WEBVTT - Brian Grazer Discusses Imagine Entertainment

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<v Speaker 1>This is Master's in Business with Barry Riddholts on Bloomberg Radio.

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<v Speaker 1>This week on the podcast What Can I Say? I

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<v Speaker 1>have an extra special guest. His name is Brian Grazer.

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<v Speaker 1>If you have any interest in the entertainment industry, if

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<v Speaker 1>you're a film buff, if you watch any of the

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<v Speaker 1>best television and films produced over the past thirty years,

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<v Speaker 1>well then you're definitely familiar with his work and you

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<v Speaker 1>will find this to be an absolutely fantastic conversation, fascinating

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<v Speaker 1>and informative. With no further ado, my interview of Brian Grazer.

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<v Speaker 1>This is Master's in Business with Barry Ridholts on Bloomberg Radio.

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<v Speaker 1>My extra special guest this week is Brian Grazer. He

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<v Speaker 1>is the co founder of Imagine Entertainment with his partner

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<v Speaker 1>Ron Howard. He is the producer of such seminal films

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<v Speaker 1>as Splash, Backdraft, Apollo thirteen, Liar, Liar eight Mile. His

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<v Speaker 1>television offerings include such things as Sports Night twenty four

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<v Speaker 1>and The cult Can I call it a cult favorite?

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<v Speaker 1>Arrested Development it is. His films have generated more than

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<v Speaker 1>thirteen and a half billion dollars in revenue, and his

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<v Speaker 1>television work has done probably twice as much as that.

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<v Speaker 1>The Producers Guild of America awarded him the David ol

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<v Speaker 1>Selznick Lifetime Achievement Award in two thousand and one. He

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<v Speaker 1>is the author of A Curious Mind and most recently,

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<v Speaker 1>Face to Face The Art of Human Connection. Brian Grazer,

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<v Speaker 1>Welcome to Bloomberg. Thank you glad to be here Bloomberg.

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<v Speaker 1>Rather and with Barry and I helped me get all

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<v Speaker 1>my food items for the morning. We we got you

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<v Speaker 1>ready to go. So I'm looking deeply into your eyes.

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<v Speaker 1>And in the book you explain how as a kid

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<v Speaker 1>that was a problem. Looking people directly face to face

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<v Speaker 1>was a challenge. How did that manifest itself and how

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<v Speaker 1>did you overcome that? Okay, so, um and thank you

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<v Speaker 1>for reading the book and having me my pleasure. By

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<v Speaker 1>the way, the book was very enjoyable. It's very you're

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<v Speaker 1>you're a spiritual, philosophical cat and I found that really

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<v Speaker 1>I am actually but thank you. Um. So, as a kid,

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<v Speaker 1>I had acute dyslexia, but it wasn't called that then,

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<v Speaker 1>it wasn't labeled as such. It was just like that

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<v Speaker 1>learning disability. Yeah, learning disability. Let's put him back. I

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<v Speaker 1>was the kid that would let the parents were talking

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<v Speaker 1>about every night, let's put him back, kid um. But

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<v Speaker 1>it was but it was really just you know, the

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<v Speaker 1>root of that was that I had no ability to read.

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<v Speaker 1>I couldn't read one word. I couldn't even sequence a sentence.

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<v Speaker 1>I mean I would be out way out of sequence

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<v Speaker 1>and I'd often start from the wrong side and left

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<v Speaker 1>to right issues. Also, I do I still have that.

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<v Speaker 1>So I'll share some secrets with you. Discipline you can

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<v Speaker 1>you can figure well once you're married, you know the Yeah,

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<v Speaker 1>that was a big deal. But I remember taking my

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<v Speaker 1>learners Permit test and left is the hand to make

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<v Speaker 1>the l. Every time the instructor would say make a

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<v Speaker 1>right or left, I would go this, and he would say,

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<v Speaker 1>what are you doing? I'm like, that's how the only

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<v Speaker 1>way I know left from right? So so what did

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<v Speaker 1>you do to overcome the reading issue? Well, I what

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<v Speaker 1>I did was I avoided eye contact with all teachers

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<v Speaker 1>all the time. They love that, No, they don't like

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<v Speaker 1>avoided eye contact. It just became I did that because

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<v Speaker 1>if you look at the teacher or or if your

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<v Speaker 1>eyes are available in fact, then you'd get picked to

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<v Speaker 1>answer the question or Brian, come to the come to

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<v Speaker 1>the board, you know, the chalkboard. So I just didn't

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<v Speaker 1>want any of those requests because I never had the answer,

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<v Speaker 1>because it was always based on the material you were

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<v Speaker 1>to have read. And I was incapable of reading. And

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<v Speaker 1>I had him Mr. Paula boy who was teaching me

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<v Speaker 1>how to read theoretically, but it was possible for impossible

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<v Speaker 1>for him. Um just because the way the symptoms and

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<v Speaker 1>root of dyslexi itself. So anyway, nonetheless, I couldn't read

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<v Speaker 1>about fourth I guess around fifth grade I started to

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<v Speaker 1>be able to read a little. And but by the way,

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<v Speaker 1>my grandmother had had one mentor in my life at

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<v Speaker 1>the time. They're really believed in Brian. And she'd say,

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<v Speaker 1>you have the gift of gab, you have curiosity, and

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<v Speaker 1>you can talk about it. And and she'd be looking

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<v Speaker 1>at my report cards over my shoulder that were straight f's,

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<v Speaker 1>and I'm thinking, Wow, she believes in me. And she says,

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<v Speaker 1>you're going all the way. She had all those isms,

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<v Speaker 1>You're going all the way, think big b big, But

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<v Speaker 1>there was no empirical evidence whatsoever that I was going

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<v Speaker 1>to be the thing, big b big person. She saw

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<v Speaker 1>something in you admother's love. This is she she saw

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<v Speaker 1>the hints of this super for power called curiosity, and

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<v Speaker 1>that that is valuable. And if you can use it

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<v Speaker 1>exhaustively with human beings, you can learn a lot, gain

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<v Speaker 1>insights and gain hearts. And if I said that right

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<v Speaker 1>now to her, if she were alive, she would say, yes,

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<v Speaker 1>that's that's right. She's probably very very strong on the hearts.

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<v Speaker 1>In any event, fifth grade, I could read, and now

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<v Speaker 1>I realize if I can read, I can now look

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<v Speaker 1>at people. So I started looking at people and and

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<v Speaker 1>and using them also as as a secondary or primary

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<v Speaker 1>textbook unto themselves. So I would look at you today,

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<v Speaker 1>for example, I noticed so much about you, Barry, so much. Um, well,

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<v Speaker 1>you move quickly, you think quickly, You're very helpful, you

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<v Speaker 1>um incredibly smart. Well sound okay, So I don't want to,

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<v Speaker 1>but I did, but I did notice quite a bit.

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<v Speaker 1>So um you're you're you are a judge, not with me,

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<v Speaker 1>but you you tend to be a judge of human

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<v Speaker 1>nature and human character. You do this in the in

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<v Speaker 1>the way, this is my pop observation, in the in

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<v Speaker 1>the material you select to make films, in the casting,

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<v Speaker 1>I know everybody works with casting director uh and others,

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<v Speaker 1>but it looks like that's a big part of of

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<v Speaker 1>what you do. Well. I'm really I'm very good at

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<v Speaker 1>prospecting for ideas that have that haven't been done, that

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<v Speaker 1>have an authentic voice, and or there'll be an idea

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<v Speaker 1>that's as simple as face to face. But I'm able

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<v Speaker 1>to granulate the techniques of what face to face means

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<v Speaker 1>in a way that's interesting and with stories, and that

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<v Speaker 1>empowers people too, you know, get the promotion they're looking

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<v Speaker 1>to get so that they can communicate it and they understand.

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<v Speaker 1>And the energy someone's energy, the energy you bring into

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<v Speaker 1>a room that millisecond is the beginning of the very

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<v Speaker 1>story or the Bryan story. And you don't want anything

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<v Speaker 1>to deflect that present state of mind. And then you

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<v Speaker 1>want to be You want to use your eye contact

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<v Speaker 1>and I'm using this in a simple way. You want

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<v Speaker 1>to use your eye contact as a as a tool

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<v Speaker 1>abridge the WiFi into human connection itself. And if you're

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<v Speaker 1>really present with somebody like just you know, genuine interest,

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<v Speaker 1>not transactional interest, but genuine interest, you gain so much.

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<v Speaker 1>Every one of my movies A Beautiful Mind, Friday Night lights,

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<v Speaker 1>empires television of course, um, any of the successful things

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<v Speaker 1>I ever did Splash, which you referenced, it's all birth

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<v Speaker 1>out of human interaction, human connection, and which came into

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<v Speaker 1>play because of eye contact. Then let's say I have

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<v Speaker 1>those insights as I did on Let's use a beautiful mind.

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<v Speaker 1>Then I need someone to pay for a beautiful mind,

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<v Speaker 1>you know, because then they could box it up and say, oh,

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<v Speaker 1>it's a movie about schizophrenia. That's not going to be

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<v Speaker 1>a popular or sexy subject, which of course I heard

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<v Speaker 1>to some degree. Then what I have to do is

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<v Speaker 1>use the powers of my observational skills that I've had

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<v Speaker 1>in the past, and okay, which one? Which? How do

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<v Speaker 1>I approach this so that I can make it not, um,

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<v Speaker 1>a study of schizophrenia, but a how do I make

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<v Speaker 1>it a story that's engaging to people? How do I

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<v Speaker 1>make it cinematic? What perspective on this subject makes it

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<v Speaker 1>worthy of somebody going out of their house, getting a babysitter,

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<v Speaker 1>whatever they have to do, find the parking spot, pay

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<v Speaker 1>for the seat, and then I feel like they've had

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<v Speaker 1>a great time. I'd rather had a great time. So

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<v Speaker 1>I have to invent all of that stuff. Or I

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<v Speaker 1>have to lead the invention of all of that stuff.

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<v Speaker 1>The invention and and those things, in the case of

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<v Speaker 1>a Beautiful Mind, came from the just simple observational power

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<v Speaker 1>of meeting new and interesting people. So the story of

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<v Speaker 1>a Beautiful Mind, what made it cinematic, was twenty years

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<v Speaker 1>before Beautiful Mind ever existed. I met a woman named

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<v Speaker 1>Veronica de Negre who was tortured in Chile. She was

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<v Speaker 1>during the Pinochet regime, the dictatorship of Pinoget, and so

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<v Speaker 1>she was sentenced to eighteen months of constant torture. And

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<v Speaker 1>I had the opportunity to meet her through Sting, actually

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<v Speaker 1>because I met him a year before that. Because I

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<v Speaker 1>was so fascinating, like I thought, how does a teacher

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<v Speaker 1>become a rock star? And so I constantly asked myself

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<v Speaker 1>these questions. So I got to meet Sting a year later.

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<v Speaker 1>Stings has come over the barbecue. I meet Veronica Danegre.

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<v Speaker 1>I say, how do you say? How did you survive it?

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<v Speaker 1>She said, I created an alternate narrative that I would

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<v Speaker 1>live in, another story I would live in all of

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<v Speaker 1>the time. So I live and fully engaged in this

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<v Speaker 1>other story that's not actually reality, because reality was torture,

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<v Speaker 1>so that enables her to survive this eighteen months. And

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<v Speaker 1>I thought, well, then I'm thinking, wow, that's very interesting.

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<v Speaker 1>Twenty years later, I transport that insight that I gained

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<v Speaker 1>from this non transactional conversation, and I thought, that insight

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<v Speaker 1>completely applies to a schizophrenic mind. So if we start

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<v Speaker 1>the movie through an alternate, alternate universe and alternate narrative

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<v Speaker 1>like another story, which we did, it's gonna be mind

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<v Speaker 1>blowing to people. Now could disengage them, but it can

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<v Speaker 1>also really engage them because it then it becomes kind

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<v Speaker 1>of a three thriller, so it changes the entire genre

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<v Speaker 1>of the experience. So therefore, instead of being a drama,

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<v Speaker 1>it became a thriller and then a love story. And

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<v Speaker 1>that's how he's John Nash survived the and coped with

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<v Speaker 1>his schizophrenia. I was gonna say, it's not about schizophrenia.

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<v Speaker 1>It's a love story with one of the parties sort

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<v Speaker 1>of descending into a bit of madness, and that's the

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<v Speaker 1>driver of the plot. I have to talk about Beautiful

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<v Speaker 1>Mind for a minute because I just watched a couple

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<v Speaker 1>of weeks ago, the loudest voice in the room not

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<v Speaker 1>only is Russell Crowe so fabulous in in A Beautiful Mind, spectacular, like,

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<v Speaker 1>you can't believe this is the same guy. It's such

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<v Speaker 1>a And then Jennifer Connelly, I fell in love with

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<v Speaker 1>our in um career Opportunities, and she's just so amazing

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<v Speaker 1>Beautiful Mind. She's just spectacular in it. She won an

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<v Speaker 1>Oscar for that. She want an Oscar, as did you,

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<v Speaker 1>And I said, I yes, yeah, UM, quite quite interesting.

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<v Speaker 1>It was great, great experience. And you've said this is

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<v Speaker 1>your this is your favorite film, it's certainly, yeah, probably

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<v Speaker 1>my favorite film. I may I have several that I

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<v Speaker 1>really like a lot, but A Beautiful Mind is probably

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<v Speaker 1>my favorite film because it triumphed in so many categories.

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<v Speaker 1>I mean it, it became a vehicle of a message

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<v Speaker 1>that mattered to me, which was, let's look at people

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<v Speaker 1>directly and and treat people as human beings and try

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<v Speaker 1>to understand them and not not apply an immediate bias.

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<v Speaker 1>And I was one of those people. There's no caricatures

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<v Speaker 1>in that film at all. Yeah, And I wanted to

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<v Speaker 1>help destigmatize mental disability so that when you were here

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<v Speaker 1>in New York you see people in the street, they're

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<v Speaker 1>yelling in the middle of the street, or they're screaming

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<v Speaker 1>at a store window. And let's not just disregard them immediately.

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<v Speaker 1>I mean, I mean, let's try to understand that they

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<v Speaker 1>may be bipolar, they may be schizophrenic, they have issues,

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<v Speaker 1>and and basically compassion is so powerful, so portant to success. Really,

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<v Speaker 1>empathy is really important to success. I've been able to

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<v Speaker 1>sell and raise lots of money for lots of movies,

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<v Speaker 1>billions of dollars for movie, for movies which are really ideas.

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<v Speaker 1>But similar to a startup, like say, okay, let's do Airbnb.

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<v Speaker 1>You know they're not that different. You know, they don't

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<v Speaker 1>make a startup. It's entrepreneurial. You have to bring in investors,

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<v Speaker 1>you have to bring in managers. It's it's very parallel

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<v Speaker 1>to running a new tech startup exactly. And it it

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<v Speaker 1>can fail in an evening, or it can succeed or

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<v Speaker 1>have life, and you pump more life into it. And

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<v Speaker 1>it could be a beautiful mind for example, quite quite fascinating.

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<v Speaker 1>But you really have to be in order to do

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<v Speaker 1>anything well. You like, get the raise, raise the hundred

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<v Speaker 1>million dollars, find your wife, my me, finding my wife.

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<v Speaker 1>You have to be president open minded. So you do

0:13:57.000 --> 0:14:00.439
<v Speaker 1>a lot of work that's been recognized and and awarded

0:14:00.520 --> 0:14:05.040
<v Speaker 1>and rewarded. Tell us a little bit about your process.

0:14:05.120 --> 0:14:08.199
<v Speaker 1>How do you decide what films you want to produce?

0:14:08.320 --> 0:14:10.760
<v Speaker 1>Is it the business side? Is it things you want

0:14:10.800 --> 0:14:15.000
<v Speaker 1>to see? What? What is your process? Like? Okay, because

0:14:15.120 --> 0:14:20.840
<v Speaker 1>my first success was in nineteen four about a mermaid

0:14:21.200 --> 0:14:25.920
<v Speaker 1>Splash Splash, and it's it's really that became that became

0:14:26.040 --> 0:14:29.720
<v Speaker 1>very helpful in the way I would start this journey.

0:14:29.840 --> 0:14:34.840
<v Speaker 1>So basically, both the people and the process, or that

0:14:35.960 --> 0:14:38.560
<v Speaker 1>the hundreds of people that turned down a mermaid movie

0:14:38.600 --> 0:14:40.960
<v Speaker 1>because it sounded so stupid to them, because that's the

0:14:40.960 --> 0:14:43.560
<v Speaker 1>stupidest idea. It's like there's no such thing as a

0:14:43.560 --> 0:14:47.640
<v Speaker 1>mermaid or it's just that the dumb idea. What you

0:14:47.800 --> 0:14:50.840
<v Speaker 1>what you learn is that first of all, nobody really

0:14:50.880 --> 0:14:55.200
<v Speaker 1>knows and nobody really knows the internal heartbeat of something,

0:14:55.640 --> 0:14:58.840
<v Speaker 1>particularly when it's got a you know, a big premise

0:14:58.920 --> 0:15:02.040
<v Speaker 1>at the beginning of it. So the fact that I

0:15:02.040 --> 0:15:05.080
<v Speaker 1>could do a dumb idea and have it be really

0:15:05.080 --> 0:15:09.000
<v Speaker 1>successful meant that I should just do things that I

0:15:09.040 --> 0:15:12.840
<v Speaker 1>believe in. That's that's the William Goldman quote about Hollywood,

0:15:12.880 --> 0:15:15.600
<v Speaker 1>nobody knows anything. Who's a friend of mine? Who? Really?

0:15:16.680 --> 0:15:21.880
<v Speaker 1>I love the book um Confessions of a Screenwriter or

0:15:21.880 --> 0:15:25.080
<v Speaker 1>something like that. That's right. So he describes how everybody

0:15:25.080 --> 0:15:28.600
<v Speaker 1>passed on Star Wars, everybody passed on Raiders e T.

0:15:29.560 --> 0:15:31.800
<v Speaker 1>So how do you are you relying on your gut?

0:15:31.880 --> 0:15:34.640
<v Speaker 1>What are you doing to I was something by the way,

0:15:34.680 --> 0:15:37.560
<v Speaker 1>like Splash, where you're working with Ron Howard, who you

0:15:37.680 --> 0:15:40.800
<v Speaker 1>obviously have a partnership with. You work with Tom Hanks,

0:15:40.840 --> 0:15:43.160
<v Speaker 1>who you've done multiple things. That was his first movie,

0:15:43.200 --> 0:15:45.840
<v Speaker 1>of course. Oh well, he had come off of the television,

0:15:45.960 --> 0:15:49.000
<v Speaker 1>did his TV series called Buddies. But we, frankly we

0:15:49.080 --> 0:15:51.560
<v Speaker 1>discovered him and put him in his first movie and

0:15:51.560 --> 0:15:54.800
<v Speaker 1>that worked up pretty well. Everybody, Well, we're all, we've

0:15:54.920 --> 0:15:57.600
<v Speaker 1>we've I think I've made seven movies with ks. Now,

0:15:57.920 --> 0:16:02.800
<v Speaker 1>he's quite delightful. He he's brilliant, brilliant guy, brilliant actor,

0:16:03.280 --> 0:16:08.520
<v Speaker 1>a brilliant A selection process for for movies or television

0:16:09.080 --> 0:16:13.120
<v Speaker 1>is unbelievably great. So what is your process? What is

0:16:13.120 --> 0:16:16.600
<v Speaker 1>your selection process? How do you figure out what you're

0:16:16.640 --> 0:16:20.240
<v Speaker 1>interested in making? I bomb You'll relate to this, I

0:16:20.360 --> 0:16:26.760
<v Speaker 1>Bombard myself with information all the time. I make a

0:16:26.800 --> 0:16:28.600
<v Speaker 1>point to go out of my way and out of

0:16:28.640 --> 0:16:33.200
<v Speaker 1>my comfort zone to meet new people every day, from

0:16:33.320 --> 0:16:36.520
<v Speaker 1>Uber drivers to Barista's until you saw me over there

0:16:36.520 --> 0:16:39.360
<v Speaker 1>with the water getting your water, waiting to talk to

0:16:39.400 --> 0:16:42.840
<v Speaker 1>someone who's just some some stranger, and I just I

0:16:43.920 --> 0:16:49.960
<v Speaker 1>operate on I trust that I will constantly disrupt my

0:16:50.000 --> 0:16:55.840
<v Speaker 1>comfort zone by trying to conduct a conversation with some

0:16:55.840 --> 0:16:58.440
<v Speaker 1>someone that's an expert in something that I'm not. So

0:16:58.480 --> 0:17:01.240
<v Speaker 1>then I have to get through that cha lounge, you know,

0:17:01.360 --> 0:17:04.439
<v Speaker 1>the challenge of the language of physics. You describe that

0:17:04.480 --> 0:17:07.400
<v Speaker 1>in the book that you made a conscious decision to say,

0:17:07.480 --> 0:17:10.520
<v Speaker 1>let me find someone from outside of my fields and

0:17:10.840 --> 0:17:14.240
<v Speaker 1>have a conversation with them. What what motivated that? That's

0:17:14.240 --> 0:17:18.600
<v Speaker 1>really not a very common approach. No, it's it's not

0:17:19.560 --> 0:17:23.560
<v Speaker 1>um what motivated is? I asked myself what seemed to

0:17:23.600 --> 0:17:27.360
<v Speaker 1>be a rhetorical question when I graduated college USC and

0:17:27.760 --> 0:17:29.840
<v Speaker 1>it was a very good school. But I said to myself,

0:17:29.880 --> 0:17:33.600
<v Speaker 1>like the day I graduated, what did I learn? Did

0:17:33.640 --> 0:17:36.560
<v Speaker 1>I learn anything? And I thought, I'm not sure I

0:17:36.600 --> 0:17:40.840
<v Speaker 1>really learned anything. And then I thought, what, well, what

0:17:40.960 --> 0:17:45.720
<v Speaker 1>did I learn? I continue to assault these primary universal questions,

0:17:46.080 --> 0:17:51.440
<v Speaker 1>the simple questions, and you just keep assaulting. I thought, well,

0:17:51.480 --> 0:17:53.639
<v Speaker 1>I think I what I really learned for sure is

0:17:53.720 --> 0:17:58.040
<v Speaker 1>how to is I learned how to cope, survive, and

0:17:58.160 --> 0:18:02.119
<v Speaker 1>collaborate in a bigger population of people, because that was

0:18:02.160 --> 0:18:04.240
<v Speaker 1>a certainty I went. I grew up in I was

0:18:04.280 --> 0:18:07.160
<v Speaker 1>a middle class kid, went to a small schools prior

0:18:07.200 --> 0:18:10.639
<v Speaker 1>to that. This was a bigger school. And I succeeded

0:18:10.680 --> 0:18:15.760
<v Speaker 1>in this bigger school academically and socially and culturally. But

0:18:15.800 --> 0:18:17.919
<v Speaker 1>I found the whole thing an interesting kind of challenge.

0:18:17.920 --> 0:18:20.680
<v Speaker 1>So I succeeded at that part, and then I thought

0:18:20.720 --> 0:18:22.960
<v Speaker 1>to myself, there's got to be a professor or a

0:18:22.960 --> 0:18:26.359
<v Speaker 1>class a really really you know, grabbed me. There was.

0:18:26.640 --> 0:18:30.920
<v Speaker 1>There was a doctor Milton Walpen, who taught this very

0:18:31.000 --> 0:18:38.240
<v Speaker 1>popular class, a four hundred class um on abnormal psychology,

0:18:38.640 --> 0:18:42.160
<v Speaker 1>which was very interesting to people because okay, so it's

0:18:42.160 --> 0:18:45.040
<v Speaker 1>a very big class. I never met the teacher, professor,

0:18:45.080 --> 0:18:47.520
<v Speaker 1>because it's a class of three kids. And I thought,

0:18:47.520 --> 0:18:51.000
<v Speaker 1>I'm gonna try to go meet Wilton, Milton Walpen, and

0:18:51.119 --> 0:18:53.560
<v Speaker 1>so I was very persistent in trying to meet a

0:18:53.600 --> 0:18:59.159
<v Speaker 1>professor at USC that and I'd already graduated. He didn't acknowledge,

0:18:59.200 --> 0:19:02.560
<v Speaker 1>you know, didn't respond any of my UM letters. So

0:19:02.640 --> 0:19:05.080
<v Speaker 1>I decided I'm gonna go wait for him outside of

0:19:05.200 --> 0:19:08.359
<v Speaker 1>a summer school class. I waited. He says me, didn't

0:19:08.359 --> 0:19:11.120
<v Speaker 1>you graduate? I said, I did, But I was really

0:19:11.160 --> 0:19:14.800
<v Speaker 1>impressed with your of the class and you're conducting of

0:19:14.800 --> 0:19:16.480
<v Speaker 1>the class. I really wanted to just have a five

0:19:16.520 --> 0:19:21.120
<v Speaker 1>minute coffee conversation. I turned that into an hour conversation,

0:19:22.000 --> 0:19:24.360
<v Speaker 1>and I learned a lot. I learned a lot more

0:19:24.520 --> 0:19:26.680
<v Speaker 1>even in the hour. I thought, Wow, I learned more

0:19:26.680 --> 0:19:29.080
<v Speaker 1>in the hour than I did in the whole class.

0:19:29.119 --> 0:19:31.600
<v Speaker 1>And I like that class so that I can do

0:19:31.640 --> 0:19:34.920
<v Speaker 1>this with other people. It just made me feel like, well,

0:19:35.320 --> 0:19:37.800
<v Speaker 1>this is possible. And I was just a little nobody.

0:19:37.800 --> 0:19:40.080
<v Speaker 1>I didn't even have a job. I was just you know.

0:19:40.160 --> 0:19:41.880
<v Speaker 1>A couple of weeks later, I finally got a law

0:19:41.920 --> 0:19:45.520
<v Speaker 1>clerk luck er job. Sorry, which, by the way, I love.

0:19:45.720 --> 0:19:47.840
<v Speaker 1>I love the story how you got that job at

0:19:47.840 --> 0:19:52.920
<v Speaker 1>Warner Brothers. Tell the story. So basically, I met with will.

0:19:53.240 --> 0:19:55.280
<v Speaker 1>I had the meeting that I just referred to a

0:19:55.359 --> 0:19:59.280
<v Speaker 1>Dr Milton Walpen, and then I'm in my little apartment

0:19:59.280 --> 0:20:03.560
<v Speaker 1>complex and Ocean Avenue, and in the apartment complex, I

0:20:03.600 --> 0:20:06.480
<v Speaker 1>overhear these three uh law school grads because I was

0:20:06.520 --> 0:20:10.040
<v Speaker 1>scheduled to go to law school USC. I hear them

0:20:10.080 --> 0:20:13.439
<v Speaker 1>talking about, Wow, you know what a summer. The one

0:20:13.480 --> 0:20:16.439
<v Speaker 1>guy says, oh, I had the quishiest, easiest job. So

0:20:16.520 --> 0:20:19.320
<v Speaker 1>it immediately got my interest because I needed a job.

0:20:19.520 --> 0:20:22.720
<v Speaker 1>And if it's gonna be quishy and easy, fantastic, even better,

0:20:23.000 --> 0:20:26.760
<v Speaker 1>let's go. So I thought, okay, So I pulled the

0:20:26.800 --> 0:20:29.560
<v Speaker 1>window back so I could really here through the screen

0:20:29.600 --> 0:20:33.160
<v Speaker 1>and drew the drapes so they couldn't see me with

0:20:33.160 --> 0:20:36.119
<v Speaker 1>my ear to the window to the screen. And so

0:20:36.200 --> 0:20:38.840
<v Speaker 1>the guy starts talking about the job. It's the legal

0:20:38.880 --> 0:20:42.840
<v Speaker 1>department of Warner Brothers. Blah blah. I get the band's name. Doctor.

0:20:42.920 --> 0:20:45.520
<v Speaker 1>His name was Peter Connect, who ran the legal department.

0:20:45.800 --> 0:20:48.359
<v Speaker 1>He started with Jack Warner. He's he's probably a d

0:20:49.160 --> 0:20:52.639
<v Speaker 1>And I called and got a meeting that afternoon with

0:20:52.680 --> 0:20:55.359
<v Speaker 1>Peter Connect and got the job at three fifteen, saying,

0:20:55.680 --> 0:20:57.879
<v Speaker 1>I hear you have an opening for an intern. Yeah,

0:20:58.200 --> 0:21:01.119
<v Speaker 1>I said, yeah, I'm scheduled to go to USC law school.

0:21:01.160 --> 0:21:03.439
<v Speaker 1>I'm a graduate. I hear you need a law clerk

0:21:03.720 --> 0:21:05.800
<v Speaker 1>love to be that person right now, and he said,

0:21:05.920 --> 0:21:10.240
<v Speaker 1>you're hired, just like that, just like that. Unbelievable. Let's

0:21:10.320 --> 0:21:14.680
<v Speaker 1>talk a little bit about how human connections have helped

0:21:14.720 --> 0:21:18.040
<v Speaker 1>you in your career. In your early life, you weren't

0:21:18.119 --> 0:21:22.399
<v Speaker 1>much of a reader, but you learned that conversations with

0:21:22.440 --> 0:21:29.120
<v Speaker 1>people became crucial to your intellectual growth and professional growth.

0:21:29.440 --> 0:21:32.280
<v Speaker 1>How did you reach this insight and how has it

0:21:32.840 --> 0:21:35.800
<v Speaker 1>um come come out even even to this day. How

0:21:35.840 --> 0:21:38.280
<v Speaker 1>does it matter? Well, I mean the techniques of which

0:21:38.320 --> 0:21:41.919
<v Speaker 1>are are embedded in these stories in this book that

0:21:42.040 --> 0:21:44.359
<v Speaker 1>we're talking about, called Face to Face the Art of

0:21:44.440 --> 0:21:48.920
<v Speaker 1>Human Connection. Because you can't really have, you can't get

0:21:49.240 --> 0:21:53.560
<v Speaker 1>you can't get promoted without looking at somebody connecting. You're

0:21:53.600 --> 0:21:55.600
<v Speaker 1>never gonna be able to raise a hundred million dollars,

0:21:55.600 --> 0:21:58.159
<v Speaker 1>which I would do often to make a movie. Is

0:21:58.160 --> 0:21:59.720
<v Speaker 1>that what it takes now to make a film that

0:21:59.800 --> 0:22:02.679
<v Speaker 1>much money? Well, because movies are now sort of event

0:22:02.840 --> 0:22:08.719
<v Speaker 1>oriented there, the hundred million dollar movie, or a hundred

0:22:08.720 --> 0:22:11.720
<v Speaker 1>plus hundred to two hundred million dollar movie is actually

0:22:11.800 --> 0:22:15.280
<v Speaker 1>easier to accomplish than the forty million dollar movie. Overseas

0:22:15.400 --> 0:22:18.040
<v Speaker 1>rights and a broader audience yeah, you have to go

0:22:18.160 --> 0:22:22.040
<v Speaker 1>for a broader audience. So but but I have always

0:22:22.040 --> 0:22:26.840
<v Speaker 1>tried to have stories that had universal themes. So we

0:22:26.840 --> 0:22:30.240
<v Speaker 1>were talking about a Beautiful Mind, which which we won

0:22:30.280 --> 0:22:33.840
<v Speaker 1>an Oscar for or I did end it um. And

0:22:33.880 --> 0:22:37.600
<v Speaker 1>the thing about that is that the universal theme wasn't

0:22:37.800 --> 0:22:41.720
<v Speaker 1>really about schizophrenia, and it wasn't about winning a Nobel prize.

0:22:42.119 --> 0:22:45.200
<v Speaker 1>It was much more about love that loved. The power

0:22:45.359 --> 0:22:50.800
<v Speaker 1>of love is which is a universal force gets you

0:22:51.280 --> 0:22:54.560
<v Speaker 1>can can get you through a locked In this case,

0:22:54.600 --> 0:22:58.639
<v Speaker 1>there was schizophrenia and then his ability to win a

0:22:58.640 --> 0:23:02.400
<v Speaker 1>Nobel Prize in economic So basically, I found that by

0:23:02.520 --> 0:23:05.800
<v Speaker 1>taking the opportunity to look at people when I walked

0:23:05.800 --> 0:23:08.199
<v Speaker 1>through the street in New York as opposed to my phone.

0:23:08.760 --> 0:23:10.879
<v Speaker 1>Because I can look at my phone all the time,

0:23:11.000 --> 0:23:14.720
<v Speaker 1>that's always gonna be there, and I love my phone, uh,

0:23:14.800 --> 0:23:16.719
<v Speaker 1>and it provided me with so much information. But if

0:23:16.760 --> 0:23:19.399
<v Speaker 1>I'm walking through the street in New York, I'm looking

0:23:19.440 --> 0:23:23.439
<v Speaker 1>at people and I'm trying to but feel or into it,

0:23:23.560 --> 0:23:26.200
<v Speaker 1>like what's going on in the world right now. So

0:23:26.359 --> 0:23:31.760
<v Speaker 1>I bombard myself with information that I could read on

0:23:31.760 --> 0:23:34.760
<v Speaker 1>my iPhone when I'm at home. Or you know or

0:23:35.080 --> 0:23:38.480
<v Speaker 1>in my office or iPad. But nonetheless I I thrive

0:23:38.520 --> 0:23:42.600
<v Speaker 1>on human connection because human connection is you feel people's hearts,

0:23:42.680 --> 0:23:45.720
<v Speaker 1>and you don't feel their heart on an iPhone and

0:23:45.720 --> 0:23:48.000
<v Speaker 1>they don't feel your heart. And the only way to

0:23:48.119 --> 0:23:53.120
<v Speaker 1>move people enough to promote you or to move or

0:23:53.200 --> 0:23:56.480
<v Speaker 1>in the case of romance, move the girl to want

0:23:56.560 --> 0:23:59.240
<v Speaker 1>to like you or be with you or see something

0:23:59.600 --> 0:24:02.960
<v Speaker 1>in try particply valuable is through their heart, through a spirit.

0:24:03.600 --> 0:24:06.080
<v Speaker 1>It's just that's just really the way it works. And

0:24:06.160 --> 0:24:08.920
<v Speaker 1>so whether you're in technology or whatever the thing you're doing,

0:24:09.600 --> 0:24:12.320
<v Speaker 1>you have to have face to face connection otherwise you're

0:24:12.400 --> 0:24:15.199
<v Speaker 1>just not going to advance your cause. So in the

0:24:15.240 --> 0:24:18.600
<v Speaker 1>book you describe and pardon me if I'm confusing the

0:24:18.600 --> 0:24:20.960
<v Speaker 1>two books books, because it's a bit of a blar.

0:24:21.160 --> 0:24:23.879
<v Speaker 1>I've gone through a lot of your over and definitely

0:24:24.480 --> 0:24:28.600
<v Speaker 1>so one is about curiosity. But then I realized unless

0:24:28.640 --> 0:24:33.160
<v Speaker 1>you look at somebody and and and and use face

0:24:33.240 --> 0:24:38.359
<v Speaker 1>to face connection, there's no bridge into the possibility of

0:24:38.560 --> 0:24:44.400
<v Speaker 1>exercising curiosity. So you can't really ask people questions and

0:24:44.600 --> 0:24:49.520
<v Speaker 1>have them share with you anything valuable unless you've looked.

0:24:49.520 --> 0:24:52.359
<v Speaker 1>You're looking at them because they have to be seen,

0:24:52.560 --> 0:24:54.520
<v Speaker 1>they have to feel like they're seen and what they're

0:24:54.960 --> 0:24:57.639
<v Speaker 1>and that what they have to say is valuable. So

0:24:57.760 --> 0:25:01.280
<v Speaker 1>let's let's talk about some of the communicate you discussed

0:25:01.280 --> 0:25:05.359
<v Speaker 1>in the books. Um, some people that you've engaged in

0:25:05.440 --> 0:25:10.040
<v Speaker 1>conversation and it's changed, um, the course of at least

0:25:10.160 --> 0:25:14.560
<v Speaker 1>entertainment and probably some people's lives. You said Oprah could

0:25:14.600 --> 0:25:20.520
<v Speaker 1>be the most successful communicator you've you've ever experienced. Explain why, Well,

0:25:20.560 --> 0:25:22.880
<v Speaker 1>I mean, there's so much evidence that supports that she's

0:25:23.000 --> 0:25:26.400
<v Speaker 1>probably the most successful communicator in the world right now.

0:25:27.000 --> 0:25:31.960
<v Speaker 1>But but it's experiencing it that really, you know, experiencing

0:25:32.040 --> 0:25:34.879
<v Speaker 1>that really makes a difference, and you see it, you

0:25:34.960 --> 0:25:38.800
<v Speaker 1>really so, Um, Spike Lee, I was making a movie

0:25:38.800 --> 0:25:41.040
<v Speaker 1>with Spike Lee, which film was that It was called

0:25:41.119 --> 0:25:45.160
<v Speaker 1>Inside Man. Of course, got right here in Washington. It's

0:25:45.160 --> 0:25:49.080
<v Speaker 1>shot in Wall Street and with Denzel Washington. I have

0:25:49.119 --> 0:25:54.080
<v Speaker 1>a great story about eye contact that made that movie happen. Actually,

0:25:54.600 --> 0:25:58.200
<v Speaker 1>but explain then, well, we don't tease this, we won't

0:25:58.240 --> 0:26:00.960
<v Speaker 1>forget Okay, Okay, So basically I had known Spike Leave

0:26:01.000 --> 0:26:03.639
<v Speaker 1>for a while. We both were nominated for Oscars, he

0:26:03.800 --> 0:26:05.800
<v Speaker 1>for Do the Right Thing, and I was for another

0:26:05.840 --> 0:26:09.680
<v Speaker 1>movie and and you know, so we met each other

0:26:09.760 --> 0:26:13.000
<v Speaker 1>under a very privileged situation, and I love do the

0:26:13.080 --> 0:26:15.600
<v Speaker 1>right thing. It was just so inventive in so many

0:26:15.640 --> 0:26:21.639
<v Speaker 1>ways cinematically. He handled a pretty heavy subject in a

0:26:21.960 --> 0:26:25.840
<v Speaker 1>in the most evolved way cinematically. No one has ever

0:26:25.880 --> 0:26:28.720
<v Speaker 1>done that. And U and I always wanted to work

0:26:28.720 --> 0:26:31.719
<v Speaker 1>with them. So many years have gone by and we

0:26:31.800 --> 0:26:33.720
<v Speaker 1>just never could figure it out, and I put a

0:26:33.760 --> 0:26:35.679
<v Speaker 1>lot of effort into trying to figure it out. Now

0:26:35.720 --> 0:26:38.359
<v Speaker 1>it's about eight or nine years later, and I have

0:26:38.400 --> 0:26:42.880
<v Speaker 1>a movie that that uh that that I'm going to make,

0:26:43.000 --> 0:26:44.960
<v Speaker 1>and he came in to talk about it. But we

0:26:45.000 --> 0:26:46.840
<v Speaker 1>saw it a little bit differently. And I walked him

0:26:46.840 --> 0:26:50.080
<v Speaker 1>to the elevator and as I pressed, I pressed the

0:26:50.080 --> 0:26:53.680
<v Speaker 1>button and it's only had to go seven floors. And

0:26:53.880 --> 0:27:00.320
<v Speaker 1>in those singular moments, he looked up at me. He's

0:27:00.359 --> 0:27:03.840
<v Speaker 1>never looked at me before. I felt it differently, and

0:27:03.880 --> 0:27:07.040
<v Speaker 1>he looked me in the eyes and he said, I'm

0:27:07.080 --> 0:27:09.280
<v Speaker 1>this is the movie I want to make, and he

0:27:09.280 --> 0:27:11.600
<v Speaker 1>pulled it from behind his back. It's called Inside Man.

0:27:11.760 --> 0:27:14.520
<v Speaker 1>I already had another director on it. But he looked

0:27:14.560 --> 0:27:16.520
<v Speaker 1>me in the eyes and I want to make this movie.

0:27:17.200 --> 0:27:19.960
<v Speaker 1>It's going to be successful, and more importantly, it's going

0:27:20.040 --> 0:27:22.680
<v Speaker 1>to be a successful work relationship for you and me.

0:27:23.320 --> 0:27:26.080
<v Speaker 1>I promise you it'll be a great experience. Literally an

0:27:26.080 --> 0:27:31.159
<v Speaker 1>elevator pitch seven floors, that's what it was. And I

0:27:31.480 --> 0:27:36.600
<v Speaker 1>felt him and I and he really probably did exactly

0:27:36.760 --> 0:27:39.359
<v Speaker 1>you know, he you know, he did one of the

0:27:39.400 --> 0:27:42.280
<v Speaker 1>techniques that I would describe in the book. Actually, but

0:27:42.400 --> 0:27:45.280
<v Speaker 1>he did it, and I felt the power of it,

0:27:45.400 --> 0:27:48.439
<v Speaker 1>the authenticity of it. I felt. I felt that, I

0:27:48.560 --> 0:27:52.560
<v Speaker 1>felt his soul and honestly, and so I said yes,

0:27:53.240 --> 0:27:57.200
<v Speaker 1>and I let the other director go, which wasn't easy,

0:27:57.359 --> 0:28:00.639
<v Speaker 1>and BENSI uh, he was a little It's a bit

0:28:00.680 --> 0:28:03.560
<v Speaker 1>worth it because this became like one of the most profitable,

0:28:03.720 --> 0:28:06.720
<v Speaker 1>maybe the most profitable movie for Universal that year. Wow,

0:28:06.920 --> 0:28:11.080
<v Speaker 1>that's that's amazing, And I know, the most profitable movie

0:28:11.119 --> 0:28:14.720
<v Speaker 1>for Spike in his career, and huge for Denzel and

0:28:15.119 --> 0:28:17.760
<v Speaker 1>and me and a fantast So it was a real,

0:28:18.080 --> 0:28:22.480
<v Speaker 1>real big win and probably as as importantly we it

0:28:22.640 --> 0:28:26.600
<v Speaker 1>ended well. He did provide me a great work experience.

0:28:26.640 --> 0:28:31.200
<v Speaker 1>He collaborated, He's awesome, he's talented and collaborative. You can't

0:28:31.200 --> 0:28:34.280
<v Speaker 1>beat that. The other um, the other two stories that

0:28:34.359 --> 0:28:39.080
<v Speaker 1>stand down in the book that involved that contact eminem

0:28:39.120 --> 0:28:44.120
<v Speaker 1>with before eight Miles was kind of known but not

0:28:44.240 --> 0:28:47.320
<v Speaker 1>exactly a superstar. No, he wasn't a superstar. Well I

0:28:47.320 --> 0:28:50.720
<v Speaker 1>had this, so this, this is, this is actually an

0:28:50.720 --> 0:28:55.320
<v Speaker 1>example of of what being alert and what I contact

0:28:55.320 --> 0:28:59.960
<v Speaker 1>will do. So, uh, fifteen years before eight Mile came

0:29:00.120 --> 0:29:03.800
<v Speaker 1>to life, I overheard in New York in a taxi

0:29:03.800 --> 0:29:06.440
<v Speaker 1>cab while I was going from from going from Soho

0:29:06.560 --> 0:29:11.600
<v Speaker 1>to Midtown like right about here, and uh, a shock

0:29:11.720 --> 0:29:16.720
<v Speaker 1>jock radio guy talking to Howard or someone else. It

0:29:16.760 --> 0:29:23.520
<v Speaker 1>could have been yeah, um so uh talking talking talking

0:29:23.520 --> 0:29:27.760
<v Speaker 1>to a guest, and the guest was named Old Dirty Bastard. Yeah,

0:29:27.800 --> 0:29:29.480
<v Speaker 1>for the wood Tank Clan. But I didn't know much

0:29:29.480 --> 0:29:32.720
<v Speaker 1>about This is twenty five years ago today, so I

0:29:32.760 --> 0:29:35.800
<v Speaker 1>didn't know much about the Wood Tank Clan, or even

0:29:35.840 --> 0:29:38.320
<v Speaker 1>about East Coast hip hop for that matter. I didn't

0:29:38.320 --> 0:29:42.320
<v Speaker 1>know about that culture. So I hear Old Dirty a

0:29:42.360 --> 0:29:45.800
<v Speaker 1>guy that insists, Yeah, but he insists on being called

0:29:45.800 --> 0:29:48.960
<v Speaker 1>old Dirty Bastard and that that's a really unusual thing

0:29:49.080 --> 0:29:53.040
<v Speaker 1>that's normally guys, that's an insult. He insisted that you don't.

0:29:53.160 --> 0:29:56.600
<v Speaker 1>That's that's what I am. I'm this guy. So I thought,

0:29:56.640 --> 0:29:59.560
<v Speaker 1>whoever is that person? I have to meet him. So

0:29:59.600 --> 0:30:02.120
<v Speaker 1>I go out of my way and I make a

0:30:02.160 --> 0:30:04.120
<v Speaker 1>lot of calls, and I eventually I am able to

0:30:04.160 --> 0:30:08.840
<v Speaker 1>meet O. D. B. Your guy here, and we have

0:30:08.920 --> 0:30:13.160
<v Speaker 1>this interesting conversation. He's really incredibly wild, very free form character,

0:30:13.200 --> 0:30:16.120
<v Speaker 1>and I thought, wow, this is what East the voice

0:30:16.160 --> 0:30:19.040
<v Speaker 1>of East Coast Wrap is. This is now, as you said,

0:30:19.040 --> 0:30:21.680
<v Speaker 1>the wood Tang Clan. And so I started to learn

0:30:21.680 --> 0:30:23.360
<v Speaker 1>about the wood Tang Clan that I sort of that.

0:30:23.440 --> 0:30:25.720
<v Speaker 1>I went and met Chug d of Public Enemy and

0:30:25.720 --> 0:30:27.800
<v Speaker 1>then Slick Rick, and I realized there's sort of a

0:30:27.840 --> 0:30:33.920
<v Speaker 1>comical way of all this, all this stuff, and that

0:30:34.040 --> 0:30:39.280
<v Speaker 1>got me on the path of realizing that, um, you know,

0:30:39.360 --> 0:30:43.280
<v Speaker 1>this music art form was gonna be the culture. It's not,

0:30:44.480 --> 0:30:47.240
<v Speaker 1>you know, a subculture. It is in fact going to

0:30:47.320 --> 0:30:49.560
<v Speaker 1>be the culture, which of course it is as we

0:30:49.600 --> 0:30:52.200
<v Speaker 1>now know. And so I then thought, I'm gonna try

0:30:52.240 --> 0:30:57.480
<v Speaker 1>to proof this out cinematically. And American Gangster, Yeah, well,

0:30:57.520 --> 0:30:59.600
<v Speaker 1>American Gangster was part of that because I was able

0:30:59.640 --> 0:31:02.640
<v Speaker 1>to hire the Rizza and put him in American Gangster.

0:31:03.800 --> 0:31:06.920
<v Speaker 1>But I. But I then, of course, with eight mile,

0:31:07.000 --> 0:31:09.960
<v Speaker 1>I thought this is worthy of an entire movie. But

0:31:10.080 --> 0:31:13.280
<v Speaker 1>studios said, oh, but there's been rap movies. Maria carry

0:31:13.320 --> 0:31:16.080
<v Speaker 1>did one, but all Ice didn't one. And I said, well,

0:31:16.120 --> 0:31:18.480
<v Speaker 1>this is a different type. And there's the Belly. There's

0:31:18.480 --> 0:31:20.280
<v Speaker 1>a bunch of other movies. But I said, well this

0:31:20.360 --> 0:31:26.000
<v Speaker 1>is different, and and I I really relied upon all

0:31:26.040 --> 0:31:29.600
<v Speaker 1>the information I got about human beings and self actualization.

0:31:29.720 --> 0:31:34.640
<v Speaker 1>And it's a Joseph Campbell plot line. It's absolutely the

0:31:35.040 --> 0:31:38.480
<v Speaker 1>whole Rap happens to be involved in it, but it's

0:31:38.480 --> 0:31:42.520
<v Speaker 1>not about rap. Rap just is a flavoring in that

0:31:42.600 --> 0:31:46.040
<v Speaker 1>broader Well that's incredibly smart, you're you're no one's ever

0:31:46.040 --> 0:31:48.120
<v Speaker 1>said that to me, But you're right. It is a

0:31:48.200 --> 0:31:54.320
<v Speaker 1>myth that there's been dozens of versions of that story, yeah,

0:31:54.840 --> 0:31:58.040
<v Speaker 1>wrapped up different. Only this is a unique kid in

0:31:58.080 --> 0:32:02.040
<v Speaker 1>a unique location and in the whole different dimension of

0:32:02.040 --> 0:32:04.760
<v Speaker 1>of hip hop on top of it. But the internal

0:32:04.800 --> 0:32:09.080
<v Speaker 1>heartbeat that creates the story architecture is you're right, it's

0:32:09.160 --> 0:32:12.960
<v Speaker 1>Joseph Campbell here with a thousand faces. It's it lives

0:32:12.960 --> 0:32:16.320
<v Speaker 1>in that space. And um so I kind of I

0:32:16.400 --> 0:32:20.600
<v Speaker 1>probably actually gravitated towards that paradigm because it gives you comfort.

0:32:20.640 --> 0:32:24.040
<v Speaker 1>It's a great it's a great plot. You know that.

0:32:24.160 --> 0:32:27.400
<v Speaker 1>Thank you. And then I had a chance to meet Eminem.

0:32:27.640 --> 0:32:30.320
<v Speaker 1>I saw it was so talk about the meeting. That's all.

0:32:30.320 --> 0:32:33.280
<v Speaker 1>By the way, this whole digression is because the meeting

0:32:33.360 --> 0:32:36.080
<v Speaker 1>that you described. He's like, yeah, who the hell are you?

0:32:36.120 --> 0:32:38.800
<v Speaker 1>I'm out of here. Yeah he he did say that, Yeah, exactly.

0:32:38.800 --> 0:32:42.600
<v Speaker 1>He he said it in multiple different ways. But basically

0:32:43.520 --> 0:32:46.280
<v Speaker 1>I thought, it's now many years later since I met

0:32:46.320 --> 0:32:49.360
<v Speaker 1>O D. B. And the Rizza and rizzzs is a

0:32:49.400 --> 0:32:51.920
<v Speaker 1>big person in my life too. But I thought, I

0:32:51.960 --> 0:32:53.600
<v Speaker 1>am gonna try to make a movie about this. But

0:32:53.640 --> 0:32:55.800
<v Speaker 1>then I couldn't figure it out. I couldn't figure out

0:32:55.800 --> 0:33:00.640
<v Speaker 1>this puzzle. Eventually, I I see this guy Eminem. You know,

0:33:00.840 --> 0:33:03.960
<v Speaker 1>he's being filmed on of the v M as. He

0:33:04.000 --> 0:33:05.760
<v Speaker 1>wasn't winning an award. He was just in a seat,

0:33:05.760 --> 0:33:07.600
<v Speaker 1>and I thought, Wow, I gotta meet this guy. So

0:33:07.720 --> 0:33:10.880
<v Speaker 1>Jimmy Ivan was a very long time friend, created a

0:33:11.000 --> 0:33:15.800
<v Speaker 1>music of music label called Interscope Records. Giant. He yeah,

0:33:15.840 --> 0:33:20.480
<v Speaker 1>and he is a visionary. He was able. He had Eminem,

0:33:20.520 --> 0:33:23.400
<v Speaker 1>So I said kind of, let's meet him. We meet him,

0:33:23.600 --> 0:33:27.160
<v Speaker 1>and out of I'm trying so hard to connect with

0:33:27.200 --> 0:33:31.360
<v Speaker 1>Eminem and he won't look at me. He just wasn't happen. Guy.

0:33:31.800 --> 0:33:36.320
<v Speaker 1>He's definitely not an eye contact guy. He's a brilliant poet, slight,

0:33:36.720 --> 0:33:40.880
<v Speaker 1>somewhat recluse, and so he did not wanna really look at,

0:33:41.040 --> 0:33:43.840
<v Speaker 1>you know, connect And so he said I'm out after

0:33:43.880 --> 0:33:47.440
<v Speaker 1>about fifteen or twenty minutes, and I thought, yeah, I

0:33:47.480 --> 0:33:50.120
<v Speaker 1>hear him enough. Yeah, I'm not connecting with you, man,

0:33:50.200 --> 0:33:52.880
<v Speaker 1>I'm out. And so I as his hand was on

0:33:52.880 --> 0:33:55.800
<v Speaker 1>the door to leave, I just desperately said, come on,

0:33:55.880 --> 0:33:58.560
<v Speaker 1>you can animate. I just that's I mean, I I

0:33:58.600 --> 0:34:01.040
<v Speaker 1>have no logic for the sen tinse. I just said it.

0:34:01.640 --> 0:34:05.800
<v Speaker 1>And uh. He was hesitant, but then came back and

0:34:05.840 --> 0:34:09.640
<v Speaker 1>then he told his story how he grew up, and

0:34:09.640 --> 0:34:12.000
<v Speaker 1>and that became the basis of the entire movie and

0:34:12.080 --> 0:34:14.799
<v Speaker 1>really the story architecture for the whole movie. And he

0:34:14.920 --> 0:34:17.800
<v Speaker 1>ended up winning an Oscar. Never before as a rapper

0:34:17.920 --> 0:34:22.000
<v Speaker 1>one an Oscar, and he did so he's really really gifted.

0:34:22.040 --> 0:34:24.960
<v Speaker 1>And he wrote the music, wrote the the he played

0:34:25.000 --> 0:34:28.520
<v Speaker 1>every he did everything. Guy did everything. The rap contest.

0:34:28.600 --> 0:34:30.719
<v Speaker 1>Did he write all of that on both sides? He

0:34:30.760 --> 0:34:33.160
<v Speaker 1>did everything. That's amazing. So what was it about the word,

0:34:34.520 --> 0:34:38.480
<v Speaker 1>the animate word? What is it that caught his attention? Well,

0:34:38.480 --> 0:34:41.440
<v Speaker 1>I don't really know, but animate means come to life,

0:34:42.320 --> 0:34:46.680
<v Speaker 1>and uh, he is a scrabble he might have he

0:34:46.760 --> 0:34:49.120
<v Speaker 1>might have known the full meaning of it. Was intrigued.

0:34:49.760 --> 0:34:53.520
<v Speaker 1>I never have asked him. I should probably someday do that.

0:34:54.440 --> 0:34:57.479
<v Speaker 1>You definitely should. Let's talk about some of the work

0:34:57.560 --> 0:35:01.720
<v Speaker 1>you've liked and helped motive eight or animate your career

0:35:02.480 --> 0:35:04.799
<v Speaker 1>as a kid. You are giant James Bond fan with

0:35:04.880 --> 0:35:09.000
<v Speaker 1>Sean conn Who isn't Those were just the greatest films.

0:35:09.040 --> 0:35:13.680
<v Speaker 1>So those were fantastic. They took you into uh an

0:35:13.840 --> 0:35:17.760
<v Speaker 1>escapism universe fantasy of like, wow, I can do anything,

0:35:17.760 --> 0:35:19.800
<v Speaker 1>I can get the I can get the hot girl,

0:35:20.160 --> 0:35:23.759
<v Speaker 1>I can kick guys asses and kill the bag the

0:35:23.760 --> 0:35:26.400
<v Speaker 1>little bad guys, save the world and drinking Martini all

0:35:26.400 --> 0:35:29.560
<v Speaker 1>at the same time. So you don't really do action

0:35:29.640 --> 0:35:34.680
<v Speaker 1>films though, you really do films with the big dramatic content. Yeah,

0:35:34.760 --> 0:35:39.360
<v Speaker 1>with real emotion film. Right, if there's emotion as the

0:35:39.400 --> 0:35:42.920
<v Speaker 1>destination for films, if there's action, it sets up the

0:35:43.600 --> 0:35:48.840
<v Speaker 1>emotional tension like Apollo thirteen or Backdraft. Stuff happens, but

0:35:48.920 --> 0:35:51.400
<v Speaker 1>it teases even the Da Vinci Code, we had him

0:35:51.480 --> 0:35:54.239
<v Speaker 1>running and doing things, and it wasn't even in the

0:35:54.280 --> 0:35:57.440
<v Speaker 1>book where they it was that active. But but we

0:35:57.440 --> 0:36:00.560
<v Speaker 1>we we found a way to manufacture that. So have

0:36:00.640 --> 0:36:03.080
<v Speaker 1>you ever watched a movie and said, God, I could

0:36:03.120 --> 0:36:07.880
<v Speaker 1>never have I never would have seen that idea, what

0:36:07.960 --> 0:36:10.600
<v Speaker 1>a what a great concept. It's just so outside of

0:36:10.640 --> 0:36:14.480
<v Speaker 1>my uh comfort zone. I wouldn't have done that. Or conversely,

0:36:14.880 --> 0:36:17.160
<v Speaker 1>have you ever seen something and said, oh, that was

0:36:17.200 --> 0:36:20.600
<v Speaker 1>a great opportunity here and these guys blew it? Oh

0:36:20.640 --> 0:36:27.000
<v Speaker 1>my god, all those answers. Yes, Okay, I've seen concepts

0:36:28.160 --> 0:36:30.920
<v Speaker 1>not correctly executed where I think they blew it. But

0:36:31.000 --> 0:36:33.480
<v Speaker 1>I've blown it too, So I I have movies that

0:36:33.520 --> 0:36:35.839
<v Speaker 1>I could site, which I won't do now that where

0:36:35.840 --> 0:36:38.320
<v Speaker 1>I've where I've kind of blown it, where I've rationalized

0:36:38.880 --> 0:36:40.319
<v Speaker 1>it's one of my rules where I thought, well, this

0:36:40.400 --> 0:36:43.040
<v Speaker 1>is good enough. This one decision is good enough, and

0:36:43.120 --> 0:36:47.040
<v Speaker 1>one decision that is good enough is always it just is.

0:36:47.719 --> 0:36:51.600
<v Speaker 1>And you're the best judge of quality. You just have

0:36:51.680 --> 0:36:56.759
<v Speaker 1>to don't yourself so and I do sometimes because you're

0:36:56.840 --> 0:36:59.960
<v Speaker 1>just the endless assault of decisions you have to make

0:37:00.040 --> 0:37:02.120
<v Speaker 1>to make a movie, raise the money, make a movie,

0:37:02.719 --> 0:37:08.640
<v Speaker 1>turn it into some cinematic masterpiece hopefully um so um.

0:37:08.680 --> 0:37:11.960
<v Speaker 1>But I have had there. The movie that a couple

0:37:11.960 --> 0:37:14.840
<v Speaker 1>of movies changed my life. Really, the one movie that

0:37:14.880 --> 0:37:18.799
<v Speaker 1>got me into show business, really that made me think

0:37:18.840 --> 0:37:24.759
<v Speaker 1>that everything is possible was mel Brooks's Blazing Saddle because

0:37:25.000 --> 0:37:30.480
<v Speaker 1>he violated every single rule of ethics, morality and language

0:37:30.520 --> 0:37:33.479
<v Speaker 1>and and uh and the fourth wall and the fourth

0:37:33.520 --> 0:37:37.840
<v Speaker 1>wall and it worked. So I thought, wow, this was

0:37:37.880 --> 0:37:40.880
<v Speaker 1>like the first shot comedy. And I just called it

0:37:40.960 --> 0:37:42.880
<v Speaker 1>that to myself, like a shot comedy, and I thought

0:37:43.280 --> 0:37:46.640
<v Speaker 1>that means you can really do anything. This is so exciting.

0:37:47.000 --> 0:37:48.839
<v Speaker 1>So the first seventeen years of my life, it's all

0:37:48.880 --> 0:37:54.160
<v Speaker 1>I wrote or produced was were comedies. You know, nuttie, Professor, Liar, Liar, Parenthood.

0:37:54.160 --> 0:37:55.920
<v Speaker 1>I could go on, but the point is as I

0:37:55.960 --> 0:37:59.840
<v Speaker 1>just did that Boomerang with Eddie Murphy and Steve Martin. Anyway,

0:38:00.520 --> 0:38:03.920
<v Speaker 1>but the movie that really changed my life with Steven

0:38:03.960 --> 0:38:09.640
<v Speaker 1>Spielberg's Et because I realized when I experienced that movie

0:38:09.719 --> 0:38:14.120
<v Speaker 1>at the Cinerama Dome in Hollywood. Everybody when the movie ended,

0:38:14.480 --> 0:38:19.279
<v Speaker 1>everybody was at peace, everybody felt good. It he that

0:38:19.320 --> 0:38:24.640
<v Speaker 1>movie elevated people's moods to a really positive place. It

0:38:24.719 --> 0:38:28.359
<v Speaker 1>created a transcendental moment for human beings where they didn't

0:38:28.360 --> 0:38:31.040
<v Speaker 1>have to rush to get their car and they weren't aggressive,

0:38:31.760 --> 0:38:35.839
<v Speaker 1>and it was it empowered you, It empowered possibilities. And

0:38:35.880 --> 0:38:37.920
<v Speaker 1>I thought, I want to try to make that be

0:38:38.000 --> 0:38:42.600
<v Speaker 1>my goal, like to aspire. I never reached that, and honestly,

0:38:42.680 --> 0:38:44.600
<v Speaker 1>I've done really good work, but that was at a

0:38:44.760 --> 0:38:48.200
<v Speaker 1>very very very high level, and uh, I deeply admire

0:38:48.280 --> 0:38:53.160
<v Speaker 1>it and became an aspirational uh professional asport. That's a

0:38:53.200 --> 0:38:56.760
<v Speaker 1>touchdowne in your career. Film. Yeah, well, well to knowing

0:38:56.800 --> 0:38:59.879
<v Speaker 1>the power of film. Like the power of film, great

0:39:00.080 --> 0:39:04.879
<v Speaker 1>stories that have redemption, can move people, can create good

0:39:04.960 --> 0:39:08.400
<v Speaker 1>vibes in the world. And that's actually my goal with

0:39:08.480 --> 0:39:11.520
<v Speaker 1>even with my television shows or my movies. I just

0:39:11.760 --> 0:39:15.080
<v Speaker 1>I really want to entertain people, engage them so they

0:39:15.080 --> 0:39:17.439
<v Speaker 1>have a great time, but make them but put out

0:39:17.440 --> 0:39:20.120
<v Speaker 1>good vibes. So, so let's talk about a touchstone and

0:39:20.239 --> 0:39:25.440
<v Speaker 1>moving people. I'm a giant arrested development fan. The voiceover

0:39:25.640 --> 0:39:29.880
<v Speaker 1>narration it's beyond a meme now that has become a

0:39:30.200 --> 0:39:34.960
<v Speaker 1>cultural touchstone, especially in the current era. You see it

0:39:35.000 --> 0:39:38.359
<v Speaker 1>all the time. Someone says something on TV that turns

0:39:38.360 --> 0:39:42.520
<v Speaker 1>out to be nonsense and in parentheses you get narrator.

0:39:42.840 --> 0:39:46.960
<v Speaker 1>It wasn't the line straight from from Ron Howard's voice

0:39:47.200 --> 0:39:50.200
<v Speaker 1>when you guys were first putting that together. How did

0:39:50.200 --> 0:39:54.280
<v Speaker 1>the narrator come about? And did you have any idea

0:39:54.800 --> 0:39:58.640
<v Speaker 1>this was going to become as giants a little cultural

0:39:58.680 --> 0:40:04.160
<v Speaker 1>touch known as it's become no No, No to all. Basically,

0:40:04.480 --> 0:40:07.799
<v Speaker 1>this was a project that was primarily cooked up with

0:40:07.920 --> 0:40:11.239
<v Speaker 1>the I was part of it, of course, but the

0:40:11.360 --> 0:40:15.200
<v Speaker 1>collaboration of Mitch her was who created and Ron Howard,

0:40:15.280 --> 0:40:19.359
<v Speaker 1>who collaborated on its birth, and of course does this

0:40:19.440 --> 0:40:22.239
<v Speaker 1>voice over narration, and which is, by the way, is

0:40:22.320 --> 0:40:25.719
<v Speaker 1>just pitch perfect. Like you recognize his voice, but if

0:40:25.719 --> 0:40:27.480
<v Speaker 1>you're not paying attention, you don't know who it is

0:40:27.560 --> 0:40:32.399
<v Speaker 1>right away. And and his he's smart, his dead pen

0:40:32.719 --> 0:40:36.279
<v Speaker 1>is perfect. And I know throughout the show there have

0:40:36.400 --> 0:40:40.480
<v Speaker 1>been little hints that it's him. You see the hands

0:40:40.480 --> 0:40:43.080
<v Speaker 1>of the narrator with the ring that's r H on it.

0:40:43.480 --> 0:40:48.919
<v Speaker 1>How did how did that come about? Um? I think

0:40:48.960 --> 0:40:51.880
<v Speaker 1>it was probably Mitch's idea, and Ron was excited to

0:40:51.920 --> 0:40:54.799
<v Speaker 1>do it and knew he could do it because he

0:40:54.840 --> 0:40:58.600
<v Speaker 1>understood the tone really well and he has a great voice.

0:40:58.800 --> 0:41:04.240
<v Speaker 1>He's incredibly is a really good actor, and his style

0:41:04.280 --> 0:41:07.840
<v Speaker 1>of communication in real life is not that dissimilar. He's

0:41:07.880 --> 0:41:14.640
<v Speaker 1>he's a very unaffected person. He's completely unpretentious. Uh, he's

0:41:14.640 --> 0:41:19.279
<v Speaker 1>incredibly He's confident, but unpretentious. How did how did you

0:41:19.320 --> 0:41:22.960
<v Speaker 1>guys meet and become partners? We met because I had

0:41:23.000 --> 0:41:26.560
<v Speaker 1>this discipline of curiosity conversations, and I looked out my

0:41:26.600 --> 0:41:29.680
<v Speaker 1>window while I was a television producer at Paramount, and

0:41:29.719 --> 0:41:35.759
<v Speaker 1>I yelled out the window to Richie Cunningham. I said Ron,

0:41:35.920 --> 0:41:39.800
<v Speaker 1>Ron Howard and and then he sort of scurried away.

0:41:40.560 --> 0:41:42.520
<v Speaker 1>And then I called his office and said would he

0:41:42.560 --> 0:41:45.200
<v Speaker 1>considered meeting me? And then we had our first Hollywood lunch,

0:41:46.480 --> 0:41:48.920
<v Speaker 1>which it was his first Hollywood lunch and because he

0:41:48.960 --> 0:41:51.839
<v Speaker 1>never did Hollywood lunches, he was just working. Again, he's

0:41:51.880 --> 0:41:54.600
<v Speaker 1>just a he's a guy that just works and gets

0:41:54.640 --> 0:41:56.960
<v Speaker 1>on it. But so he never did a Hollywood lunch.

0:41:57.000 --> 0:41:59.600
<v Speaker 1>He did one of the Brian Grazer that worked, and

0:41:59.640 --> 0:42:02.120
<v Speaker 1>then we pitched some ideas together. I pitched two ideas.

0:42:02.120 --> 0:42:05.719
<v Speaker 1>One was night Shift, one was Splash Michael Keaton right

0:42:05.880 --> 0:42:09.239
<v Speaker 1>and Henry Winkler. And that was the first movie we did.

0:42:09.239 --> 0:42:11.720
<v Speaker 1>Even though I wanted him to do the love story Mermaid,

0:42:12.360 --> 0:42:15.600
<v Speaker 1>he wanted to do an R rated film. Um, And

0:42:15.640 --> 0:42:17.080
<v Speaker 1>so he did it, and he did it really really

0:42:17.080 --> 0:42:19.960
<v Speaker 1>well and relatively small budget, and it was very successful.

0:42:20.280 --> 0:42:23.680
<v Speaker 1>It was immediately successful because the chairman of Warner Brothers

0:42:23.719 --> 0:42:25.960
<v Speaker 1>at the time, his named Bob Dailey, who was he

0:42:26.000 --> 0:42:28.960
<v Speaker 1>had just left CBS. He sold it immediately to CBS

0:42:29.040 --> 0:42:31.120
<v Speaker 1>for the entire cost of the movie. So we're in

0:42:31.200 --> 0:42:36.760
<v Speaker 1>profit right exactly. And then, um, where did the script

0:42:36.880 --> 0:42:43.480
<v Speaker 1>from for Splash come from? Splash came because I had this.

0:42:44.480 --> 0:42:48.040
<v Speaker 1>I started this, this idea of what if I could

0:42:48.239 --> 0:42:52.040
<v Speaker 1>meet my perfect girl? And what would that girl be like?

0:42:52.320 --> 0:42:57.800
<v Speaker 1>What would those characteristics be, how would she communicate? Um,

0:42:57.960 --> 0:43:00.799
<v Speaker 1>the purity of all of the those things. And I

0:43:00.880 --> 0:43:03.799
<v Speaker 1>just kept defining it and redefining and redefining. Where would

0:43:03.840 --> 0:43:08.640
<v Speaker 1>I live? I thought, well, whenever happened in l A. No,

0:43:09.600 --> 0:43:12.280
<v Speaker 1>I would never meet the perfect girl in l A. Okay,

0:43:12.680 --> 0:43:15.480
<v Speaker 1>where would it be? But you have which I did.

0:43:15.520 --> 0:43:20.640
<v Speaker 1>But Veronica actually was from Bloomsburg, Pennsylvania, and she was

0:43:20.680 --> 0:43:22.520
<v Speaker 1>only in l A for a day. But you're right,

0:43:23.120 --> 0:43:26.600
<v Speaker 1>very wow, you're a good reader, thoughtful. Um So, in

0:43:26.640 --> 0:43:31.759
<v Speaker 1>any event, um So, I just kept assaulting the simplicity

0:43:31.760 --> 0:43:35.400
<v Speaker 1>again of a question that I postulated to myself. Is

0:43:35.440 --> 0:43:37.719
<v Speaker 1>it possible to meet a perfect girl? Is possible? What

0:43:37.719 --> 0:43:39.919
<v Speaker 1>does a perfect girl look like? What would that be?

0:43:40.160 --> 0:43:42.719
<v Speaker 1>Then I've defined it, then I wrote it. Then I

0:43:43.040 --> 0:43:47.880
<v Speaker 1>superimposed this whole mythological image of imagery of mermaid because

0:43:48.360 --> 0:43:53.759
<v Speaker 1>mermaids have power, they have beauty and sex appeal, they

0:43:53.800 --> 0:43:58.279
<v Speaker 1>have simplicity, and they're unattainable and that makes the love

0:43:58.360 --> 0:44:02.000
<v Speaker 1>story harder and gives you a third act that's interesting

0:44:02.040 --> 0:44:05.440
<v Speaker 1>and and it's phil the film I've always adored. It's

0:44:05.440 --> 0:44:08.920
<v Speaker 1>filled filled with great characters. John the little cameos from

0:44:09.000 --> 0:44:12.680
<v Speaker 1>John Candy are just hilarious. Well, John Candy was hilarious,

0:44:12.760 --> 0:44:15.880
<v Speaker 1>was so funny. Um But we talked earlier today on

0:44:15.880 --> 0:44:18.640
<v Speaker 1>the show about my grandmother who supported me. Was a

0:44:18.719 --> 0:44:22.080
<v Speaker 1>Jewish grandmother, was a little, tiny Jewish grandmother, and she

0:44:22.160 --> 0:44:25.080
<v Speaker 1>had all these isms. The isms were like think big

0:44:25.120 --> 0:44:28.319
<v Speaker 1>b big uh, it's just as easy to have a

0:44:28.320 --> 0:44:31.560
<v Speaker 1>good rich girl as as a poor girl. Um, you

0:44:31.600 --> 0:44:34.480
<v Speaker 1>have problems. Wash it down with Chris with chicken soup.

0:44:34.840 --> 0:44:37.760
<v Speaker 1>She had a crazy every one of these is ms.

0:44:37.880 --> 0:44:41.439
<v Speaker 1>I took all of those is ms the grandma, Sonja said,

0:44:41.719 --> 0:44:45.200
<v Speaker 1>and I gave him to the character of John Candy.

0:44:45.360 --> 0:44:47.520
<v Speaker 1>And that's how they all kind of happened like that,

0:44:47.560 --> 0:44:51.600
<v Speaker 1>he said, my friend. And then my grandmother had kind

0:44:51.600 --> 0:44:56.000
<v Speaker 1>of a decadence weirdly, and I extrapolated further on the decadence.

0:44:56.120 --> 0:44:59.399
<v Speaker 1>You know, like my grandmother smoked, she got divorced early

0:44:59.440 --> 0:45:02.440
<v Speaker 1>in life when she was like in nineteen forty no

0:45:02.440 --> 0:45:05.440
<v Speaker 1>one got divorced. She did all these kind of things

0:45:05.480 --> 0:45:08.359
<v Speaker 1>that were that were unconventional. So I put a lot

0:45:08.360 --> 0:45:11.800
<v Speaker 1>of those those things into the character that John Candy played.

0:45:12.000 --> 0:45:15.120
<v Speaker 1>And then real writers came in to rewrite me because

0:45:15.280 --> 0:45:19.239
<v Speaker 1>my script was terrible embodied the idea. But but it

0:45:19.360 --> 0:45:22.759
<v Speaker 1>was the first is the first draft. Um, but it

0:45:22.800 --> 0:45:25.160
<v Speaker 1>was low Against and Bob Blue Mandel that were really

0:45:25.360 --> 0:45:29.920
<v Speaker 1>gifted and incredibly funny. Like so you you mentioned the

0:45:29.960 --> 0:45:33.839
<v Speaker 1>beautiful girl. You mentioned this, which sort of makes me

0:45:33.880 --> 0:45:37.480
<v Speaker 1>think of the current environment. I don't think you can

0:45:37.520 --> 0:45:41.000
<v Speaker 1>make blazing Saddles today, you can't do that. You probably

0:45:41.160 --> 0:45:44.120
<v Speaker 1>could make splash today, but it would be it would

0:45:44.360 --> 0:45:49.399
<v Speaker 1>some of the more interesting aspects would be sanded down. So,

0:45:49.600 --> 0:45:52.719
<v Speaker 1>given the current environment, given the me too movement, everything else,

0:45:53.160 --> 0:45:57.799
<v Speaker 1>how has that affected the options you have for for

0:45:57.920 --> 0:46:04.279
<v Speaker 1>making films today. It's not. It's it's not too confining

0:46:04.400 --> 0:46:08.640
<v Speaker 1>for Ron and and and Brian Grazer and imagine because

0:46:09.120 --> 0:46:12.680
<v Speaker 1>we operate the movies and television we make, they they

0:46:13.080 --> 0:46:18.000
<v Speaker 1>just naturally operate within a value system that doesn't violate,

0:46:18.600 --> 0:46:22.000
<v Speaker 1>so it doesn't face impact. No, I mean, if you're

0:46:22.040 --> 0:46:26.239
<v Speaker 1>doing I don't make those hard. Those are comedies, but

0:46:26.400 --> 0:46:29.480
<v Speaker 1>it would definitely affect be constrictive that way if we

0:46:29.680 --> 0:46:33.439
<v Speaker 1>if we did not gen Really, yeah, it's not really

0:46:33.480 --> 0:46:36.760
<v Speaker 1>my genre. The R rated comedies and doing comedies itself

0:46:36.840 --> 0:46:39.960
<v Speaker 1>is kind of hard right now in in movies and TV.

0:46:40.760 --> 0:46:43.600
<v Speaker 1>I'm thrilled to do a comedy. I may. I like

0:46:43.719 --> 0:46:49.080
<v Speaker 1>television and I like uh so, so I'm sensitized to it.

0:46:49.120 --> 0:46:51.400
<v Speaker 1>But I I think Ron and I just by nature

0:46:52.520 --> 0:46:56.920
<v Speaker 1>are not human rights violators. Right, So you describe him

0:46:56.960 --> 0:47:00.239
<v Speaker 1>as like the nicest human soul you'll ever want to eat.

0:47:00.560 --> 0:47:03.720
<v Speaker 1>He is. Before I get to my speed round questions,

0:47:03.719 --> 0:47:05.319
<v Speaker 1>I just have to talk to you a little bit

0:47:05.920 --> 0:47:11.200
<v Speaker 1>um about the dyslexia. UM. I told you I love

0:47:11.280 --> 0:47:14.160
<v Speaker 1>the left is the hand that makes the l You

0:47:14.239 --> 0:47:18.520
<v Speaker 1>do this, Um, I don't know how else it manifests itself. You.

0:47:19.320 --> 0:47:21.560
<v Speaker 1>I always found that if I would go out to

0:47:21.560 --> 0:47:24.560
<v Speaker 1>eat with a group of people, I was always eating

0:47:24.560 --> 0:47:29.759
<v Speaker 1>other people's bread and water. But I'll tell you a

0:47:30.680 --> 0:47:35.600
<v Speaker 1>neurologist at Stony Brook University Medical Center who works with

0:47:35.760 --> 0:47:38.680
<v Speaker 1>a d h D kids and dyslexic kids told me

0:47:38.920 --> 0:47:44.560
<v Speaker 1>another little shortcut you make the okay, and this is

0:47:44.680 --> 0:47:46.920
<v Speaker 1>B is bread and D is drink. And that's how.

0:47:47.280 --> 0:47:50.279
<v Speaker 1>And ever since she showed me that shortcut, I have

0:47:50.320 --> 0:47:54.640
<v Speaker 1>stopped eating other people's dinner rolls. It's um what I

0:47:54.960 --> 0:47:58.600
<v Speaker 1>want to ask, how did you learn to manage the dyslexia?

0:47:58.640 --> 0:48:02.880
<v Speaker 1>How did you overcome that? Because that's a really especially

0:48:02.880 --> 0:48:08.360
<v Speaker 1>for someone who reads screenplays. Getting past that that reading

0:48:08.400 --> 0:48:10.800
<v Speaker 1>issue had to be a big challenge. Well. Yes, in

0:48:10.920 --> 0:48:15.920
<v Speaker 1>my early education zero through fifth grade, I couldn't read

0:48:15.920 --> 0:48:20.520
<v Speaker 1>a word, read one word, and so it became pretty

0:48:20.520 --> 0:48:25.040
<v Speaker 1>traumatizing and it caused behaviors of like not looking at

0:48:25.080 --> 0:48:27.560
<v Speaker 1>people because they might pick me to come to the

0:48:27.880 --> 0:48:30.120
<v Speaker 1>front of the class, and I would never have the

0:48:30.120 --> 0:48:33.160
<v Speaker 1>answer because I couldn't read. So therefore, any of those

0:48:33.200 --> 0:48:37.360
<v Speaker 1>kind of exchange exchanges that involved having to read to

0:48:37.440 --> 0:48:39.799
<v Speaker 1>get the answer didn't work. So so how did you

0:48:39.840 --> 0:48:43.200
<v Speaker 1>overcome that? It just happened. I got I got lucky.

0:48:43.280 --> 0:48:46.280
<v Speaker 1>There's you know, these sort of moments of epiphany where

0:48:46.800 --> 0:48:50.880
<v Speaker 1>some flash breakthrough occurred and I could then spell. I

0:48:50.960 --> 0:48:54.160
<v Speaker 1>was able to spell almost really, I remember being able

0:48:54.160 --> 0:48:56.880
<v Speaker 1>to spell before I could read, and then I was

0:48:56.960 --> 0:48:59.800
<v Speaker 1>able to read in sixth grade, not not well because

0:48:59.800 --> 0:49:02.799
<v Speaker 1>I would always start on the right and go to

0:49:02.840 --> 0:49:06.160
<v Speaker 1>the left, and so that was problematic. But it just

0:49:06.200 --> 0:49:08.360
<v Speaker 1>took discipline, and it still takes a lot of discipline.

0:49:08.400 --> 0:49:11.200
<v Speaker 1>I invert words. I gets upset and I say to Ironica,

0:49:11.640 --> 0:49:15.000
<v Speaker 1>I'm so upset. I press send and doesn't make any sense,

0:49:15.080 --> 0:49:17.920
<v Speaker 1>and she said, well, people expect stuff like that. You

0:49:17.960 --> 0:49:20.600
<v Speaker 1>don't have to be so hard on yourself. And you

0:49:20.640 --> 0:49:23.880
<v Speaker 1>have trouble dialing phones. You have trouble. I don't transpose numbers.

0:49:23.920 --> 0:49:27.279
<v Speaker 1>I don't dial phones. You don't know. I mean, I

0:49:27.320 --> 0:49:33.160
<v Speaker 1>do transport I do transpose numbers. I seldom dial phones.

0:49:33.200 --> 0:49:38.080
<v Speaker 1>I use my smartphone, just my serie. Or early in

0:49:38.080 --> 0:49:41.200
<v Speaker 1>my career worked in an investment bank and they rotate

0:49:41.239 --> 0:49:43.440
<v Speaker 1>you through every department. You're on the trading desk, you

0:49:43.480 --> 0:49:46.200
<v Speaker 1>and the bond was so when they rotated me through

0:49:46.680 --> 0:49:49.200
<v Speaker 1>the sales department, they give you a list of clients

0:49:49.239 --> 0:49:52.160
<v Speaker 1>and call all these people that lasted a day when

0:49:53.640 --> 0:49:57.600
<v Speaker 1>its constantly get numbers like well, unfortunately. I mean, technology

0:49:57.640 --> 0:49:59.719
<v Speaker 1>is so great right now, and I mean I I

0:50:00.040 --> 0:50:02.680
<v Speaker 1>of technology, and I love the power of smartphones. I

0:50:02.760 --> 0:50:05.520
<v Speaker 1>just think they should be done independently. I think you

0:50:05.560 --> 0:50:09.120
<v Speaker 1>should use all your smartphones and smart equipment to get smarter.

0:50:09.640 --> 0:50:12.200
<v Speaker 1>And then when you meet somebody, be completely protatal and

0:50:12.239 --> 0:50:14.359
<v Speaker 1>look at them face to face. And in the book

0:50:14.480 --> 0:50:19.879
<v Speaker 1>there's so many techniques that bridge into success variable success situations.

0:50:19.920 --> 0:50:22.200
<v Speaker 1>All right, so I only have you for a few

0:50:22.200 --> 0:50:25.680
<v Speaker 1>more moments. Let me run through our speed round. Yes,

0:50:27.000 --> 0:50:29.799
<v Speaker 1>ten questions, bang through these as fast as you can.

0:50:30.360 --> 0:50:32.440
<v Speaker 1>First car, you have her own. You're making Model A

0:50:32.600 --> 0:50:39.400
<v Speaker 1>two thousand two BMW Burgundy, and uh that's what it

0:50:39.480 --> 0:50:42.640
<v Speaker 1>was too, doesn't too Burgundy? BMW? I drove it on

0:50:42.719 --> 0:50:47.040
<v Speaker 1>the Warner Brothers a lot and I I've met two

0:50:47.160 --> 0:50:49.919
<v Speaker 1>girls very independent of one another, looking through my rear

0:50:50.000 --> 0:50:53.080
<v Speaker 1>view mirror with my little BMW. One was Diane Keaton

0:50:53.280 --> 0:50:55.200
<v Speaker 1>and I stopped and talked to her for a minute

0:50:55.440 --> 0:50:57.000
<v Speaker 1>and I said, what are you working on? She said,

0:50:57.000 --> 0:51:00.279
<v Speaker 1>The Godfather. I had no idea, I like I I

0:51:00.360 --> 0:51:02.160
<v Speaker 1>was just like I was a kid that just from

0:51:02.200 --> 0:51:04.000
<v Speaker 1>the valley. I didn't even know why I was on

0:51:04.040 --> 0:51:08.200
<v Speaker 1>the lot. And Tom Hanks's wife for Rita Wilson Hanks,

0:51:08.520 --> 0:51:11.360
<v Speaker 1>Now like at at you know, at our she's a

0:51:11.440 --> 0:51:15.520
<v Speaker 1>rock star. I mean, but she's Tom's wife. And I

0:51:15.600 --> 0:51:20.440
<v Speaker 1>met her and drove her home in the daytime to

0:51:20.880 --> 0:51:24.040
<v Speaker 1>Wilson Woodward Wilson Avenue, and that's what she told me.

0:51:24.080 --> 0:51:26.960
<v Speaker 1>That's where they got their last name from the street there.

0:51:27.200 --> 0:51:30.759
<v Speaker 1>That's so funny. What's the most important thing people don't

0:51:30.800 --> 0:51:33.680
<v Speaker 1>know about? Brian Grazer? Did I cry a lot? Really?

0:51:34.600 --> 0:51:39.600
<v Speaker 1>Like watching commercials? No? Uh? Well, music, I get emotional.

0:51:39.880 --> 0:51:46.640
<v Speaker 1>I celebrate the beauty of of genius or hard work

0:51:47.160 --> 0:51:51.680
<v Speaker 1>or accomplishment, and I can see little bits of accomplishment

0:51:52.640 --> 0:51:56.880
<v Speaker 1>and things, and I start to get emotional. U interesting.

0:51:56.960 --> 0:52:01.480
<v Speaker 1>Early mentors, early mentors. Well, my grandmother first Grandma should

0:52:02.960 --> 0:52:07.360
<v Speaker 1>and then early in my career, producer named saulve Zance

0:52:07.760 --> 0:52:11.600
<v Speaker 1>produced Amadeus and he produced. He also produced One Flew

0:52:11.640 --> 0:52:15.160
<v Speaker 1>Over the Cuckoo's Nest impeccable, well at a third one

0:52:15.239 --> 0:52:17.880
<v Speaker 1>The English Patient. I think he won two or three

0:52:17.960 --> 0:52:21.440
<v Speaker 1>Oscars for Best Picture. It impeccable taste. And when I

0:52:21.520 --> 0:52:27.520
<v Speaker 1>learned from sauls Ants is if you even with nothing written,

0:52:28.440 --> 0:52:33.040
<v Speaker 1>I'm gonna start scouting locations. Meaning if I like something

0:52:33.080 --> 0:52:36.560
<v Speaker 1>and it's it's not even written, I'm actualizing it. It's

0:52:36.600 --> 0:52:40.520
<v Speaker 1>being done. So I just thought, wow, creative visualization. He

0:52:40.600 --> 0:52:43.440
<v Speaker 1>was doing that early on. And someone Richard Zani Dick

0:52:43.520 --> 0:52:47.480
<v Speaker 1>Zane also great taste, amazing taste. What are some of

0:52:47.520 --> 0:52:49.680
<v Speaker 1>your favorite books? Do you do you read much in

0:52:49.719 --> 0:52:51.960
<v Speaker 1>the way of books. Are you so busy with screenplays

0:52:52.000 --> 0:52:54.160
<v Speaker 1>you just don't get to books. Um? No, I do read.

0:52:54.239 --> 0:52:56.680
<v Speaker 1>I read books more than I read screen plays. I

0:52:56.800 --> 0:53:00.480
<v Speaker 1>try to read, um non fiction. But I've a favorite

0:53:00.480 --> 0:53:03.439
<v Speaker 1>of many, many favorite books. But one of them that

0:53:03.600 --> 0:53:07.160
<v Speaker 1>is Grit by Angela just came out last year. Yeah,

0:53:07.960 --> 0:53:11.080
<v Speaker 1>it's so great, It's it's definitely have to do that.

0:53:11.160 --> 0:53:13.320
<v Speaker 1>Give it, give us another one. Everybody loves this question.

0:53:13.360 --> 0:53:17.960
<v Speaker 1>I look, I like uh martial arts, and I like

0:53:18.040 --> 0:53:21.279
<v Speaker 1>Eastern Thought. So Bruce Lee is an icon and I'm

0:53:21.280 --> 0:53:23.960
<v Speaker 1>a fan of so. He wrote a book called Jet

0:53:24.000 --> 0:53:30.000
<v Speaker 1>Want Jet Kwondo, and I like that book. Okay, quite interesting.

0:53:30.440 --> 0:53:32.480
<v Speaker 1>Tell us about a time you failed and what you

0:53:32.600 --> 0:53:37.000
<v Speaker 1>learned from the experience. I failed so many times. Um,

0:53:37.400 --> 0:53:40.839
<v Speaker 1>I learned to keep taking risk and keep failing, keep

0:53:40.880 --> 0:53:43.040
<v Speaker 1>coming back at it, keep coming back, don't Well, what

0:53:43.080 --> 0:53:45.680
<v Speaker 1>I really learned is don't let He used to really

0:53:45.719 --> 0:53:50.160
<v Speaker 1>traumatize me, depressed me. I couldn't go to work. I yeah,

0:53:50.200 --> 0:53:54.440
<v Speaker 1>I developed physical problems, but that doesn't happen any longer.

0:53:55.120 --> 0:53:59.120
<v Speaker 1>I still don't like to fail, but I'd rather be fearless.

0:53:59.800 --> 0:54:01.640
<v Speaker 1>So normally at this point I would ask you what

0:54:01.680 --> 0:54:03.600
<v Speaker 1>you do for fun? But I know you surf, I

0:54:03.640 --> 0:54:07.560
<v Speaker 1>know you do uh, taekwondo and other stuff. What what

0:54:07.600 --> 0:54:10.480
<v Speaker 1>else do you do for fun? Play tennis? I love that.

0:54:10.920 --> 0:54:13.560
<v Speaker 1>Do food videos, So go to Brian Grazer and watch

0:54:13.600 --> 0:54:16.359
<v Speaker 1>my food videos. They're kind of funny. I did them

0:54:16.400 --> 0:54:19.200
<v Speaker 1>originally from my all four of my kids. They thought

0:54:19.239 --> 0:54:22.600
<v Speaker 1>they were hilarious because I'm always doing something funny with

0:54:22.640 --> 0:54:26.040
<v Speaker 1>food and funny parts of the world. And my kids

0:54:26.560 --> 0:54:28.560
<v Speaker 1>encouraged me, and that's why I like doing that. That

0:54:28.560 --> 0:54:32.320
<v Speaker 1>sounds like a blast. Uh. Within the film and television industry,

0:54:32.360 --> 0:54:36.200
<v Speaker 1>what do you most optimistic and most pessimistic about today?

0:54:36.360 --> 0:54:40.640
<v Speaker 1>I'm the most optimistic about the power of stories. That

0:54:40.760 --> 0:54:45.160
<v Speaker 1>hardware has change, consolidation, movie companies, all those those things

0:54:45.200 --> 0:54:48.359
<v Speaker 1>have changed. But that I've seen that over over three

0:54:48.400 --> 0:54:52.440
<v Speaker 1>and a half decades, that all you know, okay, movies,

0:54:52.440 --> 0:54:55.480
<v Speaker 1>they're terrible now, but they're not terrible. DVD is going

0:54:55.560 --> 0:54:59.120
<v Speaker 1>to change the movie business. It didn't. Um, Netflix is

0:54:59.160 --> 0:55:01.800
<v Speaker 1>going to destroy the movie business. It didn't. It was

0:55:01.840 --> 0:55:03.960
<v Speaker 1>good for the movie. But it's the golden age of it.

0:55:04.040 --> 0:55:09.759
<v Speaker 1>It's just great stories. I think people, particularly in the

0:55:09.800 --> 0:55:14.440
<v Speaker 1>tech business who didn't didn't a decade ago, value stories.

0:55:14.520 --> 0:55:18.400
<v Speaker 1>Everybody values the power of a story. And our final

0:55:18.440 --> 0:55:22.400
<v Speaker 1>two questions, UH, recent college grad comes to you and

0:55:22.440 --> 0:55:25.480
<v Speaker 1>said they're interested in pursuing a career in film or

0:55:25.560 --> 0:55:28.399
<v Speaker 1>television production. What sort of advice would you give them?

0:55:29.360 --> 0:55:33.200
<v Speaker 1>Always try to understand the language of our business, of

0:55:33.280 --> 0:55:37.719
<v Speaker 1>the culture. Read the trades, Read Deadline, Hollywood, read these

0:55:37.719 --> 0:55:41.560
<v Speaker 1>things that seem kind of like, you know, trashy, gossipy,

0:55:41.560 --> 0:55:45.040
<v Speaker 1>but truthful of what's going on in Hollywood. First, learn

0:55:45.840 --> 0:55:49.120
<v Speaker 1>the language, That's what I'd say. Learn the language. Then

0:55:49.160 --> 0:55:52.600
<v Speaker 1>I'd say find somebody that you Then I always say

0:55:52.600 --> 0:55:54.440
<v Speaker 1>to somebody, do you want to optimally, do you want

0:55:54.440 --> 0:55:58.680
<v Speaker 1>to work inside or outside? If you want to work inside,

0:55:59.520 --> 0:56:01.560
<v Speaker 1>then you can be an agent, You can be a producer,

0:56:01.680 --> 0:56:03.920
<v Speaker 1>you can be a writer. If you want to work outside,

0:56:04.280 --> 0:56:06.920
<v Speaker 1>you could be an assistant director or a director. You

0:56:06.960 --> 0:56:10.400
<v Speaker 1>have to think, imagine where do you want to spend

0:56:10.480 --> 0:56:13.799
<v Speaker 1>your day in or out. It's a simple thing, and

0:56:13.840 --> 0:56:16.400
<v Speaker 1>then you can find another simple thing that helps you

0:56:16.600 --> 0:56:19.680
<v Speaker 1>get there. But the language is going to help you

0:56:19.719 --> 0:56:23.320
<v Speaker 1>because it will decode the internal workings of the business.

0:56:23.400 --> 0:56:26.000
<v Speaker 1>And our final question, what do you know about the

0:56:26.040 --> 0:56:29.800
<v Speaker 1>world of entertainment today that you wish you knew thirty

0:56:29.840 --> 0:56:34.600
<v Speaker 1>plus years ago when you were first getting started? Um,

0:56:34.719 --> 0:56:37.960
<v Speaker 1>that what I wish I say it again, what what

0:56:38.040 --> 0:56:40.560
<v Speaker 1>do you know to today that you wish you knew

0:56:40.760 --> 0:56:44.600
<v Speaker 1>thirty years ago? That failing is okay? I wish I

0:56:44.680 --> 0:56:47.279
<v Speaker 1>knew that failing is okay because it caused me a

0:56:47.320 --> 0:56:51.200
<v Speaker 1>lot of worry and stress I think if you honestly,

0:56:51.239 --> 0:56:53.440
<v Speaker 1>what I really think is if you're a good person,

0:56:54.160 --> 0:56:59.239
<v Speaker 1>you work towards the laws of karma. Like just I

0:56:59.320 --> 0:57:02.600
<v Speaker 1>do really believe even like smiling at people, I believe in.

0:57:02.960 --> 0:57:08.200
<v Speaker 1>I believe in all of those little those little butterfly

0:57:08.239 --> 0:57:14.879
<v Speaker 1>effect moments get you goodwill. Good will allow forgives you.

0:57:15.120 --> 0:57:20.560
<v Speaker 1>For failure. There are I've seen so many people, superstars

0:57:22.160 --> 0:57:25.240
<v Speaker 1>to be incredibly rude, and when they fail, they never

0:57:25.320 --> 0:57:29.440
<v Speaker 1>come back. They can't get back. But if you're mad,

0:57:30.440 --> 0:57:32.840
<v Speaker 1>they burn a lot of bridges. They make too much noise,

0:57:32.880 --> 0:57:35.560
<v Speaker 1>they're too rude, they offend too many people, and they

0:57:35.560 --> 0:57:37.960
<v Speaker 1>don't create good vibes out there. You know, it's a

0:57:38.000 --> 0:57:41.560
<v Speaker 1>collaborative business, and you're never You're not gonna even bat

0:57:41.560 --> 0:57:44.040
<v Speaker 1>five hundred. It's sort of if you think of baseball,

0:57:44.040 --> 0:57:48.280
<v Speaker 1>you're gonna bat about three thirty three fifty. That's pretty amazing.

0:57:49.000 --> 0:57:52.280
<v Speaker 1>And so basically you have to just know that success

0:57:52.680 --> 0:57:55.280
<v Speaker 1>is not a straight up trajectory. And a lot of

0:57:55.320 --> 0:57:58.640
<v Speaker 1>people lose their humility and they think, oh I'm good,

0:57:58.680 --> 0:58:00.880
<v Speaker 1>you know, and they and they and they lose humility,

0:58:00.920 --> 0:58:03.919
<v Speaker 1>then they lose manners and human etiquette. They don't look

0:58:03.920 --> 0:58:05.960
<v Speaker 1>at you. They look past you, they look over you,

0:58:06.680 --> 0:58:10.560
<v Speaker 1>and everyone catches all that stuff. People feel energy. That's

0:58:10.600 --> 0:58:13.320
<v Speaker 1>how you make big decisions. And so I think I've

0:58:13.320 --> 0:58:17.760
<v Speaker 1>gotten a lot of breaks, uh, and I'm really grateful

0:58:17.800 --> 0:58:20.880
<v Speaker 1>to all the breaks I've gotten and continued to get.

0:58:21.400 --> 0:58:23.600
<v Speaker 1>Thank you, Brian for being so generous with your time.

0:58:23.680 --> 0:58:27.240
<v Speaker 1>This has been absolutely fascinating. We have been speaking with

0:58:27.280 --> 0:58:30.960
<v Speaker 1>Brian Grazer. He is UH television and film producer and

0:58:31.320 --> 0:58:35.400
<v Speaker 1>co founder of Imagine Entertainment. If you enjoy this conversation,

0:58:35.440 --> 0:58:37.840
<v Speaker 1>well look up and intro, down and inch on Apple iTunes.

0:58:38.160 --> 0:58:40.840
<v Speaker 1>You can see any of the previous two hundred and

0:58:40.880 --> 0:58:44.400
<v Speaker 1>sixty or so conversations we've had over the past five years.

0:58:44.880 --> 0:58:49.600
<v Speaker 1>You can find that at iTunes, Google Podcasts, Spotify, wherever

0:58:49.680 --> 0:58:52.680
<v Speaker 1>you're find. Our podcasts are sold. We love your comments,

0:58:52.720 --> 0:58:56.480
<v Speaker 1>feedback and suggestions right to us at m IB podcast

0:58:56.520 --> 0:58:58.880
<v Speaker 1>at Bloomberg dot net. Go give us a lovely review

0:58:58.880 --> 0:59:01.920
<v Speaker 1>on Apple iTunes. I would be remiss if I did

0:59:01.920 --> 0:59:04.640
<v Speaker 1>not thank the Cracks staff that helps put together this

0:59:04.760 --> 0:59:09.120
<v Speaker 1>podcast each week. Attica val Bron is our project director.

0:59:09.160 --> 0:59:12.840
<v Speaker 1>Michael Boyle is my booker, slash producer, Michael bat Nick

0:59:13.160 --> 0:59:16.840
<v Speaker 1>is my director of research. I'm Barry Retolts. You've been

0:59:16.880 --> 0:59:19.920
<v Speaker 1>listening to Masters in Business on Bloomberg Radio.