he looks

1429
01:26:03,400 --> 01:26:04,240
Speaker 1: like not well.

1430
01:26:04,760 --> 01:26:07,800
Speaker 2: And the funniest thing about that movie, aside from this,

1431
01:26:08,439 --> 01:26:12,040
Speaker 2: is that the little man that that who is like

1432
01:26:12,120 --> 01:26:14,759
Speaker 2: at the time like the World's Shortest Man, who mini

1433
01:26:14,840 --> 01:26:18,599
Speaker 2: me is famously based off of his prominence in the film,

1434
01:26:19,160 --> 01:26:23,439
Speaker 2: was entirely Brando's decision. There's another actor in that movie

1435
01:26:23,479 --> 01:26:26,160
Speaker 2: who's quoted in this documentary who was originally going to

1436
01:26:26,200 --> 01:26:31,600
Speaker 2: have this like quite rich part as as like Moreau's

1437
01:26:31,640 --> 01:26:35,160
Speaker 2: like most proud creation, because there's a whole opening scene

1438
01:26:35,200 --> 01:26:38,000
Speaker 2: where he's like reciting The Tempest and is this like

1439
01:26:38,080 --> 01:26:41,280
Speaker 2: German actor and he talks about like being excited about

1440
01:26:41,280 --> 01:26:43,200
Speaker 2: this role and all this stuff, and Branda gets on

1441
01:26:43,200 --> 01:26:45,600
Speaker 2: his side and he's like the little guy, I like,

1442
01:26:45,640 --> 01:26:48,760
Speaker 2: the little guy cut the Tempest shit and like just

1443
01:26:48,960 --> 01:26:54,080
Speaker 2: cut this guy's part unilatterally so that he could like

1444
01:26:54,320 --> 01:26:59,360
Speaker 2: elevate this tiny man and literally make him a mini me.

1445
01:26:59,520 --> 01:27:02,160
Speaker 2: And they like the whole scene where he's playing piano

1446
01:27:02,280 --> 01:27:04,920
Speaker 2: and the World's Smallest Man has an equally tiny piano.

1447
01:27:05,200 --> 01:27:08,000
Speaker 2: That was all Brando just being like, I'm not coming

1448
01:27:08,040 --> 01:27:09,519
Speaker 2: out of my trailer until you do this.

1449
01:27:10,680 --> 01:27:15,000
Speaker 1: What a guy? What an aphole man, I.

1450
01:27:15,000 --> 01:27:20,400
Speaker 2: Don't I mean like well, I don't know. I mean

1451
01:27:20,439 --> 01:27:23,080
Speaker 2: it's I don't know, you know, it was wild one

1452
01:27:23,160 --> 01:27:26,240
Speaker 2: and on the waterfront, like really worth the next fifty

1453
01:27:26,320 --> 01:27:29,759
Speaker 2: years of putting up with this guys.

1454
01:27:28,960 --> 01:27:33,679
Speaker 1: I don't know. Hollywood apparently thought, so, okay, so you've

1455
01:27:33,680 --> 01:27:36,559
Speaker 1: got a street car named Desire on the waterfront, Yeah,

1456
01:27:36,600 --> 01:27:41,240
Speaker 1: wild One, Yeah, Godfather, Apocalypse.

1457
01:27:42,600 --> 01:27:45,280
Speaker 2: If you he's good in Apocalypse now, but he's I mean,

1458
01:27:45,840 --> 01:27:48,720
Speaker 2: he's kind of phoning it in already. And Godfather, I mean

1459
01:27:48,760 --> 01:27:54,000
Speaker 2: he's literally talking, he's literally talking through tissues. Well yeah,

1460
01:27:54,040 --> 01:27:56,720
Speaker 2: he's literally talking through tissues and he's barely mobile in

1461
01:27:56,760 --> 01:28:01,720
Speaker 2: that it takes all scenes like when he moves for

1462
01:28:01,760 --> 01:28:05,400
Speaker 2: the first time in the film, it kills him.

1463
01:28:05,600 --> 01:28:10,160
Speaker 1: Am I missing any other oh? Sorry, last thing going Paris? Yeah,

1464
01:28:10,200 --> 01:28:12,080
Speaker 1: despite that, thought.

1465
01:28:12,880 --> 01:28:16,000
Speaker 2: Well, he was great as cal l or jorde l

1466
01:28:16,280 --> 01:28:20,240
Speaker 2: or al con Alcannon whatever Superman's dad's name is in

1467
01:28:20,360 --> 01:28:27,040
Speaker 2: the Christopher Reef movie. I'm joking, of course. Anyway. Brando

1468
01:28:27,160 --> 01:28:34,040
Speaker 2: sidebar over with execs also initially rejected Redford during casting

1469
01:28:34,080 --> 01:28:36,599
Speaker 2: because they were under the assumption that Fitzgerald had described

1470
01:28:36,640 --> 01:28:40,000
Speaker 2: Gatsby as having black hair something that is not true.

1471
01:28:40,479 --> 01:28:43,439
Speaker 2: Warren Beatty was also considered for Gatsby, but he reportedly

1472
01:28:43,479 --> 01:28:46,800
Speaker 2: wanted to direct. This was during his Shampoof era. Wasn't

1473
01:28:47,000 --> 01:28:50,720
Speaker 2: but he thought he could direct. Also refused to act

1474
01:28:50,760 --> 01:28:54,639
Speaker 2: opposite Alan McGraw aka the producer's wife.

1475
01:28:55,200 --> 01:28:56,840
Speaker 1: So the studio head's wife. Yeah.

1476
01:28:56,920 --> 01:29:00,760
Speaker 2: Yeah, the same thing happened with Jack Nicholson, which makes me.

1477
01:29:00,720 --> 01:29:04,360
Speaker 1: Want to rewatch Love Story and reevaluate Elli McGraw's acting

1478
01:29:04,439 --> 01:29:06,840
Speaker 1: chops because nobody wanted to actor in this.

1479
01:29:07,520 --> 01:29:10,120
Speaker 2: Yeah, I guess maybe it was more the idea of

1480
01:29:10,160 --> 01:29:14,160
Speaker 2: like knowing that you would get blamed because the y.

1481
01:29:15,200 --> 01:29:18,519
Speaker 1: Oh, that's a good point. That's a very good point. Yeah,

1482
01:29:18,680 --> 01:29:19,960
Speaker 1: but it ultimately was a good point.

1483
01:29:19,960 --> 01:29:22,120
Speaker 2: Even though Robert Evans began producing the film so he

1484
01:29:22,120 --> 01:29:24,559
Speaker 2: could hand his wife the lead role in her favorite book.

1485
01:29:24,800 --> 01:29:27,240
Speaker 2: McGraw did not appear in the nineteen seventy four edition

1486
01:29:27,360 --> 01:29:31,000
Speaker 2: of Great Gatsby and the Reasons read like a French farce.

1487
01:29:31,880 --> 01:29:34,400
Speaker 2: Due to the delays and finalizing the script, mcgral had

1488
01:29:34,400 --> 01:29:36,760
Speaker 2: a gap in her schedule, so eager to strike while

1489
01:29:36,760 --> 01:29:39,559
Speaker 2: the proverbial iron was hot following her success and Love Story,

1490
01:29:39,720 --> 01:29:42,839
Speaker 2: she agreed to star in The Getaway alongside Steve McQueen.

1491
01:29:43,760 --> 01:29:46,599
Speaker 2: During the nineteen seventy two production, Steve McQueen did what

1492
01:29:46,600 --> 01:29:49,240
Speaker 2: Steve McQueen does and made Ally McGraw fall in love

1493
01:29:49,280 --> 01:29:52,000
Speaker 2: with him. The pair had an affair on set, and

1494
01:29:52,080 --> 01:29:56,200
Speaker 2: McGraw left Evans for him, which wouldn't you Yeah, oh yeah.

1495
01:29:56,240 --> 01:29:58,800
Speaker 2: She then had the goal to approach Gatsby producer David

1496
01:29:58,880 --> 01:30:02,479
Speaker 2: Merrick through her agent, at least to offer herself and

1497
01:30:02,600 --> 01:30:05,799
Speaker 2: McQueen as a package deal for the movie.

1498
01:30:06,439 --> 01:30:13,879
Speaker 1: The studio turned her down. Robert Evans, Yeah, Steve McQueen

1499
01:30:13,920 --> 01:30:16,200
Speaker 1: has Gatsby, though, I.

1500
01:30:16,160 --> 01:30:18,760
Speaker 2: Mean they should have had Steve McQueen show up and

1501
01:30:18,800 --> 01:30:22,960
Speaker 2: just beat up Robert Evans in an office like until

1502
01:30:23,040 --> 01:30:26,240
Speaker 2: he acquiesced. That would have been I think the correct approach.

1503
01:30:26,960 --> 01:30:32,439
Speaker 2: Or just drive really well around him Lamon's yeah, I

1504
01:30:32,479 --> 01:30:34,960
Speaker 2: was just thinking a bullet. Oh well that's a how

1505
01:30:34,960 --> 01:30:37,760
Speaker 2: many movies does he just like drive really drive in?

1506
01:30:37,840 --> 01:30:40,480
Speaker 1: Yeah.

1507
01:30:40,560 --> 01:30:45,879
Speaker 2: Steve McQueen just a great driver, known for it. Reports

1508
01:30:45,960 --> 01:30:48,320
Speaker 2: very as to whether she walked or was fired by Evans,

1509
01:30:48,360 --> 01:30:51,240
Speaker 2: who still had tremendous way over the production and after

1510
01:30:51,280 --> 01:30:56,120
Speaker 2: Alan McGraw's departure, producers considered Candice Bergen, Catherine Ross, Tuesday Weld,

1511
01:30:56,320 --> 01:31:00,160
Speaker 2: Julie Christi, and Sybil Shepherd. Natalie Wood was approached, but

1512
01:31:00,200 --> 01:31:03,200
Speaker 2: she reportedly refused to submit to a screen test and

1513
01:31:03,240 --> 01:31:07,160
Speaker 2: then was murdered. Faye Dunaway thed I messing up the

1514
01:31:07,160 --> 01:31:09,160
Speaker 2: timelines there, of course, but just want to bring up

1515
01:31:09,200 --> 01:31:13,000
Speaker 2: the fact that old boy drowned her and Christopher Walkin

1516
01:31:13,120 --> 01:31:15,160
Speaker 2: was there anyway?

1517
01:31:15,200 --> 01:31:17,160
Speaker 1: Where was I talking about? They landed on Mia Farah.

1518
01:31:17,680 --> 01:31:20,360
Speaker 2: Mia Farah had made it personal plea to Evans, whom

1519
01:31:20,360 --> 01:31:22,960
Speaker 2: she worked with on nineteen sixty eight's Rosemary Baby six

1520
01:31:23,000 --> 01:31:27,240
Speaker 2: years earlier, a film most famous for its haircut, kidding,

1521
01:31:28,800 --> 01:31:31,200
Speaker 2: oh and being directed by a rapist. That was the

1522
01:31:31,240 --> 01:31:35,960
Speaker 2: other thing her casting seemed somewhat faded. Her father, John Farrow,

1523
01:31:36,040 --> 01:31:38,679
Speaker 2: had originally been tapped to direct the nineteen forty nine adaptation,

1524
01:31:38,760 --> 01:31:40,840
Speaker 2: before he dropped out of her disagreements over the casting

1525
01:31:40,880 --> 01:31:44,160
Speaker 2: of Daisy. What's more, her godfather was the legendary film

1526
01:31:44,200 --> 01:31:47,960
Speaker 2: director George kuk Or, who directed the original Broadway production

1527
01:31:48,040 --> 01:31:50,639
Speaker 2: of Gatsby at the start of his career in nineteen

1528
01:31:50,680 --> 01:31:53,280
Speaker 2: twenty six, and then, as previously mentioned, went on to

1529
01:31:53,320 --> 01:31:56,880
Speaker 2: win an Oscar for directing My Fair Lady. Also weird.

1530
01:31:56,960 --> 01:31:59,080
Speaker 2: The little girl cast as Mia Farah's young daughter in

1531
01:31:59,120 --> 01:32:02,479
Speaker 2: the movie Pat's ken Zitt grew up to play Mea

1532
01:32:02,600 --> 01:32:05,640
Speaker 2: in the nineteen ninety five biopic Love and Betrayal the

1533
01:32:05,720 --> 01:32:09,200
Speaker 2: Mia Farro Story, which included a reenactment of the shooting

1534
01:32:09,320 --> 01:32:10,040
Speaker 2: of this film.

1535
01:32:10,280 --> 01:32:10,840
Speaker 1: Isn't that weird?

1536
01:32:11,360 --> 01:32:14,000
Speaker 2: Fun bonus fact She was married to Liam Galliger for

1537
01:32:14,080 --> 01:32:15,679
Speaker 2: a time, which must have sucked.

1538
01:32:15,880 --> 01:32:20,440
Speaker 1: Yeah, they had a kid together, Lenin Gallagher, and Wikipedia

1539
01:32:20,680 --> 01:32:23,360
Speaker 1: feels the need to point out that Lenin is named after.

1540
01:32:25,600 --> 01:32:28,600
Speaker 2: Thanks Wikipedia, man, you steal all the guys songs, and

1541
01:32:28,600 --> 01:32:32,000
Speaker 2: you're gonna steal his name too. Yep, speaking of me

1542
01:32:32,040 --> 01:32:37,840
Speaker 2: as daughtera data talking about the Southern No, I thought

1543
01:32:37,840 --> 01:32:39,840
Speaker 2: the Zelda thing they'd rubbed off of me. I'm speaking

1544
01:32:39,840 --> 01:32:41,439
Speaker 2: like a Southern bell speaking of.

1545
01:32:41,360 --> 01:32:43,960
Speaker 1: Me as daughta. Yeah.

1546
01:32:44,120 --> 01:32:47,080
Speaker 2: No, she was pregnant wow film in the movie, a

1547
01:32:47,120 --> 01:32:50,799
Speaker 2: fact disguised by the time Monald tradition of loose fitting

1548
01:32:50,840 --> 01:32:54,000
Speaker 2: garments and camera angles. Because I'll just add attack on

1549
01:32:54,040 --> 01:32:57,120
Speaker 2: another hour while I just slower my speaking voice down

1550
01:32:57,120 --> 01:33:00,519
Speaker 2: to a drawl. That baby was Fletcher previt baby.

1551
01:33:01,120 --> 01:33:02,799
Speaker 1: They grew up to be Hitler.

1552
01:33:03,800 --> 01:33:07,679
Speaker 2: That's the third biological song of Pharaoh and Andre Previn,

1553
01:33:08,080 --> 01:33:12,200
Speaker 2: her second husband, Fletcher, today is the chief Digital Officer

1554
01:33:12,240 --> 01:33:18,679
Speaker 2: at Cisco Systems, the networking guys. How about that Pharaoh

1555
01:33:18,680 --> 01:33:22,360
Speaker 2: went on to pair in fourteen children in total. Jesus

1556
01:33:22,680 --> 01:33:25,720
Speaker 2: was she irish well, Oh, yes, four of whom were

1557
01:33:25,720 --> 01:33:28,600
Speaker 2: biological and nothing ever happened again.

1558
01:33:28,400 --> 01:33:33,840
Speaker 1: Nothing dramatic ever happened with her children ever. Don't google it. Yeah.

1559
01:33:33,960 --> 01:33:36,759
Speaker 2: Several houses stood in for Jay Gatsby's West Egg mansion,

1560
01:33:36,800 --> 01:33:40,040
Speaker 2: including Rosecliffe, a nineteen oh two estate designed by architects

1561
01:33:40,080 --> 01:33:43,280
Speaker 2: Stanford White and modeled after the Grand Chiennon at Vise.

1562
01:33:44,640 --> 01:33:46,960
Speaker 2: The ballroom, or Gatsby wears his army uniform to dance

1563
01:33:47,000 --> 01:33:50,679
Speaker 2: with Daisy, was filmed at Marble House, another Newport mansion

1564
01:33:50,680 --> 01:33:53,439
Speaker 2: built for the Vanderbilt family. Many of the well dressed

1565
01:33:53,479 --> 01:33:56,560
Speaker 2: male party guests were recruited from the nearby Naval War College,

1566
01:33:56,920 --> 01:34:00,360
Speaker 2: where their short cropped military hairstyles made them look era upropriate.

1567
01:34:00,960 --> 01:34:03,519
Speaker 2: In addition to Rosecliffe and Marble House, the exterior of

1568
01:34:03,560 --> 01:34:07,240
Speaker 2: Linden Place mansion in Bristol, Rhode Island was used for

1569
01:34:07,280 --> 01:34:10,240
Speaker 2: Gatsby's estate. Scenes at the Buchanan's home were shot at

1570
01:34:10,280 --> 01:34:13,000
Speaker 2: Pinewood Studios in England, while other scenes were filmed in

1571
01:34:13,000 --> 01:34:15,720
Speaker 2: New York City and Uxbridge, Massachusetts.

1572
01:34:16,680 --> 01:34:19,080
Speaker 1: I don't know what was film at Uxbridge. I know Uxbridge,

1573
01:34:19,160 --> 01:34:22,799
Speaker 1: that's like not far from where corp. That's very strange

1574
01:34:22,840 --> 01:34:23,400
Speaker 1: that that was fa.

1575
01:34:25,360 --> 01:34:27,519
Speaker 2: Miya Pharaoh would later say that she struggled to connect

1576
01:34:27,520 --> 01:34:30,280
Speaker 2: with co star Robert Redford and create onstream chemistry due

1577
01:34:30,280 --> 01:34:32,879
Speaker 2: to the fact that she was he was completely absorbed

1578
01:34:32,880 --> 01:34:36,080
Speaker 2: in following the Watergate scandal that was eroding the presidency

1579
01:34:36,160 --> 01:34:39,439
Speaker 2: of Richard Nixon. He ultimately, he reportedly spent much of

1580
01:34:39,479 --> 01:34:42,400
Speaker 2: the shoot at his trailer watching news coverage or reading

1581
01:34:42,840 --> 01:34:44,439
Speaker 2: Woodward and Bernstein articles.

1582
01:34:44,960 --> 01:34:45,880
Speaker 1: That's hilarious.

1583
01:34:45,960 --> 01:34:51,120
Speaker 2: Yeah, that's kind of like the Jimmy thing I was

1584
01:34:51,120 --> 01:34:57,160
Speaker 2: talking about earlier. Beautiful Doe eyed woman struggle please establish

1585
01:34:57,280 --> 01:35:00,920
Speaker 2: romantic chemistry with me on this film. Per famed for

1586
01:35:00,960 --> 01:35:04,320
Speaker 2: your handsomeness. He's a no babe. Sorry, staying in the trailer.

1587
01:35:04,439 --> 01:35:05,200
Speaker 1: The hearings are on.

1588
01:35:05,720 --> 01:35:07,720
Speaker 2: Yeah, gotta catch up Woodband burn sty of a new

1589
01:35:07,760 --> 01:35:09,439
Speaker 2: article out leave me alone.

1590
01:35:09,520 --> 01:35:11,360
Speaker 1: John Deane's testifying today.

1591
01:35:14,040 --> 01:35:16,880
Speaker 2: The John dee Ba Jesus christ.

1592
01:35:19,200 --> 01:35:19,360
Speaker 1: Oh.

1593
01:35:19,520 --> 01:35:21,599
Speaker 2: This does make sense considering that he would play Bob

1594
01:35:21,600 --> 01:35:23,439
Speaker 2: Werbird and all the Presidents men two years later.

1595
01:35:23,439 --> 01:35:25,000
Speaker 1: But no, I don't think he was researching. I think

1596
01:35:25,000 --> 01:35:27,160
Speaker 1: he was just like so into it that he willed

1597
01:35:27,160 --> 01:35:30,720
Speaker 1: a movie to happen that would allow him to continue.

1598
01:35:31,120 --> 01:35:34,839
Speaker 2: And ultimately, Bob Redford didn't even attend the film's premiere

1599
01:35:34,880 --> 01:35:36,280
Speaker 2: in the spring of nineteen seventy four.

1600
01:35:36,360 --> 01:35:37,120
Speaker 1: That's a Bob move.

1601
01:35:37,200 --> 01:35:41,000
Speaker 2: That's a classic Bob move, Classic Bob. The movie received

1602
01:35:41,000 --> 01:35:43,200
Speaker 2: a promotional blitz when it was released. A photo of

1603
01:35:43,280 --> 01:35:46,679
Speaker 2: Mia as Daisy was famously featured as the first cover

1604
01:35:46,840 --> 01:35:50,439
Speaker 2: of our former employee People magazine. Mad Magazine spoofed the

1605
01:35:50,439 --> 01:35:54,160
Speaker 2: Gatsby film in its January nineteen seventy five issue with

1606
01:35:54,160 --> 01:35:57,040
Speaker 2: a subtle bit of satire called the Great gas Bag,

1607
01:35:57,840 --> 01:36:02,160
Speaker 2: which is what Mad Magazine would make a joke out

1608
01:36:02,160 --> 01:36:05,759
Speaker 2: of Great Gatsby, the Bad Gatsby, the Great Batsby.

1609
01:36:05,920 --> 01:36:06,639
Speaker 1: It was right there.

1610
01:36:07,520 --> 01:36:09,760
Speaker 2: The film grows over twenty six million against a seven

1611
01:36:09,760 --> 01:36:13,160
Speaker 2: million dollar budget, but reviews were mixed. Vincent Canby's nineteen

1612
01:36:13,160 --> 01:36:15,160
Speaker 2: seventy four review in The New York Times is indicative

1613
01:36:15,280 --> 01:36:20,320
Speaker 2: of the critical response, where he cattily said, no, the

1614
01:36:20,320 --> 01:36:23,000
Speaker 2: sets and costumes, most of the performances are exceptionally good,

1615
01:36:23,160 --> 01:36:25,479
Speaker 2: but the movie itself is as lifeless as a body

1616
01:36:25,479 --> 01:36:27,960
Speaker 2: that's been too long at the bottom of a swimming pool.

1617
01:36:28,400 --> 01:36:31,320
Speaker 2: Bodies float, Vincent, that's the first thing you learn. You

1618
01:36:31,320 --> 01:36:35,320
Speaker 2: have to puncture the lungs or weigh it down. Idiot,

1619
01:36:35,479 --> 01:36:37,479
Speaker 2: Why don't I have to explain this to you? As

1620
01:36:37,479 --> 01:36:40,120
Speaker 2: Fitzgerald wrote it, the Great Gatsby is a good deal

1621
01:36:40,120 --> 01:36:42,280
Speaker 2: more than an ill fated love story about the cruelties

1622
01:36:42,320 --> 01:36:44,559
Speaker 2: of the idol rich. The movie can't see this. They're

1623
01:36:44,560 --> 01:36:48,639
Speaker 2: all its giant close ups of pretty knees and dancing feet.

1624
01:36:49,360 --> 01:36:50,719
Speaker 2: I don't like people's knees.

1625
01:36:51,720 --> 01:36:54,680
Speaker 1: It's a word joint, it is. I could see that

1626
01:36:54,720 --> 01:36:56,000
Speaker 1: being out a thing for some people.

1627
01:36:55,760 --> 01:36:57,559
Speaker 2: Though I think Charlie has a bit about it, and

1628
01:36:57,920 --> 01:37:00,840
Speaker 2: it's always sunny, but I share that. I don't think

1629
01:37:00,840 --> 01:37:02,640
Speaker 2: they're like when you look at all the parts in

1630
01:37:02,680 --> 01:37:03,639
Speaker 2: there under the skin.

1631
01:37:04,320 --> 01:37:06,800
Speaker 1: I don't like that. It's an impressive engineering feed but

1632
01:37:07,439 --> 01:37:08,240
Speaker 1: it is. But I don't want to.

1633
01:37:08,280 --> 01:37:12,640
Speaker 2: I don't get away from me. No, those joints so

1634
01:37:12,720 --> 01:37:16,560
Speaker 2: much meat tendons. What were we talking about?

1635
01:37:16,760 --> 01:37:16,920
Speaker 1: Uh?

1636
01:37:16,920 --> 01:37:20,479
Speaker 2: Oh yeah, sorry, Uh, it's frivolous without being much fun.

1637
01:37:22,000 --> 01:37:25,080
Speaker 2: Sentence that I cut out of that to talk about

1638
01:37:25,080 --> 01:37:27,200
Speaker 2: my thing about knees. Roger Ebert gave a movie two

1639
01:37:27,200 --> 01:37:29,799
Speaker 2: and a half stars out of four. Quote the soundtrack

1640
01:37:29,800 --> 01:37:32,240
Speaker 2: contains narration by Nick that is based pretty closely on

1641
01:37:32,280 --> 01:37:35,560
Speaker 2: his narration in the novel. But we don't feel italics

1642
01:37:35,960 --> 01:37:40,360
Speaker 2: his mine. Ah, we've been distanced by the movie's overproduction.

1643
01:37:40,640 --> 01:37:43,200
Speaker 2: Even the actors seem somewhat cowed by the occasion.

1644
01:37:43,760 --> 01:37:47,559
Speaker 1: Jack Cox, Oh sorry, Jay Cox, we regret the era.

1645
01:37:48,000 --> 01:37:52,040
Speaker 1: We regret the era, Jay Cox. J Cox Cox is

1646
01:37:52,040 --> 01:37:54,680
Speaker 1: that a uh?

1647
01:37:55,920 --> 01:37:58,680
Speaker 2: Jay Cox of Time Magazine summed it up even more succinctly,

1648
01:37:59,080 --> 01:38:01,240
Speaker 2: the film is faithful to the letter of f Scott

1649
01:38:01,280 --> 01:38:05,519
Speaker 2: fitzgerald novel, but entirely misses its spirit. Some blamed the actors.

1650
01:38:05,760 --> 01:38:07,760
Speaker 2: Mia Farrow wasn't the only one who felt like Robert

1651
01:38:07,800 --> 01:38:12,879
Speaker 2: Radford was too subsumed, too consumed by the Watergate scandal

1652
01:38:13,520 --> 01:38:16,040
Speaker 2: to uh really give it his all. Many critics felt

1653
01:38:16,040 --> 01:38:18,200
Speaker 2: his performance fell flat. What did you just look up

1654
01:38:18,200 --> 01:38:20,360
Speaker 2: that you're making Jim face at?

1655
01:38:21,760 --> 01:38:25,360
Speaker 1: Jay Cox has three Academy Award nominations for screenplay, so

1656
01:38:25,360 --> 01:38:27,639
Speaker 1: he knows what he's talking about. The most recent one

1657
01:38:28,040 --> 01:38:30,920
Speaker 1: is for a complete unknown. He co wrote the complete

1658
01:38:30,920 --> 01:38:33,560
Speaker 1: of the Bob Dumb Wow.

1659
01:38:34,080 --> 01:38:36,200
Speaker 2: Good for him, nice for him.

1660
01:38:36,840 --> 01:38:40,760
Speaker 1: He did an uncredited rewrite of James Cameron's screenplay for Titanic.

1661
01:38:41,840 --> 01:38:49,080
Speaker 2: Oh Wow, Jay Cox, Jay Cox J. J. Cox of

1662
01:38:49,240 --> 01:38:50,160
Speaker 2: Time Magazine.

1663
01:38:51,080 --> 01:38:51,800
Speaker 4: Uh.

1664
01:38:52,080 --> 01:38:53,439
Speaker 1: Some reviews were even more personal.

1665
01:38:53,880 --> 01:38:56,320
Speaker 2: Vincent Canby the New York Times claimed that Bob's got

1666
01:38:56,400 --> 01:38:59,040
Speaker 2: looks and persona were too ivy league for a man

1667
01:38:59,080 --> 01:39:02,679
Speaker 2: who came from poverty. God, he is handsome MEA. Pharaoh

1668
01:39:02,720 --> 01:39:05,200
Speaker 2: also got flag for her portrayal of Daisy, which many

1669
01:39:05,240 --> 01:39:09,840
Speaker 2: contemporary refused dismissed as shrill and hysterical. That was kind

1670
01:39:09,840 --> 01:39:14,720
Speaker 2: of her setting, though, yeah, respectfully.

1671
01:39:14,280 --> 01:39:18,800
Speaker 1: What did you do to her eyes? Look?

1672
01:39:18,880 --> 01:39:21,559
Speaker 2: Some people are cast for one thing and a thing

1673
01:39:21,600 --> 01:39:24,439
Speaker 2: that they do well. And she has big eyes and

1674
01:39:24,520 --> 01:39:30,519
Speaker 2: she's distressed. Even Fitzgerald's daughter, Scottie came from me. Although

1675
01:39:30,560 --> 01:39:33,439
Speaker 2: she praised Pharaoh as a fine actress, Scotty noted that

1676
01:39:33,479 --> 01:39:37,360
Speaker 2: Pharaoh seemed unable to convey the quote intensely southern nature.

1677
01:39:37,080 --> 01:39:38,080
Speaker 1: Of Daisy's character.

1678
01:39:38,960 --> 01:39:45,320
Speaker 2: Not Southern enough, not enough slurs, My god, can you

1679
01:39:45,400 --> 01:39:51,080
Speaker 2: imagine that she flew out of that woman's mouth. No, No,

1680
01:39:51,240 --> 01:39:55,320
Speaker 2: I cannot. Pharaoh wouldn't act in a movie again until

1681
01:39:55,360 --> 01:39:58,680
Speaker 2: nineteen seventy seven. Others faulted director Jack Clayton for the

1682
01:39:58,720 --> 01:40:02,320
Speaker 2: Subpower film adaptation. When screenwriter Fancis Forward Coppola first saw

1683
01:40:02,360 --> 01:40:04,840
Speaker 2: screening of the studio, he was furious for some reason.

1684
01:40:04,920 --> 01:40:06,920
Speaker 2: He was particularly aggrieved by a scene that had been

1685
01:40:06,960 --> 01:40:09,160
Speaker 2: added where Jay and Daisy lounged near the edge of

1686
01:40:09,200 --> 01:40:12,280
Speaker 2: a lake. This led him to shout at Robert Evans

1687
01:40:12,360 --> 01:40:15,519
Speaker 2: during the screenplay, why are the swans floating over their

1688
01:40:15,760 --> 01:40:20,240
Speaker 2: damn faces? You'd be forgiven for thinking that perhaps Coppola

1689
01:40:20,439 --> 01:40:23,240
Speaker 2: was being defensive of his screenwriting prowess, But his original

1690
01:40:23,320 --> 01:40:26,200
Speaker 2: script was praised by no less an authority than William Goldman,

1691
01:40:26,600 --> 01:40:30,960
Speaker 2: the guy who literally wrote the book on screenwriting. Goldman

1692
01:40:31,040 --> 01:40:33,840
Speaker 2: had petitioned to write the screenplay himself, so he would

1693
01:40:33,840 --> 01:40:36,080
Speaker 2: have been a tough judge, and he later said, I

1694
01:40:36,120 --> 01:40:38,200
Speaker 2: still believe it to be one of the great adaptations.

1695
01:40:38,320 --> 01:40:40,320
Speaker 2: I called Coppola told him what a wonderful thing he

1696
01:40:40,320 --> 01:40:42,840
Speaker 2: had done. If you see the movie, you will find

1697
01:40:42,840 --> 01:40:45,519
Speaker 2: all this hard to believe. The director who is hired.

1698
01:40:45,720 --> 01:40:48,960
Speaker 2: Jack Clayton is a brit He had that one thing

1699
01:40:49,040 --> 01:40:51,559
Speaker 2: all of them have in their blood, a murderous sense

1700
01:40:51,600 --> 01:40:52,840
Speaker 2: of class.

1701
01:40:52,880 --> 01:40:53,920
Speaker 1: Devastatingly accurate.

1702
01:40:54,360 --> 01:40:57,839
Speaker 2: Well, Clayton decided that Gatsby's parties were shabby and tacky,

1703
01:40:58,000 --> 01:41:00,360
Speaker 2: given by a man of no elevation and tape.

1704
01:41:00,760 --> 01:41:01,360
Speaker 1: There went the.

1705
01:41:01,280 --> 01:41:04,600
Speaker 2: Ballgame as shot. They were foul and stupid, and the

1706
01:41:04,600 --> 01:41:07,280
Speaker 2: people who attended them were foul and silly. And Robert

1707
01:41:07,320 --> 01:41:09,360
Speaker 2: Redford and Mia Farrow, who would have been so perfect

1708
01:41:09,400 --> 01:41:11,599
Speaker 2: as Gatsby and Daisy, were left hung out to dry

1709
01:41:12,040 --> 01:41:14,880
Speaker 2: because Gatsby was a tasteless fool. Why should we care

1710
01:41:14,880 --> 01:41:17,240
Speaker 2: about their love? It was not as if Coppola's Glory

1711
01:41:17,240 --> 01:41:20,000
Speaker 2: had been jettisoned entirely. Though it was tampered with plenty,

1712
01:41:20,360 --> 01:41:22,839
Speaker 2: it was more than the reality and passions it depicted

1713
01:41:22,880 --> 01:41:26,679
Speaker 2: were gone. Also for what it's worth, Tennessee Williams praised

1714
01:41:26,680 --> 01:41:29,960
Speaker 2: the film adaptation and one of his memoir It seemed

1715
01:41:29,960 --> 01:41:32,040
Speaker 2: to me that quite a few of my stories, he said,

1716
01:41:32,080 --> 01:41:34,200
Speaker 2: as well as one of my one acts, would provide

1717
01:41:34,240 --> 01:41:38,599
Speaker 2: interesting and profitable material for contemporary cinema. Cough cough, that's

1718
01:41:38,640 --> 01:41:43,799
Speaker 2: the hilarious thing to put in your memoir whilst living, Guys,

1719
01:41:44,160 --> 01:41:47,280
Speaker 2: I've got other stuff. Enough with the cat this could

1720
01:41:47,360 --> 01:41:53,680
Speaker 2: work enough, yes, if committed to such cinematic masters of

1721
01:41:53,680 --> 01:41:56,639
Speaker 2: direction as Jack Clayton, who made of the Great Gatsby

1722
01:41:56,720 --> 01:42:00,599
Speaker 2: a film that even surpassed Tennessee. Williams thought the novel

1723
01:42:00,800 --> 01:42:04,400
Speaker 2: by Scott Fitzgerald weird take, but what else would you

1724
01:42:04,439 --> 01:42:07,120
Speaker 2: expect from the guy who choked on a medicine cat bottle?

1725
01:42:07,720 --> 01:42:13,479
Speaker 2: Most of this Jack Clayton film, Oh, room at the top.

1726
01:42:14,520 --> 01:42:18,960
Speaker 2: Something wicked this way comes our mother's nothing, Absolutely nothing

1727
01:42:19,200 --> 01:42:20,320
Speaker 2: that I remember.

1728
01:42:22,960 --> 01:42:25,599
Speaker 1: As you meditate on that. We'll be right back with more,

1729
01:42:25,640 --> 01:42:46,400
Speaker 1: too much information after these messages. I can't believe you're

1730
01:42:46,439 --> 01:42:49,200
Speaker 1: sticking me with this entire section that I like to

1731
01:42:49,200 --> 01:42:50,879
Speaker 1: call your a moment of Baz.

1732
01:42:52,320 --> 01:42:54,640
Speaker 2: I'm not going to talk about it, but before we

1733
01:42:54,680 --> 01:42:55,280
Speaker 2: get the we.

1734
01:42:55,240 --> 01:42:57,880
Speaker 1: Should probably nod to the two thousand made for TV

1735
01:42:58,000 --> 01:43:01,080
Speaker 1: version of The Great Gatsby that was made for Annie,

1736
01:43:01,240 --> 01:43:04,360
Speaker 1: which stars Paul Rudd as Nick Carraway, my beloved Mira

1737
01:43:04,439 --> 01:43:09,559
Speaker 1: Servino as Daisy, and future Bond villain Toby Stevens as Gatsby.

1738
01:43:09,840 --> 01:43:11,840
Speaker 1: For some reason, my English teacher in high school made

1739
01:43:11,920 --> 01:43:14,839
Speaker 1: us watch it, this version and not the seventies classic.

1740
01:43:14,880 --> 01:43:18,320
Speaker 1: I don't know why. And while we're here to satisfy

1741
01:43:18,400 --> 01:43:20,600
Speaker 1: our complete at streak, we should probably shout out a

1742
01:43:20,600 --> 01:43:24,000
Speaker 1: few other notable adaptations. There was a radio play of

1743
01:43:24,000 --> 01:43:26,719
Speaker 1: The Great Gatsby in nineteen thirty four, a half hour

1744
01:43:26,800 --> 01:43:30,879
Speaker 1: long adaptation for CBS's Family Hour, which starred Kirk Douglas

1745
01:43:30,920 --> 01:43:34,479
Speaker 1: as Gatsby. In nineteen fifty the novel was read aloud

1746
01:43:34,479 --> 01:43:36,840
Speaker 1: by Trevor White for the BBC World Service in a

1747
01:43:36,880 --> 01:43:39,720
Speaker 1: ten part series in two thousand and eight, and in

1748
01:43:39,760 --> 01:43:44,040
Speaker 1: twenty twelve, BBC Radio Four broadcast a classic serial dramatization

1749
01:43:44,600 --> 01:43:49,040
Speaker 1: created by dramatist Robert Forrest. But all this pales in

1750
01:43:49,120 --> 01:43:54,320
Speaker 1: comparison to the buzz surrounding boz Lherman's twenty thirteen version.

1751
01:43:55,960 --> 01:43:58,599
Speaker 1: When boz Lerman was a child growing up down Under,

1752
01:43:58,840 --> 01:44:02,320
Speaker 1: his father ran the low gas station, just like the

1753
01:44:02,439 --> 01:44:07,640
Speaker 1: murderous Wilson in The Great Gatsby. Bozz first conceived of

1754
01:44:07,680 --> 01:44:11,080
Speaker 1: his own adaptation in two thousand and four when he listened.

1755
01:44:10,800 --> 01:44:14,479
Speaker 2: Can't take the guy seriously? What the is baz baz?

1756
01:44:14,640 --> 01:44:18,639
Speaker 1: What is it short for bait? Basil? Oh? Is it?

1757
01:44:19,240 --> 01:44:19,720
Speaker 1: I don't know.

1758
01:44:20,360 --> 01:44:25,320
Speaker 2: No, his full name is Mark Anthony. Why is it

1759
01:44:25,360 --> 01:44:28,799
Speaker 2: called baz Mark Anthony baz Lerman?

1760
01:44:29,240 --> 01:44:30,679
Speaker 1: Is there any reason listed?

1761
01:44:30,960 --> 01:44:33,120
Speaker 2: He received the nickname bas at school, given to him

1762
01:44:33,120 --> 01:44:37,000
Speaker 2: because of his hairstyle, the name coming from the puppet

1763
01:44:37,120 --> 01:44:41,680
Speaker 2: character Basil Brush, a fictional fox best known for his

1764
01:44:41,760 --> 01:44:46,160
Speaker 2: appearances on daytime British television, primarily portrayed as a glove

1765
01:44:46,240 --> 01:44:48,679
Speaker 2: puppet that was so much better than I. While still

1766
01:44:48,720 --> 01:44:52,680
Speaker 2: in high school, Lherman changed his name by something called

1767
01:44:52,720 --> 01:44:58,880
Speaker 2: a deed poll to Basmark to Basmark, joining his nickname

1768
01:44:59,120 --> 01:45:02,880
Speaker 2: and legal name together. So his actual legal name is

1769
01:45:03,000 --> 01:45:09,280
Speaker 2: bas Mark Anthony Lherman. What a what a he sucks?

1770
01:45:10,320 --> 01:45:15,320
Speaker 2: What a sucky guy? Who sucks? Mark Anthony?

1771
01:45:17,960 --> 01:45:19,320
Speaker 1: I can't, I can't say his name?

1772
01:45:19,439 --> 01:45:19,960
Speaker 3: Is he gay?

1773
01:45:20,080 --> 01:45:20,599
Speaker 2: Can I say?

1774
01:45:20,640 --> 01:45:22,479
Speaker 1: Is he? Is? He? Is he gay? You know? I

1775
01:45:22,520 --> 01:45:24,599
Speaker 1: always assume so, but I don't. I don't know.

1776
01:45:24,920 --> 01:45:28,400
Speaker 2: It's often speculated. Oh, but he has been married since

1777
01:45:28,479 --> 01:45:31,280
Speaker 2: nineteen ninety seven. His daughter has even mentioned being mocked

1778
01:45:31,400 --> 01:45:35,080
Speaker 2: at school about the rumors. According to Yahoo News New Zealand,

1779
01:45:35,520 --> 01:45:39,000
Speaker 2: that sucks. I'm sorry, I'm very sorry. Speaking on the

1780
01:45:39,120 --> 01:45:43,840
Speaker 2: Under the Gloss podcast in twenty twenty three, she said,

1781
01:45:44,040 --> 01:45:46,559
Speaker 2: I specifically remember I was driving in the car on

1782
01:45:46,640 --> 01:45:48,760
Speaker 2: the radio. This guy was like, today we're going to

1783
01:45:48,760 --> 01:45:52,920
Speaker 2: be discussing is bas Lerman Gay? And I went to

1784
01:45:52,960 --> 01:45:54,880
Speaker 2: school and the kids were like, is your dad gay?

1785
01:45:55,360 --> 01:45:57,320
Speaker 2: She did say, I'm not traumatized by it. I've gotten

1786
01:45:57,360 --> 01:45:57,720
Speaker 2: over it.

1787
01:45:58,720 --> 01:46:01,320
Speaker 1: Buzz first conceive of his own adaptation of The Great

1788
01:46:01,360 --> 01:46:03,960
Speaker 1: Gatsby in two thousand and four, when he listened to

1789
01:46:03,960 --> 01:46:07,479
Speaker 1: the book on tape during a lengthy train ride through

1790
01:46:07,560 --> 01:46:13,320
Speaker 1: Siberia to Mongolia. As one does okay Man, He said,

1791
01:46:13,360 --> 01:46:15,439
Speaker 1: I had two bottles of red wine and the new

1792
01:46:15,479 --> 01:46:19,880
Speaker 1: iPod with two recorded books. When The Great Gatsby ended,

1793
01:46:20,880 --> 01:46:25,280
Speaker 1: I had inconsolable melancholia. I was like, can we do

1794
01:46:25,360 --> 01:46:29,400
Speaker 1: that again? Not long after leaving the train, Baz put

1795
01:46:29,439 --> 01:46:31,479
Speaker 1: in a call to Sony, who owned the rights to

1796
01:46:31,520 --> 01:46:35,519
Speaker 1: the novel, and then a scant. Two years later, he

1797
01:46:35,560 --> 01:46:38,680
Speaker 1: finally secured those rights and set about co writing a screenplay.

1798
01:46:39,760 --> 01:46:42,240
Speaker 1: The script he co wrote with Craig Pierce made five

1799
01:46:42,320 --> 01:46:46,559
Speaker 1: notable changes to the novel's plot. Nick Carrara writes from

1800
01:46:46,560 --> 01:46:50,280
Speaker 1: a sanitarium, having checked himself in sometime after that summer

1801
01:46:50,280 --> 01:46:54,080
Speaker 1: with Gatsby. He flirts with Jordan Baker, but unlike what

1802
01:46:54,120 --> 01:46:57,080
Speaker 1: happens to the novel, he's quote too smitten with Gatsby

1803
01:46:57,200 --> 01:47:02,479
Speaker 1: to notice her interesting Gaspy himself makes a grand entrance,

1804
01:47:02,560 --> 01:47:05,800
Speaker 1: whereas in the novel some time passes before they do.

1805
01:47:05,800 --> 01:47:08,760
Speaker 2: You remember most about this movie was that was that

1806
01:47:08,920 --> 01:47:10,919
Speaker 2: no Church in the Wild song that was everywhere?

1807
01:47:11,160 --> 01:47:13,400
Speaker 1: Oh yeah, and that was before this movie came out.

1808
01:47:13,439 --> 01:47:15,320
Speaker 1: That was from wats the Throne, Yeah exactly.

1809
01:47:15,560 --> 01:47:20,400
Speaker 2: And yeah, God remember there was a time when he

1810
01:47:20,520 --> 01:47:23,639
Speaker 2: wasn't who he was and he was merely annoying Kanye.

1811
01:47:23,960 --> 01:47:29,080
Speaker 1: Yeah, yeah, I mean when it came out, I loved

1812
01:47:29,120 --> 01:47:31,200
Speaker 1: My Beautiful, Dark Twisted Fantasy. I thought that was an

1813
01:47:31,200 --> 01:47:32,160
Speaker 1: incredible album.

1814
01:47:32,200 --> 01:47:34,920
Speaker 2: I've just never gotten it. I'm sorry. He's like, he's

1815
01:47:35,160 --> 01:47:36,360
Speaker 2: such a one trick pony to me.

1816
01:47:36,400 --> 01:47:39,519
Speaker 1: Why I like maxwellism and he also, I mean, that's

1817
01:47:39,560 --> 01:47:42,000
Speaker 1: the thing about Kanye at least then, was that he

1818
01:47:42,120 --> 01:47:46,040
Speaker 1: sampled good stuff, Like I loved all of what Curtis

1819
01:47:46,040 --> 01:47:49,120
Speaker 1: Mayfield stuff he sampled from Moving Up and Daft Punky

1820
01:47:49,200 --> 01:47:51,240
Speaker 1: sampled like it was like listening to like girl talk.

1821
01:47:51,280 --> 01:47:53,719
Speaker 1: It was like all stuff I knew. So that was fun.

1822
01:47:53,760 --> 01:47:58,439
Speaker 1: For me, and that was fun for me. Yeah.

1823
01:47:58,439 --> 01:48:02,599
Speaker 2: I just remember being like, was the harder, faster song

1824
01:48:03,400 --> 01:48:05,799
Speaker 2: or that he sampled stronger?

1825
01:48:06,560 --> 01:48:10,519
Speaker 1: Oh, King Crimson was power Yeah, yeah, twenty first century

1826
01:48:10,560 --> 01:48:11,719
Speaker 1: schizoid part. Yeah.

1827
01:48:12,160 --> 01:48:14,639
Speaker 2: Yeah, I don't know. I just never I don't know, man,

1828
01:48:14,760 --> 01:48:17,880
Speaker 2: I'd like the last song of his that I had

1829
01:48:17,920 --> 01:48:22,320
Speaker 2: on any device was gold Digger No Jesus Walks sorry.

1830
01:48:24,520 --> 01:48:27,439
Speaker 1: I liked when he got into like maximalism, that was kind.

1831
01:48:27,280 --> 01:48:30,000
Speaker 2: Of yeah, the sped up soul thing was a little

1832
01:48:30,160 --> 01:48:32,400
Speaker 2: like that got to be a little one trick pony

1833
01:48:32,479 --> 01:48:34,599
Speaker 2: at some point, and that was why I honestly tuned out.

1834
01:48:34,640 --> 01:48:37,080
Speaker 2: And then that then my beautiful dog Twisted Fantasy came

1835
01:48:37,080 --> 01:48:38,880
Speaker 2: out and all of a sudden he was just way

1836
01:48:38,920 --> 01:48:40,639
Speaker 2: more in the public eye, and I was like, oh,

1837
01:48:40,680 --> 01:48:43,519
Speaker 2: I just don't like you as a person. And then

1838
01:48:43,560 --> 01:48:45,240
Speaker 2: I went and listened to it. I was like, I'm

1839
01:48:45,280 --> 01:48:49,439
Speaker 2: just still not impressed. I'm sorry, And then we all

1840
01:48:49,479 --> 01:48:50,160
Speaker 2: know how that went.

1841
01:48:51,240 --> 01:48:53,000
Speaker 1: I think we can agree that you're a better judge

1842
01:48:53,000 --> 01:48:55,240
Speaker 1: of character than I am. Heigel, I don't think so.

1843
01:48:56,160 --> 01:49:01,960
Speaker 2: I actually don't. I'm incredibly credulous. I believe what people

1844
01:49:02,040 --> 01:49:06,520
Speaker 2: tell me generally, and and it has it continues to backfire.

1845
01:49:08,160 --> 01:49:10,320
Speaker 1: There's that line when people tell you who they are,

1846
01:49:10,400 --> 01:49:12,280
Speaker 1: believe them. I don't.

1847
01:49:13,200 --> 01:49:17,400
Speaker 2: Yeah, maybe we should have believed. I have really not

1848
01:49:17,920 --> 01:49:21,880
Speaker 2: been served well by evaluating people.

1849
01:49:23,200 --> 01:49:25,240
Speaker 1: It's not as cynical as you are. That surprises me.

1850
01:49:25,400 --> 01:49:28,040
Speaker 2: It is it is it's because I do have a

1851
01:49:28,080 --> 01:49:29,240
Speaker 2: core of niceness.

1852
01:49:29,960 --> 01:49:33,639
Speaker 1: Way, that's that's why you get so angry, is that

1853
01:49:33,720 --> 01:49:36,519
Speaker 1: you actually believe deep down that things should be good.

1854
01:49:36,560 --> 01:49:39,160
Speaker 1: There's a sense of justice, and people are good or

1855
01:49:39,200 --> 01:49:41,599
Speaker 1: should be good. And I think for me, I don't

1856
01:49:41,600 --> 01:49:45,639
Speaker 1: have that, and I'm just appreciating and grateful for things

1857
01:49:45,640 --> 01:49:48,080
Speaker 1: that do happen to turn out well. And that's the

1858
01:49:48,120 --> 01:49:50,000
Speaker 1: weird twist between the two of us.

1859
01:49:50,120 --> 01:49:52,160
Speaker 2: So that's your fun fact about me, is that I'm

1860
01:49:52,240 --> 01:49:56,719
Speaker 2: credulous and believe in you and things. So go ahead

1861
01:49:56,720 --> 01:49:57,600
Speaker 2: and take advantage of me.

1862
01:49:57,720 --> 01:50:04,879
Speaker 1: People. Some of the other differences between Buzz Luhrmann's script

1863
01:50:04,960 --> 01:50:10,920
Speaker 1: and and that Scott fits Child's Gatsby novel includes Gatsby

1864
01:50:11,040 --> 01:50:15,400
Speaker 1: dying thinking that his pursuit of Daisy was successful, and

1865
01:50:15,479 --> 01:50:18,200
Speaker 1: some of the racism and anti semitism was toned down.

1866
01:50:18,360 --> 01:50:22,040
Speaker 2: Well that's lovely. Well, how do you feel about this.

1867
01:50:22,479 --> 01:50:24,960
Speaker 2: You know my thing about directors coming in and being like,

1868
01:50:25,680 --> 01:50:31,520
Speaker 2: I know better than this novelist, I Baz Baz my memoirs,

1869
01:50:32,800 --> 01:50:37,960
Speaker 2: I Baz Luhmann, famous for taking and just making it gay.

1870
01:50:39,120 --> 01:50:44,800
Speaker 2: No better than the great American novel I just that

1871
01:50:44,920 --> 01:50:46,000
Speaker 2: drives me up a ball.

1872
01:50:46,160 --> 01:50:48,000
Speaker 1: I'm sorry why I explained when't hear more of a

1873
01:50:48,000 --> 01:50:49,160
Speaker 1: while you don't like about buzz.

1874
01:50:49,479 --> 01:50:54,080
Speaker 2: That was a reductive thing that I said, and I apologize.

1875
01:50:55,680 --> 01:50:57,880
Speaker 2: I do think that's his shtick. I'm sorry. He's not

1876
01:50:57,920 --> 01:51:00,400
Speaker 2: a great script writer. Okay, this is a whole thing

1877
01:51:00,439 --> 01:51:05,679
Speaker 2: about like what is he written man Rouge Australia, Australia. Yeah,

1878
01:51:05,720 --> 01:51:11,559
Speaker 2: he wrote Stray Astra Austraia and got Vinnie my Winnies

1879
01:51:11,600 --> 01:51:16,400
Speaker 2: my bbuh No, why do you Why should I have

1880
01:51:16,479 --> 01:51:18,360
Speaker 2: to be in the position of you should explain to

1881
01:51:18,400 --> 01:51:19,920
Speaker 2: me why you think he's good.

1882
01:51:21,240 --> 01:51:22,639
Speaker 1: I mean I never said that.

1883
01:51:22,880 --> 01:51:26,200
Speaker 2: Like I get I get Robert, I get the Romeo

1884
01:51:26,200 --> 01:51:28,920
Speaker 2: and Juliet and almost said Robert and Juliet, which is

1885
01:51:28,920 --> 01:51:32,960
Speaker 2: a very different film. I get that, right, you get

1886
01:51:32,960 --> 01:51:35,639
Speaker 2: the young hot people, you do it. There's guns, there's

1887
01:51:35,720 --> 01:51:40,519
Speaker 2: hip hop, there's whatever. Fine, I get it nothing else

1888
01:51:40,800 --> 01:51:44,000
Speaker 2: that he's done. What was mulon Rouge based on making

1889
01:51:44,080 --> 01:51:46,360
Speaker 2: songs worse? I think was the pitch of that. He

1890
01:51:46,439 --> 01:51:48,000
Speaker 2: was like, what if I take a bunch of songs

1891
01:51:48,240 --> 01:51:49,560
Speaker 2: and make them suck.

1892
01:51:49,680 --> 01:51:51,400
Speaker 1: By putting them alongside one another?

1893
01:51:51,560 --> 01:51:54,719
Speaker 2: No, that was actually an adaptation. Oh it's m duh.

1894
01:51:55,280 --> 01:51:56,840
Speaker 1: Oh Jesus, yeah, of course.

1895
01:51:57,520 --> 01:52:00,880
Speaker 2: Courtney Love auditioned for the role of Setine gave approval

1896
01:52:01,880 --> 01:52:05,080
Speaker 2: for smells like teen Spirit to be used in the film.

1897
01:52:05,479 --> 01:52:10,519
Speaker 2: It was yeah, because she wrote it, you know, Uh no, no, no,

1898
01:52:10,560 --> 01:52:13,600
Speaker 2: I mean, like I know, I was being I was

1899
01:52:13,640 --> 01:52:19,080
Speaker 2: being facetious. I hate her custodianship of Cobade's legacy. It's disgusting,

1900
01:52:19,120 --> 01:52:20,040
Speaker 2: I mean legacy whatever.

1901
01:52:20,040 --> 01:52:20,360
Speaker 1: I don't know.

1902
01:52:20,400 --> 01:52:22,320
Speaker 2: He probably wouldn't have cared, but because he was in

1903
01:52:22,320 --> 01:52:26,720
Speaker 2: love with her for some reason. But God that she

1904
01:52:26,800 --> 01:52:29,800
Speaker 2: kisses me off man literally writing in your journals, please

1905
01:52:29,840 --> 01:52:32,400
Speaker 2: don't publish my journals when I'm dead, and then doing

1906
01:52:32,439 --> 01:52:35,960
Speaker 2: that and being like, sure, you I want a role

1907
01:52:36,000 --> 01:52:39,680
Speaker 2: in this film. You can use my husband's song, you

1908
01:52:39,920 --> 01:52:42,040
Speaker 2: flamboyant Australian idiot.

1909
01:52:42,280 --> 01:52:45,080
Speaker 1: Did they cast her in anything Inverge? I don't think so.

1910
01:52:45,360 --> 01:52:49,360
Speaker 1: I certainly hope not. Did we do? I know we did.

1911
01:52:50,040 --> 01:52:52,120
Speaker 1: We didn't do the whole song the movie.

1912
01:52:52,240 --> 01:52:54,599
Speaker 2: This is just me mandering. I just don't. I don't

1913
01:52:54,600 --> 01:52:57,120
Speaker 2: think he's good. In fact, the New York Times the

1914
01:52:57,120 --> 01:52:59,960
Speaker 2: film is undeniably rousing, but there's not a single moment

1915
01:53:00,120 --> 01:53:03,719
Speaker 2: of organic excitement because Luerman is so busy splicing bits

1916
01:53:03,760 --> 01:53:08,679
Speaker 2: from other films. Yeah, and what did you think of Elvis?

1917
01:53:09,960 --> 01:53:11,840
Speaker 1: You know, I didn't see it there it is, which

1918
01:53:11,880 --> 01:53:15,439
Speaker 1: I mean, I know, yeah, I know that. Actually, I

1919
01:53:15,439 --> 01:53:17,400
Speaker 1: mean a lot of times when I see biopics, I

1920
01:53:17,560 --> 01:53:20,080
Speaker 1: just find myself thinking, I just wish I'd seen a

1921
01:53:20,120 --> 01:53:24,000
Speaker 1: really good documentary on this person rather than like whatever

1922
01:53:24,040 --> 01:53:27,160
Speaker 1: I just sat through. And that seemed doubly so for

1923
01:53:27,200 --> 01:53:30,880
Speaker 1: a movie that went out of its way to seem ridiculous. Yeah,

1924
01:53:31,520 --> 01:53:34,320
Speaker 1: I did, like at the very end, like Elvis's when

1925
01:53:34,320 --> 01:53:37,960
Speaker 1: he recreated Elvis's one of his last performance doing how

1926
01:53:38,000 --> 01:53:42,160
Speaker 1: great that no unchained melody, unchained melody when he's like

1927
01:53:42,800 --> 01:53:48,040
Speaker 1: in the big jumpsuit with like disposable fast food pepsi

1928
01:53:48,400 --> 01:53:51,920
Speaker 1: styrofoam cups on the grand piano and he's just like

1929
01:53:52,439 --> 01:53:55,799
Speaker 1: him and a piano body completely looks like a melted

1930
01:53:55,840 --> 01:53:59,280
Speaker 1: candle of Elvis, but like he can just built it

1931
01:53:59,400 --> 01:54:03,080
Speaker 1: and he like hits those crazy notes one last time.

1932
01:54:03,520 --> 01:54:06,000
Speaker 1: That was cool and that I haven't even seen the movie,

1933
01:54:06,120 --> 01:54:08,200
Speaker 1: but I'm pretty sure that's how they decided to end it.

1934
01:54:08,200 --> 01:54:10,640
Speaker 1: It's in there anyway, it deserves to be how they

1935
01:54:10,760 --> 01:54:13,439
Speaker 1: ended it. Anyway. That was cool. I'm glad they chose that.

1936
01:54:13,439 --> 01:54:17,120
Speaker 1: That was a nice bit. I'll be coming home.

1937
01:54:18,800 --> 01:54:38,960
Speaker 3: Holy my my doll, Hi hungry for Okius hoe it.

1938
01:54:49,840 --> 01:55:00,600
Speaker 1: So slowly and time counted so much. Ho s.

1939
01:55:17,000 --> 01:55:25,840
Speaker 4: Honey, God speak.

1940
01:55:30,560 --> 01:55:30,680
Speaker 3: Too.

1941
01:55:49,600 --> 01:55:53,120
Speaker 1: What did you think I didn't see it? I hate Basler.

1942
01:55:53,560 --> 01:55:57,040
Speaker 1: Yeah that makes sense. Oh man, we should I gotta

1943
01:55:57,400 --> 01:56:01,400
Speaker 1: do Gracelands. Yeah, I have all the notes. It's just like,

1944
01:56:01,800 --> 01:56:03,840
Speaker 1: so long. Do you guys want to sit hear us?

1945
01:56:03,880 --> 01:56:07,880
Speaker 1: Do an episode on Elvis's house Graceland, tweet at us

1946
01:56:08,360 --> 01:56:11,680
Speaker 1: or send us a note in KOFE or dm us

1947
01:56:11,800 --> 01:56:15,640
Speaker 1: or hell a lot. He just text me at this point, Yeah, yeah,

1948
01:56:15,800 --> 01:56:20,760
Speaker 1: text Jordan. It'll be a fun one. Well. After Baz's

1949
01:56:20,880 --> 01:56:24,680
Speaker 1: box office bomb, Australia stunk up theaters in two thousand

1950
01:56:24,680 --> 01:56:27,440
Speaker 1: and eight, but has decided it was time to pull

1951
01:56:27,440 --> 01:56:32,280
Speaker 1: out the Big Guns enter Gatsby. From the start, he

1952
01:56:32,320 --> 01:56:35,280
Speaker 1: had Leonardo DiCaprio in mind as the lead. The pair

1953
01:56:35,320 --> 01:56:39,280
Speaker 1: had last worked together for nineteen ninety six's Romeo plus Juliette,

1954
01:56:39,720 --> 01:56:42,920
Speaker 1: which does rule. That's actually very good. I really like that.

1955
01:56:44,480 --> 01:56:47,360
Speaker 1: According to him, Leo was the only one he approached

1956
01:56:47,360 --> 01:56:49,960
Speaker 1: to play Gatsby, and Leo jumped at the chance because,

1957
01:56:50,000 --> 01:56:52,640
Speaker 1: in his own words, he was drawn to quote the

1958
01:56:52,680 --> 01:56:55,960
Speaker 1: idea of a man who came from absolutely nothing, who

1959
01:56:56,000 --> 01:56:59,800
Speaker 1: created himself solely from his own imagination. Gatsby's one of

1960
01:56:59,840 --> 01:57:03,040
Speaker 1: the iconic characters because he could be interpreted in so

1961
01:57:03,160 --> 01:57:07,880
Speaker 1: many ways, hopeless, romantic, a completely obsessed wacko, or a

1962
01:57:08,000 --> 01:57:12,480
Speaker 1: dangerous gangster clinging to well. Toby Maguire seemed like the

1963
01:57:12,480 --> 01:57:16,240
Speaker 1: logical choice for Nick Carraway, Gatsby's confidant. He and Leo

1964
01:57:16,320 --> 01:57:20,120
Speaker 1: were childhood friends. This marked the third collaboration between the pair,

1965
01:57:20,240 --> 01:57:24,200
Speaker 1: following This Boy's Life in nineteen ninety three in Don's Plumb,

1966
01:57:24,320 --> 01:57:28,000
Speaker 1: which as a movie I Do Nothing about Daisy, however,

1967
01:57:28,120 --> 01:57:29,840
Speaker 1: was a little harder to come by.

1968
01:57:30,000 --> 01:57:32,040
Speaker 2: How did you not put in the posse in there?

1969
01:57:32,120 --> 01:57:34,160
Speaker 1: I thought about it, and I took it out. Would

1970
01:57:34,160 --> 01:57:37,240
Speaker 1: you like to elaborate on that? No, I just find

1971
01:57:37,240 --> 01:57:40,800
Speaker 1: it hilarious that who were all of them?

1972
01:57:41,040 --> 01:57:43,560
Speaker 2: I just think it's Hilario's. Toby maguire's in there because he's,

1973
01:57:43,760 --> 01:57:46,360
Speaker 2: you know, looks the way that Toby McGuire does. But

1974
01:57:46,400 --> 01:57:48,080
Speaker 2: he was apparently running around.

1975
01:57:48,480 --> 01:57:49,400
Speaker 1: Second hand Leo.

1976
01:57:50,040 --> 01:57:53,680
Speaker 2: I was gonna say, get get in Leo's no list,

1977
01:57:56,160 --> 01:58:00,440
Speaker 2: just running rampant with Leo's discard pile, his slush pile,

1978
01:58:00,480 --> 01:58:01,000
Speaker 2: if you will.

1979
01:58:01,680 --> 01:58:05,120
Speaker 1: In twenty ten, Lerman did he workshop of his Gatsby screenplay,

1980
01:58:05,240 --> 01:58:08,120
Speaker 1: in which Rebecca Hall read for the part.

1981
01:58:08,000 --> 01:58:10,280
Speaker 2: Of Daisy an Angel.

1982
01:58:10,440 --> 01:58:10,640
Speaker 3: Yeah.

1983
01:58:10,680 --> 01:58:13,480
Speaker 1: I love rebccah Hall. She was offered Golden Globe nomination

1984
01:58:13,920 --> 01:58:19,040
Speaker 1: for Vicki Christina Barcelona. Baz apparently didn't think she was talented.

1985
01:58:20,000 --> 01:58:22,240
Speaker 1: He was not impressed with her performance in the reading,

1986
01:58:22,640 --> 01:58:25,240
Speaker 1: and he immediately started going through his rollodecks of a

1987
01:58:25,360 --> 01:58:28,680
Speaker 1: list Hollywood actresses for the part of Daisy. Well, what

1988
01:58:28,720 --> 01:58:32,080
Speaker 1: does he find now? He considered Kiera Knightley, Rachel McAdams,

1989
01:58:32,080 --> 01:58:36,200
Speaker 1: Abby Cornish, Ava Green, Anne Hathaway, Olivia Wilde, Blake, Lively,

1990
01:58:36,240 --> 01:58:39,000
Speaker 1: who I remember hearing a lot about possibly getting this role.

1991
01:58:39,280 --> 01:58:44,040
Speaker 1: Natalie Bartman, Jessica Alba, Michelle Williams, and Amanda Seyfried, who

1992
01:58:44,160 --> 01:58:46,840
Speaker 1: was actually announced as the official casting at some point

1993
01:58:46,880 --> 01:58:50,360
Speaker 1: in twenty ten before they walked it back. Scarlett Johansson

1994
01:58:50,560 --> 01:58:53,120
Speaker 1: was also close to being finalized before she was forced

1995
01:58:53,160 --> 01:58:55,600
Speaker 1: to back out due to her commitment to Cameron Crowe

1996
01:58:55,760 --> 01:59:01,440
Speaker 1: for Check's Notes twenty eleven's We Bought a Zoo.

1997
01:59:01,800 --> 01:59:05,680
Speaker 2: Yes, I knew it would be We Bought a Zoo.

1998
01:59:06,280 --> 01:59:08,680
Speaker 2: It could be nothing other than we. It's always trying

1999
01:59:08,680 --> 01:59:11,200
Speaker 2: to make the case that like, I love her. I

2000
01:59:11,200 --> 01:59:14,440
Speaker 2: think she's a wonderful, she seems she seems lovely. But

2001
01:59:14,520 --> 01:59:16,200
Speaker 2: someone was like trying to make the case for her

2002
01:59:16,240 --> 01:59:20,320
Speaker 2: as like a very serious actress. I was like, I

2003
01:59:20,320 --> 01:59:24,960
Speaker 2: beg your pardon. I mean, well, it's like the Halloween series. Man,

2004
01:59:25,000 --> 01:59:27,520
Speaker 2: It's like Halloween and The Exorcist. You get like when

2005
01:59:27,560 --> 01:59:31,640
Speaker 2: your first thing out gets you critical cachet, people just

2006
01:59:31,680 --> 01:59:34,360
Speaker 2: forget about the other dogs you do for in top

2007
01:59:34,480 --> 01:59:37,240
Speaker 2: for and they'll just keep coming back. I know there

2008
01:59:37,240 --> 01:59:39,040
Speaker 2: were people who think, like Black Widow is like the

2009
01:59:39,120 --> 01:59:42,240
Speaker 2: role of a lifetime, but get over anyway.

2010
01:59:42,320 --> 01:59:44,720
Speaker 1: I'm looking at Cameron Crow's who I love by the way.

2011
01:59:44,800 --> 01:59:46,240
Speaker 1: I mean, he's a music well that was the music

2012
01:59:46,320 --> 01:59:49,200
Speaker 1: journalist turned screenwriter, so obviously I worship the guy.

2013
01:59:49,240 --> 01:59:51,760
Speaker 2: Oh you love it. You're a big fan of Elizabethtown.

2014
01:59:51,720 --> 01:59:55,840
Speaker 1: Vanilla Sky, like the Vanilla Sky. But wait, he did

2015
01:59:55,840 --> 01:59:59,080
Speaker 1: We Bought a Zoo, which bombed because it's ridiculous. And

2016
01:59:59,120 --> 02:00:02,320
Speaker 1: then he did that a Oha movie where he cast

2017
02:00:02,440 --> 02:00:05,840
Speaker 1: him a stone as a Hawaiian woman and all the

2018
02:00:06,000 --> 02:00:09,280
Speaker 1: fallout from that. And he has not directed a non

2019
02:00:09,360 --> 02:00:13,560
Speaker 1: documentary and even then was only one since and that

2020
02:00:13,680 --> 02:00:18,800
Speaker 1: was ten years Bomber. Oh, he has not done. He

2021
02:00:18,840 --> 02:00:22,600
Speaker 1: did a Stevie Nick's music video. He did Roady Oh yeah,

2022
02:00:22,800 --> 02:00:25,760
Speaker 1: he did that TV show Roadi's on Showtime Okay, and

2023
02:00:25,840 --> 02:00:28,720
Speaker 1: he did David Crosby documentary in twenty nineteen, and that's

2024
02:00:28,880 --> 02:00:32,680
Speaker 1: kind of it. Wow, good for him. Yeah. One of

2025
02:00:32,720 --> 02:00:35,480
Speaker 1: the few names who wasn't bandied around by Baz in

2026
02:00:35,520 --> 02:00:38,960
Speaker 1: this period was Kerrie Mulligan. Her audition seemed like something

2027
02:00:39,000 --> 02:00:41,200
Speaker 1: of an afterthought in the wake of her success in

2028
02:00:41,280 --> 02:00:44,760
Speaker 1: An Education. I only found out about the audition three

2029
02:00:44,840 --> 02:00:47,080
Speaker 1: days before, so I read the book for the first

2030
02:00:47,120 --> 02:00:49,440
Speaker 1: time and went to see Baz. She'd later say in

2031
02:00:49,440 --> 02:00:52,720
Speaker 1: an interview with The Hollywood Reporter that was on November two,

2032
02:00:53,200 --> 02:00:55,920
Speaker 1: and on November fifteenth, Baz called her to tell her

2033
02:00:55,960 --> 02:00:58,680
Speaker 1: she got the role. She was literally on the red

2034
02:00:58,720 --> 02:01:01,400
Speaker 1: carpet at the time, a fashion event in New York,

2035
02:01:01,840 --> 02:01:05,560
Speaker 1: and upon receiving the news, she started to sob. I

2036
02:01:05,640 --> 02:01:07,520
Speaker 1: burst into tears in the middle of this room with

2037
02:01:07,600 --> 02:01:10,440
Speaker 1: Carl Lagerfeld and all these people standing next to me.

2038
02:01:10,840 --> 02:01:14,880
Speaker 1: They thought I was mental. Lerman would say, I was

2039
02:01:14,960 --> 02:01:17,560
Speaker 1: privileged to explore the character of some of the world's

2040
02:01:17,560 --> 02:01:21,680
Speaker 1: most talented actresses, each one bringing their own particular interpretation,

2041
02:01:22,280 --> 02:01:26,320
Speaker 1: all of which were legitimate and exciting. However, specific to

2042
02:01:26,360 --> 02:01:29,400
Speaker 1: this particular production of The Great Gatsby, I was thrilled

2043
02:01:29,400 --> 02:01:31,200
Speaker 1: to pick up the phone an hour ago to the

2044
02:01:31,200 --> 02:01:35,280
Speaker 1: young Oscar nominated British actress Carrie Mulligan and say to her,

2045
02:01:36,160 --> 02:01:40,240
Speaker 1: there's so many ways this could be read. Hello Daisy Buchanan,

2046
02:01:40,520 --> 02:01:42,640
Speaker 1: Hello Daisy Buchanan.

2047
02:01:43,440 --> 02:01:46,200
Speaker 2: Yeah, that's offensive.

2048
02:01:46,960 --> 02:01:50,520
Speaker 1: I avoluargize good day.

2049
02:01:51,240 --> 02:01:59,520
Speaker 2: He didn't say good day, Good day, Daisy Struth, Carrie,

2050
02:01:59,640 --> 02:02:00,880
Speaker 2: give me bloody Daisy.

2051
02:02:01,440 --> 02:02:01,600
Speaker 1: Oh.

2052
02:02:01,640 --> 02:02:05,960
Speaker 2: I heard a great new Australian expression the other day. Yeah,

2053
02:02:06,280 --> 02:02:09,840
Speaker 2: Fad Dinger is a right fad dinger. He is, well,

2054
02:02:09,840 --> 02:02:14,640
Speaker 2: that's caught the sorry, no, no fair dinkum, I apologize

2055
02:02:14,840 --> 02:02:17,800
Speaker 2: dinkham dinkham fad inkom.

2056
02:02:17,400 --> 02:02:18,080
Speaker 1: Can you spell it?

2057
02:02:18,960 --> 02:02:21,400
Speaker 2: D I n k u M.

2058
02:02:21,840 --> 02:02:22,440
Speaker 1: What's that? Man?

2059
02:02:22,680 --> 02:02:24,240
Speaker 2: Just like a funny little scamp.

2060
02:02:24,640 --> 02:02:27,160
Speaker 1: Oh all right, where'd you hear that?

2061
02:02:29,440 --> 02:02:30,040
Speaker 2: In a video?

2062
02:02:30,640 --> 02:02:31,680
Speaker 1: Oh? This is gonna be good.

2063
02:02:32,280 --> 02:02:35,640
Speaker 2: In a prank video where a gentleman is disguised as

2064
02:02:35,640 --> 02:02:40,320
Speaker 2: a home depot employee and selling this old Australian man

2065
02:02:41,080 --> 02:02:44,040
Speaker 2: measuring tapes and saying, don't mind about the black bits there.

2066
02:02:44,120 --> 02:02:48,960
Speaker 2: That's when me and my buds measure each other. Australian

2067
02:02:49,000 --> 02:02:51,480
Speaker 2: guys like here. He's like, yo, yeah, just back in

2068
02:02:51,520 --> 02:02:54,880
Speaker 2: the break room, fad dikum, aren't you.

2069
02:02:57,040 --> 02:02:59,360
Speaker 1: Wow? That was so much better than I could have

2070
02:02:59,360 --> 02:02:59,960
Speaker 1: ever imagined.

2071
02:03:01,240 --> 02:03:06,680
Speaker 2: Well, I'm here to help while oh man, anyway, buzzlerman sucks.

2072
02:03:06,920 --> 02:03:09,160
Speaker 1: Well, you know who kind of sucks more, Kerry Mulligan.

2073
02:03:09,440 --> 02:03:12,760
Speaker 1: Bradley Cooper. Oh yeah, we got to hear from Hollywood's

2074
02:03:12,760 --> 02:03:15,640
Speaker 1: favorite try hard Bradley Cooper.

2075
02:03:16,320 --> 02:03:20,360
Speaker 2: It's so funny to me that he in in like wet,

2076
02:03:20,360 --> 02:03:23,720
Speaker 2: hot American summer. He was like, it's true as self yeah,

2077
02:03:23,760 --> 02:03:27,000
Speaker 2: and then and recoiled at the reception. He was like,

2078
02:03:27,040 --> 02:03:29,360
Speaker 2: he was like, I'll never let anyone in that way again.

2079
02:03:30,440 --> 02:03:32,240
Speaker 2: To be being a tryard theater.

2080
02:03:32,160 --> 02:03:35,880
Speaker 1: Boy, Bradley made a very public appeal for the role

2081
02:03:35,960 --> 02:03:39,040
Speaker 1: of Tom Buchanan, the Battie.

2082
02:03:39,480 --> 02:03:42,400
Speaker 2: He dressed up like catwoman and went to bad Lehman's office.

2083
02:03:43,880 --> 02:03:46,400
Speaker 1: He basically used an interview in The New York Times

2084
02:03:46,400 --> 02:03:48,960
Speaker 1: the campaign for the role. He said, to me, he's

2085
02:03:49,000 --> 02:03:52,960
Speaker 1: the best character in the book. He's so complicated, he's xenophobic,

2086
02:03:53,160 --> 02:03:56,320
Speaker 1: he's an alcoholic, but he also understands the profound stuff

2087
02:03:56,360 --> 02:03:59,840
Speaker 1: about class. Whoever plays it has to take a gentle

2088
02:04:00,120 --> 02:04:03,200
Speaker 1: and because it could so easily be stock where he's

2089
02:04:03,240 --> 02:04:06,240
Speaker 1: a rich jerk you don't identify with at all. I

2090
02:04:06,280 --> 02:04:09,120
Speaker 1: don't even know if I'm on Luhrman's radar. Maybe he'll

2091
02:04:09,120 --> 02:04:12,680
Speaker 1: read this article after the Rolls cast and say, oh hah, yeah,

2092
02:04:12,720 --> 02:04:15,160
Speaker 1: that guy was never gonna get it. But they do

2093
02:04:15,160 --> 02:04:18,840
Speaker 1: not seem wildly out of character now post maestro. But

2094
02:04:19,000 --> 02:04:21,320
Speaker 1: this was out a time when Bradley Cooper was chiefly

2095
02:04:21,360 --> 02:04:24,360
Speaker 1: known as the guy from the Hangover comedies, so it's

2096
02:04:24,360 --> 02:04:26,160
Speaker 1: doubtful that he was seriously considered.

2097
02:04:26,640 --> 02:04:29,560
Speaker 2: Yeah, he's it's so funny to me how unbearably earnest

2098
02:04:29,560 --> 02:04:32,440
Speaker 2: he's always been. He's just a theater kid man. It

2099
02:04:32,600 --> 02:04:34,640
Speaker 2: never scanned it. He was just hiding all of it

2100
02:04:34,720 --> 02:04:36,120
Speaker 2: under that bro facade.

2101
02:04:36,560 --> 02:04:40,080
Speaker 1: You know. Who gets away to me with being unbearably

2102
02:04:40,120 --> 02:04:46,640
Speaker 1: earnest and also a freak? Noel Coward more contemporary. No,

2103
02:04:46,800 --> 02:04:48,560
Speaker 1: I don't know Tom Cruise.

2104
02:04:48,320 --> 02:04:51,240
Speaker 2: But just because didn't he do in importance of being earnest? No,

2105
02:04:51,320 --> 02:04:54,720
Speaker 2: that was Oliver oscar Rod. Tom Cruise just loves movies.

2106
02:04:55,480 --> 02:04:58,840
Speaker 2: He does love the movies, and I love it and

2107
02:04:58,880 --> 02:05:02,120
Speaker 2: that is the yes. I just yeah, I mean it

2108
02:05:02,240 --> 02:05:04,720
Speaker 2: is so funny, and he's like he really does have.

2109
02:05:04,880 --> 02:05:05,760
Speaker 1: It's like him and Brad.

2110
02:05:05,680 --> 02:05:08,280
Speaker 2: Pitt where it's just like, like, we know there's like

2111
02:05:08,320 --> 02:05:13,480
Speaker 2: an FBI investigation into Brad Pitt's child and wife abuse,

2112
02:05:13,560 --> 02:05:17,520
Speaker 2: but we're just kind of like, God, he's handsome. Just

2113
02:05:17,600 --> 02:05:20,680
Speaker 2: let the man live. Just those two guys, you know,

2114
02:05:20,760 --> 02:05:25,040
Speaker 2: if they just get this bass anyway, God, this one

2115
02:05:25,040 --> 02:05:25,800
Speaker 2: has been funny.

2116
02:05:25,880 --> 02:05:29,560
Speaker 1: Nuts, I apologize. Where the hell are we from? O?

2117
02:05:29,760 --> 02:05:31,920
Speaker 1: So okay, he didn't get the role in the Great Gaspee,

2118
02:05:32,000 --> 02:05:34,959
Speaker 1: but instead he accepted a role in Silver Linings Playbook,

2119
02:05:35,080 --> 02:05:37,640
Speaker 1: which earned him an Academy Award nomination. So it worked

2120
02:05:37,640 --> 02:05:42,160
Speaker 1: out for Bradley True. Instead, Baz wanted to cast Ben

2121
02:05:42,160 --> 02:05:47,560
Speaker 1: Affleck in the role of Daisy's British husband. Good, good

2122
02:05:47,640 --> 02:05:48,160
Speaker 1: work there.

2123
02:05:48,600 --> 02:05:51,040
Speaker 2: I feel like bet I would make Ben Affleck sad,

2124
02:05:51,560 --> 02:05:55,800
Speaker 2: and the man is already very sad. So I'm glad

2125
02:05:55,840 --> 02:05:56,920
Speaker 2: this didn't befall him.

2126
02:05:57,000 --> 02:06:00,160
Speaker 1: Yes, no, he backed out to star and direct Our Go,

2127
02:06:00,320 --> 02:06:05,680
Speaker 1: which won Best Picture. So yeah that worked out. Yeah,

2128
02:06:06,360 --> 02:06:08,600
Speaker 1: a movie about the Iranian hostage crisis.

2129
02:06:08,960 --> 02:06:11,760
Speaker 2: Yeah, and that was like his big one where he

2130
02:06:11,880 --> 02:06:15,040
Speaker 2: was like, I'm I'm everyone, I have things to offer.

2131
02:06:15,240 --> 02:06:16,680
Speaker 1: Yeah.

2132
02:06:16,760 --> 02:06:19,800
Speaker 2: I think that family guy joke just really wrecked him.

2133
02:06:20,200 --> 02:06:21,880
Speaker 1: Yeah.

2134
02:06:22,200 --> 02:06:27,600
Speaker 2: Yeah, man, huh they're finished Good Will Hunting by Matt Damon.

2135
02:06:28,040 --> 02:06:30,000
Speaker 1: Hey uh, you think we could put both our names

2136
02:06:30,000 --> 02:06:30,240
Speaker 1: on that?

2137
02:06:30,480 --> 02:06:33,320
Speaker 2: What you've done nothing but eat briars and smoke pot

2138
02:06:33,320 --> 02:06:34,440
Speaker 2: for the last six months.

2139
02:06:34,560 --> 02:06:37,280
Speaker 1: Oh that's ridiculous. Come on, I helped.

2140
02:06:37,360 --> 02:06:40,600
Speaker 2: Oh yeah, okay, right, Aline, just just right now, just

2141
02:06:40,600 --> 02:06:41,640
Speaker 2: pitch me a line right now?

2142
02:06:41,920 --> 02:06:45,800
Speaker 1: Okay, how about that. That wasn't a line. You just

2143
02:06:45,920 --> 02:06:47,560
Speaker 1: farted there any more? Pot?

2144
02:06:47,960 --> 02:06:50,760
Speaker 2: I like I just like Ben Affleck, as we've covered

2145
02:06:50,840 --> 02:06:52,879
Speaker 2: on this as we've covered on this pod.

2146
02:06:52,760 --> 02:06:55,560
Speaker 1: I do too, But I worry about him. I worry

2147
02:06:55,560 --> 02:06:58,320
Speaker 1: he's gonna snap and do something bad.

2148
02:06:59,040 --> 02:07:01,560
Speaker 2: I don't oh, I mean to himself or well, I

2149
02:07:01,560 --> 02:07:02,680
Speaker 2: don't see him either way.

2150
02:07:03,280 --> 02:07:05,000
Speaker 1: I mean that video of him like on the red

2151
02:07:05,000 --> 02:07:08,080
Speaker 1: carpet with her and being like talking to somebody smoothing.

2152
02:07:08,360 --> 02:07:10,919
Speaker 1: Then the person walks away and his face just falls

2153
02:07:10,920 --> 02:07:14,360
Speaker 1: like somebody flicked a Yes, that haunting that is haunting?

2154
02:07:14,400 --> 02:07:17,360
Speaker 2: It is yeah, yeah, yeah, But I'm saying, like, yeah,

2155
02:07:17,400 --> 02:07:19,640
Speaker 2: I think he's more of a candidate for like killing

2156
02:07:19,720 --> 02:07:23,520
Speaker 2: himself than like because then than having some kind of

2157
02:07:24,040 --> 02:07:25,880
Speaker 2: you know, domestic situation or whatever.

2158
02:07:26,040 --> 02:07:27,640
Speaker 1: Sure, like again, if.

2159
02:07:27,520 --> 02:07:32,320
Speaker 2: You've like held off j lo oh.

2160
02:07:32,160 --> 02:07:36,240
Speaker 1: I think he loves her still. I think that's his Daisy.

2161
02:07:37,640 --> 02:07:39,000
Speaker 1: I don't know why it didn't work out. I think

2162
02:07:39,000 --> 02:07:40,280
Speaker 1: about that affair amount.

2163
02:07:41,000 --> 02:07:43,320
Speaker 2: Really, yeah, say more about that.

2164
02:07:44,080 --> 02:07:46,560
Speaker 1: I don't know. It just makes me sad that like

2165
02:07:46,720 --> 02:07:50,240
Speaker 1: they had that reunion twenty years later and then it

2166
02:07:50,320 --> 02:07:51,400
Speaker 1: disintegrated again.

2167
02:07:52,120 --> 02:07:55,160
Speaker 2: And yeah, because she's an awful person.

2168
02:07:55,720 --> 02:07:58,880
Speaker 1: I've never heard that she's awful. I know that that's documenting.

2169
02:07:59,000 --> 02:08:01,200
Speaker 1: I never heard that document mentioned that they did. He

2170
02:08:01,240 --> 02:08:03,600
Speaker 1: was uncomfortable with how much it put them out there,

2171
02:08:04,160 --> 02:08:05,400
Speaker 1: and that was she published.

2172
02:08:05,400 --> 02:08:08,280
Speaker 2: I mean, first of all, she was legendarily hind maintenance

2173
02:08:08,320 --> 02:08:10,480
Speaker 2: and insane. There were stories when she and Mark Anthony

2174
02:08:10,520 --> 02:08:14,640
Speaker 2: were married about him just doling out hundreds to anyone

2175
02:08:14,720 --> 02:08:18,440
Speaker 2: she interacted with in the restaurant as like an apology,

2176
02:08:18,520 --> 02:08:21,000
Speaker 2: a blank apologia.

2177
02:08:21,040 --> 02:08:22,200
Speaker 1: I didn't know. Oh yeah, dude.

2178
02:08:22,200 --> 02:08:24,520
Speaker 2: The fact that she made this fuck you render about

2179
02:08:24,520 --> 02:08:27,680
Speaker 2: herself and included like his love letters to her man

2180
02:08:27,720 --> 02:08:29,640
Speaker 2: you don't awful woman?

2181
02:08:30,000 --> 02:08:30,720
Speaker 1: You ever an interviewer.

2182
02:08:31,000 --> 02:08:33,920
Speaker 2: Fuck No, they wouldn't let me within ten miles of her. Yeah,

2183
02:08:34,000 --> 02:08:36,640
Speaker 2: your mind. They learned that lesson.

2184
02:08:38,800 --> 02:08:39,200
Speaker 1: Fairly.

2185
02:08:39,440 --> 02:08:41,120
Speaker 2: It took them longer to catch on to me than

2186
02:08:41,120 --> 02:08:45,400
Speaker 2: I thought they would, But no, they didn't continue.

2187
02:08:46,200 --> 02:08:48,520
Speaker 1: Let's see. So yeah, Ben Affleck did not get the

2188
02:08:48,600 --> 02:08:51,440
Speaker 1: role of Tom Buchanan. It went to Joel Edgerton, an

2189
02:08:51,480 --> 02:08:54,920
Speaker 1: Australian actor who came to prominence in David Michaud's twenty

2190
02:08:54,960 --> 02:09:00,160
Speaker 1: ten crime film Animal Kingdom. Another Australian newcomer, Elizabeth to

2191
02:09:00,280 --> 02:09:04,240
Speaker 1: Becky on the part of Jordan Baker. She's better known

2192
02:09:04,280 --> 02:09:07,040
Speaker 1: to me as being a dead ringer for Princess Diana

2193
02:09:07,200 --> 02:09:10,040
Speaker 1: in the later seasons of The Crown. She's excellent in that.

2194
02:09:10,520 --> 02:09:12,920
Speaker 2: Also, just you're an Australian and you're doing the great

2195
02:09:12,920 --> 02:09:15,360
Speaker 2: American novel and you're gonna change it and cast all

2196
02:09:15,400 --> 02:09:20,680
Speaker 2: of your countrymen in it and women. Fuck you want

2197
02:09:20,720 --> 02:09:23,440
Speaker 2: to go over? If there were a great Australian work

2198
02:09:23,440 --> 02:09:26,840
Speaker 2: of literature, which I believe we're still waiting on it, uh,

2199
02:09:27,640 --> 02:09:30,560
Speaker 2: I would go over and direct it and cast Americans

2200
02:09:30,920 --> 02:09:34,280
Speaker 2: or even better cast the British, because that would really

2201
02:09:34,280 --> 02:09:35,040
Speaker 2: get under their skin.

2202
02:09:35,120 --> 02:09:37,560
Speaker 1: What a fun showed. Well, this is impressive. I think

2203
02:09:37,640 --> 02:09:40,120
Speaker 1: Leo and Toby are the only two Americans. You've got

2204
02:09:40,160 --> 02:09:43,760
Speaker 1: Daisy is Carrie Mulligan, New's English. You've got Ilsa Fisher

2205
02:09:43,760 --> 02:09:47,000
Speaker 1: who's Myrtle and she's English. You've got Elizabeth de Becky

2206
02:09:47,120 --> 02:09:51,320
Speaker 1: who's Jordan Baker and she's Australian. You've got Jason Clark

2207
02:09:51,720 --> 02:09:54,680
Speaker 1: who is George the gas station owner. I think he's English.

2208
02:09:54,880 --> 02:09:58,200
Speaker 1: And you've got Joel Edgertoon as Australian as Tom Buchanan

2209
02:09:58,680 --> 02:10:04,839
Speaker 1: as Daisy's husband. So yeah. Indian actor Amita Bachan appears

2210
02:10:04,880 --> 02:10:10,080
Speaker 1: as Meyer Wolfsheim the UH. The the Jewish gangster. Thank you,

2211
02:10:10,320 --> 02:10:11,800
Speaker 1: that's his first Hollywood role.

2212
02:10:12,120 --> 02:10:12,600
Speaker 2: Wonderful.

2213
02:10:12,720 --> 02:10:16,360
Speaker 1: He worked for free as a favorite to lherman favor

2214
02:10:17,760 --> 02:10:19,040
Speaker 1: his first Hollywood role.

2215
02:10:19,640 --> 02:10:25,640
Speaker 2: Then, guys, he's a millionaire, buzz Jesus Christ. Everything about

2216
02:10:25,640 --> 02:10:31,920
Speaker 2: this buzz Lehman himself. So also, where's uh, where's the outcry?

2217
02:10:32,200 --> 02:10:34,960
Speaker 1: You know? Man? Hey man?

2218
02:10:35,000 --> 02:10:38,000
Speaker 2: They find it a right man, hey man, Like couldn't

2219
02:10:38,040 --> 02:10:42,080
Speaker 2: they find it authentically Jewish gangster? To portray a Jewish gangster.

2220
02:10:43,120 --> 02:10:46,720
Speaker 1: Buzz Luhrman gave himself a five second cameo in his

2221
02:10:46,800 --> 02:10:51,240
Speaker 1: Great Gatsby adaptation as a waiter fine. On the first

2222
02:10:51,320 --> 02:10:54,320
Speaker 1: day of filming, he staged the t scene between Gatsby,

2223
02:10:54,560 --> 02:10:58,240
Speaker 1: Nick and Daisy during a fake rainstorm that required one

2224
02:10:58,280 --> 02:11:02,240
Speaker 1: hundred thousand liters of water pull off, and then it

2225
02:11:02,360 --> 02:11:07,000
Speaker 1: rained for three days straight afterwards during production. Here here

2226
02:11:07,080 --> 02:11:09,640
Speaker 1: this will interest you. During production, Bows was injured when

2227
02:11:09,640 --> 02:11:13,480
Speaker 1: he moving camera cranes struck his head, resulted in three stitches,

2228
02:11:14,320 --> 02:11:17,480
Speaker 1: not enough the Grand Party House to pick it as

2229
02:11:17,560 --> 02:11:21,080
Speaker 1: Jay Gatsby's mansion was primarily filmed that Saint Patrick's Seminary

2230
02:11:21,320 --> 02:11:25,440
Speaker 1: in New South Wales, Australia, which is bos Luhman's former

2231
02:11:25,600 --> 02:11:32,440
Speaker 1: high school. You think about that, sound, prompting me, oh yeah,

2232
02:11:32,520 --> 02:11:33,480
Speaker 1: do you think about that one?

2233
02:11:33,680 --> 02:11:36,520
Speaker 2: So he literally went back to his old high school

2234
02:11:36,520 --> 02:11:37,160
Speaker 2: as a flex.

2235
02:11:37,280 --> 02:11:41,080
Speaker 1: Yeah. Nothing to unpack there, man. I mean, as I

2236
02:11:41,120 --> 02:11:44,480
Speaker 1: think we spoke about briefly on our last episode. I

2237
02:11:44,800 --> 02:11:47,320
Speaker 1: actually I did enjoy my high school experience, and I

2238
02:11:47,360 --> 02:11:49,320
Speaker 1: was very sad to learn that they're actually tearing my

2239
02:11:49,320 --> 02:11:51,360
Speaker 1: old high school down to build a new one next

2240
02:11:51,360 --> 02:11:53,760
Speaker 1: to it, which i'm parking lot, which I'm very sad. Actually, yes,

2241
02:11:53,800 --> 02:11:56,320
Speaker 1: they're building one next door and then they'll tear it

2242
02:11:56,360 --> 02:11:59,040
Speaker 1: down and put the new parking lot, which I'm sad about.

2243
02:11:59,080 --> 02:12:04,440
Speaker 1: But my my friend Chris Fleming is taping a special soon,

2244
02:12:04,840 --> 02:12:06,760
Speaker 1: and I was trying to convince him to do it

2245
02:12:06,880 --> 02:12:09,400
Speaker 1: like at the high school exactly, but like do it

2246
02:12:09,440 --> 02:12:11,560
Speaker 1: in three parts. Like the first part is at the

2247
02:12:11,600 --> 02:12:14,400
Speaker 1: high school auditorium that we all like started our drama

2248
02:12:14,440 --> 02:12:17,320
Speaker 1: club experience in, and then midway through it's like partially

2249
02:12:17,360 --> 02:12:19,400
Speaker 1: demolished and there's no roof, and then at the very

2250
02:12:19,560 --> 02:12:21,080
Speaker 1: end there's just the stage in the middle of like

2251
02:12:21,080 --> 02:12:22,520
Speaker 1: an empty construction site.

2252
02:12:22,960 --> 02:12:23,520
Speaker 2: That's pretty good.

2253
02:12:23,560 --> 02:12:25,200
Speaker 1: It's pretty good, he was. He was not doing it.

2254
02:12:25,360 --> 02:12:27,960
Speaker 1: I mean probably, I'm sure the unions won't like that,

2255
02:12:28,080 --> 02:12:32,600
Speaker 1: but yeah, The Magic's interiors were styled in a richly

2256
02:12:32,640 --> 02:12:35,960
Speaker 1: gilded blend of Art Deco and traditional establishment taste.

2257
02:12:36,320 --> 02:12:41,880
Speaker 2: That's the other thing. Man, he's just he's he's trump like.

2258
02:12:43,240 --> 02:12:44,800
Speaker 2: It's just it's guilded.

2259
02:12:44,840 --> 02:12:45,600
Speaker 1: It's tacky.

2260
02:12:45,680 --> 02:12:46,879
Speaker 2: He's tacky.

2261
02:12:48,880 --> 02:12:52,440
Speaker 1: I've never seen a straight man so angrily hissed the

2262
02:12:52,440 --> 02:12:57,800
Speaker 1: word dacky at me. And trust me, I've had I've

2263
02:12:57,840 --> 02:12:59,200
Speaker 1: had it a lot.

2264
02:13:00,880 --> 02:13:03,800
Speaker 2: Ah Marion, that's my favorite.

2265
02:13:03,920 --> 02:13:08,000
Speaker 1: Did you ever see the Studio fifty four movie where

2266
02:13:08,040 --> 02:13:11,040
Speaker 1: Mike Myers is the is like the founder of fifty

2267
02:13:11,040 --> 02:13:16,280
Speaker 1: four four. Oh, it's great. He's like this flamboyant man

2268
02:13:16,320 --> 02:13:18,920
Speaker 1: who co founded Studio fifty four and he's finally getting

2269
02:13:19,000 --> 02:13:22,800
Speaker 1: busted for tax evasion and a whole laundry list of

2270
02:13:22,840 --> 02:13:25,960
Speaker 1: other things. And he's let out of the club in handcuffs,

2271
02:13:26,360 --> 02:13:30,000
Speaker 1: coming off of some serious downers and suicides. Are all

2272
02:13:30,120 --> 02:13:32,680
Speaker 1: droopy and all the photographers are there taking his pictures.

2273
02:13:32,760 --> 02:13:34,480
Speaker 1: Is being let out in the handcuffs and shoved bend

2274
02:13:34,480 --> 02:13:36,440
Speaker 1: in the back of the paddy wagon, and he just

2275
02:13:36,480 --> 02:13:38,520
Speaker 1: goes right before they shove him down inside. He goes,

2276
02:13:39,120 --> 02:13:44,840
Speaker 1: this is so tacky. They slammed the door and try

2277
02:13:44,960 --> 02:13:48,480
Speaker 1: fop and it's so good for him. Mike Myers is

2278
02:13:48,480 --> 02:13:50,480
Speaker 1: great in that movie. It's not a great movie, but

2279
02:13:50,520 --> 02:13:54,600
Speaker 1: a great performance. Uh. On the gate of Gatsby's house

2280
02:13:54,840 --> 02:13:58,880
Speaker 1: is the Latin phrase at finem fidelus, which is Latin

2281
02:13:58,920 --> 02:14:05,760
Speaker 1: for to the end, which symbolizes Gatsby's undying devotion to Daisy.

2282
02:14:06,720 --> 02:14:12,200
Speaker 2: It's also the in slogo of the US Marine Corps.

2283
02:14:12,240 --> 02:14:17,040
Speaker 1: I thought, that's always prepared. Fine. I just wanted another

2284
02:14:17,080 --> 02:14:18,840
Speaker 1: reason to get mad at Helio and you took that.

2285
02:14:19,080 --> 02:14:21,360
Speaker 1: You took. You're about to give you one right now.

2286
02:14:21,560 --> 02:14:24,080
Speaker 1: Many of the lavish cars seen in this great Gasby

2287
02:14:24,120 --> 02:14:28,200
Speaker 1: adaptation came from Jay Leno's personal collection. Ah, there it is.

2288
02:14:28,280 --> 02:14:32,680
Speaker 1: It is due to the rarity and value of authentic

2289
02:14:32,960 --> 02:14:37,120
Speaker 1: Duzenberg automobiles. For example, one sold for four point five

2290
02:14:37,200 --> 02:14:39,520
Speaker 1: million the same year that this Gasby movie came out,

2291
02:14:39,520 --> 02:14:43,320
Speaker 1: in twenty thirteen. They used replica Dusenberg's, which were painted

2292
02:14:43,400 --> 02:14:46,320
Speaker 1: yellow and modified for filming action scenes.

2293
02:14:46,440 --> 02:14:49,000
Speaker 2: It's so funny that they they now make a they

2294
02:14:49,000 --> 02:14:53,760
Speaker 2: now make guitars Dusenberg. Yeah, they're really good guitars. They're

2295
02:14:53,800 --> 02:14:56,720
Speaker 2: super cool looking. They're like they're expensive too. It's not

2296
02:14:56,720 --> 02:14:59,680
Speaker 2: a cheap guitar. I think I'll set you back. Oh my,

2297
02:15:00,000 --> 02:15:05,200
Speaker 2: it's good good German craftsmanship, beautiful rebuilding a rebuilding an

2298
02:15:05,320 --> 02:15:07,680
Speaker 2: vehicle or making it a custom What were you talking about?

2299
02:15:07,760 --> 02:15:10,040
Speaker 1: Oh yeah, that's interesting to me. I don't really understand.

2300
02:15:10,240 --> 02:15:11,520
Speaker 1: I mean, I'm the kind of guy that would like

2301
02:15:11,520 --> 02:15:14,280
Speaker 1: buy out like a knockoff, like fake roles, because I

2302
02:15:14,360 --> 02:15:15,840
Speaker 1: like the way it looked. I don't really care that.

2303
02:15:15,880 --> 02:15:18,560
Speaker 1: It's if it looks the part and it works, Okay,

2304
02:15:19,120 --> 02:15:21,520
Speaker 1: I don't Yeah, yeah, like so that's cool. I'd like

2305
02:15:21,720 --> 02:15:22,320
Speaker 1: I think it's.

2306
02:15:22,120 --> 02:15:24,600
Speaker 2: Just all done with like fiberglass. Yeah, right, Like that's

2307
02:15:24,680 --> 02:15:27,440
Speaker 2: that's the joke about Like, I mean, they're like monster

2308
02:15:27,520 --> 02:15:30,320
Speaker 2: truck shells. They're just like designed to like look good,

2309
02:15:30,520 --> 02:15:36,840
Speaker 2: yeah briefly, and not actually be a functioning vehicle or whatever.

2310
02:15:36,960 --> 02:15:41,280
Speaker 2: Who cares? Who cares? It's like, my body, bring this

2311
02:15:41,320 --> 02:15:42,480
Speaker 2: one home, baby.

2312
02:15:43,040 --> 02:15:46,360
Speaker 1: The film's wardrobe, led by costume designer Katherine Martin, was

2313
02:15:46,400 --> 02:15:49,360
Speaker 1: almost entirely custom made, which is crazy.

2314
02:15:49,800 --> 02:15:52,040
Speaker 2: Yeah, that's why his that's why his buddy had to

2315
02:15:52,080 --> 02:15:52,680
Speaker 2: work for free.

2316
02:15:52,800 --> 02:15:56,839
Speaker 1: Oh yeah, Despite her initial hopes of using authentic vintage clothing,

2317
02:15:57,000 --> 02:16:00,839
Speaker 1: Martin realized that original nineteen twenties garments were far too fragile,

2318
02:16:01,440 --> 02:16:05,560
Speaker 1: so she worked with designers like Muccia Prada, who created

2319
02:16:06,080 --> 02:16:10,040
Speaker 1: only forty custom dresses like okay, forty custom dresses apparently

2320
02:16:10,040 --> 02:16:12,800
Speaker 1: from my notes, and Brooks Brothers, who outfitted the mail

2321
02:16:12,920 --> 02:16:17,040
Speaker 1: cast and extras. Tiffany and Co. Supplied the jewelry, but

2322
02:16:17,080 --> 02:16:20,600
Speaker 1: they had a dedicated on set security guard there at

2323
02:16:20,640 --> 02:16:23,839
Speaker 1: all times to make sure that they got it all back. Yeah.

2324
02:16:24,000 --> 02:16:27,000
Speaker 1: The most expensive and time consuming costume was a satin

2325
02:16:27,040 --> 02:16:31,000
Speaker 1: pajama set worn by Elizabeth Becky, the Bickie. I don't

2326
02:16:31,000 --> 02:16:32,600
Speaker 1: know how you say her name. I'm sorry, sorry to

2327
02:16:32,640 --> 02:16:36,520
Speaker 1: that woman who played Jordan Baker. It was cut from

2328
02:16:36,560 --> 02:16:39,959
Speaker 1: a single piece of satin fabric, and they had to

2329
02:16:39,959 --> 02:16:44,160
Speaker 1: make two sets just in case she spilled something on

2330
02:16:44,160 --> 02:16:48,720
Speaker 1: one of them, just in case. Leonardo DiCaprio's wardrobe included

2331
02:16:48,760 --> 02:16:53,039
Speaker 1: a standout midnight blue tuxedo, chosen specifically to contrast against

2332
02:16:53,040 --> 02:16:56,600
Speaker 1: a seat of black suits, and although the film's fashion

2333
02:16:56,600 --> 02:17:01,000
Speaker 1: evoked a glamorous nineteen twenties look, many costumes orients criticized

2334
02:17:01,040 --> 02:17:05,880
Speaker 1: it for its inaccuracy. Yeah, Catherine Martin, custom designer and

2335
02:17:05,920 --> 02:17:09,760
Speaker 1: Prada modernized the clothing to appeal the contemporary audiences with

2336
02:17:09,840 --> 02:17:13,039
Speaker 1: adjustments like push up bras that were not true to

2337
02:17:13,080 --> 02:17:17,600
Speaker 1: the silhouettes of the jazz age era. Just stupid, man,

2338
02:17:17,640 --> 02:17:22,640
Speaker 1: I'm sorry, is this what? Martin defended the decision, arguing that.

2339
02:17:22,920 --> 02:17:26,240
Speaker 2: Just even it from the trailer when he's like the

2340
02:17:26,280 --> 02:17:29,200
Speaker 2: classic shot of him doing the like champagne glass towards

2341
02:17:29,240 --> 02:17:33,880
Speaker 2: the camera, Like, how did they not fundamentally just telegraph

2342
02:17:33,959 --> 02:17:36,879
Speaker 2: to everyone that this man did not understand this material,

2343
02:17:38,520 --> 02:17:41,320
Speaker 2: like from the get go. But I guess people don't care.

2344
02:17:41,800 --> 02:17:43,640
Speaker 2: They just wanted it to be loud and flashy.

2345
02:17:44,040 --> 02:17:47,000
Speaker 1: Well. The costume designer defended her decision by arguing that

2346
02:17:47,040 --> 02:17:50,759
Speaker 1: the fashion of the nineteen twenties, especially as portrayed in illustrations,

2347
02:17:51,240 --> 02:17:54,440
Speaker 1: was inherently about sex and bodily freedom, so it was

2348
02:17:54,440 --> 02:17:57,120
Speaker 1: true to the spirit of the fashions. She said, it

2349
02:17:57,160 --> 02:17:59,920
Speaker 1: was the first time that women basically wore no undergarment,

2350
02:18:01,440 --> 02:18:05,160
Speaker 1: not even a garter belt. I don't know if that's

2351
02:18:05,160 --> 02:18:09,359
Speaker 1: true citation needed. Alice Jurou of the Art Deco Society

2352
02:18:09,520 --> 02:18:12,440
Speaker 1: noted that the film leaned into the nineteen twenty stereotypes

2353
02:18:12,480 --> 02:18:16,360
Speaker 1: that aligned more with mid decades styles, short skirts and

2354
02:18:16,400 --> 02:18:20,200
Speaker 1: clamorous flapper outfits rather than the actual fashions that were

2355
02:18:20,240 --> 02:18:22,720
Speaker 1: in vogue in nineteen twenty two, and the movie took place,

2356
02:18:23,200 --> 02:18:27,360
Speaker 1: which featured longer flowing garments. People would be startled and

2357
02:18:27,440 --> 02:18:30,800
Speaker 1: disturbed if anybody did real nineteen twenty two fashion in

2358
02:18:30,840 --> 02:18:35,440
Speaker 1: the production. Juro said, oh, you do the soundtrack stuff.

2359
02:18:35,440 --> 02:18:37,160
Speaker 1: Here's music, you like music.

2360
02:18:37,959 --> 02:18:43,760
Speaker 2: I hate his whatever, although even better. Uh. The soundtrack

2361
02:18:43,800 --> 02:18:47,000
Speaker 2: drew criticism as well from purists or people who were

2362
02:18:47,040 --> 02:18:50,480
Speaker 2: not familiar with his stick, for its bold and anachronistic choices,

2363
02:18:50,760 --> 02:18:53,200
Speaker 2: such as a Beyonce and Andre three thousand cover of

2364
02:18:53,240 --> 02:18:57,240
Speaker 2: Amy Winehouse's Back to Black and Jack White's reinterpretation of

2365
02:18:57,280 --> 02:18:59,000
Speaker 2: You Two's Love His Blindness.

2366
02:18:59,200 --> 02:19:02,560
Speaker 1: I don't remember that, okay, but I just.

2367
02:19:02,879 --> 02:19:05,840
Speaker 2: Man, this is just like, like I can't articulate how

2368
02:19:05,879 --> 02:19:07,760
Speaker 2: stupid and basic those choices.

2369
02:19:07,480 --> 02:19:11,920
Speaker 1: Are, you know, like, oh, who's all right now? Oh yeah?

2370
02:19:11,959 --> 02:19:16,400
Speaker 2: Beyonce have her cover Amy Winehouse, who died within her

2371
02:19:16,440 --> 02:19:22,880
Speaker 2: lifetime and her most personal song make it Joyful? Also,

2372
02:19:23,000 --> 02:19:26,039
Speaker 2: Jack White like that. I usually give him credit for

2373
02:19:26,120 --> 02:19:30,000
Speaker 2: having like a rigid moral compass, but like, how big

2374
02:19:30,040 --> 02:19:31,800
Speaker 2: of a check did they dangle in front of? Can

2375
02:19:31,879 --> 02:19:37,400
Speaker 2: you cover a YouTube song like Jack White? Mister analog purist? Mister,

2376
02:19:37,640 --> 02:19:41,800
Speaker 2: my favorite recording of all time is Sunhouse is grinnin

2377
02:19:41,879 --> 02:19:46,480
Speaker 2: in your face on like a shalack thing. Covering a

2378
02:19:46,520 --> 02:19:51,920
Speaker 2: band whose entire existence owes itself to digital delay technology

2379
02:19:53,760 --> 02:19:55,480
Speaker 2: must have been That's why his buddy had to work

2380
02:19:55,520 --> 02:19:57,320
Speaker 2: for free, because they had to pay Jack White to

2381
02:19:58,080 --> 02:20:02,480
Speaker 2: cover a You two song. Despite the backlash, Lureman defended

2382
02:20:02,520 --> 02:20:05,280
Speaker 2: the off beat selections, explaining a Rolling Stone that his

2383
02:20:05,400 --> 02:20:08,480
Speaker 2: goal was to evoke the same sense of cultural immediacy

2384
02:20:08,560 --> 02:20:11,440
Speaker 2: from modern audiences that f. Scott Fitzgerald had for readers

2385
02:20:11,480 --> 02:20:14,720
Speaker 2: in the nineteen twenties. In IgE, the energy of jazz

2386
02:20:14,800 --> 02:20:18,039
Speaker 2: is culting the energy of hip hop, he said racistly,

2387
02:20:19,480 --> 02:20:21,600
Speaker 2: jay Z, what that fu shit with?

2388
02:20:21,720 --> 02:20:23,320
Speaker 1: Like? Hip hop is the new jazz.

2389
02:20:23,560 --> 02:20:28,240
Speaker 2: That's the most lazy shit in the entire world. Jay

2390
02:20:28,320 --> 02:20:30,720
Speaker 2: Z served as executive producer on both the film and

2391
02:20:30,760 --> 02:20:34,000
Speaker 2: its companying album, which prominently features a small circular jay

2392
02:20:34,080 --> 02:20:37,480
Speaker 2: z icon beneath its title. For the course of two years,

2393
02:20:37,480 --> 02:20:39,680
Speaker 2: he worked closely with Lehman to create a soundscape that

2394
02:20:39,760 --> 02:20:43,680
Speaker 2: merged hip hop, traditional jazz, and contemporary pop musical equivalents

2395
02:20:43,680 --> 02:20:47,480
Speaker 2: of the jazz age's decadence and intensity. As I alluded

2396
02:20:47,480 --> 02:20:49,879
Speaker 2: to early, the most controversial title was Beyonce's version of

2397
02:20:50,280 --> 02:20:52,840
Speaker 2: Back to Black, and this is largely because Amy Winehouse's

2398
02:20:52,879 --> 02:20:56,160
Speaker 2: scumbag father inserted himself into it and made a big stink.

2399
02:20:55,920 --> 02:20:58,080
Speaker 1: Which is his thing, right, Yeah, he's awful.

2400
02:21:00,000 --> 02:21:02,720
Speaker 2: Wichwinehouse vented his frustration on Twitter, saying he had not

2401
02:21:02,760 --> 02:21:05,840
Speaker 2: been informed of the cover and suggesting that Beyonce donate

2402
02:21:05,879 --> 02:21:09,400
Speaker 2: one hundred thousand pounds to the Amy Winehouse Foundation, which.

2403
02:21:09,200 --> 02:21:10,840
Speaker 1: Is a weird move because like, if you're going to

2404
02:21:10,920 --> 02:21:12,560
Speaker 1: go for anybody come for the production.

2405
02:21:13,000 --> 02:21:18,119
Speaker 2: Yeah yeah, well, I mean I doesn't who manages those rights?

2406
02:21:18,160 --> 02:21:18,680
Speaker 1: Would that not?

2407
02:21:19,000 --> 02:21:20,879
Speaker 2: I'd ostensibly have gone through him.

2408
02:21:21,600 --> 02:21:22,760
Speaker 1: I don't know that. I don't know.

2409
02:21:23,800 --> 02:21:25,760
Speaker 2: He noted the potential impact such a gift could have,

2410
02:21:25,840 --> 02:21:27,760
Speaker 2: writing do you know how many kids that would help?

2411
02:21:27,959 --> 02:21:30,320
Speaker 2: Just putting it out there, But he also tweeted that

2412
02:21:30,320 --> 02:21:32,720
Speaker 2: he had no issue with Beyonce's performance, and he did

2413
02:21:32,760 --> 02:21:35,840
Speaker 2: with Andre three thousand. I just heard the Andre part

2414
02:21:35,879 --> 02:21:38,120
Speaker 2: of Back to Black. He wrote terrible. He should have

2415
02:21:38,200 --> 02:21:41,080
Speaker 2: let Beyonce do it all. That's so funny. His Andre's

2416
02:21:41,120 --> 02:21:45,400
Speaker 2: back in the discourse today for his jazz explorations.

2417
02:21:45,520 --> 02:21:48,440
Speaker 1: What do you think of his jazz explorations? Terrible?

2418
02:21:48,959 --> 02:21:52,840
Speaker 2: He's not a good artist. I mean he's sorry, let

2419
02:21:52,920 --> 02:21:55,800
Speaker 2: me take that back. He is an incredible artist. He

2420
02:21:55,920 --> 02:21:57,959
Speaker 2: is not good at playing jazz for someone who has

2421
02:21:58,280 --> 02:22:02,840
Speaker 2: been doing fall l apparently, you know, Woody Allen is

2422
02:22:02,879 --> 02:22:03,760
Speaker 2: a better clarinetist.

2423
02:22:04,040 --> 02:22:05,199
Speaker 1: I saw him at the Carlisle.

2424
02:22:05,360 --> 02:22:09,800
Speaker 2: Yeah no, I mean, uh, look, so the thing that

2425
02:22:09,879 --> 02:22:12,920
Speaker 2: this week is Matthew Shipp, who is a virtuoso pianist,

2426
02:22:13,120 --> 02:22:15,360
Speaker 2: is a jazz pianist, was like, what the.

2427
02:22:15,280 --> 02:22:19,200
Speaker 1: Fuck is this shird? Like really and like super slammed it.

2428
02:22:19,320 --> 02:22:21,039
Speaker 2: So now all the people are coming out on both

2429
02:22:21,080 --> 02:22:24,320
Speaker 2: sides of it, which is like Andred three thousand freely

2430
02:22:24,360 --> 02:22:28,320
Speaker 2: admitted that he just sat down with his iPhone or

2431
02:22:28,360 --> 02:22:30,840
Speaker 2: MacBook on a piano and just noodled.

2432
02:22:31,480 --> 02:22:31,959
Speaker 1: That's it.

2433
02:22:32,440 --> 02:22:35,440
Speaker 2: So people were like, well, you know, he's exposing the

2434
02:22:35,480 --> 02:22:39,039
Speaker 2: audience to a lot of to the idea of improvisitory

2435
02:22:39,080 --> 02:22:43,800
Speaker 2: piano and all that people said when he made New

2436
02:22:43,800 --> 02:22:47,959
Speaker 2: Blue Son. But you know, he's a dilettante man. I'm

2437
02:22:48,040 --> 02:22:50,039
Speaker 2: so sorry to call it like it is. He's a

2438
02:22:50,160 --> 02:22:54,760
Speaker 2: virtuoso rapper and a terribly earnest musician who, at least

2439
02:22:54,800 --> 02:22:58,040
Speaker 2: on The New Blue Sun, had the wherewithal to surround

2440
02:22:58,120 --> 02:23:01,520
Speaker 2: himself with much more talented people just dropping hot takes

2441
02:23:01,560 --> 02:23:04,199
Speaker 2: all over here. At least he doesn't have Swifty level fans.

2442
02:23:05,640 --> 02:23:08,200
Speaker 1: Buzz Luhrman's adaptation of The Great Cats He was supposed

2443
02:23:08,200 --> 02:23:11,400
Speaker 1: to be ready in time for Christmas twenty twelve. After

2444
02:23:11,480 --> 02:23:14,280
Speaker 1: meeting with Warner Brothers president Jeff Robinov, the date was

2445
02:23:14,320 --> 02:23:17,640
Speaker 1: pushed back. Rubanov asked Baz Luhrman if the movie will

2446
02:23:17,680 --> 02:23:21,440
Speaker 1: be ready for Christmas, and Luhrman said yes. Then Robinov asked,

2447
02:23:21,520 --> 02:23:23,840
Speaker 1: will the movie you want to make be ready for Christmas?

2448
02:23:24,360 --> 02:23:27,119
Speaker 1: Lehrman replied no, and so they gave him a few

2449
02:23:27,160 --> 02:23:29,760
Speaker 1: more months to work in the film. It ultimately got

2450
02:23:29,760 --> 02:23:32,360
Speaker 1: a wide release in the United States on May tenth,

2451
02:23:32,440 --> 02:23:35,400
Speaker 1: twenty thirteen. When all was said and done, it raked

2452
02:23:35,400 --> 02:23:39,800
Speaker 1: in three hundred and fifty three million dollars worldwide on

2453
02:23:39,840 --> 02:23:42,080
Speaker 1: a budget that I've seen ranging from one hundred and

2454
02:23:42,160 --> 02:23:44,320
Speaker 1: five to one hundred and ninety million that is so

2455
02:23:44,480 --> 02:23:45,080
Speaker 1: much money.

2456
02:23:46,280 --> 02:23:48,440
Speaker 2: Yeah, I mean you factor in what like fifty percent

2457
02:23:48,480 --> 02:23:53,400
Speaker 2: of that again for marketing spends. So that movie was

2458
02:23:53,760 --> 02:23:56,920
Speaker 2: a success, but wasn't a world conquering success, as we

2459
02:23:57,040 --> 02:23:57,440
Speaker 2: like to say.

2460
02:23:57,560 --> 02:24:02,360
Speaker 1: Could have been a bigger success good like the seventies adaptation,

2461
02:24:02,520 --> 02:24:05,400
Speaker 1: reviews were mixed. Joel Morgan Stern of The Wall Street

2462
02:24:05,440 --> 02:24:09,200
Speaker 1: Journals slammed the film as quote a tale told idiotically,

2463
02:24:09,320 --> 02:24:13,920
Speaker 1: full of noise and fury signifying next to nothing. Hell yeah, brother.

2464
02:24:14,040 --> 02:24:17,440
Speaker 1: He criticized its lavish production design as a misfire and

2465
02:24:17,520 --> 02:24:20,080
Speaker 1: drew a parallel between the film's flaws and the very

2466
02:24:20,120 --> 02:24:24,879
Speaker 1: decadence Fitzgerald condemned, writing that quote, what is intractably wrong

2467
02:24:25,000 --> 02:24:27,680
Speaker 1: with the film is that there's no reality to heighten.

2468
02:24:28,160 --> 02:24:30,600
Speaker 1: It's a spectacle in search of a soul.

2469
02:24:33,120 --> 02:24:34,480
Speaker 2: God is assa like.

2470
02:24:36,440 --> 02:24:39,360
Speaker 1: Lerman's entire career as far as I'm concerned. The Chicago

2471
02:24:39,400 --> 02:24:42,760
Speaker 1: Reader echoed the sentiment, declaring Lherman is exactly the wrong

2472
02:24:42,920 --> 02:24:46,240
Speaker 1: person to adapt such a delicately rendered story, and his

2473
02:24:46,320 --> 02:24:50,040
Speaker 1: three D feature plays like a ghastly roaring twenties blowout

2474
02:24:50,040 --> 02:24:54,000
Speaker 1: at a sorority house. However, not all reviews were negative.

2475
02:24:54,280 --> 02:24:56,600
Speaker 1: Ao Scott of The New York Times praised the film

2476
02:24:56,640 --> 02:24:59,520
Speaker 1: as quote a lot of fun, describing it as less

2477
02:24:59,560 --> 02:25:04,200
Speaker 1: a convention movie adaptation than a splashy, trashy opera, a wayward,

2478
02:25:04,360 --> 02:25:09,120
Speaker 1: lavishly theatrical celebration of the emotional and material extravagance that

2479
02:25:09,200 --> 02:25:14,320
Speaker 1: Fitzgerald surveyed with fascinated ambivalence. Scott advised, quote, the best

2480
02:25:14,360 --> 02:25:16,800
Speaker 1: way to enjoy the film is to put aside whatever

2481
02:25:16,840 --> 02:25:20,760
Speaker 1: literary agenda you're attempted to bring with you. Ty Burr

2482
02:25:20,840 --> 02:25:24,039
Speaker 1: of The Boston Globe single Nott Leonardo DiCaprio's performance for

2483
02:25:24,080 --> 02:25:27,600
Speaker 1: a claim saying magnificent is the only word to describe

2484
02:25:27,600 --> 02:25:31,640
Speaker 1: this performance the best movie Gatsby by far, superhuman in

2485
02:25:31,680 --> 02:25:35,439
Speaker 1: his charm and connections, the host of revels beyond imagining,

2486
02:25:35,800 --> 02:25:39,480
Speaker 1: and at his heart, an insecure fraud whose hopes are

2487
02:25:39,560 --> 02:25:44,039
Speaker 1: pinned to a woman. Hilariously, critics really came for Toby McGuire.

2488
02:25:45,360 --> 02:25:49,679
Speaker 1: Philip French of The Guardian called him miscast or misdirected,

2489
02:25:50,680 --> 02:25:54,840
Speaker 1: and Hornaday of The Washington Post wrote, this is amazing.

2490
02:25:55,280 --> 02:25:59,280
Speaker 1: Toby maguire is his usual recessive presence, barely registering as

2491
02:25:59,280 --> 02:26:02,280
Speaker 1: either a dynamic part of the events he describes, or

2492
02:26:02,360 --> 02:26:06,520
Speaker 1: their watchful witness. Elizabeth Whiteman of The New York Daily News,

2493
02:26:06,520 --> 02:26:10,480
Speaker 1: opining that quote. Despite the wry observational skills needed for

2494
02:26:10,560 --> 02:26:14,640
Speaker 1: Nick's Midwestern decency, the characters directed toward a wide eyed,

2495
02:26:14,680 --> 02:26:18,119
Speaker 1: one note performance. This is all fine.

2496
02:26:18,240 --> 02:26:20,080
Speaker 2: I mean, at least at least we're still allowed to

2497
02:26:20,120 --> 02:26:23,160
Speaker 2: say mean things about these people who have careers and

2498
02:26:23,800 --> 02:26:25,120
Speaker 2: wealth we will never amass.

2499
02:26:25,320 --> 02:26:28,360
Speaker 1: Like thank god that was twelve years ago. Though. No,

2500
02:26:28,480 --> 02:26:29,000
Speaker 1: he's back on.

2501
02:26:29,000 --> 02:26:30,960
Speaker 2: I guarantee you his next piece of sh will cost

2502
02:26:31,120 --> 02:26:33,039
Speaker 2: seven hundred million dollars and it'll be.

2503
02:26:33,040 --> 02:26:35,400
Speaker 1: Like, well, he wants to do Hamlet. His dream is

2504
02:26:35,400 --> 02:26:38,080
Speaker 1: to do Hamlet with Leonardo DiCaprio's Hamlet.

2505
02:26:40,240 --> 02:26:42,480
Speaker 2: And he'll get it, and he'll get it, and he'll

2506
02:26:42,480 --> 02:26:44,800
Speaker 2: get it, Jordan, He'll get it. Do you understand that

2507
02:26:45,440 --> 02:26:49,199
Speaker 2: he will get to do that because of this world,

2508
02:26:49,520 --> 02:26:55,960
Speaker 2: bas Luhman, no new car ideas Mark Anthony Luhmann will

2509
02:26:56,000 --> 02:27:01,760
Speaker 2: get to direct Hamlet and make it so shitty, and

2510
02:27:01,800 --> 02:27:06,119
Speaker 2: he'll just get to do that in the world with

2511
02:27:06,400 --> 02:27:07,800
Speaker 2: probably no repercussions.

2512
02:27:08,440 --> 02:27:09,240
Speaker 1: Just think about that.

2513
02:27:09,560 --> 02:27:10,039
Speaker 2: Yeah.

2514
02:27:10,480 --> 02:27:13,920
Speaker 1: One person who liked the film was f Scott Fitzgerald's granddaughter.

2515
02:27:14,200 --> 02:27:17,320
Speaker 1: She's quoted as saying that Scott would have been proud.

2516
02:27:18,920 --> 02:27:24,200
Speaker 2: Sure man, No, he wouldn't have, and that pisses me

2517
02:27:24,280 --> 02:27:27,599
Speaker 2: off more than anything. I speak freely for the dead.

2518
02:27:28,800 --> 02:27:30,640
Speaker 1: And this brings us to the end of our two

2519
02:27:30,680 --> 02:27:33,240
Speaker 1: part look at the Great Gatsby. It's a story about

2520
02:27:33,240 --> 02:27:38,520
Speaker 1: love and longing, yes, but also about illusion, reinvention, and

2521
02:27:38,640 --> 02:27:42,920
Speaker 1: the quietly devastating truth that the American dream was always

2522
02:27:43,080 --> 02:27:46,520
Speaker 1: just a little out of reach for most. Gatsby's pursuit

2523
02:27:46,560 --> 02:27:49,360
Speaker 1: of Daisy, like America's pursuit of wealth and grandeur in

2524
02:27:49,360 --> 02:27:53,359
Speaker 1: the Roaring twenties, end's not in triumph but in tragedy.

2525
02:27:54,560 --> 02:27:57,200
Speaker 1: Just a few years after Fitzgerald published his master work,

2526
02:27:57,440 --> 02:28:00,720
Speaker 1: stock market crashed, the economy collapsed, and the so called

2527
02:28:00,800 --> 02:28:03,760
Speaker 1: jazz Age turned into one of the darkest chapters in

2528
02:28:03,840 --> 02:28:08,240
Speaker 1: modern American history. By nineteen thirty three, fifteen million Americans

2529
02:28:08,240 --> 02:28:12,400
Speaker 1: were out of work, and yet a decade earlier, Fitzgerald

2530
02:28:12,400 --> 02:28:15,520
Speaker 1: had already sensed it. He'd seen through the glittering surface

2531
02:28:15,560 --> 02:28:19,000
Speaker 1: to the emptiness beneath. He would later call the decade

2532
02:28:19,080 --> 02:28:24,640
Speaker 1: the twenties the most expensive orgy in history. Great gaspy

2533
02:28:24,800 --> 02:28:29,080
Speaker 1: was his warning that the party couldn't last forever. But

2534
02:28:29,160 --> 02:28:31,920
Speaker 1: if the novel ends in death and disappointment, it offers

2535
02:28:31,959 --> 02:28:37,360
Speaker 1: something beautiful, something enduring. As literary critic Marine Corrigan puts it,

2536
02:28:38,080 --> 02:28:42,680
Speaker 1: Gatsby is about the doomed beauty of trying. You can't

2537
02:28:42,760 --> 02:28:46,920
Speaker 1: escape the past, she writes, but isn't it noble to try?

2538
02:28:47,160 --> 02:28:50,560
Speaker 1: That's the message here, to be the boat against the current,

2539
02:28:51,200 --> 02:28:55,800
Speaker 1: even though failure and death inevitably await you. Hell yeah, brother.

2540
02:28:56,120 --> 02:28:58,800
Speaker 1: Maybe that's why we keep coming back to Gasby again

2541
02:28:58,920 --> 02:29:02,800
Speaker 1: and again in high school classrooms, in movie theaters, and

2542
02:29:02,959 --> 02:29:07,600
Speaker 1: in quiet, reflective late night readings, because even if the

2543
02:29:07,680 --> 02:29:10,920
Speaker 1: dream is a lie, there's something noble in the pursuit.

2544
02:29:11,879 --> 02:29:17,119
Speaker 1: And in that way, Gatsby, foolish, hopeful, extraordinary Gatsby lives

2545
02:29:17,120 --> 02:29:20,199
Speaker 1: on in anyone who strives to be better and get

2546
02:29:20,280 --> 02:29:22,240
Speaker 1: more out of their life.

2547
02:29:22,520 --> 02:29:27,039
Speaker 2: It's a hell of a kicker, Mark, Anthony Lehman, how

2548
02:29:27,040 --> 02:29:27,480
Speaker 2: about that?

2549
02:29:29,959 --> 02:29:31,760
Speaker 1: Take us home? Oh sorry, I thought you.

2550
02:29:32,400 --> 02:29:35,000
Speaker 2: I don't want to put anything after your kicker. That

2551
02:29:35,080 --> 02:29:38,880
Speaker 2: was so good man. Oh thank you, Yeah, this has

2552
02:29:38,879 --> 02:29:43,280
Speaker 2: been wonderful. Thank you for letting me into your well researched,

2553
02:29:44,840 --> 02:29:48,879
Speaker 2: well written thing to just spewbile. You get to phone

2554
02:29:48,879 --> 02:29:50,000
Speaker 2: it in for the next couple ones.

2555
02:29:50,040 --> 02:29:52,760
Speaker 1: Buddy, read it. Read this. I actually think you'd really

2556
02:29:52,840 --> 02:29:55,760
Speaker 1: enjoy this book. I'm sure I would. It's on my kindle.

2557
02:29:56,560 --> 02:30:00,680
Speaker 2: It was free, and I'll get around to it. You

2558
02:30:00,800 --> 02:30:02,840
Speaker 2: just have so much jazz fusion to listen to. Man

2559
02:30:04,040 --> 02:30:05,560
Speaker 2: really a lifestyle.

2560
02:30:06,160 --> 02:30:07,760
Speaker 1: I mean you can. I mean I feel like that

2561
02:30:07,800 --> 02:30:09,880
Speaker 1: would be a really good soundtrack to reading The Great Gatsby.

2562
02:30:09,920 --> 02:30:12,520
Speaker 1: It's listening to jazz fusion during the next couple of

2563
02:30:12,560 --> 02:30:14,360
Speaker 1: weeks when you got to rest your finger and can't

2564
02:30:14,360 --> 02:30:18,480
Speaker 1: play bass, listen to jazz fusion and read The Great Gatsby,

2565
02:30:19,080 --> 02:30:20,240
Speaker 1: and then I'll come out in a few weeks and

2566
02:30:20,240 --> 02:30:21,000
Speaker 1: we'll talk about it.

2567
02:30:21,240 --> 02:30:25,680
Speaker 2: Yeah, all right, I'll do that. Thank you, Japanese jazz fusion.

2568
02:30:25,760 --> 02:30:27,880
Speaker 1: Oh anyway, I'm Alex Heigl.

2569
02:30:28,640 --> 02:30:29,280
Speaker 2: I did nothing.

2570
02:30:29,360 --> 02:30:32,240
Speaker 1: This has been too much information. That's true. And your

2571
02:30:32,560 --> 02:30:36,600
Speaker 1: and I'm Jordan bront dog your air Jeordes, Oh you're

2572
02:30:36,680 --> 02:30:37,480
Speaker 1: gonna make that happen.

2573
02:30:38,000 --> 02:30:42,160
Speaker 2: Yeah, you're Jeorde Big Jeorgs tweeted me.

2574
02:30:42,800 --> 02:30:46,520
Speaker 1: Tweetedhigol with the ideas for a nickname for me. I

2575
02:30:46,520 --> 02:30:49,520
Speaker 1: got Jordi for a while, got Jordo. I don't like Jordo,

2576
02:30:49,640 --> 02:30:51,400
Speaker 1: but but I've got that a lot over my years.

2577
02:30:51,400 --> 02:30:55,840
Speaker 1: I got Jordi from Algiro, the jazz vocalist. Oh, I

2578
02:30:55,879 --> 02:30:57,080
Speaker 1: wish I would love that.

2579
02:30:58,120 --> 02:31:00,360
Speaker 2: Jorda sounds like a Star Wars character.

2580
02:31:00,800 --> 02:31:03,640
Speaker 1: Yeah, j is a part Trek character.

2581
02:31:04,680 --> 02:31:07,640
Speaker 2: Yeah that's but I see with Geordy like I see

2582
02:31:07,640 --> 02:31:12,160
Speaker 2: it that way, and I don't like that. All right,

2583
02:31:12,280 --> 02:31:13,600
Speaker 2: I'm gonna stop recording now.

2584
02:31:13,560 --> 02:31:14,680
Speaker 1: And I'm Jordan run Talk.

2585
02:31:15,080 --> 02:31:16,320
Speaker 2: We'll get you next time.

2586
02:31:21,520 --> 02:31:24,320
Speaker 1: Too Much Information was a production of iHeart Radio. The

2587
02:31:24,360 --> 02:31:27,760
Speaker 1: show's executive producers are Noel Brown and Jordan Runtalk. The

2588
02:31:27,800 --> 02:31:31,320
Speaker 1: show's supervising producer is Michael Alder June. The show was

2589
02:31:31,400 --> 02:31:34,039
Speaker 1: researched and written and hosted by Jordan run Talk and

2590
02:31:34,080 --> 02:31:37,040
Speaker 1: Alex Heigel, with original music by Seth Applebaum and the

2591
02:31:37,080 --> 02:31:39,720
Speaker 1: Ghost Funk Orchestra. If you like what you heard, please

2592
02:31:39,720 --> 02:31:43,080
Speaker 1: subscribe and leave us a review. For more podcasts and iHeartRadio,

2593
02:31:43,200 --> 02:31:46,600
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

2594
02:31:46,640 --> 02:31:47,560
Speaker 1: to your favorite shows.