The Bulwark Goes to Hollywood

Occasionally, someone will ask me if I think they should invest in a movie. My answer is, invariably, the same: you should only invest in movies you really believe in; you should understand that even if you invest, the movie will likely never get made because most movies never do; and you should only invest if you’re willing to lose everything you put in, because even those movies that do get made tend to show a loss.

I lead with this because today I’m talking to Jeff Annison of Legion M, a production and distribution company built on the idea that fan investments are a great way to both develop seed capital and drive enthusiasm at theaters. Legion M is not a fly-by-night company and has a number of productions under its belt, including My Dead Friend Zoe and The Man in the White Van. Jeff will be the first to tell you that investing is risky and should only be done if you’re comfortable with losing it all, though he obviously has staked his claim with Legion M and put no small amount of his own capital at risk. And they’ve certainly seen some successes with films like the Nic Cage-starring Mandy (one of my favorites of the 2010s).

We discussed how changes to investment laws in 2016 helped spur a shift in indie fundraising from crowdfunding models to models that allow individuals to earn equity in the movies they contribute to the production of. We also discussed the Legion M Film Fund, their distribution-minded arm that provides last-in, first-out money for films seeking a domestic release. And we chatted about the effort to build a consistent fan base via the cultivation of retail investors.

Special two-part episode of the podcast this week! The big news in Hollywood this week has been the burgeoning effort by Hollywood creatives to fight the purchase of Warner Bros. by Paramount Skydance. Thousands of names—including some of the biggest in the business—have signed an open letter in the hopes of demonstrating that not everyone in the industry is on board with the potential deal. So I wanted to talk to some of the folks behind it.

First up is an interview with Ted Hope, indie producer extraordinaire and author of the Hope for Film Substack. We talked about how indie production has changed over the last few decades and what could be lost if Warner Bros. and Paramount are allowed to merge. 

Then I got Jon Reiss and Jax Deluca of the Future Film Coalition on the horn. We discussed what concrete steps could be taken to help fight this merger and what media consolidation means to the indie filmmakers out there. 

If you found this podcast interesting or informative, I hope you share it with your friends!

I’m joined on this week’s episode by Ed Solomon, the writer of the new Steven Soderbergh feature, The Christophers, which is in limited release this weekend and going wider next. It’s the story of an aging artist, played by Ian McKellen, and his new assistant, played by Michaela Cole, who has been hired by the artist’s son and daughter to forge a series of paintings from an earlier, more successful period in his career. The idea being that, when he dies, the kids can sell the “found” works for millions.

Solomon discussed the idea for the film, which began with a single sentence from Steven Soderbergh, and blossomed from a twisty noir into something more emotionally resonant. We also discussed their previous collaboration, No Sudden Move, and why he wishes more people had had a chance to see it; the difference between more conceptual art and actual paintings; and the joy of working with McKellen and Cole in shaping the voice of the characters on the screen in The Christophers. 

It was a wide-ranging chat, is what I’m saying, and we didn’t even get a chance to discuss Men in Black or the Bill & Ted series of films, which he co-wrote. Maybe next time! If you enjoyed this episode, please share it with a friend!

On this week’s episode, I’m joined by Steve Starkey to discuss his new book, On the Set of Forrest Gump. Steve won an Oscar for best picture as producer on that film, but he has a career that, as I told him, has meant a lot to me, with credits on, among other pictures, Empire Strikes Back and Return of the Jedi, Who Framed Roger Rabbit, the two Back to the Future sequels, Contact, Cast Away, and, of course, Forrest Gump.

We discussed all sorts of stuff here, from the movie magician who made Lt. Dan’s legs disappear, to his work as second unit director, to the early days of using digital trickery to fake the words and faces of famous people, to the worst note he’s ever gotten after an audience test, to the difficulties facing California’s film industry in the face of global tax rebates and production credits.

On the Set of Forrest Gump is laid out like a coffee table book and is beautifully illustrated with 250 or so full-color stills from set. So it’s nice to look at. But the story he tells is a fascinating glimpse into the push and pull of art and business, the struggle between the producer on the ground trying to make sure his director has the resources he needs and the studio bankrolling the whole thing and worried about losing tens of millions of dollars on a movie that isn’t a guaranteed hit. 

Anyway, I hope you check it out. And if you enjoyed this episode, I hope you share it with a friend!

On this week’s episode, I’m very pleased to be rejoined by Rod Blackhurst (we had him on a couple of years back to discuss his indie crime drama Blood for Dust) and joined for the first time by Ethan Suplee, veteran character actor we all know and love from films like Mallrats, Remember the Titans, and The Wolf of Wall Street and TV shows like My Name Is Earl. 

We’re discussing their new film, Dolly, a true indie endeavor made in the spirit of American classics like The Texas Chain Saw Massacre and The Evil Dead or the New French Extremity’s High Tension. Rod and his partners raised some money, brought some folks to the woods of Tennessee, and put together something he hopes will be memorable for the audiences who see it. It’s hitting theaters this weekend, playing around 800 or so screens across the country, and if you’re a horror head—or just someone looking for something different—I hope you’ll check it out. (It is a horror movie, though, so I cannot provide any refunds if the onscreen terror sparks a walkout.)

As I said, getting Ethan on the show is a real treat because I’ve been a fan for years and it’s been interesting to watch him dip his toes into some darker waters in recent years in films like Dolly, Babylon, Blood for Dust, and God Is a Bullet. It was fun to pick his brain about consciously making that shift and why his film work often gives him a little more space to stretch than his TV work.

This week, I’m joined by Andrew Jarecki and Charlotte Kaufman to discuss their Oscar-nominated documentary, The Alabama Solution. Currently streaming on HBO, their documentary combines interviews, investigative journalism, and footage from within the prisons themselves obtained via contraband cellphones to reveal the horrible and dangerous living conditions of those serving time in the Alabama correctional system. It’s a documentary primed to shock the conscience, and I hope everyone out there watches it. 

You can also go to the documentary’s website, TheAlabamaSolution.com, to learn more about the deaths inside Alabama’s prisons. And if you think this is an important film and an important issue, please share it with a friend.

Remember that weird moment in the 2024 campaign cycle where Donald Trump started referring to how much he loved and identified with “the late, great Hannibal Lecter”? That was odd, right? I discussed that and more with Brian Raftery, whose new book Hannibal Lecter: A Life is both the perfect Valentine’s Day gift for the love consuming your heart and a fascinating portrait of a bizarre creation from a reclusive writer. Indeed, the most interesting part of the book is the early deep dive into the life and writing of Thomas Harris, who has given just a handful of interviews over his nearly 50-year career. 

I’m very pleased to be joined this week by Matthew Robinson, who is the screenwriter of the new film, Good Luck, Have Fun, Don’t Die. It is the rarest of things: a mid-budget, high-concept, sci-fi action-comedy. Starring Sam Rockwell as a time-traveler from a ruined future (or possibly just a bum with a fake bomb strapped to his chest), Robinson and director Gore Verbinski (The Ring, Pirates of the Caribbean) have crafted a piercingly satirical take on our obsession with screens, our inability to deal with the tragedy of modern living, and the creeping fire that all-powerful AI will wind up killing half of us and enslaving the rest. 

It’s opening wide on February 13, and I really hope you check it out. I may write a hair more about it in my newsletter though I probably won’t review it properly as I try not to review movies made by people I’ve interviewed so as to avoid the appearance of a conflict of interest. (Ethics, baby!) That said, I strongly recommend going to see it in a movie theater if for no other reason then to demonstrate that there is an audience for original films with a clear point of view and something to say about our world and our moment. 

On this week’s episode, I’m very pleased to be joined by Ric Roman Waugh, the director of the new film Shelter, starring Jason Statham. We talked a lot about making that movie and how he best utilized Statham’s skills as opposed to Dwayne Johnson’s in the movie Snitch or Gerard Butler’s in the Greenland films, Kandahar, and Angel Has Fallen. Shelter, which is in theaters now, is a little more meditative than some of Statham’s recent work, though no less effective for it. We discussed why Statham was attracted to the part and how his fatherhood helped inform his role as the protector of an orphaned young girl.

Then we discussed making the transition from stuntman to director: Waugh worked with Tony Scott on a number of pictures, and had some interesting insights into the methods of the great action director. And I’d be lying if I said I didn’t have to practically restrain myself from just doing 30 minutes on Waugh’s Shot Caller, a gritty prison drama.oo

On this week’s episode, I’m pleased to be joined by W. David Marx, author of the new book Blank Space: A Cultural History of the Twenty-First Century. Alongside Marx’s Status and Culture, this book is one of the key texts to understanding how and why the culture has shifted so radically so quickly: the combination of “poptimism” (we discuss what, precisely, this is early on) and cultural omnivorism (the merging of all genres and all forms into a sort of equally viable mass entertainment) and the internet’s flattening of culture have led to a stagnant culture and a revanchist counter-counterculture eager to exact revenge and facing no real opposition in that effort. 

If you enjoyed our conversation, or simply want to understand how we wound up in the world we wake up to every morning, I strongly recommend picking up Marx’s book. And if anything was unclear from our chat, drop me a line in the comments and hopefully I can help clear things up!