1 00:00:15,356 --> 00:00:23,196 Speaker 1: Pushkin. Hello, Hello, Malcolm Glabel here, and welcome to what 2 00:00:23,636 --> 00:00:27,556 Speaker 1: might be the final episode in our development hell series 3 00:00:27,996 --> 00:00:34,516 Speaker 1: of Revision's history. Today we're talking about Alvis Love down 4 00:00:34,796 --> 00:00:39,356 Speaker 1: on his street. That person singing is not Elvias. 5 00:00:40,796 --> 00:00:42,316 Speaker 2: These are the people. 6 00:00:42,476 --> 00:00:46,996 Speaker 1: That's Cameron Crowe. You've seen his movies. Jerry Maguire almost famous, 7 00:00:47,116 --> 00:00:51,676 Speaker 1: he wrote Fast Times at Ridgemont High, so many more. 8 00:00:52,156 --> 00:00:56,196 Speaker 1: And the guitarist on this song is Nancy Wilson from 9 00:00:56,196 --> 00:00:59,556 Speaker 1: the mega nineteen seventies band Heart, who at the time 10 00:01:00,316 --> 00:01:03,236 Speaker 1: was Cameron Crowe's wife. And the story we're going to 11 00:01:03,276 --> 00:01:05,836 Speaker 1: talk about today starts back in the summer of nineteen 12 00:01:05,876 --> 00:01:10,036 Speaker 1: eighty six, when Cameron and Nancy were on their honeymoon. 13 00:01:11,076 --> 00:01:13,756 Speaker 1: They spent it in a little cabin in the Pacific Northwest, 14 00:01:14,076 --> 00:01:17,676 Speaker 1: a little cabin that would become the birthplace for today's 15 00:01:17,676 --> 00:01:24,836 Speaker 1: movie that Never was Blue Seattle, a loving romp about 16 00:01:24,876 --> 00:01:28,596 Speaker 1: two songwriters trying to write a movie for Elvis Presley, 17 00:01:29,156 --> 00:01:32,076 Speaker 1: A movie about a couple writing a movie, written by 18 00:01:32,076 --> 00:01:35,276 Speaker 1: a couple writing a movie. What's not to love? A 19 00:01:35,316 --> 00:01:37,796 Speaker 1: script so meta that it belongs on the big screen. 20 00:01:38,156 --> 00:01:40,916 Speaker 1: Only the big screen wasn't big enough to handle it 21 00:01:41,356 --> 00:01:43,716 Speaker 1: or something like that, because one of the things that 22 00:01:43,756 --> 00:01:46,756 Speaker 1: you might conclude in listening to this interview is that 23 00:01:46,796 --> 00:01:50,116 Speaker 1: for Cameron Crowe, it is so much fun talking about 24 00:01:50,116 --> 00:01:53,436 Speaker 1: his lost Elvis masterpiece that I think he's afraid that 25 00:01:53,476 --> 00:01:56,356 Speaker 1: if he actually makes it, he'll feel abandoned, like a 26 00:01:56,436 --> 00:02:00,356 Speaker 1: version of screenwriter empty nest syndrome. So let's tell the 27 00:02:00,476 --> 00:02:04,036 Speaker 1: story of Blue Seattle. And this interview is different from 28 00:02:04,036 --> 00:02:06,116 Speaker 1: all the other development hell stories we told on the 29 00:02:06,236 --> 00:02:09,836 Speaker 1: series because instead of giving us the script to his movie, 30 00:02:10,196 --> 00:02:12,596 Speaker 1: Cam and Crope gave us the songs he and Nancy 31 00:02:12,676 --> 00:02:16,196 Speaker 1: wrote forty years ago. As in every Elvis movie, the 32 00:02:16,196 --> 00:02:19,596 Speaker 1: best parts of the songs to capture a moment, that 33 00:02:19,676 --> 00:02:23,116 Speaker 1: honeymoon bursts of creative inspiration, and they tell a story 34 00:02:23,556 --> 00:02:29,276 Speaker 1: but a young couple in love. I've been looking forward 35 00:02:29,276 --> 00:02:32,756 Speaker 1: to this. Let's start from the beginning because this is 36 00:02:33,556 --> 00:02:37,916 Speaker 1: this is a story that needs, as you know, appropriate setup. 37 00:02:38,716 --> 00:02:42,476 Speaker 3: Well, when we first talked, I went down a road 38 00:02:42,516 --> 00:02:47,996 Speaker 3: that felt very friendly and evocative and filled with memories. 39 00:02:48,036 --> 00:02:51,196 Speaker 3: Because you are an Elvis guy, your revisionist history on 40 00:02:51,276 --> 00:02:57,796 Speaker 3: Elvis was seminal, and this idea of like never made 41 00:02:58,716 --> 00:03:01,756 Speaker 3: projects from the heart and stuff. It combined with my 42 00:03:02,196 --> 00:03:06,516 Speaker 3: love of Elvis and a particular part of Elvis to 43 00:03:06,836 --> 00:03:09,116 Speaker 3: you just want to like put this in your lap, Malcolm. 44 00:03:09,396 --> 00:03:12,436 Speaker 3: This is this was one that got away. 45 00:03:13,556 --> 00:03:17,236 Speaker 1: Well, let's start with Elvis. So you your first concert 46 00:03:17,316 --> 00:03:20,436 Speaker 1: you ever attended as a kid, right, is an Elvis concert? 47 00:03:21,036 --> 00:03:22,916 Speaker 3: That's right? I won tickets on the radio. 48 00:03:23,236 --> 00:03:26,236 Speaker 1: It's your twelve Yeah, something like that. Which Elvis are 49 00:03:26,236 --> 00:03:28,876 Speaker 1: you getting in that low period? 50 00:03:28,956 --> 00:03:32,716 Speaker 3: Elvis seventy two, Elvis. 51 00:03:32,396 --> 00:03:35,236 Speaker 1: The big, the big high Collers. 52 00:03:35,476 --> 00:03:40,476 Speaker 3: Big high Callers, karate kicks. He was a little obsessed 53 00:03:40,516 --> 00:03:44,036 Speaker 3: with Nixon. In my San Diego Sports Arena show, he 54 00:03:44,076 --> 00:03:48,556 Speaker 3: did an imitation of Nixon and at one point was 55 00:03:48,596 --> 00:03:52,756 Speaker 3: on his back kind of kicking his legs, just having fun. 56 00:03:52,916 --> 00:03:55,556 Speaker 3: The kid was having fun at my show. 57 00:03:55,996 --> 00:03:58,276 Speaker 1: Baroke, it's baro You got Barroke Elvis. 58 00:03:58,596 --> 00:04:01,476 Speaker 3: I got Baroque Elvis. But Malcolm, he did. There was 59 00:04:01,556 --> 00:04:07,596 Speaker 3: one moment where it just broke through, like his genius 60 00:04:07,636 --> 00:04:10,796 Speaker 3: really broke through. And it was a brief moment of 61 00:04:10,916 --> 00:04:13,316 Speaker 3: sunlight through the clouds, but it was bridge over trouble 62 00:04:13,356 --> 00:04:18,356 Speaker 3: water and I felt him connect and there was that 63 00:04:18,396 --> 00:04:22,556 Speaker 3: moment where it was galvanizing and giving what he wanted 64 00:04:22,596 --> 00:04:26,636 Speaker 3: to give, and the audience was like mid shriek and 65 00:04:26,756 --> 00:04:29,876 Speaker 3: kind of taking it in. And and that was that 66 00:04:30,036 --> 00:04:32,676 Speaker 3: was the DNA you were meant to build up from 67 00:04:32,756 --> 00:04:40,676 Speaker 3: watching the show. Okay, there he is when you were feelings, 68 00:04:42,556 --> 00:04:44,476 Speaker 3: it was kind of fun in games Elvis. 69 00:04:44,556 --> 00:04:48,716 Speaker 1: And so this is so much of your life's work 70 00:04:49,356 --> 00:04:53,076 Speaker 1: kind of grows, is growing from the tiny seed of 71 00:04:53,236 --> 00:04:55,516 Speaker 1: not the all that of that Elvis concert, right, I 72 00:04:55,516 --> 00:04:59,396 Speaker 1: mean almost famous. So this this concert had a huge 73 00:04:59,396 --> 00:04:59,996 Speaker 1: impact on you. 74 00:05:01,196 --> 00:05:04,316 Speaker 3: It did, and also also Malcolm because like I took 75 00:05:04,356 --> 00:05:07,996 Speaker 3: my mom and my mom you know, if you if 76 00:05:08,036 --> 00:05:09,996 Speaker 3: you've seen all famous. 77 00:05:11,476 --> 00:05:13,556 Speaker 4: It's unfair that we can't listen to our music. 78 00:05:13,556 --> 00:05:16,356 Speaker 1: It's because it is about drugs and promiscuous sex. 79 00:05:16,516 --> 00:05:19,476 Speaker 4: Simon and garfun is poetry, Yes, it's poetry. It is 80 00:05:19,516 --> 00:05:23,756 Speaker 4: a poetry of drugs and promiscuous sex. Honey, they're on POTT. 81 00:05:24,436 --> 00:05:27,156 Speaker 3: So that week changes a lot. So this was the 82 00:05:27,196 --> 00:05:30,436 Speaker 3: door that gets cracked open where rock and of course 83 00:05:30,476 --> 00:05:34,956 Speaker 3: my future love and that combined with journalism. I was 84 00:05:34,996 --> 00:05:38,916 Speaker 3: on my way, but Elvis was there at the gates, 85 00:05:39,716 --> 00:05:43,956 Speaker 3: you know, and I still was obsessed with Elvis but 86 00:05:43,996 --> 00:05:48,556 Speaker 3: I was obsessed with the corners of Elvis's experience, and 87 00:05:48,676 --> 00:05:53,916 Speaker 3: one of those corners was his movies. And I loved 88 00:05:53,956 --> 00:05:57,156 Speaker 3: those B movies. Some might even call them C and 89 00:05:57,356 --> 00:06:01,316 Speaker 3: D movies. There he comes out of the box hot 90 00:06:01,356 --> 00:06:05,276 Speaker 3: with Loving You and Jail House Rock, but eventually he's 91 00:06:05,276 --> 00:06:08,916 Speaker 3: doing genre things for the money that Colonel Parker has 92 00:06:08,916 --> 00:06:12,556 Speaker 3: put him up for. And you know, there's a set 93 00:06:12,916 --> 00:06:15,796 Speaker 3: formula for the Elvis movies that happened. And I became 94 00:06:15,836 --> 00:06:17,396 Speaker 3: obsessed with those movies. 95 00:06:18,116 --> 00:06:22,596 Speaker 1: Yes, yes, And you became obsessed with them because I mean, 96 00:06:23,316 --> 00:06:24,596 Speaker 1: one thing I was trying to figure out is I 97 00:06:24,676 --> 00:06:28,316 Speaker 1: listened to the music of the project we're going to 98 00:06:28,316 --> 00:06:33,076 Speaker 1: talk about. Was I was trying to understand your intentions 99 00:06:34,276 --> 00:06:37,116 Speaker 1: and your So are you obsessed in a kind. 100 00:06:36,876 --> 00:06:40,516 Speaker 3: Of that's so delicately put? I love it? 101 00:06:40,556 --> 00:06:41,076 Speaker 1: Is it is? 102 00:06:41,116 --> 00:06:41,636 Speaker 5: It is it? 103 00:06:41,836 --> 00:06:45,316 Speaker 1: Are you winking at Elvis? Are you sharing in the fun? 104 00:06:45,596 --> 00:06:46,676 Speaker 1: Or are you buying it? 105 00:06:48,196 --> 00:06:51,196 Speaker 3: All of the above? All I think you just you 106 00:06:51,436 --> 00:06:53,836 Speaker 3: just have to enjoy it for what it is, which 107 00:06:53,916 --> 00:06:59,876 Speaker 3: which is a romp. Elvis often did three of those 108 00:06:59,916 --> 00:07:01,876 Speaker 3: movies in a year. You can see he's kind of 109 00:07:01,916 --> 00:07:04,956 Speaker 3: confused by the character names they call him by. It's 110 00:07:04,956 --> 00:07:10,276 Speaker 3: like he's he's lost, He's he's brilliantly lost. It's just, 111 00:07:11,236 --> 00:07:13,956 Speaker 3: you know, you see so much. It's almost watching his 112 00:07:14,036 --> 00:07:16,396 Speaker 3: face in these movies. It's like a diary that he 113 00:07:16,476 --> 00:07:20,156 Speaker 3: never wrote. You can see why am I here? You 114 00:07:20,196 --> 00:07:23,636 Speaker 3: can see glimmers of oh this is good, and Margaret 115 00:07:23,716 --> 00:07:27,316 Speaker 3: Viva las Vegas. Wait a minute, she's challenging me. So 116 00:07:27,356 --> 00:07:32,916 Speaker 3: it's all there, hidden in this candy colored genre romp 117 00:07:32,956 --> 00:07:35,596 Speaker 3: that the Elvis movies became so all of the above. 118 00:07:35,916 --> 00:07:40,316 Speaker 1: Yeah, yeah, sir, So you developed early on, in other words, 119 00:07:40,516 --> 00:07:43,556 Speaker 1: a rich and nuanced interpretation of who Elvis was and 120 00:07:43,556 --> 00:07:46,916 Speaker 1: what he stands for. Yes, and that's that's Is there 121 00:07:46,956 --> 00:07:51,716 Speaker 1: any other artist who plays a comparable role in your 122 00:07:51,996 --> 00:07:53,556 Speaker 1: in the development of your imagination? 123 00:07:56,076 --> 00:08:00,396 Speaker 3: No, because there's only one guy who was or artist 124 00:08:00,436 --> 00:08:03,396 Speaker 3: who was so huge that he was able to make 125 00:08:04,276 --> 00:08:07,716 Speaker 3: thirty throwaway movies that did well enough so that he 126 00:08:07,716 --> 00:08:12,316 Speaker 3: could keep doing it, perhaps against his will. Only one 127 00:08:12,396 --> 00:08:16,436 Speaker 3: person that I ever knew about, and we'll share this later, 128 00:08:17,036 --> 00:08:20,756 Speaker 3: did ask Elvis, like, why did you make all those movies? 129 00:08:21,276 --> 00:08:24,036 Speaker 3: And he gave this one person an answer, But mostly 130 00:08:24,076 --> 00:08:26,716 Speaker 3: he never did any interviews. He never commented on it. 131 00:08:27,116 --> 00:08:30,516 Speaker 3: He just did all those movies for fifteen years. They 132 00:08:30,556 --> 00:08:33,396 Speaker 3: squandered quite a bit, you know, as John Lennon would 133 00:08:33,476 --> 00:08:36,996 Speaker 3: would tell you in his interviews, like why is Elvis? 134 00:08:37,036 --> 00:08:41,076 Speaker 3: Why is the King? Just like you know, strolling around 135 00:08:41,076 --> 00:08:45,036 Speaker 3: Hollywood sound stages with B level stars singing like medium 136 00:08:45,076 --> 00:08:48,436 Speaker 3: decent songs, you know, but that's part of the mysteries 137 00:08:48,436 --> 00:08:48,876 Speaker 3: of Elvis. 138 00:08:48,956 --> 00:08:52,836 Speaker 1: Yeah, yeah, so we have this. This is the kind 139 00:08:52,836 --> 00:08:57,676 Speaker 1: of the necessary context, Yes, the story that you're gonna tell. 140 00:08:58,436 --> 00:09:06,436 Speaker 3: Yeah, okay. So it's the eighties and I had written 141 00:09:06,596 --> 00:09:10,716 Speaker 3: Fast Times at Ridgemont High which like amazingly kind of 142 00:09:10,756 --> 00:09:13,436 Speaker 3: found an audience, so I kind of had a shot 143 00:09:13,516 --> 00:09:19,356 Speaker 3: at possibly a screenwriting career. And in the middle of 144 00:09:19,396 --> 00:09:22,516 Speaker 3: all this, I perhaps most importantly, fell in love with 145 00:09:22,716 --> 00:09:27,236 Speaker 3: Nancy Wilson, the great Nancy Wilson, amazing guitarist, half of 146 00:09:27,236 --> 00:09:32,236 Speaker 3: the Wilson sisters who front their band Heart. So we 147 00:09:32,236 --> 00:09:34,716 Speaker 3: were together for a while and then decided to get married. 148 00:09:35,076 --> 00:09:39,516 Speaker 3: And it was a beautiful time. And Anne Wilson, Nancy's sister, 149 00:09:39,636 --> 00:09:42,996 Speaker 3: had a cabin in Cannon Beach, Oregon, and that was 150 00:09:43,076 --> 00:09:46,316 Speaker 3: where we wanted to go for a little honeymoon, you know, 151 00:09:46,476 --> 00:09:50,156 Speaker 3: just borrow the cabin from Ann. Now this you must 152 00:09:50,196 --> 00:09:53,076 Speaker 3: know as a setup is Ann and Nancy Wilson. To 153 00:09:53,196 --> 00:09:57,036 Speaker 3: this day, they're like the everly sisters. They sing together 154 00:09:57,116 --> 00:10:00,036 Speaker 3: and it's like, you know, there's no thought that goes 155 00:10:00,076 --> 00:10:03,076 Speaker 3: into it. They have the sibling voices that blend so 156 00:10:03,316 --> 00:10:08,876 Speaker 3: beautifully their musical twins in a way, and sings. Nancy 157 00:10:08,916 --> 00:10:12,596 Speaker 3: sing a little bit, but mostly plays this elegant, beautiful guitar. 158 00:10:13,116 --> 00:10:19,716 Speaker 3: They're a serious duo. So ten days into our honeymoon, 159 00:10:19,716 --> 00:10:21,996 Speaker 3: which was how long we wanted to spend at Anne's cabin, 160 00:10:22,596 --> 00:10:25,076 Speaker 3: we decid we want to spend two weeks. We want 161 00:10:25,116 --> 00:10:28,196 Speaker 3: to spend a little bit longer. But Anne wants to 162 00:10:28,196 --> 00:10:32,276 Speaker 3: come to her cabin. So Ann Wilson shows up on 163 00:10:32,316 --> 00:10:36,156 Speaker 3: our honeymoon, which is an interesting thing for a small cabin. 164 00:10:36,356 --> 00:10:39,636 Speaker 3: It's like a sitcom in a way. Here you have 165 00:10:39,716 --> 00:10:43,396 Speaker 3: the two sisters with you on your honeymoon with one 166 00:10:43,436 --> 00:10:45,556 Speaker 3: of them, and what are you going to do in 167 00:10:45,596 --> 00:10:49,356 Speaker 3: this in this small environment in a in a you know, 168 00:10:49,516 --> 00:10:52,356 Speaker 3: coastal town in Oregon where not much is going on. Well, 169 00:10:53,516 --> 00:10:56,076 Speaker 3: we're going to do a project, a musical project that 170 00:10:56,196 --> 00:10:58,836 Speaker 3: will involve all three of us. Whose idea was this 171 00:10:59,876 --> 00:11:07,596 Speaker 3: mine because I love watching them sing together. And Nancy 172 00:11:07,596 --> 00:11:10,396 Speaker 3: would later score my movies and stuff, and so we 173 00:11:10,836 --> 00:11:14,516 Speaker 3: worked really well together and AND's a lot of fun. Now, 174 00:11:14,796 --> 00:11:17,516 Speaker 3: all all of this being said, I was working loosely 175 00:11:17,596 --> 00:11:19,796 Speaker 3: on a book I wanted to do about Elvis movies, 176 00:11:21,076 --> 00:11:24,956 Speaker 3: So so that was on my mind. And like any 177 00:11:24,996 --> 00:11:27,276 Speaker 3: idea that you believe is good, it's built on the 178 00:11:27,316 --> 00:11:33,636 Speaker 3: things you love, and Elvis was one. Playing music with 179 00:11:33,676 --> 00:11:39,916 Speaker 3: my wife was another, and s c TV and Martin 180 00:11:39,996 --> 00:11:43,516 Speaker 3: Short was a third element. I loved Martin Short, that 181 00:11:43,556 --> 00:11:45,436 Speaker 3: great that great comedy show s c TV. 182 00:11:45,676 --> 00:11:46,756 Speaker 1: Remember I'm Canadian. 183 00:11:47,436 --> 00:11:52,436 Speaker 3: So here comes this idea for a kind of and 184 00:11:52,436 --> 00:11:54,436 Speaker 3: this is the cousin of what you're doing, Malcolm. It's 185 00:11:54,476 --> 00:11:59,996 Speaker 3: like lost masterpieces. What's What's What's something that like a 186 00:12:00,076 --> 00:12:04,596 Speaker 3: movie that almost got made? And it's built on the 187 00:12:04,636 --> 00:12:08,076 Speaker 3: burning fever inside your gut that this is the idea 188 00:12:08,116 --> 00:12:10,796 Speaker 3: of all time. So I started building this idea of 189 00:12:11,196 --> 00:12:15,276 Speaker 3: the great Elvis movie that never got made and what's 190 00:12:15,356 --> 00:12:17,956 Speaker 3: the story behind it? And I decided that it was 191 00:12:17,996 --> 00:12:21,236 Speaker 3: like you had Goffin and King, who are like a 192 00:12:22,116 --> 00:12:27,236 Speaker 3: great couple songwriting their legends. They'd written all these great songs. 193 00:12:27,276 --> 00:12:29,116 Speaker 3: The Beatles did some of them. I thought, like, what 194 00:12:29,196 --> 00:12:33,276 Speaker 3: about a much lesser Goffin and King, Like, what about 195 00:12:33,596 --> 00:12:38,476 Speaker 3: a couple who's the songwriting team They haven't gotten in 196 00:12:38,516 --> 00:12:42,596 Speaker 3: the door. And it's Parnell and Zix was their name, 197 00:12:43,476 --> 00:12:46,916 Speaker 3: Linda Parnell and Louis Zix. And Louis Zix of these 198 00:12:46,916 --> 00:12:50,916 Speaker 3: two songwriters, is obsessed with writing. He hears Elvis may 199 00:12:50,956 --> 00:12:55,116 Speaker 3: do one more movie, and he's gonna write with with 200 00:12:55,116 --> 00:12:58,596 Speaker 3: with his songwriting partner wife, they're gonna write this song 201 00:12:58,716 --> 00:13:01,396 Speaker 3: cycle for the ten songs of an Elvis movie that 202 00:13:01,436 --> 00:13:05,556 Speaker 3: they're gonna pitch and make. And this is the beginning 203 00:13:05,636 --> 00:13:10,596 Speaker 3: of Blue Seattle, which is their song cycle Malcolm, that 204 00:13:10,596 --> 00:13:14,476 Speaker 3: they're gonna try and sell to Elvis himself. And so 205 00:13:15,116 --> 00:13:18,196 Speaker 3: here on our honeymoon, I began to write these Elvis 206 00:13:18,196 --> 00:13:21,916 Speaker 3: songs that were fleshed out with Ann and Nancy Wilson 207 00:13:21,916 --> 00:13:26,996 Speaker 3: of heart and and and un ironically, really mostly we 208 00:13:26,996 --> 00:13:30,116 Speaker 3: were gonna do these songs that that captured all the 209 00:13:30,156 --> 00:13:33,516 Speaker 3: elements of the Elvis movie formula. 210 00:13:34,476 --> 00:13:37,556 Speaker 1: Now, before we get into the songs themselves, which I 211 00:13:37,596 --> 00:13:40,436 Speaker 1: have to say, are genius? I want you to define 212 00:13:40,516 --> 00:13:45,796 Speaker 1: you said all the elements of the eleph movie formula. 213 00:13:45,996 --> 00:13:48,756 Speaker 1: Break it down from before we start. What what are 214 00:13:48,756 --> 00:13:50,036 Speaker 1: the elements, the crucial. 215 00:13:49,756 --> 00:13:55,476 Speaker 3: Elements, okay, the the the Elvis elements of this. First 216 00:13:55,476 --> 00:13:57,116 Speaker 3: of all, he has to have a name that sounds 217 00:13:57,196 --> 00:14:00,676 Speaker 3: like a fist, you know, nothing too complex, just kind 218 00:14:00,676 --> 00:14:05,156 Speaker 3: of like deep Rivers was one Buck Thomas, you know, 219 00:14:05,276 --> 00:14:08,636 Speaker 3: so like we we thought, you start with a name 220 00:14:08,676 --> 00:14:14,076 Speaker 3: that's like, you know, Mike Davis something like that. And 221 00:14:13,196 --> 00:14:19,436 Speaker 3: and Elvis must always have workplace pride. He needs to 222 00:14:19,476 --> 00:14:22,156 Speaker 3: do a couple different things in an Elvis movie of 223 00:14:22,196 --> 00:14:26,356 Speaker 3: this era, but like they're often a strange combination of things, 224 00:14:26,356 --> 00:14:29,356 Speaker 3: like he can be a veterinarian who's also a race 225 00:14:29,436 --> 00:14:34,796 Speaker 3: car driver who also works in a county fair somehow 226 00:14:35,836 --> 00:14:38,916 Speaker 3: living you know, a little kid should appear at some 227 00:14:39,036 --> 00:14:41,796 Speaker 3: point looking for kind of some kind of mentorship, which 228 00:14:41,796 --> 00:14:49,196 Speaker 3: he provides, usually in the form of a song. Dancing 229 00:14:49,276 --> 00:14:50,836 Speaker 3: girls must appear. 230 00:14:52,236 --> 00:14:54,156 Speaker 4: In the Garden of Paradise, Noble Master. 231 00:14:55,876 --> 00:14:59,276 Speaker 3: So like that. It's worked in a fight, at least 232 00:14:59,316 --> 00:15:10,476 Speaker 3: one fight, and a thoughtful moment over a pet. Come on, Albert, 233 00:15:10,596 --> 00:15:11,596 Speaker 3: don't be a faint. 234 00:15:12,956 --> 00:15:16,556 Speaker 1: A good album because, of course Elvis. Yeah, I mean 235 00:15:16,636 --> 00:15:19,076 Speaker 1: his dog, his love of dog. I mean the seminal 236 00:15:19,156 --> 00:15:21,076 Speaker 1: of what was the seminal dog in Elvis's life. I've 237 00:15:21,116 --> 00:15:23,876 Speaker 1: now forgotten the one that song he used to sing 238 00:15:24,036 --> 00:15:27,796 Speaker 1: over and over and over again as a teen was 239 00:15:27,796 --> 00:15:31,236 Speaker 1: a song about a dead dog, Shep. 240 00:15:32,036 --> 00:15:32,756 Speaker 3: Yes, wasn't it. 241 00:15:32,796 --> 00:15:35,196 Speaker 1: I think it's Shep. Yeah. These are the kind of 242 00:15:35,236 --> 00:15:37,356 Speaker 1: stations of the Elvis cross that you've. 243 00:15:37,396 --> 00:15:39,956 Speaker 3: Us the stations of the cross. You can't say it 244 00:15:39,996 --> 00:15:40,516 Speaker 3: any better. 245 00:15:42,796 --> 00:15:45,276 Speaker 1: There's a lot going on in these movies. 246 00:15:46,036 --> 00:15:48,236 Speaker 3: And he lined them up, man, he lined them up 247 00:15:48,276 --> 00:15:50,676 Speaker 3: and did them. But then ultimately we end up at 248 00:15:50,716 --> 00:15:57,676 Speaker 3: a place where Elvis's nobility is protected. He either gets 249 00:15:57,716 --> 00:15:59,636 Speaker 3: the girl or he doesn't get the girl, and there's 250 00:15:59,636 --> 00:16:02,356 Speaker 3: a there's a rave up song that sends you out 251 00:16:02,516 --> 00:16:03,196 Speaker 3: feeling good. 252 00:16:03,436 --> 00:16:03,916 Speaker 4: Yeah. 253 00:16:04,076 --> 00:16:05,596 Speaker 3: Yeah, and that's the Elvis movie. 254 00:16:05,636 --> 00:16:08,116 Speaker 1: Did you have you watched all the album Elvis movies? 255 00:16:08,236 --> 00:16:12,996 Speaker 3: Yeah, definitely. And as long as you have these elements, 256 00:16:13,556 --> 00:16:16,516 Speaker 3: you're in the ballgame. Yeah. And of course the songs 257 00:16:17,556 --> 00:16:20,556 Speaker 3: are written outside of Elvis's experience, and usually they come 258 00:16:20,596 --> 00:16:22,236 Speaker 3: to him and at some point and they play him 259 00:16:22,276 --> 00:16:26,956 Speaker 3: the songs, and you know, legendarily he's like, no, no, okay, 260 00:16:26,956 --> 00:16:29,636 Speaker 3: I do something with that. Okay, No, okay, now I'm tired, 261 00:16:30,756 --> 00:16:33,476 Speaker 3: you know, Like, and they bring more songs another day. 262 00:16:34,196 --> 00:16:37,236 Speaker 3: And these are songs that the songwriters have like killed 263 00:16:37,276 --> 00:16:39,676 Speaker 3: themselves over because they know they're gonna have a session 264 00:16:39,876 --> 00:16:43,596 Speaker 3: with Elvis, you know, yeah, yeah, And this was the 265 00:16:43,676 --> 00:16:47,076 Speaker 3: songwriting couple in the story, my fictional story for lu Seattle, 266 00:16:47,276 --> 00:16:50,356 Speaker 3: Like their dream is that they will one day be 267 00:16:50,396 --> 00:16:54,516 Speaker 3: able to play these songs for Elvis and pitch this movie. 268 00:16:56,076 --> 00:16:58,116 Speaker 1: Are we going to hear some of those songs, dear listener, 269 00:16:58,276 --> 00:17:02,076 Speaker 1: Oh yes we are. After quick Break, Cameron Crowe is 270 00:17:02,116 --> 00:17:05,356 Speaker 1: going to play us some of the music from Blue Seattle. 271 00:17:13,076 --> 00:17:16,196 Speaker 1: So you sat down, you're there. How long did it 272 00:17:16,236 --> 00:17:18,716 Speaker 1: take to write these ten songs? 273 00:17:18,756 --> 00:17:20,796 Speaker 3: Like four or five days? Because I remember we made 274 00:17:20,876 --> 00:17:24,556 Speaker 3: this cassette that we're going to listen to mercifully a 275 00:17:24,596 --> 00:17:28,636 Speaker 3: little bit of yes, maybe a lot, but there's I 276 00:17:28,676 --> 00:17:30,396 Speaker 3: remember we listened to it on our way back from 277 00:17:30,436 --> 00:17:34,316 Speaker 3: the honeymoon. We were like, this is really pretty good. 278 00:17:36,636 --> 00:17:39,356 Speaker 1: Yeah, wait, why don't we let's play that one? I 279 00:17:39,436 --> 00:17:42,756 Speaker 1: actually I think you're being far too modest. I have 280 00:17:42,796 --> 00:17:44,756 Speaker 1: another one I want to recommend, but we'll get to 281 00:17:44,756 --> 00:17:47,196 Speaker 1: that one. Just play just to get us in the mood. 282 00:17:47,316 --> 00:17:49,876 Speaker 1: Let's listen to your favorite of the ten songs you wrote. 283 00:17:50,316 --> 00:17:52,236 Speaker 3: It's going to be My People, My People. 284 00:17:52,396 --> 00:17:53,436 Speaker 1: Let's listen to My People. 285 00:17:54,556 --> 00:17:56,596 Speaker 3: Let me set it up. We wanted to bring Elvis 286 00:17:56,636 --> 00:18:02,276 Speaker 3: this movie in the late sixties because this is kind 287 00:18:02,276 --> 00:18:07,516 Speaker 3: of the period where post Elvis has started to develop 288 00:18:07,556 --> 00:18:10,556 Speaker 3: a little bit of a social conscience. So the idea 289 00:18:10,636 --> 00:18:14,476 Speaker 3: is Elvis plays a cab driver in this who is 290 00:18:14,516 --> 00:18:16,956 Speaker 3: a man kind of of the people. And so like 291 00:18:17,036 --> 00:18:19,876 Speaker 3: the idea of Elvis roaming the streets in Seattle and 292 00:18:19,916 --> 00:18:22,316 Speaker 3: like Pike Place and all that stuff. We loved it. 293 00:18:22,356 --> 00:18:27,956 Speaker 3: And so there is a moment where he realizes he 294 00:18:27,956 --> 00:18:31,356 Speaker 3: he must return to the relevance of the street where 295 00:18:31,396 --> 00:18:37,116 Speaker 3: he was once this cab driver, and he leaves this 296 00:18:37,196 --> 00:18:41,636 Speaker 3: relationship that has kind of belittled him in some ways. 297 00:18:41,676 --> 00:18:43,556 Speaker 3: And so he's like going back to his roots, and 298 00:18:43,596 --> 00:18:47,156 Speaker 3: he's singing this song from behind the wheel of his cab, 299 00:18:47,276 --> 00:18:49,476 Speaker 3: My People, And it's always good. I'll just add this, 300 00:18:49,556 --> 00:18:51,316 Speaker 3: It's always good when you have a little bit of 301 00:18:51,356 --> 00:18:59,356 Speaker 3: a of a Spanish kind of castinette, you know. 302 00:19:02,316 --> 00:19:09,676 Speaker 2: Clove down in his street watching from my seat. These 303 00:19:09,796 --> 00:19:23,036 Speaker 2: are the people, my people in the city. Raid, I 304 00:19:23,196 --> 00:19:31,476 Speaker 2: seem to know my these are the people, my people. 305 00:19:35,156 --> 00:19:36,716 Speaker 4: I'm just an afty. 306 00:19:39,196 --> 00:19:41,116 Speaker 6: How did mine. 307 00:19:42,396 --> 00:19:43,236 Speaker 4: My review? 308 00:19:43,436 --> 00:19:49,676 Speaker 2: Mar excuse me in my crime? 309 00:19:51,836 --> 00:19:54,196 Speaker 4: I must be seeing my bride. 310 00:19:56,996 --> 00:20:00,836 Speaker 1: For the people, the people of people people. 311 00:20:02,556 --> 00:20:03,036 Speaker 3: A little bit. 312 00:20:03,156 --> 00:20:13,436 Speaker 7: You're a moment in there, and now another one. He's 313 00:20:13,436 --> 00:20:15,636 Speaker 7: gonna be clapping, even though he has danse hands on 314 00:20:15,676 --> 00:20:17,476 Speaker 7: the wheel simp figure. 315 00:20:17,196 --> 00:20:21,516 Speaker 1: It out almost. 316 00:20:26,316 --> 00:20:27,356 Speaker 2: To the people. 317 00:20:28,796 --> 00:20:41,636 Speaker 1: People you can. Actually, it's funny. That's like totally believable. 318 00:20:41,676 --> 00:20:45,796 Speaker 1: Wasn't Elvis song? If Alvis? Have I heard that on 319 00:20:45,836 --> 00:20:48,636 Speaker 1: an Elvis album? I'm not thinking twice about it. 320 00:20:48,836 --> 00:20:51,196 Speaker 3: I've come such a long way to hear you say that. 321 00:20:52,516 --> 00:20:54,836 Speaker 1: No, I mean I'm not I'm not blowing smoke here. 322 00:20:55,516 --> 00:20:58,916 Speaker 3: No, I felt that too at your time. Almost sell 323 00:20:59,036 --> 00:21:02,196 Speaker 3: that to to to Elvis. Yeah, for one of those movies. 324 00:21:02,596 --> 00:21:04,636 Speaker 1: Yeah, who's playing guitar on that? 325 00:21:06,436 --> 00:21:09,316 Speaker 3: Nancy and Ann are both playing guitar and singing, and 326 00:21:09,396 --> 00:21:12,356 Speaker 3: I'm like attempting to do an Elvis voice? 327 00:21:12,596 --> 00:21:16,556 Speaker 1: Yeah, which is it's not that the wake link for sure, 328 00:21:17,196 --> 00:21:19,116 Speaker 1: it's not your range. 329 00:21:19,556 --> 00:21:22,836 Speaker 3: Fantastic. You know, they can play anything at the drop 330 00:21:22,876 --> 00:21:25,316 Speaker 3: of a hat, and their harmonies are so cool. 331 00:21:25,556 --> 00:21:28,076 Speaker 1: Wait, let's so let's start from the view. So Blue 332 00:21:28,116 --> 00:21:32,076 Speaker 1: Seattle is set's the is the first song sets the 333 00:21:32,156 --> 00:21:35,516 Speaker 1: tone here, and we we're what are we? What are 334 00:21:35,516 --> 00:21:35,876 Speaker 1: we doing? 335 00:21:35,916 --> 00:21:36,236 Speaker 8: What do we? 336 00:21:36,316 --> 00:21:38,036 Speaker 1: What are what are we trying to do? Narratively with 337 00:21:38,076 --> 00:21:39,876 Speaker 1: Blue Blue Seattle. 338 00:21:40,036 --> 00:21:43,756 Speaker 3: Usher you into uh an Elvis world of time and 339 00:21:43,836 --> 00:21:48,556 Speaker 3: place and character. Yeah, where fun will perhaps abound. 340 00:21:48,716 --> 00:21:51,996 Speaker 1: Yeah, let's let's play a little, just the first half 341 00:21:52,076 --> 00:21:54,036 Speaker 1: of it, and then just to get a kind of 342 00:21:54,316 --> 00:21:57,316 Speaker 1: feel we get in the mood, Let's let's hear a 343 00:21:57,316 --> 00:21:57,876 Speaker 1: little bit of it. 344 00:22:10,516 --> 00:22:22,516 Speaker 3: Leathers always in LUs. 345 00:22:18,316 --> 00:22:23,876 Speaker 6: Green mountains, a maple. 346 00:22:36,436 --> 00:22:38,756 Speaker 3: This is the native influence was thing through. 347 00:22:43,996 --> 00:22:46,796 Speaker 6: I'm going back to the place where I'm. 348 00:22:49,676 --> 00:22:52,516 Speaker 4: A pretty little ship of warm man. Just kg. 349 00:22:57,236 --> 00:23:04,196 Speaker 1: The sticks are rare boom. I thought the opening this 350 00:23:04,236 --> 00:23:08,156 Speaker 1: should be the theme for Seattle. First of all, Blue Seattle. 351 00:23:08,556 --> 00:23:11,556 Speaker 1: Seattle needs to call itself blue because everyone thinks they're 352 00:23:11,636 --> 00:23:15,276 Speaker 1: gray Seattle, so as a marketing campaign to remind us 353 00:23:15,676 --> 00:23:17,836 Speaker 1: that the skies are blue in the mountains are green 354 00:23:18,516 --> 00:23:21,756 Speaker 1: is like. And secondly, just those opening this place made 355 00:23:21,876 --> 00:23:24,316 Speaker 1: the town made for love. I mean, come on, why 356 00:23:24,436 --> 00:23:27,396 Speaker 1: is the city not make this just that those three 357 00:23:27,436 --> 00:23:31,796 Speaker 1: opening lines. That's the That should be the official tagline 358 00:23:31,836 --> 00:23:32,476 Speaker 1: for Seattle. 359 00:23:34,196 --> 00:23:38,436 Speaker 3: Everything takes its time. I'm realizing to come to this 360 00:23:38,596 --> 00:23:42,596 Speaker 3: crossroads with you is really meaningful. So yeah, once he did. 361 00:23:42,636 --> 00:23:44,716 Speaker 3: It happened at the World's Fair in Seattle. So this 362 00:23:44,796 --> 00:23:48,756 Speaker 3: is like a reunion with uh, with an Elvis city 363 00:23:48,836 --> 00:23:51,076 Speaker 3: that's like undervalued as an Elvis city. 364 00:23:51,116 --> 00:23:55,716 Speaker 1: But wait, yes, Elvis. Elvis plays Seattle during the expo. 365 00:23:58,116 --> 00:24:00,196 Speaker 3: He makes a movie. It happened at the World's Fair. 366 00:24:01,956 --> 00:24:03,996 Speaker 3: I forget who the co star is, but like the 367 00:24:04,356 --> 00:24:07,116 Speaker 3: space needle is on the poster for it. 368 00:24:07,116 --> 00:24:10,116 Speaker 1: It's a good nastic oh oh wow, a little kind 369 00:24:10,116 --> 00:24:13,156 Speaker 1: of a little a little a little phallic imagery to 370 00:24:13,236 --> 00:24:18,796 Speaker 1: add to the we then we come to pay the fair. Yeah, 371 00:24:18,876 --> 00:24:21,996 Speaker 1: and as you said earlier, in the kind of like 372 00:24:22,796 --> 00:24:26,356 Speaker 1: in the Elvis movie taxonomy that you created, he needs 373 00:24:26,356 --> 00:24:29,156 Speaker 1: to have multiple jobs, but one of them has to 374 00:24:29,196 --> 00:24:32,436 Speaker 1: be a kind of keeping it real, that's right. And 375 00:24:32,516 --> 00:24:34,436 Speaker 1: so the keep it real job we have here. We 376 00:24:34,516 --> 00:24:35,796 Speaker 1: understand that he's a cab driver. 377 00:24:36,436 --> 00:24:39,276 Speaker 3: He's a cab driver, looking for love. 378 00:24:39,236 --> 00:24:42,196 Speaker 1: Looking for course. Yeah, let's do let's do it. Let's 379 00:24:42,196 --> 00:24:44,036 Speaker 1: do a minute of let's do a minute of of 380 00:24:44,036 --> 00:24:44,596 Speaker 1: pay the fair. 381 00:24:45,636 --> 00:24:47,116 Speaker 3: We'll see the little girl. 382 00:24:48,676 --> 00:24:55,716 Speaker 5: I'll stand a rod over there, maybe forty. 383 00:24:55,956 --> 00:24:59,916 Speaker 8: Understand she's a watch. 384 00:24:59,996 --> 00:25:00,676 Speaker 4: He's a watch. 385 00:25:00,756 --> 00:25:02,556 Speaker 8: He's a watch. He's a wall. 386 00:25:05,516 --> 00:25:05,916 Speaker 2: A fair. 387 00:25:09,196 --> 00:25:15,316 Speaker 3: Yuh, that little girl a little lot of like you. 388 00:25:15,996 --> 00:25:22,276 Speaker 3: But das and they sound and Nancy sounds so good 389 00:25:22,316 --> 00:25:22,996 Speaker 3: on this, they don't. 390 00:25:23,076 --> 00:25:25,076 Speaker 1: I know that the thing that makes this genius is 391 00:25:25,196 --> 00:25:27,476 Speaker 1: because understanding that we have the Wilson sisters doing the 392 00:25:27,556 --> 00:25:30,316 Speaker 1: do do Do Do Do Do. 393 00:25:28,876 --> 00:25:33,756 Speaker 4: Do right. 394 00:25:38,916 --> 00:25:43,116 Speaker 1: Came when you when you're doing this project? Are they 395 00:25:44,356 --> 00:25:47,116 Speaker 1: what's there? They as into it as you are? There? 396 00:25:47,556 --> 00:25:53,756 Speaker 3: I mean A we're bored, yeah, but b it's it's 397 00:25:53,836 --> 00:25:57,356 Speaker 3: a it's a great question. There was mist there's like 398 00:25:57,476 --> 00:26:01,516 Speaker 3: waves crashing on the below these little cliffs where we're staying, 399 00:26:02,236 --> 00:26:05,116 Speaker 3: and in the middle of this we're just like howling 400 00:26:05,156 --> 00:26:07,876 Speaker 3: through these Elvis songs. It was amazing. 401 00:26:07,956 --> 00:26:13,196 Speaker 1: Honeymoon is there Is there a lot of weed involved 402 00:26:13,316 --> 00:26:15,116 Speaker 1: or not? 403 00:26:15,116 --> 00:26:18,316 Speaker 3: Not really? Not really. I think a lot of beers. 404 00:26:18,396 --> 00:26:20,996 Speaker 3: I think we were just like lining up beers doing 405 00:26:21,036 --> 00:26:24,556 Speaker 3: some of this stuff. Yeah, yeah, I think I think 406 00:26:24,796 --> 00:26:28,436 Speaker 3: we would have lost our hard Elvis edge if we'd 407 00:26:28,476 --> 00:26:31,316 Speaker 3: gone to the weed too much. That would be the 408 00:26:31,396 --> 00:26:36,596 Speaker 3: later Elvis movie, that's right. So Hiccups is the one's 409 00:26:36,996 --> 00:26:39,596 Speaker 3: there's usually a novelty song that's completely embarrassing. 410 00:26:39,916 --> 00:26:41,836 Speaker 1: Oh that's what Hiccup is doing. 411 00:26:42,636 --> 00:26:45,276 Speaker 3: Yeah, where Elvis is asked to do something that's really 412 00:26:45,356 --> 00:26:47,836 Speaker 3: kind of beneath him and he knows that. You can 413 00:26:47,836 --> 00:26:50,316 Speaker 3: always see it in the movies when he's asked to 414 00:26:50,316 --> 00:26:53,876 Speaker 3: do this, to play patty Cakes with a little kid, 415 00:26:54,116 --> 00:26:57,316 Speaker 3: or or do a move like that, he usually, if 416 00:26:57,316 --> 00:27:00,516 Speaker 3: you're really looking at it with a microscope, he has 417 00:27:00,596 --> 00:27:02,756 Speaker 3: a little fun and then it gets old because they're 418 00:27:02,796 --> 00:27:04,636 Speaker 3: asking him to do a number of takes you can 419 00:27:04,756 --> 00:27:07,316 Speaker 3: usually tell. And so by the end of the novelty 420 00:27:07,436 --> 00:27:10,116 Speaker 3: song in the movies, he's so ready to move on. 421 00:27:11,116 --> 00:27:14,276 Speaker 3: But but it's important that he bonds with a child 422 00:27:14,556 --> 00:27:15,116 Speaker 3: and a pet. 423 00:27:15,436 --> 00:27:16,916 Speaker 1: Yeah, yeah, those are crucial. 424 00:27:19,276 --> 00:27:19,516 Speaker 7: You know. 425 00:27:20,636 --> 00:27:25,876 Speaker 1: It's just impossible not to be filled with sympathy for Elvis. 426 00:27:26,556 --> 00:27:28,436 Speaker 1: I would want no part of his life. It just said. 427 00:27:28,476 --> 00:27:31,796 Speaker 1: Everything about it just sounds he's locked up in this 428 00:27:31,916 --> 00:27:35,196 Speaker 1: gilded cage and he just sounds like he's desperately unhappy 429 00:27:35,356 --> 00:27:36,316 Speaker 1: almost all the time. 430 00:27:36,676 --> 00:27:40,716 Speaker 3: Yes, and the further you go into the movies, you 431 00:27:40,836 --> 00:27:44,916 Speaker 3: see the anguish start to turn up. You can see 432 00:27:44,916 --> 00:27:50,836 Speaker 3: the anguish build and sometimes for whole movies he's annoyed, 433 00:27:54,756 --> 00:27:59,036 Speaker 3: kind of just wondering why he's there while he's doing 434 00:27:59,076 --> 00:27:59,676 Speaker 3: these lines. 435 00:28:00,156 --> 00:28:04,676 Speaker 1: Yeah, yeah, it's so. It's so heartbreaking, it is, but 436 00:28:04,796 --> 00:28:07,076 Speaker 1: still a little bit of hiccups, just so we understand 437 00:28:07,156 --> 00:28:09,396 Speaker 1: this the novelty because now that you say that, it 438 00:28:09,436 --> 00:28:11,316 Speaker 1: made I was puzzling. I was listening. It's like, why 439 00:28:11,356 --> 00:28:13,596 Speaker 1: is hiccups here? That's here? 440 00:28:18,156 --> 00:28:23,836 Speaker 2: Part this partlet a rhyme, the hiccup, No friend of mine, 441 00:28:24,396 --> 00:28:26,676 Speaker 2: there's no way to rid yourself. 442 00:28:27,436 --> 00:28:35,076 Speaker 1: Oh this a little scat hellup, yeah, big. 443 00:28:40,796 --> 00:28:40,956 Speaker 6: Big. 444 00:28:41,556 --> 00:28:45,676 Speaker 1: I was humming this to myself after a mile around. 445 00:28:45,516 --> 00:28:47,676 Speaker 3: Now this year. Right, this is a heartbreak. This is 446 00:28:47,756 --> 00:28:51,076 Speaker 3: like the guy who was truly dangerous is now doing 447 00:28:51,116 --> 00:28:51,916 Speaker 3: the hiccup song. 448 00:28:52,076 --> 00:28:52,316 Speaker 4: Yeah. 449 00:28:52,556 --> 00:28:55,916 Speaker 3: Yeah. Culturally, my and. 450 00:28:56,396 --> 00:28:59,476 Speaker 1: That line at the end, my prescription is simply love. 451 00:28:59,716 --> 00:29:01,956 Speaker 1: When he goes to yeah, when he goes to all 452 00:29:01,996 --> 00:29:04,716 Speaker 1: the cures for the hiccups and then he comes as 453 00:29:04,796 --> 00:29:06,316 Speaker 1: to the only one that works for me is love, 454 00:29:06,516 --> 00:29:09,396 Speaker 1: which by the way, is like so poignant and so true. 455 00:29:09,436 --> 00:29:15,036 Speaker 1: The one thing he was lacking was love. Right, That's 456 00:29:15,076 --> 00:29:17,756 Speaker 1: a truer line has really been written of Elvis that 457 00:29:18,076 --> 00:29:21,996 Speaker 1: he got every other drug in quotes offered to him 458 00:29:21,996 --> 00:29:24,876 Speaker 1: and none worked. The only thing you need it was Yeah, 459 00:29:25,156 --> 00:29:25,636 Speaker 1: it was. 460 00:29:26,036 --> 00:29:30,276 Speaker 3: Super well said, and there was buried in the Hiccup song. 461 00:29:30,356 --> 00:29:33,116 Speaker 1: But the way, what's hilarious continuing hilarious is I said 462 00:29:33,156 --> 00:29:37,556 Speaker 1: before the contrast between two of the great guitar players 463 00:29:37,596 --> 00:29:42,636 Speaker 1: of our generation. And then it's a good Elvis impression. 464 00:29:42,676 --> 00:29:44,676 Speaker 1: But as you say, you if you are the weak, 465 00:29:46,116 --> 00:29:47,836 Speaker 1: you could only be you could only be though in 466 00:29:47,916 --> 00:29:48,476 Speaker 1: this company. 467 00:29:49,196 --> 00:29:52,876 Speaker 3: That's that's true. It's true. And and of course story wise, 468 00:29:52,956 --> 00:29:54,156 Speaker 3: which we'll we'll get to. 469 00:29:55,676 --> 00:29:55,716 Speaker 4: It. 470 00:29:56,356 --> 00:29:59,276 Speaker 3: These are the demos that the songwriting team within the 471 00:29:59,356 --> 00:30:01,796 Speaker 3: story are going to present to Elvis. So this would 472 00:30:01,836 --> 00:30:07,436 Speaker 3: be they're recording these themselves present to him, which which 473 00:30:07,476 --> 00:30:10,596 Speaker 3: i'll you know, we'll talk about in a second. Yeah, yeah, 474 00:30:10,836 --> 00:30:11,796 Speaker 3: I'll be brief. 475 00:30:12,156 --> 00:30:14,116 Speaker 1: I want to I want to play I want to 476 00:30:14,156 --> 00:30:16,716 Speaker 1: play One Chance to Love and then we listen, let's 477 00:30:16,756 --> 00:30:19,876 Speaker 1: talk a little bit more about about about context. This 478 00:30:19,876 --> 00:30:23,036 Speaker 1: this is this is where in this functions how. 479 00:30:24,156 --> 00:30:26,596 Speaker 3: I think this is kind of the looking over his 480 00:30:26,716 --> 00:30:33,236 Speaker 3: shoulder at the romantic landscape of Blue Seattle. He kind 481 00:30:33,276 --> 00:30:35,676 Speaker 3: of steps out and it's a single man in the 482 00:30:35,716 --> 00:30:40,676 Speaker 3: spotlight Roy Orbison kind of song. Yeah, that allows him 483 00:30:40,716 --> 00:30:45,156 Speaker 3: to uh, you know, flex his his vocal Elvis chops. 484 00:30:45,116 --> 00:30:46,916 Speaker 1: And this time I think we should listen to the 485 00:30:46,956 --> 00:30:49,556 Speaker 1: whole song. I think it's a lovely song. Yeah, just 486 00:30:49,596 --> 00:30:50,516 Speaker 1: do the whole thing. 487 00:30:51,756 --> 00:31:02,396 Speaker 8: H m, Dom, I've known you. 488 00:31:07,436 --> 00:31:14,716 Speaker 2: And yet I've loved you. No old as many greedy men. 489 00:31:16,676 --> 00:31:17,916 Speaker 3: With hands and gloves. 490 00:31:20,116 --> 00:31:23,436 Speaker 2: But I just want one. 491 00:31:23,876 --> 00:31:26,796 Speaker 4: One chance too loud. 492 00:31:30,876 --> 00:31:39,876 Speaker 3: What I want you to know? I am everything, yea Christ. 493 00:31:41,756 --> 00:31:43,716 Speaker 3: I don't have a lot to give, but I'm giving 494 00:31:43,796 --> 00:31:48,116 Speaker 3: it all here. 495 00:31:45,876 --> 00:31:59,796 Speaker 4: You coming man. 496 00:31:55,316 --> 00:31:56,156 Speaker 1: So helpless. 497 00:31:59,796 --> 00:32:00,516 Speaker 8: Would ask for. 498 00:32:05,876 --> 00:32:09,116 Speaker 2: Chances to look what I means. 499 00:32:10,956 --> 00:32:12,076 Speaker 8: No, I'll take my chid. 500 00:32:14,436 --> 00:32:16,116 Speaker 1: I'll take my chance of just one. 501 00:32:18,396 --> 00:32:19,676 Speaker 4: What chance? 502 00:32:49,676 --> 00:32:57,716 Speaker 3: There's only one chance, There's not two, there's only one. 503 00:32:57,756 --> 00:33:00,436 Speaker 1: I just think s great. I just I just love 504 00:33:00,476 --> 00:33:00,796 Speaker 1: this one. 505 00:33:03,356 --> 00:33:43,476 Speaker 5: We're building We're building this olf, Yeah. 506 00:33:25,556 --> 00:33:28,596 Speaker 1: We're we're we get the Wilson Sisters at the end. 507 00:33:28,836 --> 00:33:29,476 Speaker 3: You can't beat it. 508 00:33:29,556 --> 00:33:31,356 Speaker 1: We have real singers at. 509 00:33:31,236 --> 00:33:34,476 Speaker 3: The end, but the situation forgot what real city is like. 510 00:33:35,436 --> 00:33:36,876 Speaker 1: It's the least demo. 511 00:33:36,756 --> 00:33:38,876 Speaker 3: Ish mm hmmm mm hmmm. 512 00:33:39,076 --> 00:33:41,516 Speaker 1: It feels like by the end of this you're your 513 00:33:41,716 --> 00:33:43,956 Speaker 1: enthusiasm for the project is increasing. 514 00:33:44,596 --> 00:33:46,076 Speaker 3: You're exactly right. 515 00:33:46,676 --> 00:33:50,996 Speaker 1: That is the most Elvis, that's the most pure. If 516 00:33:50,996 --> 00:33:53,836 Speaker 1: you played that for anyone and said who would be 517 00:33:53,876 --> 00:33:56,476 Speaker 1: the ideal singer for that? Everyone everyone would say Elvis, 518 00:33:56,556 --> 00:33:57,356 Speaker 1: that's an Elvis song. 519 00:33:58,396 --> 00:34:01,116 Speaker 3: I'm so close to it, you know, I'm When you're 520 00:34:01,156 --> 00:34:04,876 Speaker 3: the artist, Malcolm, it's hard to look outside the character 521 00:34:04,956 --> 00:34:09,436 Speaker 3: you're playing. Sometimes. No, that's amazing, Thank you. I still 522 00:34:09,556 --> 00:34:10,396 Speaker 3: one chance to love. 523 00:34:10,756 --> 00:34:14,556 Speaker 1: Yeah, Okay, now that you've heard the songs, I think 524 00:34:14,596 --> 00:34:17,676 Speaker 1: you understand why I needed to see this movie. We're 525 00:34:17,676 --> 00:34:20,236 Speaker 1: gonna take a short break. When we come back, we 526 00:34:20,356 --> 00:34:22,276 Speaker 1: talk about how the story of the film turns out 527 00:34:22,836 --> 00:34:40,876 Speaker 1: and what it all means. So we've we've we've got 528 00:34:40,876 --> 00:34:44,596 Speaker 1: our ten songs, and now we're this is the core 529 00:34:44,716 --> 00:34:47,276 Speaker 1: of a of a narrative. You want to do you 530 00:34:47,316 --> 00:34:50,916 Speaker 1: want to do this kind of tongue in cheek Elvis movie, Yes, 531 00:34:52,036 --> 00:34:52,676 Speaker 1: pretending to. 532 00:34:52,956 --> 00:34:58,116 Speaker 3: Tell the story of how it almost happened? Or yeah, 533 00:34:58,556 --> 00:35:01,316 Speaker 3: could have happened that that idea is what kind of 534 00:35:01,396 --> 00:35:02,796 Speaker 3: landed for for this. 535 00:35:03,236 --> 00:35:05,276 Speaker 1: So to go back to the screenplay, did you actually 536 00:35:05,476 --> 00:35:07,716 Speaker 1: write a screenplay around those songs? 537 00:35:07,916 --> 00:35:08,996 Speaker 3: I did? I did? 538 00:35:09,156 --> 00:35:12,356 Speaker 1: So how does it begin with those two characters dreaming 539 00:35:12,396 --> 00:35:13,836 Speaker 1: about writing an Elvis movie? 540 00:35:14,436 --> 00:35:19,916 Speaker 3: Yeah, and enjoying enjoying one of the movies and trying 541 00:35:19,956 --> 00:35:24,476 Speaker 3: to be productive in their own little songwriting career. And 542 00:35:25,676 --> 00:35:30,236 Speaker 3: I got the feeling story wise that Elvis had done 543 00:35:30,276 --> 00:35:35,076 Speaker 3: the Comeback Special and just maybe he had two more 544 00:35:35,116 --> 00:35:37,396 Speaker 3: movies that he did after that. I think he did. 545 00:35:38,076 --> 00:35:41,756 Speaker 3: I could be wrong. I think he did. He did 546 00:35:41,796 --> 00:35:46,036 Speaker 3: a movie called let Me See Chautauqua was the name 547 00:35:46,076 --> 00:35:47,676 Speaker 3: of it, and it was kind of like a sought 548 00:35:47,716 --> 00:35:51,516 Speaker 3: after property. And he does this movie Chautauqua, but by 549 00:35:51,556 --> 00:35:53,716 Speaker 3: the time it comes out, they've changed the name to 550 00:35:53,916 --> 00:35:56,996 Speaker 3: The Trouble with Girls and how to get into it? 551 00:35:58,036 --> 00:36:02,636 Speaker 3: So so dashed again or his you know, dying embers 552 00:36:02,676 --> 00:36:05,196 Speaker 3: of an acting career. And then he goes into the 553 00:36:05,316 --> 00:36:08,996 Speaker 3: last one, which is Change of Habit, which he does 554 00:36:09,236 --> 00:36:12,716 Speaker 3: with Mary Tyler Moore, and of course he plays a doctor. 555 00:36:13,876 --> 00:36:15,756 Speaker 1: In a movie with Mary Tyler Moore. 556 00:36:16,036 --> 00:36:19,836 Speaker 3: The last one, it's the last one. So I got 557 00:36:19,836 --> 00:36:23,876 Speaker 3: the idea that our little songwriting duo gets a shot. 558 00:36:24,236 --> 00:36:26,836 Speaker 3: That's the dream to get the shot with Elvis. They're 559 00:36:26,956 --> 00:36:28,876 Speaker 3: they're ushered in and they have a moment in his 560 00:36:29,036 --> 00:36:33,796 Speaker 3: trailer where he's in his doctor uniform. There's a guitar 561 00:36:33,876 --> 00:36:37,396 Speaker 3: in his trailer. He's on a break doing you know, 562 00:36:37,556 --> 00:36:41,156 Speaker 3: change of habit, and he and he ushers them in 563 00:36:41,796 --> 00:36:47,596 Speaker 3: and they're kind of nervous. Our guy, the main guy 564 00:36:47,636 --> 00:36:50,756 Speaker 3: who's who's like an Elvis fanatic and has like really 565 00:36:50,836 --> 00:36:54,956 Speaker 3: studied Louis Zix has studied Elvis. But anyway, they run 566 00:36:54,996 --> 00:37:00,236 Speaker 3: through the songs. But before they do, Elvis says, you know, 567 00:37:00,836 --> 00:37:07,516 Speaker 3: not real talkative, totally charismatic, bronze in his doctor outfit. 568 00:37:08,276 --> 00:37:13,316 Speaker 3: He says, I always wanted to be in a good movie. 569 00:37:13,476 --> 00:37:15,276 Speaker 3: I don't know I'm gonna I'm gonna do this very 570 00:37:15,316 --> 00:37:20,516 Speaker 3: much anymore, maybe never go ahead. So with having led 571 00:37:20,556 --> 00:37:24,276 Speaker 3: with I'm not really doing this stuff anymore. These guys 572 00:37:24,396 --> 00:37:31,916 Speaker 3: earnestly run through the songs, and Elvis listens and he says, 573 00:37:32,156 --> 00:37:33,916 Speaker 3: let me, let me, let me, let me have the 574 00:37:33,956 --> 00:37:37,596 Speaker 3: sheet music for the the Cab Driver my People song. 575 00:37:38,956 --> 00:37:42,036 Speaker 3: And there's one guy that's written the songs, plays the 576 00:37:42,076 --> 00:37:45,676 Speaker 3: guitar his Elvis's guitar and accompanies him, and Elvis sings 577 00:37:46,796 --> 00:37:50,756 Speaker 3: My People in that little trailer, and then a guy 578 00:37:50,836 --> 00:37:55,276 Speaker 3: comes to get him to do a scene and he's leaving, 579 00:37:56,156 --> 00:38:01,196 Speaker 3: and our guy, Louis says, Elvis, why'd you do all 580 00:38:01,196 --> 00:38:05,276 Speaker 3: those movies? And I used the line that I had 581 00:38:05,316 --> 00:38:07,476 Speaker 3: heard from the actual story where somebody asked him that, 582 00:38:07,516 --> 00:38:10,116 Speaker 3: and he said, hey, man, last thing I remember I 583 00:38:10,156 --> 00:38:16,116 Speaker 3: was driving a truck. And he laughs and leaves, and 584 00:38:16,236 --> 00:38:19,916 Speaker 3: we're left with the songwriting couple, and the wife of 585 00:38:19,996 --> 00:38:27,716 Speaker 3: Louis says, I think he said no. And Louis says, yeah, 586 00:38:27,796 --> 00:38:32,756 Speaker 3: but what a no? That's like the greatest no ever. 587 00:38:33,116 --> 00:38:36,996 Speaker 3: And she says, sometimes a no is maybe even better 588 00:38:37,036 --> 00:38:41,916 Speaker 3: than a yes. And that's that's the end of Lost Masterpieces, 589 00:38:41,956 --> 00:38:45,596 Speaker 3: the movie that never gets made. Elvis never makes another movie, 590 00:38:46,196 --> 00:38:52,196 Speaker 3: but they have that moment in the trailer that that 591 00:38:52,356 --> 00:38:54,556 Speaker 3: where it all came to life for one minute while 592 00:38:54,596 --> 00:38:56,316 Speaker 3: he sang the. 593 00:38:56,356 --> 00:38:59,636 Speaker 1: Song, yeah that truck. Last thing I remember, I was 594 00:38:59,716 --> 00:39:00,476 Speaker 1: driving a truck. 595 00:39:01,156 --> 00:39:05,156 Speaker 3: Yeah, I'll tell you where it came from. Leon Russell, 596 00:39:05,516 --> 00:39:08,476 Speaker 3: the great you know, pianist and member of the Wrecking 597 00:39:08,516 --> 00:39:12,356 Speaker 3: Crew and stuff. Besides being you know, genius solo artists, 598 00:39:13,476 --> 00:39:15,396 Speaker 3: he played on so many records, and he played on 599 00:39:15,396 --> 00:39:17,436 Speaker 3: a bunch of Elvis records. And he was in the 600 00:39:17,556 --> 00:39:21,636 Speaker 3: RCA studios in the hallway and he sees Elvis coming 601 00:39:21,676 --> 00:39:23,956 Speaker 3: down the hallway and they hadn't seen each other since 602 00:39:23,956 --> 00:39:27,116 Speaker 3: playing on a session, and Leon Russell described it as 603 00:39:27,156 --> 00:39:30,716 Speaker 3: he kind of like developed Elvis Turett's you know, he 604 00:39:30,916 --> 00:39:32,436 Speaker 3: just like, what do you say to him? And he 605 00:39:32,516 --> 00:39:35,676 Speaker 3: ended up blurting out, Elvis, why'd you make all those 606 00:39:35,716 --> 00:39:40,596 Speaker 3: shitty movies? Just yucking it up in a studio hallway, 607 00:39:40,956 --> 00:39:43,956 Speaker 3: and Elvis said, last thing I remember, I was driving 608 00:39:43,996 --> 00:39:48,436 Speaker 3: a truck and like walks on, you know, driving a 609 00:39:48,476 --> 00:39:51,036 Speaker 3: truck in Tupelo basically, and then the hurricane. 610 00:39:53,036 --> 00:39:54,676 Speaker 1: His whole life is just a blur. 611 00:39:55,516 --> 00:39:56,356 Speaker 3: That's what he means. 612 00:39:56,396 --> 00:39:57,556 Speaker 1: Oh, that's what he means. 613 00:39:58,076 --> 00:39:58,876 Speaker 3: But yeah, but. 614 00:40:00,836 --> 00:40:04,996 Speaker 1: Cameron, well, once again, it's just it's so heartbreaking. 615 00:40:05,676 --> 00:40:07,676 Speaker 3: It is heartbreaking the idea that. 616 00:40:07,676 --> 00:40:10,436 Speaker 1: He would confess. He's essentially confessing to the fact he's 617 00:40:10,476 --> 00:40:13,196 Speaker 1: had no agency over his own career, which we know 618 00:40:13,356 --> 00:40:15,756 Speaker 1: is the truth of his own career. Yeah, that he 619 00:40:15,916 --> 00:40:19,796 Speaker 1: just completely surrendered all decision making to somebody out to 620 00:40:19,876 --> 00:40:22,156 Speaker 1: this kind of bad surrogate father. 621 00:40:23,196 --> 00:40:29,156 Speaker 3: Yeah, and clearly, in what little research I've been able 622 00:40:29,156 --> 00:40:32,956 Speaker 3: to do in the years passed our little novelty project here, 623 00:40:34,596 --> 00:40:40,436 Speaker 3: he didn't appreciate his movies. He never apparently had the 624 00:40:40,476 --> 00:40:42,796 Speaker 3: moment of watching him at two or three in the 625 00:40:42,836 --> 00:40:46,116 Speaker 3: morning and saying, like, shit, it's kind of good. I 626 00:40:46,156 --> 00:40:48,156 Speaker 3: think he mostly became ashamed of them. 627 00:40:49,356 --> 00:40:54,876 Speaker 1: Yeah, But also the idea of doing this kind of 628 00:40:55,316 --> 00:40:59,956 Speaker 1: bittersweet Elvis, who's aware of his own kind of loss 629 00:41:00,156 --> 00:41:06,756 Speaker 1: and failure in some sense, and who you know, they're 630 00:41:06,796 --> 00:41:09,956 Speaker 1: coming to him and they're confronting him with more of 631 00:41:09,996 --> 00:41:13,756 Speaker 1: the kind of falsehood, you know, like a kind of act, 632 00:41:14,116 --> 00:41:16,716 Speaker 1: and like that's and he just he can't do it anymore. 633 00:41:16,836 --> 00:41:19,636 Speaker 3: Driscilla Pressley said, there's a version of Elvis that few 634 00:41:19,636 --> 00:41:21,996 Speaker 3: people ever saw. And they would go to the outskirts 635 00:41:22,036 --> 00:41:25,596 Speaker 3: of town to like gospel festivals, and Elvis would sit 636 00:41:25,636 --> 00:41:28,636 Speaker 3: at a piano with with like a gospel group who 637 00:41:28,676 --> 00:41:31,836 Speaker 3: was just like kind of an amateurish gospel group, and 638 00:41:31,876 --> 00:41:35,796 Speaker 3: he'd sing at this piano and she would say that 639 00:41:36,756 --> 00:41:41,476 Speaker 3: was the purest Elvis that was him just connected to 640 00:41:42,596 --> 00:41:46,036 Speaker 3: his own heaven. That was it. And she said, like, 641 00:41:46,276 --> 00:41:48,236 Speaker 3: if you're going to do something about Elvis and not 642 00:41:48,436 --> 00:41:52,476 Speaker 3: have that in, you're not seeing the real guy. So 643 00:41:52,036 --> 00:41:56,196 Speaker 3: I felt like that moment in the trailer he actually 644 00:41:57,076 --> 00:41:59,356 Speaker 3: there was. There was just a love of music and 645 00:41:59,396 --> 00:42:02,676 Speaker 3: there was something in that song that like touched him 646 00:42:02,756 --> 00:42:04,596 Speaker 3: enough to want to sing it. And he who is 647 00:42:04,636 --> 00:42:08,116 Speaker 3: he if not a singer? And so he takes a spin. 648 00:42:09,236 --> 00:42:12,836 Speaker 3: He takes it for a spin, and that was his goodbye. 649 00:42:12,956 --> 00:42:13,396 Speaker 3: It's like. 650 00:42:15,196 --> 00:42:17,996 Speaker 1: In the screenplay, how much of Alvis had we seen 651 00:42:18,036 --> 00:42:18,916 Speaker 1: prior to the trailer? 652 00:42:21,036 --> 00:42:25,316 Speaker 3: Oh? Nothing, He's like Wolfman Jack in American Graffiti or something. 653 00:42:25,356 --> 00:42:27,436 Speaker 3: It's like, so we have a brief. 654 00:42:29,116 --> 00:42:31,436 Speaker 1: That he has that cameo right at the very end. 655 00:42:32,236 --> 00:42:34,876 Speaker 3: Yeah, they're just jamming like we're on the honeymoon. They're 656 00:42:34,916 --> 00:42:38,036 Speaker 3: trying to like it's the joy of their creation that 657 00:42:38,116 --> 00:42:41,476 Speaker 3: the songwriters the whole story really is. They're living in 658 00:42:41,516 --> 00:42:44,996 Speaker 3: it and experiencing it like we did on our honeymoon. 659 00:42:45,436 --> 00:42:49,796 Speaker 3: But but I think that line is is cool because 660 00:42:50,516 --> 00:42:55,756 Speaker 3: maybe maybe his partner realizes that the act of actually 661 00:42:55,876 --> 00:42:59,476 Speaker 3: doing it and pulling el of us back into a 662 00:42:59,516 --> 00:43:03,276 Speaker 3: place that he was obviously leaving, and like, how will 663 00:43:03,316 --> 00:43:05,876 Speaker 3: the songs really turn out? And are they out of 664 00:43:05,916 --> 00:43:08,716 Speaker 3: step with the times? Like these are all challenges that 665 00:43:08,756 --> 00:43:12,796 Speaker 3: they don't have to face. They got to see it, 666 00:43:13,436 --> 00:43:16,076 Speaker 3: and damn it was good. 667 00:43:16,876 --> 00:43:22,596 Speaker 1: Yeah yeah, oh man, Cameron, Why have why have we 668 00:43:22,716 --> 00:43:25,516 Speaker 1: been denied this? This is so much more interesting than 669 00:43:25,516 --> 00:43:29,116 Speaker 1: I imagined I thought what you were doing because all 670 00:43:29,116 --> 00:43:31,516 Speaker 1: I had was the songs you sent me, the songs. 671 00:43:31,956 --> 00:43:34,316 Speaker 1: I didn't have the story, and I thought, oh, this 672 00:43:34,476 --> 00:43:38,356 Speaker 1: is like a goof I just thought, oh, you're just 673 00:43:38,476 --> 00:43:42,116 Speaker 1: like someone loves Elvis is doing a little goofy Elvis. 674 00:43:42,876 --> 00:43:45,636 Speaker 1: But now I understand, as is the case with so 675 00:43:45,636 --> 00:43:48,836 Speaker 1: many of your movies, when we get to the core 676 00:43:48,876 --> 00:43:56,596 Speaker 1: of it, there's there's something really emotionally resonant there, like painfully, 677 00:43:56,756 --> 00:43:58,396 Speaker 1: painfully emotionally. 678 00:43:59,236 --> 00:44:03,116 Speaker 3: So it's that happy sad feeling that you know, like 679 00:44:03,516 --> 00:44:07,036 Speaker 3: the songs we love so often tap into the happy 680 00:44:07,116 --> 00:44:11,356 Speaker 3: sad feeling of you know, the ying and yang, and 681 00:44:11,396 --> 00:44:12,516 Speaker 3: you get to feel it all. 682 00:44:13,716 --> 00:44:15,996 Speaker 1: So did you pitch this script anywhere? 683 00:44:17,116 --> 00:44:17,196 Speaker 7: No? 684 00:44:17,556 --> 00:44:22,036 Speaker 3: I kind of wrote it and enjoyed it and moved 685 00:44:22,036 --> 00:44:22,956 Speaker 3: on to something else. 686 00:44:23,116 --> 00:44:24,076 Speaker 1: Why didn't you pitch it? 687 00:44:25,676 --> 00:44:29,796 Speaker 3: I hadn't started directing yet really, and by the time 688 00:44:30,196 --> 00:44:33,076 Speaker 3: by the time that I did, I was already off 689 00:44:33,116 --> 00:44:36,556 Speaker 3: on another journey. But I mean, I always loved the 690 00:44:36,596 --> 00:44:40,436 Speaker 3: idea of the dream that almost happened. And this, this 691 00:44:40,476 --> 00:44:44,316 Speaker 3: is what you're digging into right now. There's there's an 692 00:44:44,396 --> 00:44:49,116 Speaker 3: incredible kind of like happy said, melancholy about you know, 693 00:44:49,876 --> 00:44:52,476 Speaker 3: some of some of the Christopher Guests stuff in the 694 00:44:52,476 --> 00:44:56,236 Speaker 3: way that that it was influencing me around this time 695 00:44:56,276 --> 00:44:59,076 Speaker 3: and later too, Like I just loved the humanity and 696 00:44:59,116 --> 00:45:02,236 Speaker 3: the humor and the mix of that. I don't know 697 00:45:02,276 --> 00:45:04,676 Speaker 3: it just maybe someday I'll circle back to some version 698 00:45:04,716 --> 00:45:06,796 Speaker 3: of this. But I did love the idea of a 699 00:45:06,836 --> 00:45:11,116 Speaker 3: portrait of these artists, just like scraping for something true 700 00:45:11,476 --> 00:45:14,036 Speaker 3: and a different truth comes out of it. 701 00:45:18,316 --> 00:45:21,836 Speaker 1: On this season's development Hell series, we've heard stories about 702 00:45:21,876 --> 00:45:25,436 Speaker 1: my brush with Hollywood Glory science fiction tales never were 703 00:45:26,036 --> 00:45:29,676 Speaker 1: chimped forward Michael Jackson biopics. But I wanted to tell 704 00:45:29,716 --> 00:45:31,636 Speaker 1: you about Blue Seattle at the end of it all, 705 00:45:31,876 --> 00:45:36,676 Speaker 1: because this conversation was my ticket out of development. Hell 706 00:45:36,796 --> 00:45:40,036 Speaker 1: Crow and Nancy Wilson got divorced some time ago. We 707 00:45:40,076 --> 00:45:42,476 Speaker 1: didn't talk about that, but I think it was part 708 00:45:42,476 --> 00:45:45,076 Speaker 1: of the happy sad feeling I got listening to these 709 00:45:45,076 --> 00:45:48,836 Speaker 1: songs they made together right when they got married. Crow 710 00:45:48,956 --> 00:45:51,516 Speaker 1: is the king of happy sad on film, the kind 711 00:45:51,516 --> 00:45:55,196 Speaker 1: of instant nostalgia. It's all about feeling joy while knowing 712 00:45:55,196 --> 00:45:58,476 Speaker 1: it will pass, that all things fade, but not if 713 00:45:58,516 --> 00:46:01,996 Speaker 1: they never exist in the first place. That's the beauty 714 00:46:02,036 --> 00:46:04,436 Speaker 1: of development. Hell I thought it was all about missing 715 00:46:04,476 --> 00:46:06,716 Speaker 1: out on projects the world deserves to see, and for 716 00:46:06,836 --> 00:46:10,156 Speaker 1: some films, like say Bubbles, it really is. But it's 717 00:46:10,196 --> 00:46:14,436 Speaker 1: also about ideas so perfect that realizing them on screen 718 00:46:14,676 --> 00:46:18,116 Speaker 1: might do them a disservice. Will anyone's elbows be better 719 00:46:18,116 --> 00:46:21,196 Speaker 1: than Cameron Crowe singing with Nancy Wilson ten days after 720 00:46:21,196 --> 00:46:23,956 Speaker 1: they got married? How could you even shoot the scene 721 00:46:23,996 --> 00:46:26,356 Speaker 1: with the songwriters run through all the songs they've written 722 00:46:26,356 --> 00:46:30,436 Speaker 1: in a trailer? How's Elvis gonna clap his hands while 723 00:46:30,516 --> 00:46:34,876 Speaker 1: driving his cab? Would it look ridiculous? Maybe that's not 724 00:46:34,956 --> 00:46:39,996 Speaker 1: the point. Does it sound amazing? Absolutely? And does it 725 00:46:40,036 --> 00:46:42,636 Speaker 1: come to life in our imagination? Yes? 726 00:46:42,676 --> 00:46:43,036 Speaker 4: It does. 727 00:46:44,316 --> 00:46:49,076 Speaker 1: It's like Louis's wife says, sometimes a no is better 728 00:46:49,116 --> 00:47:04,356 Speaker 1: than a yes. This episode of Revision's History was produced 729 00:47:04,356 --> 00:47:07,716 Speaker 1: by Nina Bird Lawrence and Ben and Alfhaffrey, with Talian 730 00:47:08,356 --> 00:47:13,516 Speaker 1: editing Sarah Nix, original scoring by Lubiskarra engineering by Echo Mountain. 731 00:47:13,756 --> 00:47:17,836 Speaker 1: Our executive producer is Jacob Smith. Thanks to the Pushkin Crew, 732 00:47:18,196 --> 00:47:22,956 Speaker 1: Greta Cone, Christina Sullivan, Sarah Nix, Nicole upten Bosch, Eric Sandler, 733 00:47:23,196 --> 00:47:26,476 Speaker 1: Sarah Bruger and Kerry Brody. An extra special thanks of 734 00:47:26,516 --> 00:47:29,476 Speaker 1: course to Camera Crow. I'm Malcolm Glappa. 735 00:47:29,356 --> 00:47:32,276 Speaker 4: One too loud? 736 00:47:36,316 --> 00:47:45,916 Speaker 8: What I love? 737 00:47:51,196 --> 00:48:01,196 Speaker 4: Ye man, There's so. 738 00:48:01,236 --> 00:48:08,196 Speaker 8: Many of us who that's what one. 739 00:48:10,076 --> 00:48:10,516 Speaker 6: Whatever? 740 00:48:10,876 --> 00:48:14,316 Speaker 2: Let the chances to look, but not me. 741 00:48:14,556 --> 00:48:17,516 Speaker 8: Donald. No, I'll take my shot. 742 00:48:19,876 --> 00:48:21,036 Speaker 2: I'll take my chances. 743 00:48:21,156 --> 00:48:26,396 Speaker 8: Just what chance? It's true? 744 00:48:31,956 --> 00:48:46,676 Speaker 4: What's it? 745 00:48:52,036 --> 00:49:20,396 Speaker 6: Chimes one sends to 746 00:49:24,956 --> 00:49:26,036 Speaker 8: Chans to