WEBVTT - Bubbles with Isaac Adamson | Development Hell

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<v Speaker 1>Pushkin before we do any talking. I just want you.

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<v Speaker 1>Can you just read the opening.

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<v Speaker 2>Scene exterior Ape Sanctuary Day. Bubbles, a grizzled, muscular thirty

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<v Speaker 2>three year old chimpanzee, lazily knuckle wocks across the floor

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<v Speaker 2>of a large domed enclosure nestled in a verdant, Florida

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<v Speaker 2>woodland Superimposition Center for Great Apes Watchuola, Florida present day.

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<v Speaker 3>There are many kinds of kingdoms in this world, and

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<v Speaker 3>many kinds of kings.

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<v Speaker 2>Bubble scoops up a hunk of sweet potato from the ground.

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<v Speaker 3>I have known more than most, though all here have

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<v Speaker 3>served outside these castle walls in some capacity.

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<v Speaker 2>It comes upon a cluster of three chips and acknowledges them.

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<v Speaker 3>Butchered chippers served the Ringling Brothers, as did Petunia.

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<v Speaker 2>Moving along, he passes two other chips.

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<v Speaker 3>Ellie and her friend Kodua were both in a Super

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<v Speaker 3>Bowl commercial.

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<v Speaker 2>A third chip runs over, waxed Ellie on the head

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<v Speaker 2>and then runs off.

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<v Speaker 3>That's Jonah. He starred in a Planet of the Apes film.

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<v Speaker 3>Unfortunately it was the one people didn't enjoy.

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<v Speaker 2>Bubble's effortlessly as sens a wooden jungle gym and then

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<v Speaker 2>sits perched on top of it, overlooking his domain, munching

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<v Speaker 2>his sweet potato.

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<v Speaker 3>Now this is their kingdom, and I am their king.

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<v Speaker 3>But it was not always so. I was once heir

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<v Speaker 3>to the greatest kingdom on earth, one ruled by a

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<v Speaker 3>king like none before him. But every kingdom, great or small,

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<v Speaker 3>has its boundaries, it's walls. Every kingdom is itself a

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<v Speaker 3>kind of cage. I have in my life. Become a

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<v Speaker 3>student of cages.

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<v Speaker 1>Welcome to episode three of Development Hell, our series about

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<v Speaker 1>the Hollywood that Never was. I heard about this script

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<v Speaker 1>from Franklin Leonard, who runs something called the Blacklist. It's

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<v Speaker 1>a Hollywood institution that polls movie executives every year, asking

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<v Speaker 1>them to name their most liked unproduced screenplays. The project

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<v Speaker 1>we're going to talk about today hit number one on

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<v Speaker 1>the Blacklist. It was called simply Bubbles, A story told

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<v Speaker 1>through the eyes of the most unreliable of all unreliable narrators,

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<v Speaker 1>a chimpanzee who rose as high as a chimp can

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<v Speaker 1>rise and then fell, and the entire town, the entire

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<v Speaker 1>community of Development executive Studio Hancho's producers, everyone in Hollywood

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<v Speaker 1>agreed that this was the best thing they had read.

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<v Speaker 1>But do you know when Bubbles hit number one on

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<v Speaker 1>the Blacklist twenty fifteen, nine years ago, Hollywood decided as

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<v Speaker 1>a group that a story about a chimp called Bubbles

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<v Speaker 1>was the absolute best script of twenty fifteen. And yet

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<v Speaker 1>in the decades since, Hollywood has decided that they did

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<v Speaker 1>not want to make a movie told through the eyes

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<v Speaker 1>of a chimp called Bubbles. Why this is why all

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<v Speaker 1>of us revision is history, decided the world needed development hell,

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<v Speaker 1>a series devoted entirely to the stories that Hollywood loves

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<v Speaker 1>but will not share with the rest of us. So

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<v Speaker 1>I called up the creator of Bubbles, Isaac Adamson, screenwriter, novelist,

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<v Speaker 1>thwarted chronicler of the inner lives of large primates. You

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<v Speaker 1>may hear in Isaac's voice a certain resis ignation about

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<v Speaker 1>the fate of his screenplay, but that's not how I feel.

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<v Speaker 1>I read Bubbles, and I thought I have to do something. First,

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<v Speaker 1>they came for the chimpanzees, and I did not speak

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<v Speaker 1>out because I was not a chimpanzee.

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<v Speaker 3>You know that ends.

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<v Speaker 1>So here we have a middle aged chimp who is

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<v Speaker 1>clearly in some kind of retirement, has been pastured out

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<v Speaker 1>to this sanctuary in Orlando. But he speaks in this grandiose,

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<v Speaker 1>formal manner about this life. Tell me, give me a

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<v Speaker 1>little more in your own words, about the character of

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<v Speaker 1>this of Bubbles, this majestic aging chimp.

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<v Speaker 2>Yeah. Well, I think of Bubbles kind of as a

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<v Speaker 2>would be king in exile. You know, he's had this amazing,

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<v Speaker 2>adventurous life and now it's kind of been he's been

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<v Speaker 2>removed from and he's sort of biding his time away

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<v Speaker 2>from the life that he thought he was going to

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<v Speaker 2>have and from the kingdom that he felt that he

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<v Speaker 2>was going to inherit.

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<v Speaker 1>He's a tragic figure, yeah, definitely, Yeah, but he has

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<v Speaker 1>And what's hilarious. This is a comedy.

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<v Speaker 2>Yeah, that's core.

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<v Speaker 1>Yes, that's core. It's many other things as well, but

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<v Speaker 1>it's fundamentally a comedy. I must say parenthetically, Isaac that

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<v Speaker 1>I love this script so much. You know how in

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<v Speaker 1>your world in Hollywood it's always X meets Y. A

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<v Speaker 1>movie is always described as ex meets Why. You know

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<v Speaker 1>what this is? You probably, I'm sure you've thought this

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<v Speaker 1>is this script is uh uh Remains of the Day

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<v Speaker 1>meets Puff the Magic Dragon.

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<v Speaker 2>I actually has never thought of it that way. That's

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<v Speaker 2>what I hadn't heard before.

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<v Speaker 1>But do you see what do you do? You you

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<v Speaker 1>know what I'm you know what I'm getting at.

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<v Speaker 2>Yeah, I definitely that makes sense.

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<v Speaker 1>So let's explain Bubbles is a real was a real chimp.

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<v Speaker 2>Yeah, correct, he was. He is a real chimp. He's

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<v Speaker 2>still alive and living at this Ape Sanctuary in Florida, and.

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<v Speaker 1>He he is famous, and he's probably one of the

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<v Speaker 1>most famous chimps of our generation.

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<v Speaker 2>Yeah, I would, I would think so for sure. I

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<v Speaker 2>mean he's up there with like Cheetah from previous generations.

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<v Speaker 1>I suppose, oh Cheetah, you mean like Tarzan ssidekick in

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<v Speaker 1>those tarz En movies and TV shows. So Bubbles is

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<v Speaker 1>on Cheetah's level. He's famous.

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<v Speaker 2>Uh, he is famous because he was Michael Jackson's Chimpionzee

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<v Speaker 2>during the height of Jackson's fame.

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<v Speaker 1>Yeah, and he was more than a kind of pet.

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<v Speaker 1>He was. He was like a he was like Michael

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<v Speaker 1>Jackson's companion.

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<v Speaker 2>He was when Michael Jackson went on tour. He took

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<v Speaker 2>him all over the world. You know, he tried to

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<v Speaker 2>take him to Europe. He had some trouble getting him

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<v Speaker 2>into the country because of the animal quarantine laws, but

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<v Speaker 2>he did. He took him to Japan, he took him.

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<v Speaker 2>He took him famously to a meeting with the mayor

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<v Speaker 2>of Osaka.

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<v Speaker 1>So you had this idea of doing a movie about

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<v Speaker 1>Michael Jackson seeing through the eyes of his chimp Bubbles.

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<v Speaker 2>Yeah, I guess the genesis of it happened a long

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<v Speaker 2>time before I actually sat down to write the script.

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<v Speaker 2>You know, it was right around the time Michael Jackson died,

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<v Speaker 2>and there were all sorts of articles about every aspect

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<v Speaker 2>of his life. And I happened across something in like

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<v Speaker 2>People or you know, one of those magazines that you

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<v Speaker 2>kind of flipped through at the DAAs office, and it

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<v Speaker 2>was just a little blurb about, well, whatever happened to Bubbles,

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<v Speaker 2>you know, remember Michael Jackson's chimpanzee. And I thought out,

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<v Speaker 2>that's kind of interesting because I sort of remembered Bubbles

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<v Speaker 2>being around and everything. And then a couple of years later,

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<v Speaker 2>there was a there was a book that was shortlisted

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<v Speaker 2>for the Man Booker Prize in the UK, me Cheetah,

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<v Speaker 2>and I thought it was like the Tarzan story told

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<v Speaker 2>from Cheetah's perspective, that. It turns out I was totally wrong.

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<v Speaker 2>I didn't actually read the book. I just read about it.

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<v Speaker 2>I'm like, oh, that's an interesting idea. Yeah, so a

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<v Speaker 2>certain point, I just decided to try to write a

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<v Speaker 2>Michael Jackson story told from the perspective of this, you know,

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<v Speaker 2>of this chimpanzee. But it was really important to me

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<v Speaker 2>to make the chimpanzee the lead character, the real protagonist,

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<v Speaker 2>not just how it be. He's kind of a fly

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<v Speaker 2>on the wall witnessing all this crazy stuff going on.

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<v Speaker 1>And how did you come to give the give bubbles

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<v Speaker 1>the persona that he has. I mean, there's a million

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<v Speaker 1>directions you could go with a chimp. If we're going

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<v Speaker 1>to live inside the mind of a chimp, the chimp

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<v Speaker 1>could be a rascal, he could be a partier, he

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<v Speaker 1>could be a you know, I mean, he could be

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<v Speaker 1>the imagure, he could be an immature adolescent. I mean,

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<v Speaker 1>there's a million chimps, and you chose this kind of formal,

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<v Speaker 1>self serious, grandiose kind of character to be. How where

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<v Speaker 1>did that I where did that notion come from?

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<v Speaker 2>Well there was a couple of things, really, because yeah,

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<v Speaker 2>although this is a comedy, I did see it. You know,

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<v Speaker 2>as a tragedy. From Bubble's perspective, he sort of has

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<v Speaker 2>this notion that Michael Jackson is a real king, you know,

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<v Speaker 2>like a monarch, and chimpanzees are very hierarchical animals. There's

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<v Speaker 2>definitely a pecking order there. Once I sort of had

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<v Speaker 2>this idea of it's almost a Shakespearean tragedy about a

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<v Speaker 2>king and his son that would be king. Then I

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<v Speaker 2>started thinking, we'll be really funny if if Bubbles spoke

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<v Speaker 2>in this kind of pseudo Shakespearean language, just to elevate

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<v Speaker 2>it a little bit. Yeah, so that's kind of where

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<v Speaker 2>a lot of that came from. Yeah.

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<v Speaker 1>Yeah, but it gives him an enormous amount of dignity

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<v Speaker 1>if he was. If he was, this is one of

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<v Speaker 1>the first things that's struggling about this. I was like,

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<v Speaker 1>why am I Why do I feel Bubbles is pain?

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<v Speaker 1>Because he eventually will go through a great deal of pain.

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<v Speaker 1>I was asking, so why do I feel it so keenly?

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<v Speaker 1>And I realize it's because he has this very precious

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<v Speaker 1>dignity which he's going to enormous lengths to preserve. And

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<v Speaker 1>if he was just the stereotypical chimp who's just had

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<v Speaker 1>to eat bananas and jump around. Then there's no steakes

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<v Speaker 1>if he's right humiliated. But in this case, it was enormous.

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<v Speaker 1>I mean his pride, Bubbles. Bubbles just has this enormous

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<v Speaker 1>amount of pride in his position and his status and

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<v Speaker 1>his accomplishments and which is it's just deeply hilarious.

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<v Speaker 2>Yeah, I know, I think, you know, it would have

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<v Speaker 2>been a fun to just the visual juxtaposition of this chimpanzee,

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<v Speaker 2>which I think we all associate with that kind of

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<v Speaker 2>you know, wacky hygienks and slapstick and wrapping its head

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<v Speaker 2>and you know, blowing raspberries and all those things we've

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<v Speaker 2>seen in all kinds of movies and TV shows and

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<v Speaker 2>commercials and even nature documentaries. But then you know, having

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<v Speaker 2>that sort of goofy, funny exterior aspect to it, but

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<v Speaker 2>there's really sort of deep, kind of sad interior thing

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<v Speaker 2>going on at the same time. I thought that was

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<v Speaker 2>an interesting juxtaposition.

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<v Speaker 1>Yeah, and he's an he not only does he he

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<v Speaker 1>he misunderstands who Michael Jackson is. So when he when

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<v Speaker 1>Michael Jackson is referred to as the King of Pop,

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<v Speaker 1>Bubbles thinks that means he is the king actually the

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<v Speaker 1>king of pop And not only that, he consistently misunderstands

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<v Speaker 1>all these things that we understand about Michael Jackson. I'm

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<v Speaker 1>wondering if you could read there's that incredibly lovely scene

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<v Speaker 1>where he's talking about the first time he discusses Michael

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<v Speaker 1>Jackson's cosmetic surgery. Could you can you There's a number

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<v Speaker 1>of times where he does. But I'm wondering whether you

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<v Speaker 1>can find that section forgot with pagees on. Oh here

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<v Speaker 1>we are thirteen.

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<v Speaker 2>Interior, Havenhurst Mansion, Michael's bathroom night. Michael looks at the

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<v Speaker 2>man in the mirror, unhappily, inspecting his face for a

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<v Speaker 2>moment before picking up a bottle of Porcelina skin bleaching cream.

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<v Speaker 2>Bubbo sits on the stool next to him, watching as

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<v Speaker 2>Michael rubs the cream into his face.

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<v Speaker 3>Before venturing forth to the battlefield, he would don warpaint

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<v Speaker 3>that turned his face a spectral, phantasmic shade, meant to

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<v Speaker 3>strike fear into the heart of his enemies.

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<v Speaker 2>Later, Michael faces the mirror again, a bandage covers his nose.

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<v Speaker 3>Often he would return from these battles with bandages covering

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<v Speaker 3>wounds received in combat.

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<v Speaker 2>Michael peels the bandage away to reveal a noticeably narrowed nose.

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<v Speaker 3>But he had remarkable powers of self healing, each time,

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<v Speaker 3>recovering from such injuries without so much as a scarm.

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<v Speaker 1>He's such a hilariously unreliable narrator about his king. That's

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<v Speaker 1>like half the fun of this. That's why, you know

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<v Speaker 1>what I said, it's half Remains of the Day. Remains

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<v Speaker 1>of the Day as a novel about a butler to

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<v Speaker 1>an English lord who's sympathetic to the Nazis in the

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<v Speaker 1>years before the Second World War, and the butler thinks

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<v Speaker 1>that his master is one of the great statesmen of

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<v Speaker 1>his day instead of just being a groveling neo Nazi,

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<v Speaker 1>you know, and the whole that's a tragic novel. But

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<v Speaker 1>the whole thing is that butler never understands who his

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<v Speaker 1>master is. Yeah, but this is the same thing. Bubbles

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<v Speaker 1>is like the butler and remains the day. He just

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<v Speaker 1>doesn't he never ever cottons on to the kind of

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<v Speaker 1>holeomnists in Michael Jackson.

0:14:01.276 --> 0:14:04.156
<v Speaker 2>I guess yeah, I think you know, because he is

0:14:04.196 --> 0:14:06.476
<v Speaker 2>a chimpanzee, and he does he misinterprets a lot of

0:14:06.476 --> 0:14:08.716
<v Speaker 2>what he sees. I think it sort of allows him

0:14:08.756 --> 0:14:12.356
<v Speaker 2>to return innocence too that you know, Yeah, a quote

0:14:12.396 --> 0:14:14.636
<v Speaker 2>unquote normal person that was seeing some of the things

0:14:14.636 --> 0:14:18.916
<v Speaker 2>that Bubbles was exposed to. You know, we're coming to

0:14:18.956 --> 0:14:21.236
<v Speaker 2>say conclusions. The Bubbles does, for sure.

0:14:22.076 --> 0:14:25.716
<v Speaker 1>But Bubbles does there are certain things he used a

0:14:25.756 --> 0:14:33.076
<v Speaker 1>lot in this in this screenplay about Joe Michael Jackson's

0:14:33.116 --> 0:14:39.116
<v Speaker 1>tyrannical father, and Bubbles does understand that there is something

0:14:39.476 --> 0:14:42.956
<v Speaker 1>deeply kind of corrosive and tragic about that relationship.

0:14:43.036 --> 0:14:45.956
<v Speaker 2>Yeah, it's true. I mean he does. I think one

0:14:45.996 --> 0:14:49.916
<v Speaker 2>thing that he's geared at sensing is sort of power dynamics,

0:14:50.316 --> 0:14:53.316
<v Speaker 2>and he can kind of understand that. Ye had Michael's

0:14:53.356 --> 0:14:56.876
<v Speaker 2>maybe the king, but here's this other figure who is

0:14:56.956 --> 0:14:59.716
<v Speaker 2>unkind to him but clearly has power over him. You know,

0:14:59.876 --> 0:15:00.916
<v Speaker 2>in some sense.

0:15:02.236 --> 0:15:04.196
<v Speaker 1>You have an enormous amount of fun in the script

0:15:04.276 --> 0:15:10.396
<v Speaker 1>with populating it with every single pop culture person of

0:15:10.436 --> 0:15:14.276
<v Speaker 1>them of the moment, I lost track, I was keeping

0:15:14.276 --> 0:15:17.916
<v Speaker 1>track of all of the cameos. We get Elizabeth Taylor,

0:15:18.436 --> 0:15:21.636
<v Speaker 1>we get lots of Quincy Jones, we get bon Jovi

0:15:21.836 --> 0:15:25.516
<v Speaker 1>in a hilarious scene when bon Jovi basically co opt

0:15:25.556 --> 0:15:30.516
<v Speaker 1>Bubbles for a crazy night on the town LaToya obviously,

0:15:32.356 --> 0:15:38.036
<v Speaker 1>Corey Feldman, Prince, Yeah, Prince. In a memorable scene when

0:15:38.076 --> 0:15:42.796
<v Speaker 1>we see Prince encounter Michael Jackson, threw bubbles his eyes, bubbles,

0:15:42.836 --> 0:15:43.756
<v Speaker 1>tries to make sense of.

0:15:45.796 --> 0:15:46.276
<v Speaker 2>The uh.

0:15:47.716 --> 0:15:50.876
<v Speaker 1>This, I mean, this part of the scripture sounds like

0:15:51.116 --> 0:15:54.996
<v Speaker 1>you must. I pictured you laughing out loud as you

0:15:54.996 --> 0:15:55.996
<v Speaker 1>were writing these scenes.

0:15:56.556 --> 0:16:00.596
<v Speaker 2>Oh yeah, definitely, every pretty much every scene there was

0:16:00.716 --> 0:16:02.676
<v Speaker 2>there is something that just made me giggle, And even

0:16:02.716 --> 0:16:04.876
<v Speaker 2>before I was writing it, when I was just researching

0:16:04.916 --> 0:16:07.676
<v Speaker 2>it and coming upon all these stories. I mean, bon

0:16:07.756 --> 0:16:10.596
<v Speaker 2>Jovi tells that story clip and I think it's on

0:16:10.676 --> 0:16:13.556
<v Speaker 2>YouTube about how when he was in Osaka. Yeah, he

0:16:14.196 --> 0:16:17.316
<v Speaker 2>basically they gave him bubbles for the night and they

0:16:17.316 --> 0:16:20.036
<v Speaker 2>just had a big hotel party. And the Prince story,

0:16:20.196 --> 0:16:22.156
<v Speaker 2>that's another one that was based on, you know, a

0:16:22.196 --> 0:16:24.876
<v Speaker 2>true thing that happened. I mean, Michael Jackson being the

0:16:24.996 --> 0:16:27.836
<v Speaker 2>massive figure he was at that time, he did interact

0:16:27.876 --> 0:16:30.676
<v Speaker 2>with pretty much everybody who was everybody you know in

0:16:30.836 --> 0:16:33.116
<v Speaker 2>pop culture during that period.

0:16:33.196 --> 0:16:36.796
<v Speaker 1>What's also interesting is that there's things happening inside bubbles

0:16:36.796 --> 0:16:39.556
<v Speaker 1>which you made up yourself. Everything that happens outside it

0:16:39.596 --> 0:16:43.516
<v Speaker 1>seems like so basically recovering Michael Jackson's life when he's

0:16:43.756 --> 0:16:48.116
<v Speaker 1>writing and touring for The Bad for Bad? Is it bad?

0:16:48.236 --> 0:16:48.956
<v Speaker 1>Was the appen called bad?

0:16:49.036 --> 0:16:50.076
<v Speaker 2>Yeah? It was bad? Yeah.

0:16:50.276 --> 0:16:54.556
<v Speaker 1>Yeah, you're just fishing through all of the true accounts

0:16:54.556 --> 0:16:58.076
<v Speaker 1>of that era and taking out stories basically.

0:16:58.156 --> 0:17:00.516
<v Speaker 2>Yeah. And there's other stories that I've heard, you know,

0:17:00.636 --> 0:17:03.796
<v Speaker 2>since since the script got out and I talked to

0:17:03.836 --> 0:17:06.556
<v Speaker 2>so many people about it and everybody was sharing their

0:17:06.556 --> 0:17:09.796
<v Speaker 2>Michael Jackson stories and rumors and all kinds. I've heard

0:17:09.796 --> 0:17:12.516
<v Speaker 2>a lot of others, just kind of wild stories since then,

0:17:12.636 --> 0:17:15.556
<v Speaker 2>you know, involving mcdonna and Michael Jackson, and some involving

0:17:15.596 --> 0:17:18.516
<v Speaker 2>Bubbles and people that that saw him when he was

0:17:18.516 --> 0:17:22.676
<v Speaker 2>at Neverland, And yeah, I've heard I've heard a couple

0:17:22.876 --> 0:17:25.156
<v Speaker 2>where Bubbles was probably not as well behaved as he

0:17:25.276 --> 0:17:28.436
<v Speaker 2>generally is in the script. Yeah. Yeah, well that's good.

0:17:28.476 --> 0:17:30.596
<v Speaker 1>That goes I'm saying, we have to give him, if

0:17:30.596 --> 0:17:32.356
<v Speaker 1>we're going to give him some dignity, he can't be

0:17:32.436 --> 0:17:37.596
<v Speaker 1>throwing his faces at the wall every every five minutes, right. Yeah,

0:17:39.676 --> 0:17:41.956
<v Speaker 1>of course, there are all kinds of things about Michael

0:17:42.036 --> 0:17:45.356
<v Speaker 1>Jackson's story that are not funny. When we come back

0:17:45.796 --> 0:17:48.476
<v Speaker 1>Isaac hits a roadblock as he tries to get the

0:17:48.476 --> 0:18:10.316
<v Speaker 1>Bubbles movie made. We're back Mychael Jackson dies in two

0:18:10.316 --> 0:18:14.836
<v Speaker 1>thousand and nine, but Bubbles is still alive, and nearly

0:18:14.876 --> 0:18:18.596
<v Speaker 1>six years later, Isaac Adamson writes the biopic We're talking

0:18:18.596 --> 0:18:20.996
<v Speaker 1>about the story of the King of Pop from the

0:18:20.996 --> 0:18:24.556
<v Speaker 1>point of view of his pet chimpanzee. He's thinking of

0:18:24.636 --> 0:18:27.996
<v Speaker 1>using stop motion animation to tell the story for obvious reasons.

0:18:28.476 --> 0:18:30.996
<v Speaker 1>Hollywood is used to dealing with Prima Donna's but a

0:18:31.116 --> 0:18:32.996
<v Speaker 1>chimp as the star of a movie would be on

0:18:33.036 --> 0:18:36.956
<v Speaker 1>a whole other level. And Isaac isn't ignoring the pedophilia

0:18:37.036 --> 0:18:42.156
<v Speaker 1>allegations against Michael Jackson. The Leaving Neverland documentary that exposed

0:18:42.276 --> 0:18:45.836
<v Speaker 1>Jackson's behavior isn't out yet, but there's been investigations in

0:18:45.876 --> 0:18:49.516
<v Speaker 1>the nineteen nineties that have become headline news. So around

0:18:49.556 --> 0:18:54.596
<v Speaker 1>twenty fifteen, Isaac takes his admittedly unusual project and starts

0:18:54.596 --> 0:18:59.716
<v Speaker 1>shopping it and studios like it. In twenty seventeen, Netflix

0:18:59.876 --> 0:19:04.356
<v Speaker 1>bought the project and Isaac entered development.

0:19:04.436 --> 0:19:13.036
<v Speaker 2>Hell, you know, when Netflix bought the project, I had

0:19:13.036 --> 0:19:17.036
<v Speaker 2>to do a pretty lengthy annotation for them, citing anything

0:19:17.076 --> 0:19:18.956
<v Speaker 2>in the script. I had to basically cite a source

0:19:19.036 --> 0:19:22.836
<v Speaker 2>for yeah, just to get clearance from their legal department,

0:19:22.876 --> 0:19:25.356
<v Speaker 2>and we ended up, you know, in the latest versions

0:19:25.396 --> 0:19:29.716
<v Speaker 2>of the script, some of the names changed in certain cases,

0:19:30.036 --> 0:19:33.356
<v Speaker 2>or a few characters kind of got squashed down into

0:19:33.396 --> 0:19:33.996
<v Speaker 2>one character.

0:19:34.836 --> 0:19:37.636
<v Speaker 1>Who did you lose in the in the legal review.

0:19:38.356 --> 0:19:42.396
<v Speaker 2>Well, the biggest change had to do with a lot

0:19:42.396 --> 0:19:45.356
<v Speaker 2>of this stuff related to legal charges that Michael Jackson faced,

0:19:45.516 --> 0:19:48.316
<v Speaker 2>and we just changed some of the names there because

0:19:48.316 --> 0:19:50.516
<v Speaker 2>there were a few things that were included in the

0:19:50.556 --> 0:19:53.356
<v Speaker 2>script that were a little bit there was a whole

0:19:53.356 --> 0:19:55.396
<v Speaker 2>lot of proof for the only stories about our like

0:19:55.756 --> 0:19:58.516
<v Speaker 2>disreputable British tabloids and stuff like that.

0:19:58.836 --> 0:20:01.436
<v Speaker 1>Yeah, So this brings up this crucial thing, which is

0:20:02.476 --> 0:20:09.356
<v Speaker 1>what begins as this kind of strange, kind of light

0:20:09.396 --> 0:20:15.196
<v Speaker 1>hearted romp takes a dark turn in the second act

0:20:15.436 --> 0:20:19.756
<v Speaker 1>and we actually get into my you know, Michael's well

0:20:19.796 --> 0:20:25.316
<v Speaker 1>known the well known allegations around Michael Jackson's pedophilia, only

0:20:25.956 --> 0:20:28.476
<v Speaker 1>this time we're seeing it through the eyes of a

0:20:28.636 --> 0:20:33.676
<v Speaker 1>kind of jilted of our jilted chimp. Who's Who's Who's

0:20:33.956 --> 0:20:39.276
<v Speaker 1>place of prominence next to Michael has been uh, he's

0:20:39.276 --> 0:20:48.316
<v Speaker 1>been supplanted by by by a young boy. Yeah, and Isaac,

0:20:48.396 --> 0:20:49.916
<v Speaker 1>this is like it gets heavy.

0:20:50.956 --> 0:20:54.196
<v Speaker 2>It does, Yeah, it does. I mean it's a heavy

0:20:54.236 --> 0:20:56.356
<v Speaker 2>it's a heavy kind of story. I feel like the

0:20:56.396 --> 0:20:58.956
<v Speaker 2>Michael Jackson story is a heavy story, and Bubble's story

0:20:58.996 --> 0:21:02.156
<v Speaker 2>within that story, it is kind of a heavy story.

0:21:02.156 --> 0:21:04.996
<v Speaker 2>But yeah, I think you've used these kids at first

0:21:05.036 --> 0:21:08.236
<v Speaker 2>as just sort of these annoying sort of interlopers that

0:21:08.316 --> 0:21:12.276
<v Speaker 2>are that are taking Michael's attention away from him, and

0:21:12.316 --> 0:21:14.636
<v Speaker 2>then he sees them kind of, you know, as rivals

0:21:15.236 --> 0:21:17.996
<v Speaker 2>and even comes to fear like maybe they're actually part

0:21:17.996 --> 0:21:19.396
<v Speaker 2>of the succession now and not me.

0:21:20.516 --> 0:21:24.196
<v Speaker 1>Once again, the one way in which Bubbles is h

0:21:24.316 --> 0:21:29.996
<v Speaker 1>sees the world clearly is to the the prism of hierarchy, right,

0:21:30.116 --> 0:21:34.836
<v Speaker 1>and so he understands accurately that in the in Michael

0:21:34.916 --> 0:21:40.396
<v Speaker 1>Jackson's hierarchy, these boys are now higher up than he is. Correct,

0:21:40.516 --> 0:21:43.676
<v Speaker 1>they can they occupy a place in Michael's heart that

0:21:43.716 --> 0:21:46.716
<v Speaker 1>he does not. And this is, like I said, this

0:21:46.796 --> 0:21:49.956
<v Speaker 1>is why I said, this is remains the day meets Puff,

0:21:49.996 --> 0:21:52.076
<v Speaker 1>the Magic Dragon. It's the Puff story. Then when day

0:21:52.116 --> 0:21:56.836
<v Speaker 1>it happened, Jackie Paper came no more. It's that's that's

0:21:56.836 --> 0:22:01.476
<v Speaker 1>what happens to him. He gets pushed aside, and it's like,

0:22:02.396 --> 0:22:06.476
<v Speaker 1>it broke my heart when that happened.

0:22:08.276 --> 0:22:11.196
<v Speaker 2>Yeah, it's it's a tough Uh, it's a tough moment.

0:22:11.196 --> 0:22:13.436
<v Speaker 2>It's tough thing for bubbles. And I think you know,

0:22:13.516 --> 0:22:16.356
<v Speaker 2>if you if you talk to the kids who were

0:22:16.436 --> 0:22:19.396
<v Speaker 2>around Michael Jackson a lot at that time, I think

0:22:19.436 --> 0:22:22.676
<v Speaker 2>a lot of them went through similar experiences with him

0:22:22.796 --> 0:22:27.556
<v Speaker 2>when where you know, he they were his favorite, and

0:22:27.596 --> 0:22:30.076
<v Speaker 2>then some and then someone else came along, you know,

0:22:30.276 --> 0:22:32.156
<v Speaker 2>and they were just sort of jilted out of out

0:22:32.196 --> 0:22:35.716
<v Speaker 2>of neverland. And I think, you know, and in certain

0:22:35.756 --> 0:22:38.476
<v Speaker 2>cases that that hurt these kids a lot, even some

0:22:38.516 --> 0:22:40.756
<v Speaker 2>of the ones that like Corey Fellman, you know, who

0:22:40.836 --> 0:22:43.316
<v Speaker 2>says that Michael Jackson never touched him or you know,

0:22:43.396 --> 0:22:46.636
<v Speaker 2>did anything sexually untoward, but he was just hurt by

0:22:46.636 --> 0:22:49.196
<v Speaker 2>that whole experience of feeling like they were buddies and

0:22:49.236 --> 0:22:50.996
<v Speaker 2>he was the favorite, and then one day he's just

0:22:51.036 --> 0:22:52.796
<v Speaker 2>out mm hmmm hmm.

0:22:53.676 --> 0:22:58.356
<v Speaker 1>What does it do to our understanding of that part

0:22:58.396 --> 0:23:02.876
<v Speaker 1>of Michael Jackson's life that we're viewing it to the

0:23:02.876 --> 0:23:04.156
<v Speaker 1>eyes of a chimp.

0:23:07.236 --> 0:23:12.996
<v Speaker 2>Yeah, that's a good question. I feel like, you know,

0:23:13.036 --> 0:23:16.556
<v Speaker 2>in a certain sense, it gives us bubbles interpretation and

0:23:16.636 --> 0:23:21.316
<v Speaker 2>often misinterpretation of these things that he sees. It works

0:23:21.316 --> 0:23:24.796
<v Speaker 2>almost as a distant distcencing device that allows us to

0:23:25.076 --> 0:23:29.356
<v Speaker 2>sort of see things through a different viewpoint that wasn't

0:23:29.396 --> 0:23:32.516
<v Speaker 2>necessarily our own, you know, or the way I experienced

0:23:32.596 --> 0:23:34.556
<v Speaker 2>Michael Jackson when I was a kid growing up in

0:23:34.596 --> 0:23:38.836
<v Speaker 2>the eighties. I mean, when I was growing up and

0:23:38.916 --> 0:23:41.956
<v Speaker 2>where I was, it didn't really matter what kind of

0:23:41.996 --> 0:23:44.836
<v Speaker 2>music you listened to, you liked Michael Jackson. Like, if

0:23:44.876 --> 0:23:48.316
<v Speaker 2>you were into you know, Iron Maiden and heavy metal

0:23:48.356 --> 0:23:50.516
<v Speaker 2>and all that stuff, you still like Michael Jackson. If

0:23:50.556 --> 0:23:53.076
<v Speaker 2>you were listening to Duran, Duran and a bunch of

0:23:53.116 --> 0:23:56.236
<v Speaker 2>new Waves, you still like Michael Jackson. Everybody liked Michael Jackson,

0:23:57.076 --> 0:23:59.756
<v Speaker 2>you know. I remember seeing the Thriller video a thousand

0:23:59.876 --> 0:24:01.796
<v Speaker 2>times on MTV when I was when I was a

0:24:01.796 --> 0:24:04.876
<v Speaker 2>little kid, So yeah, I was definitely a fan. Yeah.

0:24:05.516 --> 0:24:08.516
<v Speaker 1>Yeah, I'm trying to kind of figure out why years later,

0:24:09.156 --> 0:24:11.876
<v Speaker 1>the kind of psychological dimensions of this story would have

0:24:13.036 --> 0:24:16.276
<v Speaker 1>would have been so kind of clear to you, right,

0:24:16.356 --> 0:24:19.556
<v Speaker 1>the sort of weird like you know, an entire generation

0:24:19.596 --> 0:24:22.676
<v Speaker 1>of seventh grader is kind of encounter Michael Jackson.

0:24:22.796 --> 0:24:25.876
<v Speaker 2>Yeah, for sure. I mean, I'm sure a lot of

0:24:25.876 --> 0:24:28.876
<v Speaker 2>people were jealous of those real life kids at the

0:24:28.876 --> 0:24:31.756
<v Speaker 2>time that you know, oh my god, you know, Jimmy's

0:24:31.836 --> 0:24:34.156
<v Speaker 2>getting to go to Neverland, getting to go on vacation

0:24:34.276 --> 0:24:36.876
<v Speaker 2>with Michael, and it looked like the greatest life ever.

0:24:36.916 --> 0:24:39.916
<v Speaker 2>You're just eating ice cream and watching movies and you know,

0:24:40.676 --> 0:24:42.916
<v Speaker 2>riding on the Ferris we opt Michael Jackson's house and

0:24:42.916 --> 0:24:44.916
<v Speaker 2>all that kind of thing, and just the sort of,

0:24:45.076 --> 0:24:48.836
<v Speaker 2>you know, the darkness that was actually going on and

0:24:48.956 --> 0:24:51.476
<v Speaker 2>eat or even in just the sort of hollowness of

0:24:51.516 --> 0:24:54.996
<v Speaker 2>those kind of fake friendships too. It was something that

0:24:55.036 --> 0:24:57.516
<v Speaker 2>I don't think a lot of people certainly knew at

0:24:57.556 --> 0:24:57.956
<v Speaker 2>the time.

0:24:59.156 --> 0:25:03.756
<v Speaker 1>Do you think that that scene Michael through Bubble's eyes

0:25:04.276 --> 0:25:10.836
<v Speaker 1>makes Michael a more sympathetic character to us or less.

0:25:12.156 --> 0:25:17.756
<v Speaker 2>Yeah, that's tough. I mean, I think he probably comes

0:25:17.756 --> 0:25:20.956
<v Speaker 2>off as a little bit less sympathetic because we are

0:25:21.116 --> 0:25:24.156
<v Speaker 2>we're told the story from kind of a quote unquote

0:25:24.196 --> 0:25:27.516
<v Speaker 2>victim's viewpoint, you know, because it is it is Bubbles

0:25:27.516 --> 0:25:30.916
<v Speaker 2>telling the story. But at the same time, Bubbles can't really,

0:25:31.596 --> 0:25:34.276
<v Speaker 2>especially in the early, you know version of the script,

0:25:34.596 --> 0:25:39.996
<v Speaker 2>can't really bring himself to to hate Michael Jackson. He's

0:25:39.996 --> 0:25:42.316
<v Speaker 2>still even in the last you know that that first

0:25:42.356 --> 0:25:44.436
<v Speaker 2>scene I read, in the last scene in the script,

0:25:44.956 --> 0:25:47.836
<v Speaker 2>he's hoping one day Michael Jackson is going to come again.

0:25:47.916 --> 0:25:51.636
<v Speaker 2>He's still waiting for Michael to return, you know, so

0:25:51.676 --> 0:25:56.636
<v Speaker 2>they can rule the world together once more. But yeah,

0:25:56.636 --> 0:25:59.276
<v Speaker 2>it's tough. I don't I think maybe different audiences would

0:25:59.316 --> 0:26:01.636
<v Speaker 2>have different reactions. You know, everybody has a lot of

0:26:01.876 --> 0:26:03.996
<v Speaker 2>different reactions to Michael Jackson in general.

0:26:04.716 --> 0:26:07.036
<v Speaker 1>Yeah, what was hard about writing the script?

0:26:09.876 --> 0:26:12.396
<v Speaker 2>You know, honestly, just from a technical point of view,

0:26:12.676 --> 0:26:16.676
<v Speaker 2>the hardest thing was keeping Bubbles as the protagonist and

0:26:16.756 --> 0:26:19.876
<v Speaker 2>not letting Michael take over too much of the script,

0:26:19.996 --> 0:26:22.436
<v Speaker 2>just because he is such a such a compelling figure,

0:26:22.956 --> 0:26:25.596
<v Speaker 2>and you know, finding ways to include the moments that

0:26:25.636 --> 0:26:30.476
<v Speaker 2>I wanted from Michael Jackson's life, but have Bubbles somehow

0:26:30.716 --> 0:26:34.396
<v Speaker 2>be there for them, hopefully and more than just like

0:26:34.396 --> 0:26:35.996
<v Speaker 2>like I was saying, for a fly on the wall

0:26:35.996 --> 0:26:38.316
<v Speaker 2>capacity where he's just sort of reporting what he's seeing,

0:26:39.716 --> 0:26:42.716
<v Speaker 2>because to give him stakes in some of those instances.

0:26:43.156 --> 0:26:46.396
<v Speaker 1>But he can't The thing about Bubbles is he can't

0:26:46.796 --> 0:26:50.676
<v Speaker 1>grow Kenny. He he's if you if you have an

0:26:50.716 --> 0:26:55.756
<v Speaker 1>unreliable narrator, as in Remains of the Day, the pathos

0:26:56.556 --> 0:26:59.716
<v Speaker 1>comes from the fact that the world outside the narrator

0:27:00.356 --> 0:27:02.756
<v Speaker 1>changes and the narrator is blind to it. Right, So

0:27:02.876 --> 0:27:07.156
<v Speaker 1>you if the unreliable narrator becomes reliable at the end,

0:27:08.316 --> 0:27:09.516
<v Speaker 1>then it kind of roomined it.

0:27:09.596 --> 0:27:13.276
<v Speaker 2>Oh my wrong, Yeah, that's a good that's a good

0:27:13.356 --> 0:27:17.836
<v Speaker 2>question too, especially as it relates to sort of you know,

0:27:17.996 --> 0:27:22.836
<v Speaker 2>versions of the script that we that we revised after

0:27:22.996 --> 0:27:26.116
<v Speaker 2>leaving never Land. It came out I think I felt

0:27:26.276 --> 0:27:29.636
<v Speaker 2>and the producers thought that we couldn't allow Bubbles to

0:27:29.756 --> 0:27:36.156
<v Speaker 2>be quite as ambiguous or I guess agnostic about what

0:27:36.276 --> 0:27:40.436
<v Speaker 2>happened it never Land, because he is telling our movie

0:27:40.476 --> 0:27:43.876
<v Speaker 2>and then therefore makes the movie feel like we're agnostic

0:27:43.876 --> 0:27:45.996
<v Speaker 2>about it and you know, trying to question, well, maybe

0:27:46.036 --> 0:27:48.396
<v Speaker 2>all those terrible things didn't happen, which was not our

0:27:48.436 --> 0:27:52.036
<v Speaker 2>intention at all. So in later versions of the script

0:27:53.076 --> 0:27:55.916
<v Speaker 2>and the changes are pretty small, but I think Bubbles

0:27:55.956 --> 0:27:59.916
<v Speaker 2>does display a clearer understanding, clearer understanding of what's going

0:27:59.916 --> 0:28:02.916
<v Speaker 2>on there. It kind of loses his innocence a little bit,

0:28:03.596 --> 0:28:07.316
<v Speaker 2>and his parting with Michael Jackson is a little more final.

0:28:07.436 --> 0:28:10.516
<v Speaker 2>We don't really see him long, you know, to see

0:28:10.556 --> 0:28:14.756
<v Speaker 2>Michael again in those last moments. I do feel like

0:28:15.236 --> 0:28:19.796
<v Speaker 2>kind of needed to write it that way based on

0:28:19.836 --> 0:28:22.396
<v Speaker 2>everything going on. But it is a good question whether

0:28:22.436 --> 0:28:24.876
<v Speaker 2>that sort of undermines a lot of a lot of

0:28:24.916 --> 0:28:27.156
<v Speaker 2>the other things in the script about you know, his

0:28:27.316 --> 0:28:30.876
<v Speaker 2>unreliable narration and his innocence over a while. I think

0:28:30.876 --> 0:28:33.276
<v Speaker 2>he became a little bit less innocent character in the

0:28:34.236 --> 0:28:37.156
<v Speaker 2>in the final versions of it, as I think everybody became,

0:28:37.316 --> 0:28:40.196
<v Speaker 2>you know, less innocent after leaving Neverland hit and really

0:28:40.236 --> 0:28:42.396
<v Speaker 2>had the impact that it did. I don't think people

0:28:42.476 --> 0:28:47.836
<v Speaker 2>could pretend, you know, pretending more about Michael Jackson, who

0:28:48.276 --> 0:28:51.116
<v Speaker 2>who really was, at least in certain aspects of his life.

0:28:52.276 --> 0:28:54.516
<v Speaker 1>Talk a little bit more about leaving Nozzlin, which comes

0:28:54.516 --> 0:28:55.276
<v Speaker 1>out when.

0:28:57.156 --> 0:29:01.636
<v Speaker 2>I believe it was January twenty nineteen, premiered at sun Dance.

0:29:01.876 --> 0:29:05.236
<v Speaker 1>Yeah, and so you and you wrote your script? First

0:29:05.316 --> 0:29:06.316
<v Speaker 1>draft was written when?

0:29:09.396 --> 0:29:11.996
<v Speaker 2>Yeah, this the first draft of this script was written

0:29:12.636 --> 0:29:13.996
<v Speaker 2>in March twenty fifteen.

0:29:14.876 --> 0:29:16.236
<v Speaker 1>And when do you see it? Do you see it

0:29:16.276 --> 0:29:16.716
<v Speaker 1>right away?

0:29:18.636 --> 0:29:21.596
<v Speaker 2>I didn't see it right away. It's funny. My manager

0:29:21.956 --> 0:29:23.956
<v Speaker 2>was in Sundance and he went to the premiere of

0:29:23.956 --> 0:29:26.796
<v Speaker 2>it and he called me immediately and it's like, I

0:29:26.836 --> 0:29:30.196
<v Speaker 2>think we got a problem. Then I saw the film,

0:29:30.316 --> 0:29:32.836
<v Speaker 2>and the thing that I really underestimated was just the

0:29:32.876 --> 0:29:36.396
<v Speaker 2>power of hearing these guys tell their own stories in

0:29:36.476 --> 0:29:40.516
<v Speaker 2>their own words, and you know, they really become real

0:29:40.556 --> 0:29:42.396
<v Speaker 2>people in a way that they're not when you're just

0:29:42.396 --> 0:29:45.756
<v Speaker 2>looking at court documents or magazine article or something like that,

0:29:46.236 --> 0:29:49.036
<v Speaker 2>and you really heard them, you know, expressing the hurt

0:29:49.076 --> 0:29:54.436
<v Speaker 2>and the pain of the things that they had been through. Yeah,

0:29:54.516 --> 0:29:56.756
<v Speaker 2>I mean that had that had a huge impact on

0:29:56.756 --> 0:29:59.956
<v Speaker 2>the project for sure, in the negative sense for me.

0:30:00.156 --> 0:30:03.756
<v Speaker 1>But when you when your manager said you had a problem,

0:30:03.876 --> 0:30:06.476
<v Speaker 1>what did he mean exactly? Did he mean that the

0:30:06.516 --> 0:30:11.556
<v Speaker 1>script as it presently is doesn't work anymore because it's

0:30:11.556 --> 0:30:17.236
<v Speaker 1>too ambiguous about Michael Jackson's kind of sinister side or

0:30:17.236 --> 0:30:19.876
<v Speaker 1>does it mean did he mean that just that you

0:30:19.916 --> 0:30:22.156
<v Speaker 1>had to rewrite it? I mean, how dire was your

0:30:22.236 --> 0:30:23.916
<v Speaker 1>manager's kind of perspective.

0:30:25.716 --> 0:30:28.276
<v Speaker 2>I think the real problem and the thing that he

0:30:28.356 --> 0:30:31.356
<v Speaker 2>saw coming was that Michael Jackson was just going to

0:30:31.396 --> 0:30:34.636
<v Speaker 2>be toxic, and I think once Leaving Neverland came out,

0:30:34.676 --> 0:30:37.116
<v Speaker 2>it was going to be hard to make this sort

0:30:37.116 --> 0:30:39.356
<v Speaker 2>of whimsical, fun movie that I think a lot of

0:30:39.396 --> 0:30:44.956
<v Speaker 2>people thought they were signing up for coming onto this project. Yeah,

0:30:44.956 --> 0:30:46.636
<v Speaker 2>I think that's what he meant by We're in trouble,

0:30:46.756 --> 0:30:50.796
<v Speaker 2>just because almost overnight just sort of perception around Michael

0:30:50.876 --> 0:30:54.276
<v Speaker 2>Jackson changed and nobody wanted anything to do with any

0:30:54.356 --> 0:30:56.036
<v Speaker 2>Michael Jackson project at that time.

0:30:57.116 --> 0:31:01.076
<v Speaker 1>So, prior to Leaving Neverland, was this script on track

0:31:01.156 --> 0:31:02.156
<v Speaker 1>to be made into a movie.

0:31:02.956 --> 0:31:06.756
<v Speaker 2>Yeah, it was. We had Taikaway TV you know, attached

0:31:06.756 --> 0:31:10.516
<v Speaker 2>to direct it, and there was another director, Marcus Staffson,

0:31:10.596 --> 0:31:12.476
<v Speaker 2>who was going to work on all the stop motion

0:31:12.596 --> 0:31:14.796
<v Speaker 2>animation because that's how we had decided to do it.

0:31:15.716 --> 0:31:19.236
<v Speaker 2>Dan Harmon and Starburns was producing it, so we had

0:31:19.236 --> 0:31:23.076
<v Speaker 2>all his his company was on it. Netflix bought the

0:31:23.116 --> 0:31:26.596
<v Speaker 2>project at Con and I think it was twenty seventeen,

0:31:28.116 --> 0:31:30.716
<v Speaker 2>so yeah, it was. It was kind of ready to go.

0:31:33.876 --> 0:31:38.036
<v Speaker 2>The two things that killed it were well, Taiko yitd

0:31:39.796 --> 0:31:41.596
<v Speaker 2>had this other movie that he wanted to do kind

0:31:41.596 --> 0:31:45.556
<v Speaker 2>of in the meantime called Jojo Rabbit, So yeah, you know,

0:31:45.676 --> 0:31:48.116
<v Speaker 2>he went off to do that, and then in the meantime,

0:31:49.196 --> 0:31:52.796
<v Speaker 2>Leaving Neverland came out, and I think we got to

0:31:52.836 --> 0:31:56.276
<v Speaker 2>a point and we're pretty deep in pre production. They'd

0:31:56.276 --> 0:31:59.236
<v Speaker 2>already hired all the department heads, we had forty some

0:31:59.396 --> 0:32:02.356
<v Speaker 2>animators working on it, and it was kind of getting

0:32:02.356 --> 0:32:04.636
<v Speaker 2>to the point where we needed we need to Tyke

0:32:04.716 --> 0:32:07.956
<v Speaker 2>I to really engage and start making some directorial decisions.

0:32:08.516 --> 0:32:11.196
<v Speaker 2>And he was just not engaged in the project. We

0:32:11.236 --> 0:32:13.316
<v Speaker 2>knew something was up, and finally he just you know,

0:32:13.356 --> 0:32:15.796
<v Speaker 2>he made the call to his agent or whatever, get

0:32:15.836 --> 0:32:19.276
<v Speaker 2>me out of this. I can't do this anymore. And

0:32:19.516 --> 0:32:24.396
<v Speaker 2>that's when it sort of died. Netflix had said, well,

0:32:25.196 --> 0:32:27.956
<v Speaker 2>you've got two months to find another director for this,

0:32:28.436 --> 0:32:30.956
<v Speaker 2>and then three days later they completely changed their minds

0:32:31.036 --> 0:32:34.356
<v Speaker 2>went no, we're killing it. Everybody's fired. Go home. So yeah,

0:32:34.396 --> 0:32:35.956
<v Speaker 2>that that's not a good day.

0:32:39.076 --> 0:32:54.316
<v Speaker 1>We'll be right back. Do you do you did the

0:32:54.356 --> 0:32:56.396
<v Speaker 1>script revert to you at any point or do they

0:32:56.436 --> 0:32:56.796
<v Speaker 1>own it?

0:32:57.556 --> 0:33:00.316
<v Speaker 2>It has recently? Yeah, I own it now. Yeah.

0:33:01.116 --> 0:33:01.956
<v Speaker 1>Do you think it's dead?

0:33:03.436 --> 0:33:06.996
<v Speaker 2>I don't know. You know, things kind of never die.

0:33:07.476 --> 0:33:09.476
<v Speaker 2>It's funny and people bring it up to me all time,

0:33:09.516 --> 0:33:13.356
<v Speaker 2>but we haven't really pursued any serious avenues towards getting

0:33:13.356 --> 0:33:15.796
<v Speaker 2>it going again, but who knows. I will say it's

0:33:15.876 --> 0:33:18.156
<v Speaker 2>it's pretty obvious to me that Michael Jackson, just as

0:33:18.196 --> 0:33:21.396
<v Speaker 2>a public figure is not. I mean, you know, they're

0:33:21.396 --> 0:33:25.436
<v Speaker 2>making a Michael Jackson biopic right now. Just yesterday, I

0:33:25.556 --> 0:33:28.236
<v Speaker 2>sure on the on the Super Bowl was wearing you know,

0:33:28.276 --> 0:33:30.996
<v Speaker 2>like a Michael Jackson glove. I don't think we would

0:33:31.036 --> 0:33:33.556
<v Speaker 2>have seen that in the immediate wake of leaving Neverland.

0:33:33.916 --> 0:33:39.516
<v Speaker 1>Yeah, yeah, yeah. It's funny because I I to take

0:33:39.556 --> 0:33:43.796
<v Speaker 1>a contrary position. I feel like this is more interesting

0:33:43.916 --> 0:33:49.196
<v Speaker 1>post never Land than pre Neverland. I mean, it goes

0:33:49.236 --> 0:33:52.396
<v Speaker 1>from being if you do this in this movie at

0:33:52.396 --> 0:33:56.076
<v Speaker 1>a time when we think of Michael as a talented eccentric,

0:33:57.316 --> 0:34:02.236
<v Speaker 1>then the movie is fun and whimsical, but there's nothing

0:34:02.276 --> 0:34:06.716
<v Speaker 1>at stake. It's just it's just another log on the

0:34:06.756 --> 0:34:11.476
<v Speaker 1>fire of Jackson celebrity. It's a clever log and the

0:34:11.476 --> 0:34:14.076
<v Speaker 1>fire you know, is wonderful, but it's not deviating in

0:34:14.116 --> 0:34:18.476
<v Speaker 1>any But now it's like now that they know going

0:34:18.516 --> 0:34:21.836
<v Speaker 1>in that Michael Jackson is this kind of complicated, twisted,

0:34:23.836 --> 0:34:29.636
<v Speaker 1>deeply problematic figure. Then the fact that Bubbles is straining

0:34:29.716 --> 0:34:34.836
<v Speaker 1>through his chimp eyes to see him clearly and failing

0:34:35.156 --> 0:34:40.316
<v Speaker 1>is like it's got it's heart wrenching. This movie now

0:34:40.356 --> 0:34:42.876
<v Speaker 1>has kind of it's got steaks now that it didn't

0:34:42.876 --> 0:34:46.556
<v Speaker 1>have before. It's like, it's important for us to know

0:34:46.596 --> 0:34:50.596
<v Speaker 1>what we know about Michael Jackson for this to move

0:34:50.676 --> 0:34:54.036
<v Speaker 1>us emotionally. And what you're saying, you know, this idea

0:34:54.076 --> 0:34:57.236
<v Speaker 1>that Michael Jackson's toxic or is more toxic than it

0:34:57.316 --> 0:35:00.196
<v Speaker 1>used to be, is absolutely right. But this is not

0:35:00.276 --> 0:35:04.476
<v Speaker 1>a Michael Jackson movie. It's a Bubbles movie. It's a

0:35:04.476 --> 0:35:10.596
<v Speaker 1>movie about bubbles, right, A naive underling with this kind

0:35:10.596 --> 0:35:15.596
<v Speaker 1>of self deception, powerful self deception, trying to make sense

0:35:15.716 --> 0:35:18.956
<v Speaker 1>of a world that he has no understanding of.

0:35:19.756 --> 0:35:24.676
<v Speaker 2>It's like it's heartbreaking, Yeah, I mean to me, it is.

0:35:25.236 --> 0:35:28.636
<v Speaker 2>I don't think anything. What we've learned about Michael Jackson.

0:35:30.276 --> 0:35:33.356
<v Speaker 2>It's been funny to me because I say we learned it,

0:35:33.396 --> 0:35:36.636
<v Speaker 2>but everybody kind of knew it anyway. And that's what's

0:35:36.636 --> 0:35:40.476
<v Speaker 2>been odd about the reaction to me is that there

0:35:40.516 --> 0:35:43.316
<v Speaker 2>wasn't anything new in these revelations, but suddenly had been

0:35:43.356 --> 0:35:46.076
<v Speaker 2>gone through me too, and all the stuff that came

0:35:46.116 --> 0:35:49.076
<v Speaker 2>with it. I think we just as a culture learned

0:35:49.076 --> 0:35:50.796
<v Speaker 2>to take a lot of that stuff a lot more

0:35:50.876 --> 0:35:54.396
<v Speaker 2>seriously and you know, give it the weight that it deserves.

0:35:54.796 --> 0:35:57.516
<v Speaker 2>And I think that's what sort of changed about, you know,

0:35:57.556 --> 0:36:00.716
<v Speaker 2>the public perception at least of Michael Jackson. But for me,

0:36:01.156 --> 0:36:03.516
<v Speaker 2>I mean I always, I always kind of believed that

0:36:04.196 --> 0:36:05.396
<v Speaker 2>the kids are telling the truth.

0:36:05.636 --> 0:36:09.996
<v Speaker 1>You know, Bubbles becomes a stand in for us all.

0:36:10.836 --> 0:36:14.836
<v Speaker 1>We all looked the other way with Michael Jackson for years,

0:36:15.236 --> 0:36:17.196
<v Speaker 1>right because we were in love with his talent and

0:36:17.196 --> 0:36:21.076
<v Speaker 1>his music, and Bubbles is just he's just representing our

0:36:21.116 --> 0:36:26.636
<v Speaker 1>own kind of a willful blindness. Bubbles just wants thinks

0:36:26.636 --> 0:36:29.756
<v Speaker 1>he's the king, and because he's the king, he's not

0:36:29.796 --> 0:36:34.036
<v Speaker 1>willing to entertain any idea that his monarch might be flawed,

0:36:35.396 --> 0:36:37.796
<v Speaker 1>at least until the very end. Or And I think

0:36:37.836 --> 0:36:41.796
<v Speaker 1>that's like, like I said, it's such a stronger, better,

0:36:43.556 --> 0:36:47.396
<v Speaker 1>more more powerful movie after that stuff's come out.

0:36:49.396 --> 0:36:53.076
<v Speaker 2>Yeah, I mean I would agree. I think what frightens

0:36:53.116 --> 0:36:55.116
<v Speaker 2>a lot of people, or at least did you know

0:36:55.156 --> 0:36:57.076
<v Speaker 2>a few years ago when this was all when the

0:36:57.116 --> 0:37:00.196
<v Speaker 2>movie sort of fell apart, It's just the sort of

0:37:00.356 --> 0:37:05.596
<v Speaker 2>moral panic around anything related to pedophilia in our country currently,

0:37:05.676 --> 0:37:09.836
<v Speaker 2>you know, whether it's stuff like Pizza Gate or just

0:37:09.956 --> 0:37:14.836
<v Speaker 2>using pedo as a broad insult. I know Netflix had

0:37:14.836 --> 0:37:17.796
<v Speaker 2>gone through some things too, with the controversy surrounding quds.

0:37:18.356 --> 0:37:23.396
<v Speaker 2>I just think that it just became it became a

0:37:23.436 --> 0:37:25.956
<v Speaker 2>word that you know, nobody really wanted to be associated

0:37:25.996 --> 0:37:29.996
<v Speaker 2>with in any form whatsoever. You know, don't even want

0:37:29.996 --> 0:37:31.916
<v Speaker 2>it coming out of their mouths when they're talking about

0:37:31.956 --> 0:37:35.236
<v Speaker 2>a movie. And I can understand too, Why why if you're,

0:37:35.316 --> 0:37:37.636
<v Speaker 2>you know, a big name director, you don't want to

0:37:37.636 --> 0:37:39.956
<v Speaker 2>spend a whole lot of time at Coln or wherever

0:37:40.076 --> 0:37:43.996
<v Speaker 2>answering questions about Michael Jackson's pedophelia. You know, I can

0:37:44.076 --> 0:37:47.316
<v Speaker 2>understand one, you know, not just not wanting to deal

0:37:47.356 --> 0:37:50.356
<v Speaker 2>with it. But I agree. I think it does make

0:37:50.356 --> 0:37:52.396
<v Speaker 2>the story a little bit deeper, a little bit more interesting,

0:37:52.396 --> 0:37:55.076
<v Speaker 2>and I think it does implicate the audience in some

0:37:55.236 --> 0:37:56.076
<v Speaker 2>interesting ways.

0:37:57.476 --> 0:37:59.596
<v Speaker 1>I mean, this is the story. What happens to the

0:37:59.596 --> 0:38:04.036
<v Speaker 1>script is this kind of the the the meta story

0:38:04.156 --> 0:38:10.836
<v Speaker 1>is about kind of Hollywood abandoning it's because position as

0:38:11.196 --> 0:38:15.116
<v Speaker 1>a kind of cultural authority. I mean, you would think

0:38:15.156 --> 0:38:19.596
<v Speaker 1>that a medium as powerful as film would would feel

0:38:19.636 --> 0:38:23.196
<v Speaker 1>free to address the most complex of topics and kind

0:38:23.196 --> 0:38:25.276
<v Speaker 1>of force us to think about them in new ways

0:38:25.356 --> 0:38:28.636
<v Speaker 1>and confront our own complicity and all that kind of thing.

0:38:28.676 --> 0:38:31.556
<v Speaker 1>And you know, I feel that at various times in

0:38:31.596 --> 0:38:35.596
<v Speaker 1>Hollywood's history, film has done that. There's been these moments

0:38:35.636 --> 0:38:41.316
<v Speaker 1>when but like this is a classic example of an

0:38:41.316 --> 0:38:44.196
<v Speaker 1>opportunity to kind of address that, and the fact that

0:38:44.236 --> 0:38:45.756
<v Speaker 1>nobody wants to do that breaks my heart.

0:38:46.396 --> 0:38:49.196
<v Speaker 2>Yeah, I mean it's possible it could see the light

0:38:49.196 --> 0:38:53.876
<v Speaker 2>of day. You know, again, sometime who knows. It's funny

0:38:53.876 --> 0:38:56.476
<v Speaker 2>because sometimes you can see it. You know what's interesting

0:38:56.516 --> 0:38:59.556
<v Speaker 2>about it the director, actors and producers, you know, the

0:38:59.556 --> 0:39:04.996
<v Speaker 2>people who are sort of intimately involved with it on

0:39:05.076 --> 0:39:08.356
<v Speaker 2>a creative level. But then when you're just talking to

0:39:08.436 --> 0:39:12.836
<v Speaker 2>marketers or publicists or whoever else like that, or you know,

0:39:12.956 --> 0:39:16.356
<v Speaker 2>find financial people, it's just another product.

0:39:16.716 --> 0:39:19.236
<v Speaker 1>Can you one last thing, Isaac? Could you read a

0:39:19.276 --> 0:39:24.236
<v Speaker 1>little bit of where Bubble struggles to come to terms

0:39:24.396 --> 0:39:27.436
<v Speaker 1>with what he is observing at Neverland.

0:39:27.996 --> 0:39:33.076
<v Speaker 2>Yeah, let me find a good one here. Okay, I

0:39:33.116 --> 0:39:41.836
<v Speaker 2>found a good one. Exterior never Land Amusement Park day

0:39:42.916 --> 0:39:45.956
<v Speaker 2>Bubbles glowers as Michael leads a delegation of kids down

0:39:45.956 --> 0:39:49.396
<v Speaker 2>the path towards the amusement park. There's a manic quality

0:39:49.396 --> 0:39:50.436
<v Speaker 2>to Michael's movements.

0:39:53.396 --> 0:39:58.156
<v Speaker 3>He was as some mad pied piper, determined not to

0:39:58.276 --> 0:40:01.516
<v Speaker 3>drive the snakes away, but lead them instead to the

0:40:01.596 --> 0:40:03.516
<v Speaker 3>very heart of his kingdom.

0:40:03.996 --> 0:40:06.396
<v Speaker 2>Michael laughs a little too brightly as he rides atop

0:40:06.436 --> 0:40:11.556
<v Speaker 2>the carousel horse with all those noisy little friends, almost continuous.

0:40:11.596 --> 0:40:15.436
<v Speaker 3>Determined to lower the drawbridge for these pine sized trojan

0:40:15.476 --> 0:40:19.356
<v Speaker 3>horses and let them carry him away in a stampede

0:40:19.396 --> 0:40:24.596
<v Speaker 3>of frivolity. I knew then that no ordeal would change him,

0:40:25.436 --> 0:40:30.316
<v Speaker 3>no brush with ignominy, no humiliation, no torture, no trial,

0:40:30.956 --> 0:40:35.716
<v Speaker 3>no punishment. He had waded so far into a sea

0:40:35.796 --> 0:40:39.836
<v Speaker 3>of infamy that returning was as tedious as continuing to

0:40:39.916 --> 0:40:45.556
<v Speaker 3>the other side. And a troubling notion arose, was what

0:40:45.596 --> 0:40:54.316
<v Speaker 3>I had taken for reckless folly, masking something darker. My

0:40:54.476 --> 0:41:07.356
<v Speaker 3>loyalty had found its limit, and I could serve no longer.

0:41:14.756 --> 0:41:18.116
<v Speaker 1>This episode was produced by Nina Bird, Lawrence and Tali Emlin,

0:41:18.436 --> 0:41:22.396
<v Speaker 1>with ben at Afh Haffrey, editing by Sarah Nix, original

0:41:22.436 --> 0:41:26.156
<v Speaker 1>scoring by Luis Garra, Engineering by Ecco Mountain. Our executive

0:41:26.156 --> 0:41:30.556
<v Speaker 1>producer is Jacob Smith, and our special guest voice actor

0:41:31.156 --> 0:41:35.676
<v Speaker 1>was the old Pushkin friend Ethan Herschenfeld. An extra special

0:41:35.716 --> 0:41:39.436
<v Speaker 1>thanks to Franklin Leonard at the Blacklist from bringing Bubbles

0:41:39.676 --> 0:41:44.236
<v Speaker 1>to the attention of the world, I'm Malcolm Glabo.