![]() ![]() This episode features a lot of great stories about the making of the film, and also includes plenty of necessary discussion about 'The Hustler', specifically Piper Laurie, Paul Newman, Jackie Gleason, and George C. We hear from Mann and Crowe about the film, and play some surprising sound drops highlighting some of the twists and turns that the film presents.Īlso covered: 'Miami Vice', WKRP In Cincinnati's Andy Travis and his unlikely cameo in 'The Insider', Animal House's D-Day in maybe the best scene in the whole of 'The Insider', supporting work from Colm Feore, Gina Gershon, Phillip Baker Hall, and MORE!Īfter a two-week hiatus.and a hilariously unexpected detour in our attempt to do "The Manchurian Candidate" on this episode, my guest Keir Graff and I pivoted to 'The Color of Money' and I'm so glad we did. In this episode, I talk about the making of this film, its extraordinary technical accomplishments, and the fantastic leading performances from Crowe, Pacino, and Christopher Plummer as 60 Minutes correspondent Mike Wallace. Australian-born Crowe playing a man 23 years older than him, a man with a complex speaking voice equal parts The Bronx, Japan, and Kentucky.but no part Australian.Ī fictionalized account of a true story, 'The Insider' is based on the battle surrounding a 60 Minutes segment about Jeffrey Wigand, a whistleblower in the tobacco industry, in particular covering his and CBS producer Lowell Bergman's struggles as they defend his testimony against efforts to discredit and suppress it by both inside business interests within CBS and by Wigand's former employer, the powerful Brown & Williamson tobacco company. Pacino as facile, intelligent man of the media. Audiences expecting Crowe to break apart a desk as he'd done in 'LA Confidential' or for Pacino to embody Satan a la 'The Devil's Advocate' were instead confronted with something quite different. And while their efforts garnered 7 Oscar nominations, the film disappointed at the box office in part due to the difficulty in communicating to prospective viewers exactly what the film was about.Īnd pointedly, Mann cast Pacino and Crowe exactly BECAUSE he planned to use them as they'd never been seen before. So when Disney Studios ponied up north of 90 million dollars to help him bring a thorny, wordy, action-free journalism picture to life, they probably reasonably expected a 'All The President's Men' for a new generation. Following his 1995 crime epic 'Heat', Michael Mann was in a position to do most any film he desired to do. ![]()
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