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Speaker 1: Oh, hello, welcome back to the show. Everyone, Dad, is

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Speaker 1: that you? Hi? Everybody? Hello, We're so excited to be

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Speaker 1: here today, so excited, always always happy to have you

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Speaker 1: joined us. Well, there's been a few times I'm just

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Speaker 1: trying to make it special. Sometimes we're not happy, but today,

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Speaker 1: this day. You'll never know when it's true. It's true,

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Speaker 1: but this one we mean it. This one. We're really excited.

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Speaker 1: That throws back to my server days, like, oh my god,

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Speaker 1: so happy to see you. Sometimes you were, but sometimes

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Speaker 1: you were lying. I just wish I was anywhere else,

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Speaker 1: anywhere else in the world, anywhere, but I was like, oh,

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Speaker 1: my favorite customer is here, and they'd be like exciting,

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Speaker 1: and then I'd think, oh my god, I have a

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Speaker 1: favorite customer, or like, what what happened? I'm here too often?

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Speaker 1: How did I how did it come to this? Well,

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Speaker 1: we're all rested up after Max and Carlotta the three

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Speaker 1: hundred year long episode in two parts, each part somehow

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Speaker 1: five years long somehow, uh, but but still still awashed

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Speaker 1: in their in their story myself. But uh, thanks for

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Speaker 1: coming back. UM. Well, I mean not that you wouldn't have, um,

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Speaker 1: but what's exciting I think is that uh, we never

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Speaker 1: set out to do this, but we have to two

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Speaker 1: parts in a row, which I don't know. I mean,

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Speaker 1: I don't know if anybody cares, but and I don't

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Speaker 1: particularly we we like to keep him as tight as

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Speaker 1: we can, but sometimes you just gotta you just gotta

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Speaker 1: give the full story. And it takes long time, and

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Speaker 1: we never know until we start researching. We're halfway through

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Speaker 1: and we're like, oh my god, we were talking about

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Speaker 1: getting too close um with Max and Carlotta, or it's

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Speaker 1: happened before. I think it happened to me with like

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Speaker 1: Jackie and Rachel Robinson and stuff. You just get to

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Speaker 1: you just like really fall in love with them and

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Speaker 1: you're like, I just have to tell everything or else

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Speaker 1: you don't understand. Yeah, I feel like I can't. I

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Speaker 1: can't read you a five hundred page book right now.

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Speaker 1: To me A nice quickning like was Max and Carlotta

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Speaker 1: if y'all listened to that episode or those those last

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Speaker 1: two episodes, that was you know. When I started researching that,

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Speaker 1: it was a lot of little articles, you know, a

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Speaker 1: page long each that were just like, oh, this guy

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Speaker 1: was duped into being the Emperor of Mexico and then

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Speaker 1: he died and his wife went crazy the end, and

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Speaker 1: I was like, oh, that's an interesting story. And then

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Speaker 1: I made made the mistake of finding the seven page

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Speaker 1: long book about them and just got sucked in like

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Speaker 1: this is incredible, and I was like, I feel I

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Speaker 1: know these people. Now I feel like I I'm responsible

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Speaker 1: for telling their personal stories. Anyway, we're getting into it

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Speaker 1: a No. Part three, our own impression of our commentary

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Speaker 1: on our own episode. Now we're here the totally complete,

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Speaker 1: very very different to party here right now. But before

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Speaker 1: we move on from max in carlatta um. You know,

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Speaker 1: sometimes in our episodes we do ask you guys questions.

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Speaker 1: We're like, oh, we don't know the answer to this,

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Speaker 1: and you come through nearly every time, and so I

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Speaker 1: think that we should go and check our answering machine.

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Speaker 1: Just answer the question. So Kate be on Instagram. She's

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Speaker 1: at Kate probably reached out and said, I really love

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Speaker 1: the podcast. My brother is a historian with the National

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Speaker 1: Battlefield at Matt Border's books if you're interested, and my

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Speaker 1: dad is an archaeologist. But your flings with history are

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Speaker 1: way more interesting than anything I've heard from them. Sorry,

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Speaker 1: dad and your brother out. I was listening to Max

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Speaker 1: a Million in Carlotta of Mexico Part one, and I

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Speaker 1: can help with the dowry questions. Thanks Dad. What you're

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Speaker 1: thinking of where the bride's family gets money is called

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Speaker 1: the bride price. Usually a dowry or a bride price

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Speaker 1: was given, but some cultures did both. Hope that helps. Oh,

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Speaker 1: that's that is interesting because we had talked about a

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Speaker 1: dowry is usually what the bride's family gives the groom,

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Speaker 1: like please will pay you to take this girl off

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Speaker 1: my hands. But then sometimes the groom's family will give

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Speaker 1: the bride's family money too, And I'm like, which ones which? So, yeah,

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Speaker 1: bride price is that one? And then I did look

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Speaker 1: it up and there was also there's also a dour,

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Speaker 1: which is money that usually the groom will settle on

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Speaker 1: his bride so that she has something to inherit when

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Speaker 1: he dies. So no matter how the inheritance works out

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Speaker 1: with properties and like the sun getting it or whatever, like,

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Speaker 1: she still has something to live on. So there's a dowry,

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Speaker 1: a bride price, and a dour. That's too many things,

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Speaker 1: A lot of things. Yeah, I don't think we got

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Speaker 1: any money when we got married from our families. Yet

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Speaker 1: we're amazing phenomenal and the wedding, of course, the wedding, yeah,

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Speaker 1: and uh and and and a couple of bailouts on

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Speaker 1: hard times. That is true. And our families have been great,

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Speaker 1: but there was no settled transaction like here is for

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Speaker 1: our marriage. Your parents never came to me and said,

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Speaker 1: thank you for marrying our daughter. Here's a lump sum

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Speaker 1: and you know they still can't. I'm saying it's not

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Speaker 1: too late. It's never too late for a bride price. Well,

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Speaker 1: thank you, Kate. That is very and and Kate's dad

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Speaker 1: and Kate's dad and Kate's brother. But today's episode totally different,

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Speaker 1: very very different from to Carlatta. Unless you live underground

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Speaker 1: with the mole people, you probably know the name George

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Speaker 1: Lucas and his most famous work Star Our Wars. But

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Speaker 1: there's another name that made Star Wars the beloved film

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Speaker 1: that we have today, and that's George's wife in the

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Speaker 1: movie's editor, Marcia Lucas um. She was over George's shoulder

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Speaker 1: during much of his career, helping bring emotional life to

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Speaker 1: his characters and storylines. But Marcia rarely gets a mention

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Speaker 1: when people talk about the phenomenon of Star Wars, So

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Speaker 1: I think we should find out about the unsung hero

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Speaker 1: of a galaxy far far away. It's exciting. Let's go

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Speaker 1: pay their French come listen well. Elia and Diana got

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Speaker 1: some stories to tell. There's no matchmaking, a romantic tips.

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Speaker 1: It's just about ridiculous relationships, a lover. It might be

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Speaker 1: any type of person at all, and abstract cons a

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Speaker 1: don't a concrete wall. But if there's a story where

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Speaker 1: the second glance ridiculous roles a production of I Heart

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Speaker 1: Radio now. A lot of this comes from Michael Kaminsky's

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Speaker 1: Secret History of Star Wars um He wrote like the

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Speaker 1: most complete biography of Marcia Lucas that exists, So thanks

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Speaker 1: Michael Kommitsky for your Marcia Griffin was born in in Modesto, California,

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Speaker 1: but Marcia's dad was in the military, so they bounced

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Speaker 1: around a lot until her mother and father divorced when

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Speaker 1: she was two, and Marcia and her sister lived with

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Speaker 1: their grandparents in North Hollywood while their mom got a

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Speaker 1: job as a clerk at an insurance company. Her dad remarried,

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Speaker 1: lived in Florida and did not really contribute financially to

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Speaker 1: his first family, and Marcia said this time quote wasn't

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Speaker 1: a sad, bad time, but was economically very hard for

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Speaker 1: my mother. And when Marcia went to college, she chose

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Speaker 1: to go to night school so that she could work

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Speaker 1: at a bank during the day and contribute to her

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Speaker 1: family's income. Marcia's boyfriend at the time worked for a

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Speaker 1: Hollywood museum and he wanted to hire her as a

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Speaker 1: librarian to catalog all this movie memorabilia, but all the

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Speaker 1: librarians had to register with the State of California in

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Speaker 1: order to be hired. And then California sort of determines

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Speaker 1: which library you're going to work at, I guess. So

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Speaker 1: instead of sending her to the movie museum her boyfriend

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Speaker 1: worked at, the state sent her to the Sandler Film Library,

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Speaker 1: which was looking for a film librarian with no experience.

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Speaker 1: It paid less than her day job at the bank,

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Speaker 1: but she took it anyway. Dale Pollock, in his book Skywalking,

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Speaker 1: The Life and Films of George Lucas, says quote, it

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Speaker 1: was hard work. Marcia took orders for film footage that

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Speaker 1: producers required, such as shots of a nineteen forties forward

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Speaker 1: turning left on a country road at night, and if

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Speaker 1: the material fit the scene. She ordered the required negative prints,

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Speaker 1: which was a super highly technical job that Marcia actually

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Speaker 1: immediately grasped. She also found herself drawn to the instant

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Speaker 1: gratification of editing. And I mean imagine that. I mean,

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Speaker 1: we're talking the nineteen sixties, trying to go through a

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Speaker 1: library of real film, physical film, and like, hang on,

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Speaker 1: let me just real close to me. Look at this

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Speaker 1: tiny little picture and see if that's a Ford turning

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Speaker 1: left on a country road at night. Damn it, it's

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Speaker 1: turning right. How About this one, it's on a city

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Speaker 1: road daytime? How about this one? A pontiac like I

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Speaker 1: can just type it into a database online, yeah, and

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Speaker 1: it and it still doesn't come up. But at least

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Speaker 1: I don't have to physically go through all this ship, right,

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Speaker 1: I mean, that's such a huge, like, I mean, to me,

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Speaker 1: it sounds very tedious job. But she was very good

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Speaker 1: at it. Yeah, I'll say, I've been freelance video editing

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Speaker 1: since college, and I love it. It's so much fun.

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Speaker 1: I totally get what she's talking about. It's puzzle making

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Speaker 1: and it's fun. But I cannot imagine having a sort

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Speaker 1: through all these reels of real film. Yeah, it was

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Speaker 1: always digital for me. Yeah, if I was ever going

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Speaker 1: to edit, it would have to be digital. If you

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Speaker 1: were giving me all that physical stuff, I'd be like, go,

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Speaker 1: I would go mad immediately. I would just be like,

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Speaker 1: I cannot even look at this now. Yeah, this is

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Speaker 1: as you say, this is in the mid nineteen sixties

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Speaker 1: that Marsha's doing this, and this is a time when

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Speaker 1: pretty much every job in film was may dominated. As

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Speaker 1: Michael Kaminski points out, quote, she was lucky she was

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Speaker 1: in editing in the first place. Most film related positions,

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Speaker 1: such as camera or lighting were quite literally all male.

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Speaker 1: Film editing, since the birth of the medium, was the

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Speaker 1: one area where women were allowed in, since it was

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Speaker 1: initially thought of as a task comparable to sewing or cooking.

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Speaker 1: Yet most professional editors were nonetheless men. I just realized

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Speaker 1: that nobody could hear my eyes roll. Maybe you could,

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Speaker 1: I don't know. But look, this reminds me of cooking, actually,

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Speaker 1: because cooking was always expected to be done by the

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Speaker 1: woman at home, and yet all the professional cooks were men, right,

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Speaker 1: Just like that, if you're getting paid for it, you

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Speaker 1: must be a man. But if it is unpaid labor,

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Speaker 1: then it must be a woman. It's really interesting. Marcia

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Speaker 1: had worked her way up to assistant editor. She knew

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Speaker 1: that commercial editors could make as much as four hundred

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Speaker 1: dollars a week, which is enough to make a stable life,

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Speaker 1: and that was kind of her goal. She wanted to

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Speaker 1: be financially secure. I mean again, she grew up with

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Speaker 1: very little, so that was kind of her main thing.

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Speaker 1: Was like, I just want to make enough money to

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Speaker 1: not be worried about money anymore. So that's where she

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Speaker 1: was kind of trying to get to. And Marcia said, quote,

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Speaker 1: I thought I was a tough cookie, but I didn't

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Speaker 1: realize what I was up against. She was told women

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Speaker 1: can't be editors because they couldn't lift the heavy cans

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Speaker 1: that the film reels came in, or handle the foul

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Speaker 1: language that male editors used. My ears, and Marcia was

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Speaker 1: like fuck that and fuck you, and she kept at it.

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Speaker 1: She said once quote, I would have cut films for

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Speaker 1: free because I enjoyed it so much. And you know

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Speaker 1: that right there just makes me a little sad because

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Speaker 1: if she didn't like the job so much, it's really

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Speaker 1: likely that all this misogynistic bullshit would have like totally

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Speaker 1: run her out of the field completely and we would

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Speaker 1: have a shitty Star Wars today. Imagine that a shitty

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Speaker 1: Star Wars. How different would the world be or that

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Speaker 1: Star Wars. I don't know what I would do on

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Speaker 1: Wednesday nights now, I'll tell you that much. I mean

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Speaker 1: Wednesday night at eight pm would be sitting down with

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Speaker 1: dinner to watch TV. And I'll be like, I feel

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Speaker 1: like there should be something on right now, but I

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Speaker 1: just do things coming to mind. Well, it's like there's

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Speaker 1: a hole in the universe. Now. There were some respected

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Speaker 1: women in the editing world at this point, and one

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Speaker 1: of them was named Verna Fields. She had worked in

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Speaker 1: the film industry with her editor husband Sam in the

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Speaker 1: nineteen forties and fifties until he passed away from a

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Speaker 1: heart attack, which I could say also as an editor,

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Speaker 1: I totally get them. Just sat there with my veins

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Speaker 1: bulging out of my head, screaming at no one. You know.

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Speaker 1: He died of a film induced so Verna ended up

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Speaker 1: building an editing room in her house so that she

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Speaker 1: could work while her children were sleeping. And I just

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Speaker 1: want to throw out there, I don't know many stories

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Speaker 1: about successful mail anything where they had to build an

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Speaker 1: extra room in their house and work while their kids

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Speaker 1: were asleep. It was just something I was like, I

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Speaker 1: really admire that about her, that she's like, you know what,

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Speaker 1: my husband is gone and I still need to make money,

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Speaker 1: but I have children. What am I gonna do both?

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Speaker 1: That's what I'm gonna do. Just a good reminder. A

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Speaker 1: lot of sixcess stories from the past relied on having

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Speaker 1: another person at home to take care of your children

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Speaker 1: and cook for you and clean for you and make

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Speaker 1: sure you had somewhere to come at night and sleep

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Speaker 1: and not get a hard end work and do start

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Speaker 1: attack or something. Um and women just didn't have the

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Speaker 1: same professional women didn't have that person were also that

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Speaker 1: person right right, because men were like, well, what am

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Speaker 1: I going to do? Watch the children? If I cook,

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Speaker 1: I'd better be getting paid. So by the mid nineteen sixties,

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Speaker 1: Vernon was actually teaching film editing at the University of

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Speaker 1: Southern California. She was editing independent films for directors like

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Speaker 1: Peter Bogdanovich, and she also worked for the US government

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Speaker 1: creating documentaries. In in nineteen sixty seven, she needed help

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Speaker 1: sorting through all this enormous amount of footage that was

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Speaker 1: coming in from President Johnson's trip to the Far East.

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Speaker 1: She was making a documentary out of this for the government,

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Speaker 1: and she needed a few assistant editors. So, like any

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Speaker 1: good professor, she grabbed a few students from her graduate

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Speaker 1: class and then called around to film libraries to find

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Speaker 1: a few more. Marcia was one of them, and she

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Speaker 1: was assigned to help verna student, a shy, lanky guy

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Speaker 1: named George Lucas. George was also born in Modesto, California,

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Speaker 1: in but while Marcia was bouncing around and watching her

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Speaker 1: mom worked hard to make ends meet, George had a

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Speaker 1: pretty stable home life. His dad was a businessman who

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Speaker 1: owned the largest stationary store in Modesto at the time.

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Speaker 1: They went on to sell office supplies. You know, they

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Speaker 1: were like the office depot of their time. They were like,

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Speaker 1: get these laser cut pages, and George was like, laser lasers.

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Speaker 1: I love that a laser blade. Did you say such

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Speaker 1: a thing exists? But George's dad, I wanted George to

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Speaker 1: come work at the stationary store with him, you know,

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Speaker 1: when he graduated high school, and George was just not

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Speaker 1: into it. And at first he was all about becoming

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Speaker 1: a race car driver. He was real into that. But

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Speaker 1: only a few days before his high school graduation, he

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Speaker 1: got in a serious accident and he nearly died during

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Speaker 1: a race, and that naturally made him lose interest in

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Speaker 1: driving a race car as a career. He was kind

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Speaker 1: of like, maybe something less likely to kill me. He

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Speaker 1: was like, if only all this racing could be done

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Speaker 1: like just in front of a big green screen and uh,

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Speaker 1: and there was no real threat here. We just animated

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Speaker 1: the cars. Yeah, But he was still determined how to

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Speaker 1: work at that stationary office supply store. So he left

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Speaker 1: home at eighteen, and he told his family that he

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Speaker 1: would be a millionaire before he was thirty. So he

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Speaker 1: went to Modesto Junior College and he studied a wide

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Speaker 1: range of subjects, including anthropology, before he ended up getting

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Speaker 1: really interested in cinema, especially avant garde films from directors

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Speaker 1: like France Watch Trufaux or Federico Fellini and John Luca

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Speaker 1: Dard right, all all the film school guys favorite directors.

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Speaker 1: He got himself an eight millimeter camera and he just

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Speaker 1: started shooting with it before he enrolled at the University

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Speaker 1: of Southern California, which was one of the earliest schools

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Speaker 1: to have a program devoted to motion picture cinema. Also

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Speaker 1: fun fact, his roommate there was Randall Kleiser, who would

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Speaker 1: go on to direct Greece. Hey pretty cool. Um, yeah,

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Speaker 1: my favorite song from Greece's Shuba Shuba Shooby Rock Rocketdoodle

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Speaker 1: Zip Zip Shamalama Dub dub. There you go. Comma, you

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Speaker 1: guys just heard grease done on a parte. We don't

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Speaker 1: get sued. So George graduated in nineteen seven and he

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Speaker 1: tried to join the Air Force, but he was turned

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Speaker 1: down due to all of his speeding tickets. But he's like,

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Speaker 1: I drive fast, which I gotta say, if George Lucas

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Speaker 1: had joined the Air Force in nineteen sixty seven, we

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Speaker 1: also might not have Star Wars. Thank god he had

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Speaker 1: all those speeding right. Speeding saves everybody. If you don't speed,

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Speaker 1: who knows, So George. After not getting into the Air Force,

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Speaker 1: George went ahead and enrolled at the graduate program at

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Speaker 1: USC and started working with Verna Fields. And Vernon knew

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Speaker 1: George was the least experienced editor that she had, so

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Speaker 1: she paired him with the most experienced assistant, Marcia Griffin,

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Speaker 1: and George remembers that Marcia quote had a lot of

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Speaker 1: disdain for the rest of us because we were all

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Speaker 1: film students. She was the only real pro there. But

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Speaker 1: Marcia hadn't graduated college, so she also felt really intimidated

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Speaker 1: and intellectually inferior to the graduate students. So I kind

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Speaker 1: of wonder if the disdain was something that either she

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Speaker 1: was kind of putting onto mask her own feelings of inferiority,

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Speaker 1: or if it was something that he put on her

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Speaker 1: because he knew she was a pro. You know what

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Speaker 1: I mean. Those kinds of perceptions are so exactly exactly.

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Speaker 1: Sometimes you think like I'm going to go in and like,

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Speaker 1: I just want to look confident. I just want to

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Speaker 1: not look like an idiot, and either you over shoot

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Speaker 1: it or people have their own conceptions and they see

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Speaker 1: you and they're like, wow, what an arrogant loser. Like true,

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Speaker 1: and you make a good point to going in and

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Speaker 1: being like, I want to look confident. I'm probably one

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Speaker 1: of the only women in the room, you know, like

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Speaker 1: that that adds an extra layer two, being the only

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Speaker 1: woman talking confidently to a bunch of dudes. They're going

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Speaker 1: to have their own perception about what that means. But

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Speaker 1: she might have walked in there like, okay, anyway, I

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Speaker 1: get paid, so move along. Oh God, I can't believe

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Speaker 1: I have to show these children how to work Jesus.

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Speaker 1: Michael Kaminski in Secret History of Star Wars says quote,

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Speaker 1: they seemed like an unlikely pair, George shy and introverted

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Speaker 1: and Marcia bold and outgoing. But Dale Pollock wrote that quote,

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Speaker 1: Marcia enjoyed being with George. He seemed so happy, humming

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Speaker 1: and tapping his foot to the ever present radio music

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Speaker 1: in the editing room. She told a coworker, I think

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Speaker 1: George is so cute, and he was too. If you

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Speaker 1: look up pictures, he's adorable. Sure, total nerdy film guy.

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Speaker 1: And Dale continues quote, but Lucas was hard as hell

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Speaker 1: to draw out in conversation. He might discuss the films

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Speaker 1: he was working on, but rarely did he bring up

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Speaker 1: personal matters. So Marcia did know more than George, but

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Speaker 1: her job was to help him. So she was always

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Speaker 1: looking over his shoulder, making sure he did everything right,

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Speaker 1: and she would offer pointers, making her essentially George's first

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Speaker 1: professional mentor. She said, quote, he was so quiet and

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Speaker 1: he said very little, but he seemed to be really

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Speaker 1: talented and really centered just a very together person, and

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Speaker 1: bit by bit Marcia was able to draw him out

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Speaker 1: of his shell, until finally, after a couple of months,

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Speaker 1: he asked her out on a date. Yeah, get it together, George.

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Speaker 1: She was cute. George's friend John Millius, who would go

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Speaker 1: on to write a screenplay for Apocalypse Now, said quote,

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Speaker 1: she was a knockout. We all wondered how little George

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Speaker 1: got this great looking girl and smart too, obsessed with films,

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Speaker 1: and she was a better editor than he was. Speak

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Speaker 1: the truth, John, that's hot, I know, and I think

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Speaker 1: George felt that. He was like, that's hot. Yeah, I

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Speaker 1: mean it's like it's like hot for teacher kind of right,

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Speaker 1: but also like and it's not my teacher. Yeah, it

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Speaker 1: was just like my age. He's like kind of my teacher,

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Speaker 1: but justin like just enough where that it's still okay

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Speaker 1: for it to be hot, hot for mentor hot for mentor.

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Speaker 1: I like that. And Yeah, though they did seem mismatched,

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Speaker 1: Marcia's extroverted optimist and George just introverted, quiet, kind of

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Speaker 1: pessimistic guy, it totally worked. George said quote, Marcia and

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Speaker 1: I got along real well. We were both feisty and

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Speaker 1: neither one of us would take any ship from the other.

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Speaker 1: I sort of like to that I didn't like someone

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Speaker 1: who could be run over. And she also saw a

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Speaker 1: side of him very few people ever did, saying once

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Speaker 1: that he has quote a very childish, silly, fun side,

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Speaker 1: but he doesn't even like me to talk about that

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Speaker 1: because he is so intensely private, which is funny to me,

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Speaker 1: thinking like George Lucas would be ashamed of his childish side,

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Speaker 1: I know, right, And I'm like Star Wars is at

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Speaker 1: its core like the greatest kids movie in so many ways.

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Speaker 1: But I think, you know, when she said that it

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Speaker 1: might be early on, yeah, straight up like no, I

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Speaker 1: am an I would make movies, you know what I mean.

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Speaker 1: And then later on he's like, no, I want to

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Speaker 1: make something fun. You do mature out of that, you know.

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Speaker 1: I think that there's definitely something in your early twenties,

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Speaker 1: in the college years, where you like, you want you

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Speaker 1: want your intellect to be recognized, you know, and then

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Speaker 1: you kind of grow up and you're like, all right,

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Speaker 1: everybody's got intellect some degree. I've got things that are

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Speaker 1: special by myself. I hope people see them, but I

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Speaker 1: also like, can I just entertain people can have some fun.

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Speaker 1: I really think that's true. I mean, especially once you're

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Speaker 1: getting into trying to sell movies. You know, you don't

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Speaker 1: sell movies that people don't have that much fun watching.

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Speaker 1: And artistic movies can be very not fun to watch,

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Speaker 1: and they're very ponderous sometimes, as you know, even if

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Speaker 1: they're cool works of art, you know they don't sell.

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Speaker 1: You ain't going to sell out. No, amc with that, Honey,

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Speaker 1: grabbed the kids a night off. We're going to those

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Speaker 1: see the lighthouse. Oh my god. When George finally took

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Speaker 1: Marcia to meet his family in Modesto at Thanksgiving, she

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Speaker 1: overheard him telling his brother in law Rowland, quote, you know,

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Speaker 1: Marcia is the only person I've ever known who can

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Speaker 1: make me raise my voice. And Roland grinned and replied,

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Speaker 1: that's great, kid, congratulations, you must be in love. And

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Speaker 1: I bet Marcia was like in the other room. Like

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Speaker 1: George also felt that filmmaking quote becomes your life. And

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Speaker 1: it was Marcia's life too. That's one of the reasons

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Speaker 1: our relationship works. We both love the same thing and

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Speaker 1: that was certainly true for the next few years of

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Speaker 1: their lives. Um and we can relate to that hard

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Speaker 1: to this whole partnership. Yeah, that's true. Yes, I think

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Speaker 1: you're more of the George and more of the Marcia

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Speaker 1: because you're quiet, pessimist um with a great grand story

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Speaker 1: in your brain there somewhere that's just waiting to come out.

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Speaker 1: And uh and I'm just I'm just trying to make

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Speaker 1: my way as a woman in this world. That's so true. Yeah,

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Speaker 1: are you doing great? Honey? Hey? Thanks? You know, sometimes

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Speaker 1: you gotta just walk into a room with confidence, which

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Speaker 1: I always do. Uh, well, how about we find out

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Speaker 1: more about those two after we come back for these commercials.

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Speaker 1: Welcome back everyone. So once the work on verna Field's

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Speaker 1: government documentary was over, George shot a short film called

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Speaker 1: Electronic Labor th Checks for e B, which ended up

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Speaker 1: winning a prize at the National Student Film Festival in

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Speaker 1: nineteen eight. His award from Warner Brothers was an internship

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Speaker 1: to work on a film of his choice. I love

426
00:24:14,040 --> 00:24:16,440
Speaker 1: that they're The reward is like, come work for us

427
00:24:16,440 --> 00:24:21,360
Speaker 1: for free, take your pick any movie alike. We will

428
00:24:21,400 --> 00:24:24,760
Speaker 1: definitely exploit your labor. You can choose whichever movie you want,

429
00:24:24,800 --> 00:24:27,119
Speaker 1: because for the other ones we'll just go get another

430
00:24:27,160 --> 00:24:30,680
Speaker 1: student to work for free and they'll take it. So

431
00:24:30,880 --> 00:24:34,479
Speaker 1: for George's film, he chose Finnian's Rainbow, which is this

432
00:24:34,640 --> 00:24:38,480
Speaker 1: musical fantasy starring Fred Astaire and Tula Clark, and it

433
00:24:38,560 --> 00:24:42,359
Speaker 1: was directed by a young Francis Ford Coppola. He was

434
00:24:42,400 --> 00:24:45,800
Speaker 1: fresh off his first theatrical success, a comedy called You're

435
00:24:45,880 --> 00:24:49,040
Speaker 1: a Big Boy Now, which I would love to watch

436
00:24:49,080 --> 00:24:55,119
Speaker 1: that this movie. So George and Francis Ford Coppola became

437
00:24:55,200 --> 00:24:58,399
Speaker 1: really close friends. So Coppola asked him to be a

438
00:24:58,440 --> 00:25:03,320
Speaker 1: documentarian on his next project, rain People, and rain People

439
00:25:03,440 --> 00:25:05,520
Speaker 1: was meant to be made with like a small crew

440
00:25:05,680 --> 00:25:09,520
Speaker 1: traveling across the country. You'll know, the spinoff movie rain

441
00:25:09,680 --> 00:25:12,920
Speaker 1: Man just focuses on one of them, right, is that right?

442
00:25:13,280 --> 00:25:18,400
Speaker 1: I'm pretty sure that's right. Don't quote us um. So

443
00:25:18,480 --> 00:25:21,159
Speaker 1: in late nineteen sixty seven, the crew, you know, was

444
00:25:21,200 --> 00:25:24,199
Speaker 1: getting all together in New York, and Marcia decided to

445
00:25:24,240 --> 00:25:27,560
Speaker 1: go to She said, quote it was so wonderful and

446
00:25:27,680 --> 00:25:30,880
Speaker 1: romantic and emotional to see each other in New York

447
00:25:31,000 --> 00:25:34,200
Speaker 1: because we had been separated for a long time. While

448
00:25:34,280 --> 00:25:36,880
Speaker 1: George was working on Finnian's Rainbow, they had just hadn't

449
00:25:36,920 --> 00:25:40,359
Speaker 1: seen each other and then on a rainy February day

450
00:25:40,440 --> 00:25:43,040
Speaker 1: in ninety eight, on the train on the way to

451
00:25:43,080 --> 00:25:47,240
Speaker 1: the next filming location on Long Island, George proposed to Marshall.

452
00:25:47,800 --> 00:25:50,399
Speaker 1: And they've been talking about the future. And George wanted

453
00:25:50,400 --> 00:25:53,040
Speaker 1: to be an independent filmmaker and moved to San Francisco,

454
00:25:53,160 --> 00:25:55,680
Speaker 1: and he said, quote, I was beginning to see where

455
00:25:55,720 --> 00:25:58,840
Speaker 1: my life was going. Marsha's career was in Los Angeles,

456
00:25:58,840 --> 00:26:01,120
Speaker 1: and I respected that. I didn't want her to give

457
00:26:01,160 --> 00:26:03,119
Speaker 1: it up and have me drag her to San Francisco

458
00:26:03,240 --> 00:26:06,320
Speaker 1: unless there was some commitment on my side. Okay, it's fair,

459
00:26:06,800 --> 00:26:09,240
Speaker 1: Which is fair. That's good, that's good thinking. He was, like,

460
00:26:09,280 --> 00:26:11,840
Speaker 1: Marcia's got her own thing going on, and I need

461
00:26:11,880 --> 00:26:15,240
Speaker 1: to really give her a reason to not have that. Right, Yeah,

462
00:26:15,480 --> 00:26:19,960
Speaker 1: do this instead. Marcia had been working on commercials and

463
00:26:20,000 --> 00:26:22,560
Speaker 1: stuff like that while George was off doing these film projects,

464
00:26:22,800 --> 00:26:25,600
Speaker 1: but thanks to his connections, she started to get more

465
00:26:25,640 --> 00:26:30,320
Speaker 1: interesting offers. George's lifelong friend Haskell Wexler, asked her to

466
00:26:30,359 --> 00:26:35,320
Speaker 1: come to Chicago and assistant edit his directorial debut Medium Cool.

467
00:26:35,840 --> 00:26:38,439
Speaker 1: That was super exciting because this was a feature film

468
00:26:38,480 --> 00:26:40,160
Speaker 1: and it would be the first one that Marcia ever

469
00:26:40,200 --> 00:26:43,280
Speaker 1: worked on, but right around the time that that offer

470
00:26:43,359 --> 00:26:46,520
Speaker 1: came in, George also asked her to come join him

471
00:26:46,520 --> 00:26:50,439
Speaker 1: in Nebraska because the editor of Rain People, Barry Malkin,

472
00:26:50,560 --> 00:26:53,600
Speaker 1: need an assistant to help him sort through all this footage,

473
00:26:53,960 --> 00:26:57,639
Speaker 1: which again we think about the days of physical film

474
00:26:57,720 --> 00:27:03,960
Speaker 1: and sorting through canisters and sisters and canisters miles of film. Yeah,

475
00:27:04,119 --> 00:27:06,960
Speaker 1: so George mentioned Marcia to Coppola and he agreed to

476
00:27:07,040 --> 00:27:10,240
Speaker 1: hire her. But this was a tough decision for Marcia because,

477
00:27:10,240 --> 00:27:14,320
Speaker 1: besides being her first feature film, Meet Him Cool also

478
00:27:14,400 --> 00:27:18,040
Speaker 1: offered better money than Rain People. But then George told

479
00:27:18,040 --> 00:27:21,399
Speaker 1: her quote, don't you want to be with me? Don't

480
00:27:21,440 --> 00:27:26,560
Speaker 1: you love me? That is that is low manipulation, right.

481
00:27:27,040 --> 00:27:29,360
Speaker 1: I don't know if he meant to be manipulative in that.

482
00:27:29,960 --> 00:27:31,679
Speaker 1: He might have really thought like, well, if you love me,

483
00:27:31,680 --> 00:27:33,359
Speaker 1: wouldn't you want to be close to me? Like if

484
00:27:33,400 --> 00:27:35,920
Speaker 1: you were given the option. But you got to think

485
00:27:35,920 --> 00:27:38,200
Speaker 1: about your words in these kind of contexts, because you're

486
00:27:38,200 --> 00:27:42,480
Speaker 1: basically saying I'm not giving you a choice, Like if

487
00:27:42,520 --> 00:27:47,440
Speaker 1: you choose the thing you want, then I'm deciding that

488
00:27:47,480 --> 00:27:50,520
Speaker 1: it's because you don't love me. That's not true. Yeah,

489
00:27:50,560 --> 00:27:52,399
Speaker 1: I think it would feel like, now you're making me

490
00:27:52,480 --> 00:27:55,639
Speaker 1: choose between you and in this movie instead of this movie,

491
00:27:55,640 --> 00:28:00,000
Speaker 1: in this movie like two jobs, which is very impersonal, right, Um,

492
00:28:00,119 --> 00:28:02,000
Speaker 1: but maybe it was just like a pro and con

493
00:28:02,119 --> 00:28:04,600
Speaker 1: list or something where she's like, well, it's better money,

494
00:28:04,640 --> 00:28:06,280
Speaker 1: but and he's like, well, but if you do this,

495
00:28:06,320 --> 00:28:08,119
Speaker 1: we get to be together, and that's what we want.

496
00:28:08,280 --> 00:28:10,680
Speaker 1: You know. It could totally be innocent, but I did

497
00:28:10,720 --> 00:28:14,119
Speaker 1: hate it when I look that is a sweet thing

498
00:28:14,119 --> 00:28:15,720
Speaker 1: to say, Well, but if you take this one, we

499
00:28:15,720 --> 00:28:18,359
Speaker 1: can be close together. You know that's fine. But if

500
00:28:18,400 --> 00:28:20,520
Speaker 1: you don't take this one, it must mean you don't

501
00:28:20,600 --> 00:28:27,080
Speaker 1: love me. That's me, she said. Quote I was poor, right,

502
00:28:27,240 --> 00:28:30,399
Speaker 1: financial security was very important to me. I wanted to

503
00:28:30,440 --> 00:28:34,160
Speaker 1: make it my own way. But we were engaged, we

504
00:28:34,160 --> 00:28:37,520
Speaker 1: were terribly in love. So I decided to go and

505
00:28:37,560 --> 00:28:41,320
Speaker 1: she joined George in Nebraska. But fortunately we don't have

506
00:28:41,400 --> 00:28:45,040
Speaker 1: to be mad because the production from Medium Cool actually

507
00:28:45,120 --> 00:28:47,560
Speaker 1: got delayed, so she ended up getting to cut that

508
00:28:47,640 --> 00:28:50,440
Speaker 1: movie as well as Rain People, and still got her

509
00:28:50,560 --> 00:28:53,680
Speaker 1: very first feature film credits, so she kind of got

510
00:28:53,680 --> 00:28:56,280
Speaker 1: the best of both worlds that one. Yeah, I wonder

511
00:28:56,320 --> 00:28:59,200
Speaker 1: in this situation you know she's she's she got to

512
00:28:59,240 --> 00:29:00,880
Speaker 1: do both. She got to work on George's movie, and

513
00:29:00,880 --> 00:29:04,720
Speaker 1: things got better. If George doesn't have an air of like, oh, saying,

514
00:29:04,720 --> 00:29:06,320
Speaker 1: what were you making such a big deal out of it?

515
00:29:06,320 --> 00:29:10,240
Speaker 1: It all worked out, and she's probably thinking, oh, you

516
00:29:10,400 --> 00:29:12,880
Speaker 1: dodged a fucking bullet, George, because if I didn't get

517
00:29:12,920 --> 00:29:20,400
Speaker 1: that other movie George and George also had tons of

518
00:29:20,440 --> 00:29:22,880
Speaker 1: footage that he had shot for the documentary about the

519
00:29:22,920 --> 00:29:26,160
Speaker 1: making of Rain People, which he was calling Filmmaker. They

520
00:29:26,200 --> 00:29:29,400
Speaker 1: cut that documentary together as they also planned their wedding,

521
00:29:29,760 --> 00:29:34,720
Speaker 1: and in February nineteen sixty nine, they were married with

522
00:29:34,840 --> 00:29:37,720
Speaker 1: Verna Fields, the woman who brought them together in attendance,

523
00:29:38,400 --> 00:29:41,160
Speaker 1: and they settled outside San Francisco in a cute little

524
00:29:41,160 --> 00:29:44,680
Speaker 1: house that Marcia found for a hundred and twenty dollars

525
00:29:44,680 --> 00:29:48,040
Speaker 1: a month. I just want to sit and let that sit.

526
00:29:48,360 --> 00:29:54,480
Speaker 1: San Francisco. A hundred and twenty dollars a month football

527
00:29:54,560 --> 00:29:57,600
Speaker 1: how low that is? Right now? I think in San Francisco,

528
00:29:57,800 --> 00:30:03,680
Speaker 1: Netflix costs more than a hundred twenty a month. Yeah,

529
00:30:03,680 --> 00:30:06,760
Speaker 1: George said of this time quote, we were really happy

530
00:30:06,800 --> 00:30:09,400
Speaker 1: and optimistic and it didn't matter that the house was

531
00:30:09,440 --> 00:30:13,040
Speaker 1: small in our lifestyle. There were only two rooms we used,

532
00:30:13,120 --> 00:30:15,880
Speaker 1: the kitchen and the bedroom. We were in either one

533
00:30:16,200 --> 00:30:24,160
Speaker 1: or the other. Okay, But they were worried about money.

534
00:30:24,440 --> 00:30:27,400
Speaker 1: George was working with Cope Blood to build their production company,

535
00:30:27,440 --> 00:30:30,680
Speaker 1: American Zoa Trope, but that wasn't making any money. It

536
00:30:30,720 --> 00:30:33,720
Speaker 1: was just costing money. And Marcia didn't really have a

537
00:30:33,800 --> 00:30:38,080
Speaker 1: job either, but at least things were interesting. Marcia described

538
00:30:38,120 --> 00:30:41,520
Speaker 1: it quote, there's never a dull moment. There's always ten

539
00:30:41,640 --> 00:30:44,440
Speaker 1: or twenty or thirty people around, with somebody sitting down

540
00:30:44,440 --> 00:30:46,840
Speaker 1: and playing piano in that corner of the room, and

541
00:30:46,920 --> 00:30:49,320
Speaker 1: some kids dancing in that corner of the room, and

542
00:30:49,360 --> 00:30:52,680
Speaker 1: the intellectuals having a deep conversation about art in another corner.

543
00:30:53,520 --> 00:30:57,640
Speaker 1: Can I just say that was my dream situation when

544
00:30:57,720 --> 00:31:00,600
Speaker 1: I decided I wanted to be an artist, or be

545
00:31:00,720 --> 00:31:03,200
Speaker 1: it in arts in some way or another beauty perform

546
00:31:03,280 --> 00:31:06,040
Speaker 1: or something. That was always how I pitched it. I

547
00:31:06,080 --> 00:31:08,040
Speaker 1: was like I wanted like a million people around and

548
00:31:08,040 --> 00:31:10,200
Speaker 1: they were all doing different things in different places and

549
00:31:10,240 --> 00:31:13,680
Speaker 1: you could just kind of butterfly around like that was

550
00:31:13,760 --> 00:31:15,840
Speaker 1: my total dream. I want to go hang out in

551
00:31:16,560 --> 00:31:20,280
Speaker 1: in Andy Warhol's factory. Yeah, but without all the chaos

552
00:31:20,320 --> 00:31:23,280
Speaker 1: and drugs and eating disorders. Yeah yeah, none of that,

553
00:31:23,640 --> 00:31:26,320
Speaker 1: like just the cool parts. Yeah, it seems cool because

554
00:31:26,360 --> 00:31:29,440
Speaker 1: like a bunch of nerds, like chilling in a big house,

555
00:31:30,200 --> 00:31:32,240
Speaker 1: guy in the piano in one corner room, people dance

556
00:31:32,280 --> 00:31:34,480
Speaker 1: in the other corner, people have an intellectual conversation in

557
00:31:34,520 --> 00:31:36,840
Speaker 1: another corner. My question is, what was happening in the

558
00:31:36,880 --> 00:31:40,880
Speaker 1: fourth corner. What was happening in the fourth corner speculation station,

559
00:31:41,760 --> 00:31:44,479
Speaker 1: um is that where all the drugs and sex was happening,

560
00:31:45,360 --> 00:31:49,840
Speaker 1: and sex are happening. It was the sixties. She was like,

561
00:31:49,840 --> 00:31:52,720
Speaker 1: and I won't mention the fourth corner because you know,

562
00:31:53,120 --> 00:31:56,360
Speaker 1: it's a little X rated over there. George a lot

563
00:31:56,360 --> 00:31:58,680
Speaker 1: of George. George always said I only need two rooms

564
00:31:58,680 --> 00:32:04,040
Speaker 1: in one corner. So they wanted this kind of loose school,

565
00:32:04,120 --> 00:32:07,560
Speaker 1: bohemian vibe and have this production company that reflected the

566
00:32:07,720 --> 00:32:12,080
Speaker 1: quote New Hollywood that they were part of creating, instead

567
00:32:12,120 --> 00:32:15,040
Speaker 1: of this uptight traditional studio industry that it was at

568
00:32:15,040 --> 00:32:17,480
Speaker 1: the time coming out of the fifties. You know, it

569
00:32:17,560 --> 00:32:21,840
Speaker 1: was all mob bosses and business you know, yeah, yeah,

570
00:32:21,840 --> 00:32:24,200
Speaker 1: there was just totally this new Hollywood. These artsy filmmakers

571
00:32:24,240 --> 00:32:27,000
Speaker 1: coming up and being like, let's try something else. If

572
00:32:27,040 --> 00:32:39,520
Speaker 1: the sixties man to do something cool and interpretation, Yeah,

573
00:32:39,640 --> 00:32:45,560
Speaker 1: slash ringo. I'm not sure, are you here? Yeah? George

574
00:32:45,600 --> 00:32:47,880
Speaker 1: said something like I wanted like a film school vibe

575
00:32:47,880 --> 00:32:50,920
Speaker 1: because in film school it's very collaborative and loose. The

576
00:32:51,040 --> 00:32:52,640
Speaker 1: people were just like, you help me with this, and

577
00:32:52,680 --> 00:32:55,000
Speaker 1: then I'll come hold the boom for your thing. And yeah,

578
00:32:55,000 --> 00:32:56,600
Speaker 1: I was just really chill. And He's like, I didn't

579
00:32:56,600 --> 00:32:59,480
Speaker 1: know why Hollywood couldn't be like that exactly. So the

580
00:32:59,480 --> 00:33:02,600
Speaker 1: first film they worked on was a feature length adaptation

581
00:33:02,680 --> 00:33:07,440
Speaker 1: of George's student film th This was a tough production,

582
00:33:07,800 --> 00:33:11,880
Speaker 1: George's mother said, quote Marcia spoiled George terribly when he

583
00:33:11,960 --> 00:33:15,600
Speaker 1: was making films. She'd bring him breakfast in bed after

584
00:33:15,680 --> 00:33:22,040
Speaker 1: the nights he worked late. Uh, question, Diana, she brought

585
00:33:22,080 --> 00:33:26,040
Speaker 1: George breakfast in bed after his late nights editing. Just

586
00:33:26,880 --> 00:33:28,680
Speaker 1: I just thought that was interesting. Yeah. I think that's

587
00:33:28,680 --> 00:33:31,320
Speaker 1: interesting too, given that you usually make breakfast and I

588
00:33:31,360 --> 00:33:34,080
Speaker 1: haven't had a breakfast in bed after working late. Yeah.

589
00:33:34,160 --> 00:33:35,800
Speaker 1: I work late and then I get up, but I

590
00:33:35,880 --> 00:33:41,960
Speaker 1: make breakfast. I know who wants breakfast in bed anyway,

591
00:33:42,120 --> 00:33:43,560
Speaker 1: that's true. I don't want breaks. You don't want to

592
00:33:43,600 --> 00:33:46,880
Speaker 1: lay in bed with no, just fill your coffee. Like cooking,

593
00:33:46,920 --> 00:33:49,640
Speaker 1: this is the problem. I try to be like, well,

594
00:33:49,760 --> 00:33:51,640
Speaker 1: you've gotta make breakfast for me once in a while,

595
00:33:51,760 --> 00:33:53,280
Speaker 1: but if you touch those pans, I'd be like, no,

596
00:33:53,360 --> 00:33:57,560
Speaker 1: let me do it. I know I'm not a bad cook,

597
00:33:57,840 --> 00:33:59,360
Speaker 1: but you don't like it. I don't like it. Yeah,

598
00:33:59,560 --> 00:34:01,480
Speaker 1: and George didn't like it either. That's another thing I feel.

599
00:34:01,480 --> 00:34:04,360
Speaker 1: I was like, yes, George hates cooking. Cleaning word George.

600
00:34:06,720 --> 00:34:09,080
Speaker 1: So once the shoot for th h X was over,

601
00:34:09,280 --> 00:34:13,360
Speaker 1: George started editing the movie with Marcia assisting, and usually

602
00:34:13,360 --> 00:34:16,960
Speaker 1: he listened to Marcia's opinions more than anyone else's, but

603
00:34:17,080 --> 00:34:21,160
Speaker 1: they could not agree on th h Marcia didn't really

604
00:34:21,160 --> 00:34:24,279
Speaker 1: go for the abstract filmmaking that George was super in

605
00:34:24,320 --> 00:34:27,600
Speaker 1: love with at this time. She told Peter Biskind in

606
00:34:27,680 --> 00:34:31,759
Speaker 1: his book Easy Writers Raging Bulls quote, I like to

607
00:34:31,800 --> 00:34:35,360
Speaker 1: become emotionally evolved in a movie. I want to be scared.

608
00:34:35,520 --> 00:34:38,080
Speaker 1: I want to cry. I never cared for th h

609
00:34:38,280 --> 00:34:41,120
Speaker 1: X because it left me cold. When the studio didn't

610
00:34:41,160 --> 00:34:44,040
Speaker 1: like the film, I wasn't surprised, but George just said

611
00:34:44,080 --> 00:34:48,480
Speaker 1: to me, I was stupid and knew nothing. WoT you're stupid, George,

612
00:34:49,040 --> 00:34:54,480
Speaker 1: come on in college. Yeah, I've never seen it. I

613
00:34:54,520 --> 00:34:56,600
Speaker 1: don't remember it very well, but I remember it leave

614
00:34:56,680 --> 00:34:58,439
Speaker 1: me kind of cold. I mean, I remember not being

615
00:34:59,200 --> 00:35:01,359
Speaker 1: I remember thinking it was interesting and I was like, wow,

616
00:35:01,400 --> 00:35:04,040
Speaker 1: this would have been so crazy to see back in

617
00:35:04,080 --> 00:35:07,520
Speaker 1: the day. But yeah, it wasn't changing my line. Not

618
00:35:07,640 --> 00:35:09,840
Speaker 1: something that's stuck with you. No, Like I said, I

619
00:35:09,840 --> 00:35:12,520
Speaker 1: don't remember a thing about it. I mean, as Michael

620
00:35:12,560 --> 00:35:15,920
Speaker 1: Kaminsky points out, quote, this is the essential difference in

621
00:35:15,920 --> 00:35:19,520
Speaker 1: approaches between the two Lucas. Is George more technical and

622
00:35:19,600 --> 00:35:24,160
Speaker 1: graphic oriented, while Marcia more character and storytelling oriented in

623
00:35:24,239 --> 00:35:27,120
Speaker 1: her approach, which makes for a great team. I think

624
00:35:27,840 --> 00:35:31,560
Speaker 1: to eventually make Star Wars, which needed both. Man. I

625
00:35:31,600 --> 00:35:37,080
Speaker 1: really am the Marcia and the George. I think I'm

626
00:35:37,080 --> 00:35:42,120
Speaker 1: pretty emotionally. I think we're both both. That's probably good,

627
00:35:42,560 --> 00:35:45,520
Speaker 1: I think, so hopefully I would like to not get divorced.

628
00:35:47,719 --> 00:35:51,480
Speaker 1: Hopefully we're not exactly like Georgia Marta. I mean, if

629
00:35:51,480 --> 00:35:53,600
Speaker 1: we were exactly like Georgia Marsha, Marsha a lot of

630
00:35:53,600 --> 00:35:56,279
Speaker 1: things would be different. We hit thirty a long time

631
00:35:56,320 --> 00:36:01,279
Speaker 1: ago and there were no million dollars. Well, Marcia was

632
00:36:01,400 --> 00:36:04,400
Speaker 1: right in the end t h X bombs and American

633
00:36:04,480 --> 00:36:09,320
Speaker 1: zootrope folded. She told Dale Pollock quote, I never said

634
00:36:09,400 --> 00:36:12,239
Speaker 1: I told you so, but I reminded George that I

635
00:36:12,320 --> 00:36:17,000
Speaker 1: warned him it hadn't involved the audience emotionally. He always said,

636
00:36:17,280 --> 00:36:21,520
Speaker 1: emotionally involving the audience is easy. Anybody can do it blindfolded.

637
00:36:21,640 --> 00:36:26,360
Speaker 1: Get a little kitten and have some guy ring its neck. Okay,

638
00:36:26,400 --> 00:36:31,560
Speaker 1: first of all, weird example. That's a very specific emotional

639
00:36:31,600 --> 00:36:34,960
Speaker 1: involvement that I don't think Marcia was talking about the

640
00:36:34,960 --> 00:36:38,680
Speaker 1: middle of. In the middle of someone should have strangled

641
00:36:38,680 --> 00:36:43,360
Speaker 1: the kitten. That would have saved the movie. The studio

642
00:36:43,400 --> 00:36:47,120
Speaker 1: would have loved it. Then she goes on to say,

643
00:36:47,520 --> 00:36:51,920
Speaker 1: quote all he wanted to do was abstract filmmaking, tone poems,

644
00:36:52,040 --> 00:36:56,040
Speaker 1: collections of images. So finally George said to me, I'm

645
00:36:56,040 --> 00:36:58,279
Speaker 1: gonna show you how easy it is. I'll make a

646
00:36:58,320 --> 00:37:02,800
Speaker 1: film that emotionally involves the audience. That'll teach you. Marcia.

647
00:37:02,920 --> 00:37:05,200
Speaker 1: She's like, She's like, great, you're gonna make a good movie.

648
00:37:05,239 --> 00:37:09,600
Speaker 1: That's fantastic I've been wanting to do, but at this

649
00:37:09,680 --> 00:37:12,960
Speaker 1: point Marcia wanted to think about starting a family now.

650
00:37:13,000 --> 00:37:16,280
Speaker 1: George wouldn't even consider it until they had a stable income.

651
00:37:16,920 --> 00:37:19,680
Speaker 1: Coppola was working on The Godfather at this point, which

652
00:37:20,239 --> 00:37:24,560
Speaker 1: went on to be a well known movie to understate

653
00:37:24,640 --> 00:37:28,040
Speaker 1: the matter, and so he would throw them gigs as

654
00:37:28,080 --> 00:37:31,640
Speaker 1: much as he could. Marcia edited together numerous screen tests,

655
00:37:31,840 --> 00:37:35,040
Speaker 1: and George, because he knew how to handle an animation camera,

656
00:37:35,239 --> 00:37:39,040
Speaker 1: filmed the newspaper sequences. And then another one of George's

657
00:37:39,040 --> 00:37:42,480
Speaker 1: connections came through. Michael Ritchie was making a movie with

658
00:37:42,560 --> 00:37:45,959
Speaker 1: Robert Redford called The Candidate, and he wanted to hire

659
00:37:46,000 --> 00:37:49,200
Speaker 1: Marcia as an assistant editor. For a few months, she

660
00:37:49,440 --> 00:37:52,320
Speaker 1: was the sole breadwinner because although George was getting several

661
00:37:52,360 --> 00:37:57,600
Speaker 1: offers to direct projects like Tommy and Hair, he turned

662
00:37:57,640 --> 00:37:59,680
Speaker 1: them all down because he really wanted to make his

663
00:37:59,719 --> 00:38:03,360
Speaker 1: own movies, not someone else's. He even turned down a

664
00:38:03,440 --> 00:38:06,359
Speaker 1: hundred and fifty thousand dollar offer to direct a movie

665
00:38:06,440 --> 00:38:10,480
Speaker 1: called Lady Ice. I'm just thinking to myself about the

666
00:38:10,480 --> 00:38:13,759
Speaker 1: two of them struggling to pay their one hundred and

667
00:38:13,800 --> 00:38:17,520
Speaker 1: twenty dollar rent, and then he gets an offer for

668
00:38:17,560 --> 00:38:20,160
Speaker 1: a hundred and fifty thou dollars and he's like, yeah,

669
00:38:20,160 --> 00:38:22,680
Speaker 1: I said no, And Marcia going, you said what Now

670
00:38:23,560 --> 00:38:26,040
Speaker 1: she's cashing her four hundred dollar check like you said what.

671
00:38:27,440 --> 00:38:32,280
Speaker 1: I'm imagining if George Lucas had done Lady Ice instead

672
00:38:32,320 --> 00:38:35,160
Speaker 1: of Star Wars, if we wouldn't be exploring the Lady

673
00:38:35,200 --> 00:38:39,640
Speaker 1: Ice universe on Disney Plus Today. Goodness, the Lady icenverse,

674
00:38:40,280 --> 00:38:41,840
Speaker 1: Oh my god. They'll be like, oh my god. It

675
00:38:41,840 --> 00:38:45,840
Speaker 1: feels like every week there's another Lady Ice movie coming out. Wow,

676
00:38:45,920 --> 00:38:48,759
Speaker 1: Oh so and so got cast in another Lady Eventually,

677
00:38:48,800 --> 00:38:50,920
Speaker 1: everyone in Hollywood is going to be cast in the

678
00:38:51,000 --> 00:38:55,000
Speaker 1: Lady Ice verse. The l I you in that parallel universe.

679
00:38:55,320 --> 00:38:58,760
Speaker 1: I wonder if they're happier or or not as happy

680
00:38:58,760 --> 00:39:03,600
Speaker 1: as we are. But George's attention was fixed on his

681
00:39:03,680 --> 00:39:06,640
Speaker 1: idea for a coming of age movie with a rock

682
00:39:06,680 --> 00:39:12,120
Speaker 1: and roll soundtrack called Another Quiet Night in Modesto classic

683
00:39:12,880 --> 00:39:17,120
Speaker 1: love it because Coppola had challenged George to write a

684
00:39:17,160 --> 00:39:19,960
Speaker 1: more commercially viable script while they worked on th X,

685
00:39:20,040 --> 00:39:22,080
Speaker 1: which I love. I love the idea of them making

686
00:39:22,120 --> 00:39:25,640
Speaker 1: this like Robot story, and Coppola is like watching it

687
00:39:25,640 --> 00:39:29,960
Speaker 1: going yeah, hey, George, have you thought about writing something

688
00:39:30,000 --> 00:39:34,160
Speaker 1: maybe you could sell for money because we kind of

689
00:39:34,200 --> 00:39:37,239
Speaker 1: need that, right right. Also, I like that Marcia has

690
00:39:37,280 --> 00:39:39,839
Speaker 1: been telling George this whole time to write a more

691
00:39:39,880 --> 00:39:43,320
Speaker 1: commercially viable script and it's nothing, but Francis Ford Coppola

692
00:39:43,440 --> 00:39:45,960
Speaker 1: comes in and says it and it's a good idea.

693
00:39:47,520 --> 00:39:50,400
Speaker 1: So yeah. George had conceived the idea for this movie

694
00:39:50,440 --> 00:39:53,960
Speaker 1: centered on his own experiences growing up in Modesto, but

695
00:39:54,120 --> 00:39:58,640
Speaker 1: because the music licensing for popular songs was so expensive expensive,

696
00:39:58,680 --> 00:40:01,919
Speaker 1: predibly expensive, and a up forty soundtrack had never really

697
00:40:01,960 --> 00:40:05,640
Speaker 1: been tried before this, studios would not give him any

698
00:40:05,680 --> 00:40:08,400
Speaker 1: financing like he He kept asking and they were like,

699
00:40:08,480 --> 00:40:10,880
Speaker 1: we aren't giving you money for this. Sounds crazy. So

700
00:40:10,960 --> 00:40:14,360
Speaker 1: he borrowed money from basically everybody, his dad, like everyone

701
00:40:14,400 --> 00:40:17,440
Speaker 1: he knew, and he got a fifteen page treatment together

702
00:40:17,640 --> 00:40:21,120
Speaker 1: and he changed the title to American Graffiti and it

703
00:40:21,160 --> 00:40:24,040
Speaker 1: took him nearly two years to get Universal Studios to

704
00:40:24,080 --> 00:40:27,000
Speaker 1: agree to take it on. Coppola came on board to produce,

705
00:40:27,080 --> 00:40:30,240
Speaker 1: which helped, but they were given a really low budget,

706
00:40:30,760 --> 00:40:35,160
Speaker 1: so the shoot was really grueling and stressful. Marcia was

707
00:40:35,160 --> 00:40:38,480
Speaker 1: getting her first feature editor chance with this movie because

708
00:40:38,520 --> 00:40:41,160
Speaker 1: she was going to actually be the main editor, not

709
00:40:41,239 --> 00:40:45,719
Speaker 1: the assistant editor this time. But the Universal executive insisted

710
00:40:45,800 --> 00:40:49,680
Speaker 1: they bring in Verna Fields as well. As Kaminski says quote,

711
00:40:49,719 --> 00:40:52,319
Speaker 1: he feared that George was just using Marcia as an

712
00:40:52,320 --> 00:40:56,440
Speaker 1: excuse to cut the movie himself. And at first George

713
00:40:56,480 --> 00:40:59,520
Speaker 1: did sit in the editing room cutting with Marcia and Verna,

714
00:41:00,080 --> 00:41:02,400
Speaker 1: but once the first rough cut was assembled it was

715
00:41:02,560 --> 00:41:06,759
Speaker 1: over an hour too long. Then Verna left the projects

716
00:41:06,760 --> 00:41:09,839
Speaker 1: because she had another job lined up Speculation Station. Verna

717
00:41:10,000 --> 00:41:13,120
Speaker 1: was like, oh, it's an hour too long. Huh, well, um,

718
00:41:13,160 --> 00:41:18,399
Speaker 1: you know I've got this other movie I gotta go do. Actually, hey,

719
00:41:18,440 --> 00:41:22,160
Speaker 1: you need me on that, I'll be right there. No,

720
00:41:22,280 --> 00:41:25,360
Speaker 1: she really did. And then George turned his attention to

721
00:41:25,400 --> 00:41:27,680
Speaker 1: the music, because again when talking about a time when

722
00:41:27,680 --> 00:41:31,080
Speaker 1: everything was super physical, so cutting a piece of music

723
00:41:31,200 --> 00:41:35,080
Speaker 1: to a scene specifically was like an insane, a whole

724
00:41:35,120 --> 00:41:37,399
Speaker 1: insane job on its own. So he was like, let

725
00:41:37,400 --> 00:41:40,319
Speaker 1: me concentrate on that. So Marcia is the one who

726
00:41:40,320 --> 00:41:43,960
Speaker 1: cut the movie down by over an hour. That makes

727
00:41:44,000 --> 00:41:46,000
Speaker 1: me think of this old Patton Oswalt joke where he

728
00:41:46,000 --> 00:41:48,600
Speaker 1: talks about how all these all these big directors at

729
00:41:48,600 --> 00:41:51,640
Speaker 1: the time had female editors, and he was like, it

730
00:41:51,680 --> 00:41:53,880
Speaker 1: was like these male filmmakers came in and just started

731
00:41:53,920 --> 00:41:56,960
Speaker 1: spraying their film all over the room, like, Yeah, here's

732
00:41:56,960 --> 00:41:59,880
Speaker 1: all this movie I'm making. Here's all this film I shot.

733
00:42:00,000 --> 00:42:03,799
Speaker 1: It's all over the walls. And then the woman comes

734
00:42:03,800 --> 00:42:07,239
Speaker 1: in and says, all right, boys, you head out. I'm

735
00:42:07,239 --> 00:42:09,759
Speaker 1: going to clean up this mess and turns it into

736
00:42:09,840 --> 00:42:12,600
Speaker 1: a movie. And you went on and on and on.

737
00:42:14,000 --> 00:42:20,120
Speaker 1: Apologies to Patton Oswalt first retelling that joke poorly. At first,

738
00:42:20,320 --> 00:42:23,080
Speaker 1: Marcia did everything George told her to do, but the

739
00:42:23,120 --> 00:42:26,319
Speaker 1: final result was crap because the movie just couldn't be

740
00:42:26,360 --> 00:42:29,280
Speaker 1: cut down in a traditional way by like just removing

741
00:42:29,320 --> 00:42:31,640
Speaker 1: a scene or a part of a scene. All these

742
00:42:31,680 --> 00:42:34,719
Speaker 1: interlocking stories in the movie kind of threw everything off.

743
00:42:35,560 --> 00:42:38,640
Speaker 1: So George said, quote, you literally can have a film

744
00:42:38,680 --> 00:42:40,960
Speaker 1: that works at one point, and in one week you

745
00:42:41,000 --> 00:42:43,080
Speaker 1: can cut it to a point where it absolutely does

746
00:42:43,120 --> 00:42:46,960
Speaker 1: not work at all. So he fully immersed himself in

747
00:42:47,040 --> 00:42:50,000
Speaker 1: the sound design and Marcia just took over the movie editing.

748
00:42:50,239 --> 00:42:53,359
Speaker 1: She cut it exactly how she wanted it, and the

749
00:42:53,440 --> 00:42:58,560
Speaker 1: studio hated it. But when American Graffiti was released, It

750
00:42:58,719 --> 00:43:03,240
Speaker 1: got rave reviews, and it grossed over a hundred million

751
00:43:03,280 --> 00:43:06,719
Speaker 1: dollars at the box office. It was the biggest success

752
00:43:06,760 --> 00:43:11,120
Speaker 1: of this new Hollywood crowd since Easy Rider. George and

753
00:43:11,160 --> 00:43:16,600
Speaker 1: Marcia were overnight millionaires, and George was twenty nine at

754
00:43:16,600 --> 00:43:20,120
Speaker 1: the time, fulfilling his promise to become a millionaire before

755
00:43:20,160 --> 00:43:25,000
Speaker 1: he was thirty. Kaminsky writes, quote one of George Lucas's

756
00:43:25,000 --> 00:43:29,439
Speaker 1: best films, Graffiti's entire existence might not have been were

757
00:43:29,440 --> 00:43:33,279
Speaker 1: it not for Marcia's influence of expanding his tastes. I

758
00:43:33,440 --> 00:43:36,480
Speaker 1: made it for you, he once told her. It was

759
00:43:36,520 --> 00:43:43,680
Speaker 1: nominated for four Oscars, including Best Editing. Damn right, but

760
00:43:43,920 --> 00:43:47,319
Speaker 1: people thought, just as universal had, that Marcia was only

761
00:43:47,320 --> 00:43:51,040
Speaker 1: on the project because of her husband. Verna Fields was

762
00:43:51,080 --> 00:43:53,800
Speaker 1: given the lion's share of the credit for the great editing,

763
00:43:53,920 --> 00:43:56,600
Speaker 1: which even she said, y'all were giving me too much credit.

764
00:43:57,000 --> 00:44:00,560
Speaker 1: I left the project like halfway through. Um. But fortunately

765
00:44:00,760 --> 00:44:04,240
Speaker 1: Marcia was about to get out from behind her husband's shadow.

766
00:44:04,480 --> 00:44:15,840
Speaker 1: And we will find out how right after this. Welcome

767
00:44:15,920 --> 00:44:20,040
Speaker 1: back to the Docks. I mean the show. Everyone, Are

768
00:44:20,080 --> 00:44:23,080
Speaker 1: we the dark side? I don't know. Look if you're

769
00:44:23,080 --> 00:44:26,400
Speaker 1: going to imitate. It's a recognizable voice from Star Wars.

770
00:44:26,640 --> 00:44:30,200
Speaker 1: You've got Darth Vader, Yoda or maybe Palpatine. Everybody else

771
00:44:30,200 --> 00:44:32,640
Speaker 1: just sounds to the show. We welcome you back. How

772
00:44:32,680 --> 00:44:36,000
Speaker 1: would you do that? And Yoda to the show. We

773
00:44:36,120 --> 00:44:40,359
Speaker 1: welcome you back to the show. We welcome you That's it.

774
00:44:41,239 --> 00:44:44,120
Speaker 1: Now we're going to get sued here. It is. Oh,

775
00:44:44,160 --> 00:44:45,879
Speaker 1: I think I just started a knock on the door

776
00:44:45,960 --> 00:44:49,680
Speaker 1: and a season desist. Thank you very much. We will

777
00:44:49,680 --> 00:44:55,040
Speaker 1: not we will do neither, neither cease nor desist. Disney.

778
00:44:55,280 --> 00:44:58,160
Speaker 1: So yeah. Michael Ritchie had been super impressed with Marcia

779
00:44:58,239 --> 00:45:01,480
Speaker 1: when she worked on The Candidate. So when his friend

780
00:45:01,680 --> 00:45:04,680
Speaker 1: Martin Scorsese was on the lookout for an editor for

781
00:45:04,840 --> 00:45:08,800
Speaker 1: his first feature, a feminist road movie called Alice Doesn't

782
00:45:08,800 --> 00:45:14,400
Speaker 1: Live Here Anymore, Michael recommended Marcia. Associate producer Sandy Weintroup

783
00:45:14,520 --> 00:45:17,120
Speaker 1: said quote, we knew her, we liked her. She was

784
00:45:17,160 --> 00:45:22,160
Speaker 1: in the Union, which I mean, that's that's all it takes,

785
00:45:22,160 --> 00:45:24,720
Speaker 1: all right, Right there just sums up the movie industry,

786
00:45:24,960 --> 00:45:26,680
Speaker 1: like do I know you, Yester? I like you, Yes,

787
00:45:26,920 --> 00:45:30,640
Speaker 1: in the Union. Fantastic you're on. Plus, Scorsese was looking

788
00:45:30,680 --> 00:45:33,359
Speaker 1: to crew this movie with women so that it would

789
00:45:33,360 --> 00:45:38,160
Speaker 1: be more emotionally honest. So Marcia was perfect in every way.

790
00:45:38,360 --> 00:45:40,520
Speaker 1: I'll add a friend of the show, Martin Scorsese, right,

791
00:45:40,560 --> 00:45:44,480
Speaker 1: friend of the show, marn Scorsese and his eyebrows, just

792
00:45:44,520 --> 00:45:46,680
Speaker 1: one of them, just one, just the left eyebrow, the

793
00:45:46,760 --> 00:45:48,960
Speaker 1: right eyebrow. It's kind of a dick. It was not

794
00:45:49,160 --> 00:45:52,080
Speaker 1: very friendly, very judgment. Last time we spoke, just definitely

795
00:45:52,120 --> 00:45:54,919
Speaker 1: gave the attitude like, Hey, I don't want to Oh

796
00:45:54,960 --> 00:45:57,480
Speaker 1: my god, you guys, get out of here. Come up.

797
00:45:57,480 --> 00:46:02,120
Speaker 1: Here's face. I can first look at all the best pictures.

798
00:46:02,640 --> 00:46:05,440
Speaker 1: I guess I guess they do. Yeah, so you gets

799
00:46:05,560 --> 00:46:09,000
Speaker 1: you gets get out of here. You're nothing, nothing, You're trash.

800
00:46:09,080 --> 00:46:11,279
Speaker 1: The left eyebrows, like wait, wait, wait, were you going

801
00:46:11,320 --> 00:46:13,960
Speaker 1: to be so mean? These guys are just trying to

802
00:46:14,000 --> 00:46:16,399
Speaker 1: be nice. They're just trying to be friends. We got

803
00:46:16,480 --> 00:46:18,480
Speaker 1: room for friends in our life, don't we. Don't you remember?

804
00:46:18,600 --> 00:46:20,880
Speaker 1: Don't you remember the time when Marty was nothing? We

805
00:46:20,920 --> 00:46:24,000
Speaker 1: were nothing. Nobody's face. I was never nothing. I was

806
00:46:24,040 --> 00:46:29,680
Speaker 1: always destined for greatness. Martin's boy, Casey's right eyebrow. Do

807
00:46:29,760 --> 00:46:33,000
Speaker 1: you know who I am? That's what he says it restaurants. Yeah,

808
00:46:33,160 --> 00:46:35,239
Speaker 1: I love that. I love that one sounds tall and

809
00:46:35,280 --> 00:46:38,000
Speaker 1: thin and one sounds short and stout. Yeah, well a

810
00:46:38,040 --> 00:46:40,520
Speaker 1: lot of people. Let of people project an image unto us.

811
00:46:41,360 --> 00:46:46,440
Speaker 1: Voice has never seen us yet. Thanks for stopping by,

812
00:46:46,480 --> 00:46:52,040
Speaker 1: Martus Scorsese, friends of the show. So yeah, they offered

813
00:46:52,080 --> 00:46:54,920
Speaker 1: this job to Marcia. The Eyebrows offered the job to Marcia,

814
00:46:55,520 --> 00:46:59,080
Speaker 1: and Marcia thought a little bit differently about this. She said, quote,

815
00:46:59,160 --> 00:47:01,320
Speaker 1: Marty liked to edit, and I felt like I was

816
00:47:01,360 --> 00:47:04,040
Speaker 1: getting hired to cut a movie, so I wouldn't cut it,

817
00:47:04,280 --> 00:47:06,800
Speaker 1: so I'd let the director cut it. But I thought,

818
00:47:06,840 --> 00:47:08,960
Speaker 1: if I'm ever going to get any real credit, I'm

819
00:47:09,000 --> 00:47:11,840
Speaker 1: going to have to cut a movie for somebody besides George,

820
00:47:11,960 --> 00:47:14,279
Speaker 1: because if I'm cutting for my husband, they're gonna think

821
00:47:14,560 --> 00:47:17,600
Speaker 1: George lets his wife play around in the editing room.

822
00:47:17,640 --> 00:47:21,000
Speaker 1: And George agreed with that. And that's something I mean,

823
00:47:21,200 --> 00:47:23,840
Speaker 1: She'll run into so many times working with George, is

824
00:47:23,880 --> 00:47:26,600
Speaker 1: that everybody's like, oh, George probably edited that and just

825
00:47:26,640 --> 00:47:28,759
Speaker 1: put Marsha's name on it so people wouldn't know that

826
00:47:28,800 --> 00:47:33,600
Speaker 1: he did it or something. Um. But fortunately Scorsese liked

827
00:47:33,600 --> 00:47:35,799
Speaker 1: her He liked her work, and he let her cut

828
00:47:35,800 --> 00:47:38,719
Speaker 1: this movie. He did not cut it himself. She edited it,

829
00:47:38,760 --> 00:47:41,600
Speaker 1: and he hired her again to edit his next movie,

830
00:47:41,920 --> 00:47:45,239
Speaker 1: Taxi Driver, which went on to be a surprising commercial

831
00:47:45,320 --> 00:47:47,799
Speaker 1: hit and for which she got a bath de nomination

832
00:47:47,880 --> 00:47:52,760
Speaker 1: for editing. John Milius said quote, she was a stunning editor,

833
00:47:53,040 --> 00:47:56,200
Speaker 1: maybe the best editor I've ever known. In many ways.

834
00:47:56,200 --> 00:47:57,920
Speaker 1: She's come in and take a look at the films

835
00:47:57,960 --> 00:48:00,640
Speaker 1: we'd made and she'd say, take this and move it

836
00:48:00,680 --> 00:48:03,200
Speaker 1: over here. And it worked, and it did what I

837
00:48:03,239 --> 00:48:06,000
Speaker 1: wanted the film to do, and I would have never

838
00:48:06,080 --> 00:48:08,680
Speaker 1: thought of it. And she did that to everybody's films,

839
00:48:08,680 --> 00:48:13,040
Speaker 1: to George's, to Steven Spielberg's, to mine, and to Scorsese

840
00:48:13,239 --> 00:48:18,080
Speaker 1: in particular. And I love that totally. Thinking about her

841
00:48:18,120 --> 00:48:20,800
Speaker 1: coming in just like I don't know if she ever smoked,

842
00:48:20,840 --> 00:48:22,719
Speaker 1: but I have her with a cigarette in her hand,

843
00:48:23,239 --> 00:48:31,799
Speaker 1: just watching pably, just watching in total silence. Okay, that

844
00:48:31,840 --> 00:48:33,640
Speaker 1: needs to go there, that needs to go there. That's

845
00:48:33,640 --> 00:48:35,680
Speaker 1: your first shot, that's your last shot. And they were like,

846
00:48:35,920 --> 00:48:41,760
Speaker 1: Jesus Christ, how did you do that? She's pretty good. Boss.

847
00:48:43,280 --> 00:48:46,919
Speaker 1: They call Marty boss by the way, his eyebrows. Well,

848
00:48:46,920 --> 00:48:49,080
Speaker 1: of course they do. He's the one who puts him

849
00:48:49,120 --> 00:48:54,200
Speaker 1: up and down. We work for him. But all this

850
00:48:54,320 --> 00:48:57,520
Speaker 1: Scorsese work seems to have made George a little bitter.

851
00:48:58,080 --> 00:49:01,120
Speaker 1: He would sometimes make jokes about how everyone thought he

852
00:49:01,200 --> 00:49:04,319
Speaker 1: should be doing an important movie like Taxi Driver, but

853
00:49:04,480 --> 00:49:06,920
Speaker 1: he wanted to make a B movie for kids instead.

854
00:49:07,800 --> 00:49:10,720
Speaker 1: But that's because he was working on the second draft

855
00:49:11,160 --> 00:49:14,560
Speaker 1: of his space adventure movie titled Say It with Me

856
00:49:14,600 --> 00:49:19,560
Speaker 1: Now the Star Wars. Yeah, you didn't say it, did you.

857
00:49:19,560 --> 00:49:22,839
Speaker 1: You weren't expecting that little article at the front. This

858
00:49:22,960 --> 00:49:26,240
Speaker 1: was his homage to old Samurai movies and action serials

859
00:49:26,280 --> 00:49:29,560
Speaker 1: like Flash Gordon. But even though Marcia didn't really vibe

860
00:49:29,600 --> 00:49:32,840
Speaker 1: with the script, she was still George's biggest fan. Dale

861
00:49:32,880 --> 00:49:37,600
Speaker 1: Pollock wrote in Skywalking Quote, Marcia's faith never wavered. She

862
00:49:37,719 --> 00:49:41,440
Speaker 1: was at once George's most severe critic and most ardent supporter.

863
00:49:41,840 --> 00:49:44,360
Speaker 1: She wasn't afraid to say she didn't understand something in

864
00:49:44,400 --> 00:49:47,239
Speaker 1: Star Wars, or to point out the sections that board her.

865
00:49:47,760 --> 00:49:50,880
Speaker 1: Only Marcia is brave enough to take Lucas on in

866
00:49:50,960 --> 00:49:55,680
Speaker 1: a head to head dispute and occasionally emerged victorious. Thank god,

867
00:49:56,239 --> 00:49:58,440
Speaker 1: because I'm sure since she was an editor, she's the

868
00:49:58,440 --> 00:49:59,879
Speaker 1: one who was like, you know what, you don't need

869
00:50:00,560 --> 00:50:03,880
Speaker 1: the Okay, it's freaking Star Wars. Let's just keep it

870
00:50:03,920 --> 00:50:08,000
Speaker 1: that way. Why we got this extra thing here? And yeah,

871
00:50:08,040 --> 00:50:10,480
Speaker 1: George really needed that, because even he admitted he was

872
00:50:10,560 --> 00:50:14,040
Speaker 1: not a great writer. He talked about like it's just

873
00:50:14,080 --> 00:50:16,040
Speaker 1: so hard for me. I sit there and just bleed

874
00:50:16,080 --> 00:50:18,719
Speaker 1: onto the page and it's terrible. You know, He's he's

875
00:50:18,719 --> 00:50:20,560
Speaker 1: the kind of guy who has a really good story

876
00:50:20,640 --> 00:50:22,520
Speaker 1: in his mind, but when he actually has to get

877
00:50:22,600 --> 00:50:24,839
Speaker 1: characters from one place to another, I think that's where

878
00:50:24,840 --> 00:50:26,839
Speaker 1: he kind of breaks down and can't figure it out.

879
00:50:27,800 --> 00:50:31,520
Speaker 1: So there heated disputes over creative choices were really necessary

880
00:50:31,600 --> 00:50:35,320
Speaker 1: to get a good script onto the page, like, for example,

881
00:50:35,440 --> 00:50:37,640
Speaker 1: when he struggled with what to do with the character

882
00:50:37,680 --> 00:50:41,440
Speaker 1: of Ben Kenobi, she suggested that he get killed off.

883
00:50:42,120 --> 00:50:44,319
Speaker 1: That was She's like, kill off. What do I do

884
00:50:44,400 --> 00:50:51,600
Speaker 1: with this characters? Yeah, She's like, I got nothing for him,

885
00:50:51,640 --> 00:50:54,080
Speaker 1: and she's like, well kill him. I mean that will

886
00:50:54,120 --> 00:50:55,920
Speaker 1: do something for a lot of characters because they care

887
00:50:55,920 --> 00:50:57,839
Speaker 1: about him, and I'll do something for the audience because

888
00:50:57,840 --> 00:51:00,759
Speaker 1: they care about him. Spoiler alert for night seventy seven

889
00:51:00,960 --> 00:51:06,000
Speaker 1: Star Wars if you haven't seen it, sorry. She continually

890
00:51:06,000 --> 00:51:09,160
Speaker 1: reminded him that he needed to have emotional through lines

891
00:51:09,320 --> 00:51:13,040
Speaker 1: and emotional resolutions. It wasn't just about like plot points

892
00:51:13,040 --> 00:51:17,120
Speaker 1: and action sequence. These are people going through something. Sounds

893
00:51:17,160 --> 00:51:21,919
Speaker 1: like some other current filmmakers could use Marcia in the room. Yeah, yeah,

894
00:51:22,200 --> 00:51:25,840
Speaker 1: I agree, everyone needs a Marcia. But even with all

895
00:51:25,880 --> 00:51:28,319
Speaker 1: of the improvements to the script that she and a

896
00:51:28,320 --> 00:51:31,160
Speaker 1: lot of his other friends and writing partners and creative

897
00:51:31,400 --> 00:51:36,400
Speaker 1: collaborators and stuff helped him get to only one studio

898
00:51:36,440 --> 00:51:40,920
Speaker 1: executive greenlit the project, Alan lad at twentieth Century Fox.

899
00:51:41,360 --> 00:51:44,120
Speaker 1: So if we've really got someone to thank for their

900
00:51:44,160 --> 00:51:47,640
Speaker 1: being a brand new Star Wars show every week right now, Alan,

901
00:51:49,440 --> 00:51:52,360
Speaker 1: Which is amazing too, because I mean he was already

902
00:51:52,360 --> 00:51:55,759
Speaker 1: working in the Universal, so Universal already must have you know,

903
00:51:55,800 --> 00:51:59,040
Speaker 1: shot it down first, and then he's shopping it around

904
00:51:59,160 --> 00:52:02,279
Speaker 1: and there's one guy reading it going, yeah, I'm to

905
00:52:03,040 --> 00:52:07,759
Speaker 1: space opera, baby, that's the future. I'm seeing midnight releases.

906
00:52:07,920 --> 00:52:10,720
Speaker 1: People lined up outside the theater for weeks to get tickets.

907
00:52:10,719 --> 00:52:13,560
Speaker 1: They're probably gonna make costumes out of this stuff. I'll

908
00:52:13,600 --> 00:52:15,880
Speaker 1: walk around in it. I'm flashing forward to the future.

909
00:52:15,920 --> 00:52:20,799
Speaker 1: I'm seeing a baby binks binks, something binks like a

910
00:52:20,960 --> 00:52:25,600
Speaker 1: jar jar jar binks. Yes, I see it, it's happening.

911
00:52:27,160 --> 00:52:32,200
Speaker 1: Oh god, Alan, Lad did you do that? Did you know? Alan?

912
00:52:32,280 --> 00:52:34,160
Speaker 1: Do you know? Alan? You didn't tell us? How much?

913
00:52:34,200 --> 00:52:38,160
Speaker 1: Did you know? Alan? But thanks to George's success from

914
00:52:38,239 --> 00:52:41,239
Speaker 1: American Graffiti, he was given a much larger budget to

915
00:52:41,440 --> 00:52:44,080
Speaker 1: shoot this Star Wars movie. Even though it's still considered

916
00:52:44,080 --> 00:52:45,880
Speaker 1: a low budget movie at the time, it was bigger

917
00:52:45,880 --> 00:52:50,160
Speaker 1: than he'd ever gotten before. So it was shot overseas

918
00:52:50,200 --> 00:52:53,239
Speaker 1: in Tunisia and on giant sound stages in the UK,

919
00:52:53,760 --> 00:52:55,719
Speaker 1: And like, on one hand, this is the dream, right,

920
00:52:55,760 --> 00:52:57,279
Speaker 1: this is what you're trying to get to the whole

921
00:52:57,320 --> 00:53:00,960
Speaker 1: time you're making little short films and of But on

922
00:53:01,000 --> 00:53:03,799
Speaker 1: the other it was kind of a misery for George

923
00:53:03,840 --> 00:53:06,880
Speaker 1: because he did have such a hard time connecting to strangers,

924
00:53:07,520 --> 00:53:09,959
Speaker 1: so flying all over the world, meeting new people, having

925
00:53:09,960 --> 00:53:13,760
Speaker 1: to work with new people like really difficult for him.

926
00:53:13,840 --> 00:53:17,200
Speaker 1: Um the production was, of course very complicated. It's funny

927
00:53:17,239 --> 00:53:21,799
Speaker 1: too because they said the production for THCHX they had

928
00:53:21,800 --> 00:53:24,320
Speaker 1: a very low budget, so it was really grueling and stressful,

929
00:53:24,600 --> 00:53:26,399
Speaker 1: and then he had a higher budget for this, so

930
00:53:26,480 --> 00:53:29,040
Speaker 1: it was very grueling and stressful. And I'm like, that's

931
00:53:29,080 --> 00:53:31,160
Speaker 1: so true. It doesn't really matter how much money you have.

932
00:53:31,280 --> 00:53:34,920
Speaker 1: It comes with different challenges well, because you're either trying

933
00:53:35,000 --> 00:53:38,640
Speaker 1: to make what you love with resources that are more

934
00:53:38,719 --> 00:53:43,279
Speaker 1: limited than your imagination, or you have the resources, but

935
00:53:43,400 --> 00:53:45,680
Speaker 1: now there's all these other people who care about how

936
00:53:45,719 --> 00:53:48,680
Speaker 1: you're using those resources, so they're butting in and changing

937
00:53:48,719 --> 00:53:52,080
Speaker 1: things well, and the expectations are so much higher because

938
00:53:52,080 --> 00:53:55,479
Speaker 1: they've sunk so much more of an investment. So yeah,

939
00:53:55,520 --> 00:53:58,680
Speaker 1: he was exhausted during this production and he really missed

940
00:53:58,719 --> 00:54:02,759
Speaker 1: his wife. She did join him in Tunisia, but in

941
00:54:02,800 --> 00:54:05,040
Speaker 1: the UK he had to make do with writing her

942
00:54:05,160 --> 00:54:08,480
Speaker 1: tons of letters and he taped her photo into his briefcase,

943
00:54:08,600 --> 00:54:11,200
Speaker 1: which is so sweet. He would like open his like

944
00:54:11,200 --> 00:54:18,280
Speaker 1: hey honey. When he got home. The incredibly difficult production

945
00:54:18,360 --> 00:54:21,760
Speaker 1: even sent him to the hospital with stress induced chest pains,

946
00:54:22,760 --> 00:54:25,560
Speaker 1: but it only got worse from there. He saw the

947
00:54:25,600 --> 00:54:28,960
Speaker 1: first cut from the original editor and he was horrified

948
00:54:29,040 --> 00:54:32,360
Speaker 1: with it. It had no energy and it was just flat.

949
00:54:32,840 --> 00:54:35,960
Speaker 1: So he fired that guy and he hired Marcia instead,

950
00:54:36,960 --> 00:54:40,160
Speaker 1: but dumping an entire cut of a movie again in

951
00:54:40,200 --> 00:54:44,200
Speaker 1: the world of physical film, meant that you had to uncut,

952
00:54:44,320 --> 00:54:48,440
Speaker 1: physically uncut those reels and tape everything back together in

953
00:54:48,480 --> 00:54:51,520
Speaker 1: their original dailies or like the raw footage that you

954
00:54:51,600 --> 00:54:55,240
Speaker 1: shot on the day. Insane. It was truly an enormous task,

955
00:54:55,320 --> 00:54:58,120
Speaker 1: and of course they were on a deadline, so Marcia

956
00:54:58,160 --> 00:55:01,279
Speaker 1: got to work on the final battles scene first so

957
00:55:01,360 --> 00:55:03,640
Speaker 1: that the special effects could get started on that too,

958
00:55:04,160 --> 00:55:07,480
Speaker 1: and they hired a second editor, Richard Chow, who started

959
00:55:07,520 --> 00:55:10,120
Speaker 1: working at the beginning of the film. I love it.

960
00:55:10,480 --> 00:55:13,759
Speaker 1: I just sort of imagine Richard at the beginning and

961
00:55:13,920 --> 00:55:15,600
Speaker 1: Marcia at the end, and they kind of meet in

962
00:55:15,640 --> 00:55:18,360
Speaker 1: the middle, like lady in the tramp, Like she's a

963
00:55:18,400 --> 00:55:19,960
Speaker 1: one side of the room with a long piece of

964
00:55:20,000 --> 00:55:22,440
Speaker 1: film that she's going through. He's on the other side

965
00:55:22,480 --> 00:55:27,879
Speaker 1: going through, and they just get closer and closer, and oh,

966
00:55:27,880 --> 00:55:31,840
Speaker 1: I didn't see there. He So George also cut some

967
00:55:31,920 --> 00:55:35,280
Speaker 1: sequences himself, and Paul Hirsch was hired as a third editor.

968
00:55:35,400 --> 00:55:38,960
Speaker 1: There was just so much to do, but one of

969
00:55:38,960 --> 00:55:42,760
Speaker 1: the most complicated sequences to get right was the final

970
00:55:42,800 --> 00:55:45,360
Speaker 1: battle scene where Luke took the trench run down to

971
00:55:45,400 --> 00:55:47,800
Speaker 1: blow up the Death Star. You all know the scene.

972
00:55:48,320 --> 00:55:50,880
Speaker 1: Watch it? You got one on your tail? Uh, I

973
00:55:50,920 --> 00:55:54,200
Speaker 1: can't shake him. Darth Vader flies in behind Luke and

974
00:55:54,239 --> 00:55:56,719
Speaker 1: now there's three tai fighters coming in behind Luke and

975
00:55:56,719 --> 00:55:59,239
Speaker 1: he's like, you you know, ben Kenobi's telling him, used

976
00:55:59,280 --> 00:56:02,640
Speaker 1: the Force needs tears off his computer. I don't need

977
00:56:02,680 --> 00:56:04,839
Speaker 1: to describe the end of Star Wars to you, say?

978
00:56:05,040 --> 00:56:07,400
Speaker 1: Can I just say? Though? I did watch this scene

979
00:56:07,560 --> 00:56:10,920
Speaker 1: while preparing this episode, and I was kind of laughing

980
00:56:10,960 --> 00:56:14,680
Speaker 1: because at one point right Luke's in the front. They're

981
00:56:14,719 --> 00:56:17,440
Speaker 1: trying to shoot the little space and he's got a

982
00:56:17,440 --> 00:56:20,480
Speaker 1: couple of his rebels behind him, and then there's the

983
00:56:20,640 --> 00:56:26,359
Speaker 1: X the X Wing tie fighters and and they keep going,

984
00:56:26,560 --> 00:56:28,480
Speaker 1: oh no, I can't hold them. And then they get

985
00:56:28,480 --> 00:56:30,520
Speaker 1: blown up, and I'm like, how are you holding them?

986
00:56:30,560 --> 00:56:33,200
Speaker 1: If they're behind you? You're in a hallway. You need

987
00:56:33,239 --> 00:56:35,319
Speaker 1: to be you need to be behind them shooting them.

988
00:56:36,120 --> 00:56:38,480
Speaker 1: How are you supposed to do? Tell me? Do you

989
00:56:38,560 --> 00:56:40,640
Speaker 1: tell me how the X wings work? I don't know.

990
00:56:40,800 --> 00:56:42,359
Speaker 1: I just thought it was so funny that they were

991
00:56:42,400 --> 00:56:44,680
Speaker 1: just literally flying in front like I can do nothing.

992
00:56:44,719 --> 00:56:46,920
Speaker 1: But I'm also not well. I think for part of it.

993
00:56:46,960 --> 00:56:48,120
Speaker 1: I don't know if I haven't seen it in a

994
00:56:48,200 --> 00:56:50,279
Speaker 1: few months, but I feel like for part of it,

995
00:56:50,320 --> 00:56:54,960
Speaker 1: they were relying on other people to take out those

996
00:56:55,000 --> 00:56:57,680
Speaker 1: tie fighters while they were trying to because they were like,

997
00:56:57,719 --> 00:56:59,440
Speaker 1: I can't focus on the guys behind me. I gotta

998
00:56:59,520 --> 00:57:01,960
Speaker 1: I gotta fire right at the exact right moment to

999
00:57:02,040 --> 00:57:04,839
Speaker 1: get this. Well, maybe that was it. Maybe we're gonna

1000
00:57:05,040 --> 00:57:07,880
Speaker 1: somebody somebody's gonna tell us. I can tell you that

1001
00:57:08,040 --> 00:57:13,360
Speaker 1: very worried about somebody's about to send us. Somebody's halfway

1002
00:57:13,360 --> 00:57:16,520
Speaker 1: through a very long email already, just like corrections corner

1003
00:57:17,440 --> 00:57:21,680
Speaker 1: one A, here's our six part series correcting our Star

1004
00:57:21,720 --> 00:57:29,200
Speaker 1: Wars episode. You thought Max and Carlotta was long, But anyway,

1005
00:57:29,240 --> 00:57:32,080
Speaker 1: So Marcia is doing this scene with Luke's trench run

1006
00:57:32,160 --> 00:57:36,680
Speaker 1: to blow up the Death Star, and Kaminski wrote that quote.

1007
00:57:36,960 --> 00:57:40,080
Speaker 1: Marcia had reordered the shots almost from the ground up,

1008
00:57:40,280 --> 00:57:43,960
Speaker 1: trying to build tension lacking in the original scripted sequence.

1009
00:57:44,360 --> 00:57:48,120
Speaker 1: She warned George, if the audience doesn't cheer when Han

1010
00:57:48,240 --> 00:57:50,760
Speaker 1: Solo comes in at the last second in the Millennium

1011
00:57:50,800 --> 00:57:53,880
Speaker 1: Falcon to help Luke when he's being chased by Darth Vader,

1012
00:57:57,000 --> 00:57:59,760
Speaker 1: the whole picture doesn't work, and that's so true. That

1013
00:57:59,880 --> 00:58:02,840
Speaker 1: is the ultimate stand up and cheer moment because it

1014
00:58:02,880 --> 00:58:06,520
Speaker 1: ties so much together. I mean, you've got beloved character

1015
00:58:06,600 --> 00:58:09,080
Speaker 1: Hans Solo does what you wanted him to do. He

1016
00:58:09,160 --> 00:58:11,760
Speaker 1: does the right thing, and he comes back. So that's exciting.

1017
00:58:12,120 --> 00:58:14,720
Speaker 1: You've got all the tension of like, oh my god,

1018
00:58:14,960 --> 00:58:16,920
Speaker 1: Luke's about to blow up the Death Star and then

1019
00:58:16,920 --> 00:58:19,720
Speaker 1: he gets it in the last second. That's awesome. You've

1020
00:58:19,720 --> 00:58:22,320
Speaker 1: got him being chased down by Darth Vader, like the

1021
00:58:22,400 --> 00:58:24,880
Speaker 1: scariest villain of all time and he's almost gonna die

1022
00:58:24,960 --> 00:58:28,920
Speaker 1: and then boom, something happened. It's so much at one moment, Well,

1023
00:58:28,960 --> 00:58:32,000
Speaker 1: Annie uses the Force instead of it. He turned off

1024
00:58:32,000 --> 00:58:36,919
Speaker 1: his tracking computer everything. Yeah, I'm fine, everything's fine, which

1025
00:58:37,000 --> 00:58:39,280
Speaker 1: is not an acceptable answer. No, right, like that, the

1026
00:58:39,320 --> 00:58:42,480
Speaker 1: general will be like put it back on. No, no,

1027
00:58:42,520 --> 00:58:45,840
Speaker 1: I'm using my magic. What can you imagine? I'd be like, well,

1028
00:58:45,880 --> 00:58:49,680
Speaker 1: we're all dead. Well anyway, but no. It's so cool

1029
00:58:49,760 --> 00:58:52,840
Speaker 1: that Marcia piece that together because that moment it really

1030
00:58:52,840 --> 00:58:55,080
Speaker 1: does make Star Wars work right. And I like that

1031
00:58:55,120 --> 00:58:58,360
Speaker 1: story because first of all, it was Marcia explaining we

1032
00:58:58,400 --> 00:59:02,560
Speaker 1: need a catharsis, this is an exciting thing, and we

1033
00:59:02,640 --> 00:59:06,280
Speaker 1: want people to have an emotional reaction to all of

1034
00:59:06,280 --> 00:59:08,240
Speaker 1: this stuff, not just like that was a really cool

1035
00:59:08,280 --> 00:59:11,240
Speaker 1: battle sequence. That has to feel good that they're winning.

1036
00:59:11,800 --> 00:59:15,720
Speaker 1: But also, yeah, Kaminski was like, apparently the original way

1037
00:59:15,760 --> 00:59:18,720
Speaker 1: it's written and the way that they shot it was

1038
00:59:18,800 --> 00:59:23,480
Speaker 1: surprisingly very unsatisfying and kind of boring, and so she

1039
00:59:23,640 --> 00:59:26,920
Speaker 1: straight up had to create tension that was never meant

1040
00:59:26,920 --> 00:59:29,600
Speaker 1: to be there, kind of like that was never shot

1041
00:59:29,720 --> 00:59:33,000
Speaker 1: and never written. She she made that up. And then

1042
00:59:33,000 --> 00:59:35,160
Speaker 1: when you watch it, knowing that it really is quite

1043
00:59:35,160 --> 00:59:37,600
Speaker 1: a feat. Yeah, it's her and John Williams sitting there

1044
00:59:37,600 --> 00:59:41,240
Speaker 1: and going, oh, you guys are so lucky we're here, John,

1045
00:59:41,680 --> 00:59:48,920
Speaker 1: I need something swelling. Oh man, that's so cool. So Marcia, George,

1046
00:59:49,000 --> 00:59:52,080
Speaker 1: everyone else on the post production team, they're working NonStop

1047
00:59:52,120 --> 00:59:54,080
Speaker 1: for months. She tried to get a cut of Star

1048
00:59:54,120 --> 00:59:57,280
Speaker 1: Wars done by Thanksgiving, but even in late December, they're

1049
00:59:57,280 --> 01:00:00,960
Speaker 1: still working sixteen, eighteen hour, twenty hours a day on

1050
01:00:00,960 --> 01:00:04,680
Speaker 1: this ship. And then Martin Scorse Daisy called Marcia to

1051
01:00:04,720 --> 01:00:07,600
Speaker 1: see if she wanted to finish editing his musical New York,

1052
01:00:07,680 --> 01:00:10,920
Speaker 1: New York because the original editor had passed away, and

1053
01:00:11,040 --> 01:00:12,960
Speaker 1: she jumped at it. She wanted to work on something

1054
01:00:13,000 --> 01:00:16,200
Speaker 1: a little more artistic, and she thought George would be

1055
01:00:16,560 --> 01:00:19,120
Speaker 1: good because he had two other editors. It was on

1056
01:00:19,160 --> 01:00:21,280
Speaker 1: its way to being finished. You know. She's like, you

1057
01:00:21,280 --> 01:00:23,200
Speaker 1: don't need me, you know, the same way you did,

1058
01:00:23,480 --> 01:00:26,800
Speaker 1: So we're good. But George was kind of pissed because

1059
01:00:26,840 --> 01:00:30,520
Speaker 1: scorse Days at this point had a pretty bad cocaine addiction.

1060
01:00:31,040 --> 01:00:33,080
Speaker 1: He ran around with a wild crowd. He's a big

1061
01:00:33,120 --> 01:00:36,800
Speaker 1: part of here. Eyebrows, those eyebrows around New York doing

1062
01:00:36,840 --> 01:00:40,760
Speaker 1: on the line George's time, don't do it. I don't

1063
01:00:41,600 --> 01:00:48,120
Speaker 1: let his eyebrows as angel and well Marcia, you know again,

1064
01:00:48,200 --> 01:00:51,400
Speaker 1: she's she's really extroverted and outgoing and stuff. She kind

1065
01:00:51,400 --> 01:00:54,000
Speaker 1: of loved all that chaos energy and all that crazy

1066
01:00:54,120 --> 01:00:57,919
Speaker 1: New York filmmaker vibes. But George was a homebody. He's

1067
01:00:57,960 --> 01:01:00,360
Speaker 1: not a people person. He did not lie all that,

1068
01:01:00,600 --> 01:01:02,600
Speaker 1: and he was kind of a cast at some of

1069
01:01:02,640 --> 01:01:06,840
Speaker 1: the stories that she'd tell him about Scorsese's crowd and

1070
01:01:06,920 --> 01:01:11,280
Speaker 1: his girlfriends and all the crazy his eyebrows walk off

1071
01:01:11,280 --> 01:01:13,440
Speaker 1: his face and just go do their own things. Yeah,

1072
01:01:13,520 --> 01:01:16,600
Speaker 1: I saw his right eyebrow doing a three ft line

1073
01:01:16,600 --> 01:01:23,600
Speaker 1: of coke standing on Robert de Niro's back. WHOA, but Marcia,

1074
01:01:23,720 --> 01:01:25,720
Speaker 1: you know, she at this point she's kind of sick

1075
01:01:25,800 --> 01:01:29,160
Speaker 1: of working on Star Wars, and she had even confided

1076
01:01:29,200 --> 01:01:32,440
Speaker 1: to Lucasfilm's head of marketing, Charles Lippincott, that if she

1077
01:01:32,560 --> 01:01:35,520
Speaker 1: ever had to work with George on a film again, quote,

1078
01:01:35,640 --> 01:01:41,040
Speaker 1: it would be the end of our marriage. And I

1079
01:01:41,040 --> 01:01:43,360
Speaker 1: think it's true. Like sometimes he barely spoke to her

1080
01:01:43,440 --> 01:01:45,280
Speaker 1: except to tell her how to edit the movie. So

1081
01:01:45,320 --> 01:01:48,080
Speaker 1: they weren't really being very married. They were much more

1082
01:01:48,160 --> 01:01:50,920
Speaker 1: business partners at this point because they're so stuck in

1083
01:01:50,960 --> 01:01:53,240
Speaker 1: the work. It can be really tough. Editing is a

1084
01:01:53,280 --> 01:01:56,120
Speaker 1: really difficult job. It takes a very It takes a

1085
01:01:56,120 --> 01:01:59,080
Speaker 1: lot of focus and of and a lot of very

1086
01:01:59,200 --> 01:02:02,320
Speaker 1: uh definative imagination, Like you've got to see it and

1087
01:02:02,320 --> 01:02:04,640
Speaker 1: then you've got to figure out how to make it

1088
01:02:04,680 --> 01:02:07,680
Speaker 1: real from your brain to the to the film. So

1089
01:02:08,480 --> 01:02:11,040
Speaker 1: you know, in a few times, I've never edited Star Wars,

1090
01:02:11,120 --> 01:02:14,040
Speaker 1: but the few times that I've co edited with people,

1091
01:02:14,280 --> 01:02:16,280
Speaker 1: and we've been sitting there in the same room working

1092
01:02:16,320 --> 01:02:19,160
Speaker 1: on our own part of the same project. There is

1093
01:02:19,200 --> 01:02:23,880
Speaker 1: like this kind of just silence to it, but it's

1094
01:02:23,880 --> 01:02:27,560
Speaker 1: a collaborative silence. I don't know. It can get tense. Um,

1095
01:02:27,600 --> 01:02:30,560
Speaker 1: it can be challenging, and you can definitely feel kind

1096
01:02:30,600 --> 01:02:33,240
Speaker 1: of a coldness. Um so I imagine that would be

1097
01:02:33,280 --> 01:02:36,080
Speaker 1: extra difficult if you were also married. Right, it's something

1098
01:02:36,160 --> 01:02:38,160
Speaker 1: like right, I mean we've we've been stuck in the

1099
01:02:38,160 --> 01:02:42,600
Speaker 1: middle of a production insanity where kind of the only

1100
01:02:42,640 --> 01:02:44,960
Speaker 1: conversation was have you done this thing yet? Oh, I

1101
01:02:45,000 --> 01:02:46,600
Speaker 1: haven't done that thing. Well, let me do that and

1102
01:02:46,600 --> 01:02:48,080
Speaker 1: then you can do that and then we'll get that

1103
01:02:48,120 --> 01:02:52,800
Speaker 1: done and then whatever. And since you're also, um someone

1104
01:02:52,840 --> 01:02:56,520
Speaker 1: I love, how are you? Are you okay? Like sorry,

1105
01:02:56,560 --> 01:02:58,160
Speaker 1: I need to talk to you like a robot for

1106
01:02:58,200 --> 01:03:00,640
Speaker 1: a little while because I'm not thinking about him. The

1107
01:03:00,680 --> 01:03:03,320
Speaker 1: emotional part of my brain has shut down, right, I'm

1108
01:03:03,360 --> 01:03:06,560
Speaker 1: just trying to get through this ship. They were definitely

1109
01:03:07,440 --> 01:03:09,960
Speaker 1: deep in that we've had those conversations ourselves, I think

1110
01:03:09,960 --> 01:03:13,560
Speaker 1: where it's like, okay, in in three weeks we'll be

1111
01:03:13,600 --> 01:03:16,120
Speaker 1: able to get back to us. But right now it's

1112
01:03:16,160 --> 01:03:17,920
Speaker 1: just like, hey, I'm not going to be myself for

1113
01:03:17,960 --> 01:03:20,280
Speaker 1: a little while because I'm doing twelve hour days on

1114
01:03:20,280 --> 01:03:24,080
Speaker 1: this project. Yeah, and I know sometimes I'm particularly bad

1115
01:03:24,120 --> 01:03:26,280
Speaker 1: at it because I'm much more like the George than

1116
01:03:26,320 --> 01:03:29,560
Speaker 1: the Russia. Um. But sometimes we'll go on a walk

1117
01:03:29,640 --> 01:03:32,120
Speaker 1: or something and I'll bring up something about this show

1118
01:03:32,240 --> 01:03:34,520
Speaker 1: or something about work some other work, and You'll be like,

1119
01:03:34,560 --> 01:03:37,120
Speaker 1: can we just like not that, Like I just want

1120
01:03:37,120 --> 01:03:39,640
Speaker 1: to talk about anything else, and like, remember that we're

1121
01:03:39,680 --> 01:03:42,960
Speaker 1: friends and like each other and we have other interests exactly.

1122
01:03:43,040 --> 01:03:45,520
Speaker 1: And yeah, that's very helpful. You need a Marcia. I

1123
01:03:45,520 --> 01:03:48,040
Speaker 1: mean you really do you need somebody to tell you, like,

1124
01:03:48,080 --> 01:03:50,880
Speaker 1: get your head out of that. There's other things. So

1125
01:03:51,040 --> 01:03:55,760
Speaker 1: Star Wars screened, but the executives who watched it totally

1126
01:03:55,800 --> 01:03:58,160
Speaker 1: fell flat for them. It also fell flat for like

1127
01:03:58,200 --> 01:04:03,160
Speaker 1: George and Marcia's friends, except of course Alan Ladd, who

1128
01:04:03,400 --> 01:04:05,880
Speaker 1: had this vision of the future. He's like, I'm seeing

1129
01:04:06,800 --> 01:04:12,120
Speaker 1: I'm seeing a casino and I'm seeing a spinoff. There's

1130
01:04:12,120 --> 01:04:14,040
Speaker 1: gonna people are gonna be sitting on their couches every

1131
01:04:14,080 --> 01:04:17,880
Speaker 1: Wednesday watching spin off TV shows about these guys, about

1132
01:04:17,880 --> 01:04:20,360
Speaker 1: that guy, that guy who's barely in the movie. He's

1133
01:04:20,360 --> 01:04:22,320
Speaker 1: gonna have a Hall universe for him in the future.

1134
01:04:22,360 --> 01:04:24,640
Speaker 1: He's have four lines and one of them is, ah,

1135
01:04:25,920 --> 01:04:29,120
Speaker 1: that's the one. That guy's a stop. I'm seeing the

1136
01:04:29,520 --> 01:04:32,720
Speaker 1: top this on top of taco bell cups. There's gonna

1137
01:04:32,720 --> 01:04:38,320
Speaker 1: be like a rubber possable figurine circa. It's gonna be great.

1138
01:04:39,280 --> 01:04:41,160
Speaker 1: I had that. I had the Darth Maul taco bell

1139
01:04:41,400 --> 01:04:45,080
Speaker 1: cup topper is it? I don't know to keep that

1140
01:04:45,440 --> 01:04:47,280
Speaker 1: must be at my parents house. I'll bet it's actually

1141
01:04:47,320 --> 01:04:51,080
Speaker 1: in a box somewhere around here. So anyway, Brian de Palma,

1142
01:04:51,760 --> 01:04:54,400
Speaker 1: famous director, made fun of it for being cheesy and

1143
01:04:54,600 --> 01:04:57,120
Speaker 1: over the top, but Marcia was mad at him. She

1144
01:04:57,200 --> 01:04:58,760
Speaker 1: called him up later and she was like, why are

1145
01:04:58,760 --> 01:05:01,760
Speaker 1: you gonna kick your friend George when he's down? He

1146
01:05:01,880 --> 01:05:04,240
Speaker 1: respects you. Why don't you go cheer him up? I

1147
01:05:04,360 --> 01:05:06,800
Speaker 1: love that. She's like, I have to ride. I need

1148
01:05:06,880 --> 01:05:10,200
Speaker 1: to ride on this one. D do Brian? What was

1149
01:05:10,240 --> 01:05:12,320
Speaker 1: that at dinner? You bit? She said, I'm gonna control

1150
01:05:12,400 --> 01:05:14,600
Speaker 1: what I can and what I can control is Brian

1151
01:05:14,680 --> 01:05:17,840
Speaker 1: to Paluma's damn reaction, I don't don't be a bit.

1152
01:05:19,120 --> 01:05:21,120
Speaker 1: So de Pauma came in. He's like, all right, you

1153
01:05:21,200 --> 01:05:23,480
Speaker 1: know what, Maybe I can help and he ended up

1154
01:05:23,600 --> 01:05:26,600
Speaker 1: rewriting the screen crawl at the beginning of the movie

1155
01:05:27,240 --> 01:05:29,720
Speaker 1: with along with Jay Cox, co wrote that with him.

1156
01:05:30,600 --> 01:05:33,680
Speaker 1: So Marcia continued to work on the Scorsese movie New York,

1157
01:05:33,720 --> 01:05:37,200
Speaker 1: New York, while Paul Hirsch, Richard Chow and George were

1158
01:05:37,240 --> 01:05:40,080
Speaker 1: still racing to finish the theatrical cut for Star Wars.

1159
01:05:40,960 --> 01:05:43,200
Speaker 1: But she would still kind of pitch in when she could.

1160
01:05:44,080 --> 01:05:47,720
Speaker 1: All in all, they were both still so incredibly busy

1161
01:05:47,880 --> 01:05:51,080
Speaker 1: in May that they completely forgot that the movie opened

1162
01:05:51,080 --> 01:05:54,720
Speaker 1: at the box office. That's insane, George Lucas recalled it.

1163
01:05:54,800 --> 01:05:58,120
Speaker 1: He said, quote, I was mixing sound on FOURIGN versions

1164
01:05:58,120 --> 01:06:00,280
Speaker 1: of the film the day that it opened. Here. My

1165
01:06:00,400 --> 01:06:02,720
Speaker 1: wife was mixing New York, New York at night at

1166
01:06:02,760 --> 01:06:04,880
Speaker 1: the same place we were mixing during the day. So

1167
01:06:05,000 --> 01:06:07,200
Speaker 1: at six pm she came in for the night just

1168
01:06:07,360 --> 01:06:10,000
Speaker 1: as I was leaving on the day shift. So we

1169
01:06:10,160 --> 01:06:12,680
Speaker 1: ran off across the street from the Chinese Theater and

1170
01:06:12,960 --> 01:06:15,400
Speaker 1: there was this huge line around the block, and I said,

1171
01:06:16,000 --> 01:06:20,240
Speaker 1: what's that. I'd completely forgotten and I really couldn't believe it.

1172
01:06:20,600 --> 01:06:22,800
Speaker 1: George's like, Oh, it looks like a movie came out today.

1173
01:06:22,800 --> 01:06:24,880
Speaker 1: I wonder what it was. It looks like it's doing

1174
01:06:24,920 --> 01:06:27,480
Speaker 1: pretty well. Good luck, good, good for them, good for

1175
01:06:27,560 --> 01:06:30,120
Speaker 1: that My movie does that well one day, one of

1176
01:06:30,160 --> 01:06:32,840
Speaker 1: these days, whenever it opens. I mean, I think that's

1177
01:06:32,880 --> 01:06:35,120
Speaker 1: important too, to note that she was working at night

1178
01:06:35,200 --> 01:06:36,880
Speaker 1: when he was working near the day. They were total

1179
01:06:36,960 --> 01:06:39,000
Speaker 1: ships in the night. Like they probably don't see each

1180
01:06:39,040 --> 01:06:41,160
Speaker 1: other very much at this point because he you know,

1181
01:06:41,480 --> 01:06:45,360
Speaker 1: they're straight up like high fiving in the doorway. I

1182
01:06:45,400 --> 01:06:48,480
Speaker 1: don't say. I think that's something that is um becoming

1183
01:06:48,600 --> 01:06:51,680
Speaker 1: more of more household knowledge now in the era of

1184
01:06:52,240 --> 01:06:54,000
Speaker 1: you know, social media, when we're kind of getting a

1185
01:06:54,040 --> 01:06:57,560
Speaker 1: peek into celebrities and filmmakers personal lives or maybe you

1186
01:06:57,640 --> 01:07:00,240
Speaker 1: know someone who works in the industry or whatever. But

1187
01:07:01,000 --> 01:07:03,920
Speaker 1: I think the glitz and glamour of Hollywood is a

1188
01:07:04,040 --> 01:07:09,040
Speaker 1: total facade. Everybody is working twelve or fourteen hours a

1189
01:07:09,120 --> 01:07:12,200
Speaker 1: day in movies, and those are good days. I mean,

1190
01:07:12,280 --> 01:07:15,320
Speaker 1: I have worked twenty was my longest day on a

1191
01:07:15,360 --> 01:07:19,120
Speaker 1: film set, and but it was regularly fourteen when I

1192
01:07:19,200 --> 01:07:22,600
Speaker 1: was on a shooting crew. And then while they're shooting,

1193
01:07:22,640 --> 01:07:24,960
Speaker 1: the editors are doing those long days. I mean, if

1194
01:07:25,120 --> 01:07:27,680
Speaker 1: you hear about studios getting in trouble for how they're

1195
01:07:27,720 --> 01:07:30,800
Speaker 1: treating their editors, their post production team for the deadlines

1196
01:07:30,880 --> 01:07:32,480
Speaker 1: they have to hit and the amount of work that

1197
01:07:32,560 --> 01:07:34,640
Speaker 1: they need them to do, and then amount of money

1198
01:07:34,680 --> 01:07:37,320
Speaker 1: they're paying them or not paying them, you know, like

1199
01:07:37,520 --> 01:07:40,040
Speaker 1: it is a brutal job. And even at this era

1200
01:07:40,160 --> 01:07:43,360
Speaker 1: when you're um, you know, it's probably smaller teams at

1201
01:07:43,400 --> 01:07:45,880
Speaker 1: this point working with physical film. It's not like you

1202
01:07:46,000 --> 01:07:47,760
Speaker 1: can have twenty guys working on the same footage on

1203
01:07:47,800 --> 01:07:56,480
Speaker 1: different computers. Uh. Just an absolutely, just destructive industry that's

1204
01:07:57,920 --> 01:08:01,160
Speaker 1: so rewarding, especially if you care, Like if you're passionate,

1205
01:08:01,160 --> 01:08:03,720
Speaker 1: if you're the artist. Uh, they I don't think there's

1206
01:08:03,720 --> 01:08:06,560
Speaker 1: anything like it. I mean, if if that's what you love. Uh,

1207
01:08:06,960 --> 01:08:12,000
Speaker 1: But if you're not sturdy enough to kind of absorb

1208
01:08:12,120 --> 01:08:14,360
Speaker 1: what it throws at you, it can destroy you and

1209
01:08:14,440 --> 01:08:17,000
Speaker 1: it can destroy relationships. You see it all the time

1210
01:08:17,800 --> 01:08:20,519
Speaker 1: in the industry. People's marriages falling apart, people never seeing

1211
01:08:20,560 --> 01:08:26,080
Speaker 1: their kids because it is such a time intensive job. Yeah. Fortunately,

1212
01:08:26,240 --> 01:08:28,640
Speaker 1: even though they were like so busy and everything was

1213
01:08:28,720 --> 01:08:32,080
Speaker 1: so crazy, George had planned a Hawaiian vacation for the

1214
01:08:32,160 --> 01:08:35,120
Speaker 1: two of them. That was their first time off together

1215
01:08:35,360 --> 01:08:39,479
Speaker 1: in years, and the timing of this was really really good.

1216
01:08:40,280 --> 01:08:42,559
Speaker 1: Obviously they really needed to reconnect, which would have been

1217
01:08:42,560 --> 01:08:45,559
Speaker 1: true anytime. But it was really good that they kind

1218
01:08:45,600 --> 01:08:49,719
Speaker 1: of got away from California right after Star Wars opened,

1219
01:08:50,080 --> 01:08:55,439
Speaker 1: because obviously it immediately was like a cultural phenomenon. Um.

1220
01:08:55,720 --> 01:08:58,599
Speaker 1: Alan Ladd was like calling them in Hawaii every day,

1221
01:08:58,840 --> 01:09:04,120
Speaker 1: probably gleef giggling, like around twentieth century five. I told

1222
01:09:04,200 --> 01:09:06,800
Speaker 1: you you ed, and he would call every day, like

1223
01:09:07,000 --> 01:09:10,400
Speaker 1: you would not believe the amount of money. It's just

1224
01:09:10,560 --> 01:09:13,400
Speaker 1: like losing his ride. It's like, let me call you back.

1225
01:09:13,439 --> 01:09:18,200
Speaker 1: My wallet explode. And then like their friends would call

1226
01:09:18,320 --> 01:09:20,120
Speaker 1: them and and be like you would not believe the

1227
01:09:20,160 --> 01:09:23,000
Speaker 1: mania around this, Like people are saying it multiple times.

1228
01:09:23,040 --> 01:09:25,040
Speaker 1: The lines are growing longer and longer, like it was

1229
01:09:25,160 --> 01:09:29,320
Speaker 1: just an insane reaction to this film that nobody expected.

1230
01:09:29,400 --> 01:09:32,519
Speaker 1: I can't imagine how overwhelming, you know, to get that unexpected.

1231
01:09:32,560 --> 01:09:36,280
Speaker 1: I mean, you know, I've like accidentally kind of trended

1232
01:09:36,479 --> 01:09:39,679
Speaker 1: a tweet now and then, and it changes your life,

1233
01:09:39,800 --> 01:09:44,960
Speaker 1: like your whole week is thrown into chaosks like oh god, yeah,

1234
01:09:45,720 --> 01:09:48,439
Speaker 1: Marcia were like, my mentions are glowing up. I've got

1235
01:09:48,520 --> 01:09:51,840
Speaker 1: to mute this thread. You can't mute Star Wars oh

1236
01:09:51,920 --> 01:09:54,960
Speaker 1: you can't. And so yeah, they were stunned by this,

1237
01:09:55,280 --> 01:09:58,200
Speaker 1: like and again they had seen the screening. Marcia thought

1238
01:09:58,240 --> 01:10:00,439
Speaker 1: it was bad, you know, that it had turned out badly.

1239
01:10:00,560 --> 01:10:02,360
Speaker 1: They were pretty sure it was just gonna like kind

1240
01:10:02,360 --> 01:10:06,200
Speaker 1: of come and go. But it did not do that, obviously,

1241
01:10:07,040 --> 01:10:09,559
Speaker 1: and they were about to be even more insanely rich

1242
01:10:09,640 --> 01:10:13,880
Speaker 1: and famous. Um partly because George was very smart and

1243
01:10:14,000 --> 01:10:17,280
Speaker 1: after American Graffiti came out and did so well, people

1244
01:10:17,320 --> 01:10:20,120
Speaker 1: were like, you should really renegotiate your director fee for

1245
01:10:20,200 --> 01:10:23,920
Speaker 1: your next movie, and he chose not to. He said, actually,

1246
01:10:24,000 --> 01:10:28,280
Speaker 1: just give me all the licensing, right. So he did

1247
01:10:28,360 --> 01:10:30,240
Speaker 1: not make a lot of money directing Star Wars, but

1248
01:10:30,320 --> 01:10:33,400
Speaker 1: of course he owned a hundred percent of Star Wars.

1249
01:10:35,400 --> 01:10:39,439
Speaker 1: Guess how much money he made. That reminds me of

1250
01:10:39,520 --> 01:10:42,200
Speaker 1: Desi Arnez going in and saying, no, you don't have

1251
01:10:42,320 --> 01:10:44,479
Speaker 1: to pay me more, just give me the reruns. Yeah,

1252
01:10:44,680 --> 01:10:47,479
Speaker 1: they were like, one's going to care about that. That's

1253
01:10:47,520 --> 01:10:49,760
Speaker 1: something I think I find to be a little nerve

1254
01:10:49,880 --> 01:10:52,599
Speaker 1: racking about Hollywood is trying to figure out where you're

1255
01:10:52,600 --> 01:10:57,439
Speaker 1: really going to do best financially with your product. Is

1256
01:10:57,479 --> 01:10:59,519
Speaker 1: it up front to make it in the first place.

1257
01:11:00,439 --> 01:11:02,640
Speaker 1: If it does well, it should be on the back end.

1258
01:11:03,000 --> 01:11:04,599
Speaker 1: But if it doesn't do well, it's better to get

1259
01:11:04,640 --> 01:11:07,160
Speaker 1: it up front. You know. It's just like a whole calculus.

1260
01:11:07,760 --> 01:11:10,360
Speaker 1: You you learn a lesson from Ridiculous Romance. If you're

1261
01:11:10,360 --> 01:11:14,160
Speaker 1: ever negotiating a deal in Hollywood, make the most outrageous

1262
01:11:14,240 --> 01:11:17,040
Speaker 1: deal you can think of that everyone laughs at and

1263
01:11:17,160 --> 01:11:19,919
Speaker 1: then you'll you'll be destined to be a multi millionaire.

1264
01:11:19,920 --> 01:11:23,840
Speaker 1: It'll be great. So yeah, I mean, you know, they're

1265
01:11:23,920 --> 01:11:25,720
Speaker 1: hanging out in Hawaii, going, man, as soon as we

1266
01:11:25,800 --> 01:11:27,880
Speaker 1: get back home, it's gonna be like bowloads of cash,

1267
01:11:28,000 --> 01:11:31,600
Speaker 1: crazy opportunities come in our way, like the sky's the

1268
01:11:31,640 --> 01:11:34,840
Speaker 1: limit kind of at this point, and so they started

1269
01:11:34,880 --> 01:11:37,880
Speaker 1: to think about the future and for Marcia, all this

1270
01:11:38,040 --> 01:11:42,240
Speaker 1: successment that they could finally settle down, relax their workload,

1271
01:11:42,640 --> 01:11:46,160
Speaker 1: have a baby, like they talked about, and George seemed

1272
01:11:46,160 --> 01:11:49,080
Speaker 1: to kind of agree with her. He sort of like, yeah, totally,

1273
01:11:49,240 --> 01:11:52,200
Speaker 1: I don't really like directing that much. Honestly, I'd rather

1274
01:11:52,360 --> 01:11:56,560
Speaker 1: just retire from making movies, and yeah, let's start a

1275
01:11:56,640 --> 01:11:58,759
Speaker 1: family and settle down and it's just gonna be totally

1276
01:11:58,840 --> 01:12:01,560
Speaker 1: normal between us. Maybe all the strains and all the

1277
01:12:01,600 --> 01:12:04,400
Speaker 1: pressures that big budget filmmaking and put on our marriage.

1278
01:12:04,560 --> 01:12:07,280
Speaker 1: You know, finally be relieved. Will be George and Marcia again,

1279
01:12:07,439 --> 01:12:11,200
Speaker 1: just two great people hanging out. But in the back

1280
01:12:11,280 --> 01:12:14,639
Speaker 1: of his mind, George was actually playing with some very

1281
01:12:14,720 --> 01:12:19,640
Speaker 1: big budget, very high pressure ideas, and his dream of

1282
01:12:19,720 --> 01:12:23,440
Speaker 1: building his own empire kind of only lead to disappointments

1283
01:12:23,479 --> 01:12:26,400
Speaker 1: to the two of them. So I think that we

1284
01:12:26,439 --> 01:12:29,439
Speaker 1: should save that for part two and find out about

1285
01:12:29,560 --> 01:12:33,400
Speaker 1: how all that went down. He's walking through the grocery

1286
01:12:33,439 --> 01:12:36,559
Speaker 1: store and he's like, I've gotta I gotta make something else.

1287
01:12:36,600 --> 01:12:40,000
Speaker 1: I gotta build something huge and really put my stamp

1288
01:12:40,080 --> 01:12:43,280
Speaker 1: on the world. Something with this Skywalker kid, I feel

1289
01:12:43,280 --> 01:12:45,080
Speaker 1: like it could be more. And he's in the salad

1290
01:12:45,200 --> 01:12:51,800
Speaker 1: dressing aisle and he's like, Skywalker sky was Skywalker Ranch. Oh,

1291
01:12:54,640 --> 01:13:01,600
Speaker 1: and that's the birth Skywalker Ranch. Corrections corner eleven I

1292
01:13:01,920 --> 01:13:07,600
Speaker 1: I I Skywalker Ranch was not originally conceived as a

1293
01:13:07,680 --> 01:13:11,040
Speaker 1: salad dressing Apologies to the Star Wars fans out there.

1294
01:13:11,160 --> 01:13:16,599
Speaker 1: I know there are several of you. Uh WHOA, that's

1295
01:13:16,680 --> 01:13:20,120
Speaker 1: that's really interesting. I mean, you know whatever, I feel

1296
01:13:20,160 --> 01:13:22,519
Speaker 1: like we all know more than we need to about

1297
01:13:22,560 --> 01:13:26,960
Speaker 1: Star Wars just in general pop culture. You just learned things. Um.

1298
01:13:27,520 --> 01:13:30,320
Speaker 1: But but I I certainly didn't know all this about Marcia,

1299
01:13:30,439 --> 01:13:33,160
Speaker 1: not at all. No, I had no idea she was.

1300
01:13:33,360 --> 01:13:36,120
Speaker 1: She's been called like the secret weapon of Star Wars

1301
01:13:36,280 --> 01:13:39,439
Speaker 1: and stuff like that. And yeah, she she changed that

1302
01:13:39,640 --> 01:13:42,080
Speaker 1: movie for the better. It would not be what it

1303
01:13:42,200 --> 01:13:46,160
Speaker 1: is without her. And in fact, as was pointed out,

1304
01:13:46,800 --> 01:13:50,400
Speaker 1: because she expanded his taste he made American graffiti in

1305
01:13:50,439 --> 01:13:52,559
Speaker 1: the first place. If he had made that, he might

1306
01:13:52,640 --> 01:13:54,439
Speaker 1: not have ever gotten to a point where he could

1307
01:13:54,520 --> 01:13:57,320
Speaker 1: make Star Wars exactly and get the budget for and stuff.

1308
01:13:57,360 --> 01:13:59,840
Speaker 1: So it's kind of like, thank god Marcia was standing

1309
01:14:00,120 --> 01:14:02,640
Speaker 1: being like, you can't run over me. That's what you

1310
01:14:02,720 --> 01:14:04,439
Speaker 1: like about me. I'm going to sit here and tell

1311
01:14:04,479 --> 01:14:06,519
Speaker 1: you when this is boring or doesn't work or clunky

1312
01:14:06,680 --> 01:14:09,200
Speaker 1: or weird or man, you do not care about this

1313
01:14:09,280 --> 01:14:11,599
Speaker 1: guy's feelings at all. You need a moment to let

1314
01:14:11,680 --> 01:14:15,120
Speaker 1: that breathe because he's gonna he's gotta process this huge

1315
01:14:15,240 --> 01:14:18,120
Speaker 1: thing that just happened or whatever. Um but I think

1316
01:14:18,120 --> 01:14:20,960
Speaker 1: I admire that about George because I know how hard

1317
01:14:21,000 --> 01:14:23,600
Speaker 1: it is, at least for me to take criticism I

1318
01:14:23,920 --> 01:14:25,760
Speaker 1: have a really hard time with it, even if it

1319
01:14:25,960 --> 01:14:28,880
Speaker 1: is kind and totally constructive and some are trying to

1320
01:14:28,960 --> 01:14:32,320
Speaker 1: help it. It's it's like I didn't want to hear that, um,

1321
01:14:32,920 --> 01:14:35,800
Speaker 1: but he apparently is just was very good at that that,

1322
01:14:36,000 --> 01:14:40,320
Speaker 1: like really listening to criticisms and recognizing where he was

1323
01:14:41,360 --> 01:14:43,439
Speaker 1: not as good as he wanted to be and where

1324
01:14:43,520 --> 01:14:46,960
Speaker 1: he could use that type of feedback and actually take

1325
01:14:47,040 --> 01:14:49,000
Speaker 1: it and use it, you know, And that makes you

1326
01:14:49,080 --> 01:14:52,800
Speaker 1: a better artist, But it also makes you, um a

1327
01:14:52,880 --> 01:14:55,439
Speaker 1: better person to work with, to collaborate with, you know.

1328
01:14:55,560 --> 01:14:58,200
Speaker 1: And I think that that shows throughout his career that

1329
01:14:58,280 --> 01:15:01,040
Speaker 1: he's very good at collaborating with people, because he worked

1330
01:15:01,080 --> 01:15:05,560
Speaker 1: with so many great talented people throughout his career that

1331
01:15:05,680 --> 01:15:07,439
Speaker 1: it's like he must have been really good at bringing

1332
01:15:07,479 --> 01:15:09,120
Speaker 1: out the best in them, at listening to what they

1333
01:15:09,160 --> 01:15:12,040
Speaker 1: were good at taking their notes and and really you know,

1334
01:15:12,240 --> 01:15:15,519
Speaker 1: letting them shine in their way and not just like

1335
01:15:16,120 --> 01:15:20,960
Speaker 1: bulldozing over them. Because I'm George Lucas, damn it now, definitely,

1336
01:15:21,160 --> 01:15:25,280
Speaker 1: and I feel that I am. I love criticism, uh,

1337
01:15:25,600 --> 01:15:28,120
Speaker 1: as long as it's not from some idiot who doesn't

1338
01:15:28,160 --> 01:15:29,880
Speaker 1: know what they're talking about, doesn't realize that what I

1339
01:15:29,960 --> 01:15:33,200
Speaker 1: did is perfect and doesn't need to be changed at all. Um,

1340
01:15:33,479 --> 01:15:43,240
Speaker 1: which happens more often than I think, weirdly. Um, but yep, well,

1341
01:15:43,920 --> 01:15:47,200
Speaker 1: well no, that's super exciting and um, I can't wait

1342
01:15:47,240 --> 01:15:50,080
Speaker 1: for part two to learn more about these two. I know,

1343
01:15:50,160 --> 01:15:51,920
Speaker 1: I kind of want to watch Star Wars again and

1344
01:15:52,000 --> 01:15:54,679
Speaker 1: just think about the editing, you know, because that's another

1345
01:15:54,760 --> 01:15:57,080
Speaker 1: thing too, is that you're I think you've said this before.

1346
01:15:57,080 --> 01:15:58,640
Speaker 1: I feel like it's really hard to put together and

1347
01:15:58,800 --> 01:16:01,160
Speaker 1: editing reel and show if you're editing, because the point

1348
01:16:01,280 --> 01:16:03,160
Speaker 1: is that you don't notice it. It's just kind of

1349
01:16:03,479 --> 01:16:05,880
Speaker 1: it tells a story, well and that's it. You're not

1350
01:16:05,960 --> 01:16:09,120
Speaker 1: supposed to see it. And um, so it's one of

1351
01:16:09,200 --> 01:16:10,880
Speaker 1: those things where I'm like, yeah, you you really have

1352
01:16:11,000 --> 01:16:14,200
Speaker 1: to watch and be paying attention to I'm looking at

1353
01:16:14,280 --> 01:16:17,200
Speaker 1: how this is edited, how this is built, you know,

1354
01:16:17,280 --> 01:16:20,400
Speaker 1: how the tension builds, or how the catharsis works, or

1355
01:16:20,520 --> 01:16:23,040
Speaker 1: I really am only focused on the costumes. I missed

1356
01:16:23,200 --> 01:16:25,280
Speaker 1: entire lines of dialogue because all I cared about where

1357
01:16:25,280 --> 01:16:27,479
Speaker 1: the details of what a person was wearing in the

1358
01:16:27,560 --> 01:16:31,840
Speaker 1: background or whatever. Um. And that's just something great about

1359
01:16:31,880 --> 01:16:34,639
Speaker 1: working with other artists, is that they have that sense

1360
01:16:34,720 --> 01:16:36,960
Speaker 1: of going like, that's what I focus on. So that's

1361
01:16:37,000 --> 01:16:39,519
Speaker 1: what I can give you, you know, in terms of feedback,

1362
01:16:39,640 --> 01:16:43,400
Speaker 1: is some real expertise. And also I can't help myself.

1363
01:16:43,479 --> 01:16:45,160
Speaker 1: That's what I was looking at the whole time. And

1364
01:16:45,280 --> 01:16:48,760
Speaker 1: I have to tell you, you know, but yeah, I

1365
01:16:48,840 --> 01:16:51,160
Speaker 1: love Marcia. I wished we all knew more about her,

1366
01:16:51,240 --> 01:16:55,240
Speaker 1: Marcia lucas everyone. She how makes Star Wars the movie

1367
01:16:55,320 --> 01:16:58,200
Speaker 1: you love today, damn it right? And and and the

1368
01:16:58,760 --> 01:17:01,120
Speaker 1: collaborative nature. I mean, of course we can relate to

1369
01:17:01,720 --> 01:17:07,120
Speaker 1: being a married couple who together forge creative endeavors, you know,

1370
01:17:07,280 --> 01:17:11,120
Speaker 1: like that's, um, that's a tough thing. But when it works,

1371
01:17:11,479 --> 01:17:13,439
Speaker 1: I can be you can really make something really cool.

1372
01:17:14,080 --> 01:17:16,519
Speaker 1: And that's cool to see that Star Wars. But you know,

1373
01:17:16,600 --> 01:17:20,080
Speaker 1: we never think of that as a romantic collaborative project

1374
01:17:20,439 --> 01:17:24,720
Speaker 1: in anyway, but but it is. It's there that was

1375
01:17:24,760 --> 01:17:27,760
Speaker 1: happening behind the scenes. And I think that we will

1376
01:17:28,479 --> 01:17:32,160
Speaker 1: sort of see the I don't know the aftermath of

1377
01:17:32,240 --> 01:17:34,720
Speaker 1: that or the follow up. What comes next for them

1378
01:17:34,840 --> 01:17:37,240
Speaker 1: is going to be really interesting in part two. Um,

1379
01:17:37,439 --> 01:17:39,920
Speaker 1: so stay tuned, don't forget to check that episode out.

1380
01:17:40,560 --> 01:17:42,400
Speaker 1: Coming up this week. It's a whole another story and

1381
01:17:43,320 --> 01:17:46,559
Speaker 1: very exciting. Yeah, and a lot more film history being

1382
01:17:46,640 --> 01:17:49,639
Speaker 1: made of course in those next in the in the eighties,

1383
01:17:50,439 --> 01:17:53,760
Speaker 1: because after the first Star Wars, George Lucas went on

1384
01:17:53,880 --> 01:17:58,479
Speaker 1: to make more movies. If you hadn't heard so, yeah,

1385
01:17:58,560 --> 01:18:01,160
Speaker 1: don't miss it. Tune in later this week we'll have

1386
01:18:01,200 --> 01:18:03,479
Speaker 1: part two of this episode up. Thanks for tuning in.

1387
01:18:03,600 --> 01:18:06,840
Speaker 1: As always, we love having you, We love telling these stories. Yeah,

1388
01:18:07,000 --> 01:18:09,240
Speaker 1: and let us know what you thought always. Yeah. I

1389
01:18:09,320 --> 01:18:11,760
Speaker 1: email us at Romance at i heeart media dot com

1390
01:18:12,040 --> 01:18:14,400
Speaker 1: right or find us on social media Twitter and Instagram.

1391
01:18:14,479 --> 01:18:17,280
Speaker 1: I'm at Oh great, it's Eli. I'm at Dynamite Boom

1392
01:18:17,520 --> 01:18:20,160
Speaker 1: and you can find the show at ridic Romance. And

1393
01:18:20,479 --> 01:18:22,640
Speaker 1: thanks as always for spending your time with us. We

1394
01:18:22,680 --> 01:18:26,759
Speaker 1: appreciate you and we love you. By bye, so long friends,

1395
01:18:26,840 --> 01:18:30,519
Speaker 1: it's time to go. Thanks so listening to our show.

1396
01:18:31,080 --> 01:18:34,400
Speaker 1: Tell your friends name's uncle's indes to listen to our

1397
01:18:34,439 --> 01:18:36,000
Speaker 1: show Ridiculous Well Nance