Hollywood

Like, a lot of my friends in the art world are all talking about going to FOG, the art fair in San Francisco this winter.

I have a lot of friends in LA who do kind of various creative services who've moved to San Francisco because, as some people have been saying, Los Angeles is the new Detroit [laughs] because Hollywood has not been doing well.

[laughs]

I think ultimately when you have a high growth economy, there's spending that happens around that.

The Pentagon, regardless of political party and power, has historically worked to frame retelling of incidents of military heroism.

There's even an office set up specifically to work with Hollywood productions.

But the push for details during an ongoing campaign actually concerned military officials.

Uniformed service members have voiced concern that the 60 Minutes presentation is an effort by Hegseth's office to use the heroism demonstrated by U.S. troops as part of a successful rescue operation.

Both champions are also going home with $5.5 million.

Hollywood is preparing to celebrate all the best television from the last year.

The Emmy Awards are happening tonight.

Ahead of the show, some of the favorites are The Pitt, that leads the way with 25 nominations, and Hacks, that has a record number of nominations for a comedy with 24.

Do you ever find yourself rewriting something because you are worried it is too close to what is happening? [pensive music] Hello, I'm your co-host, Kate McCann, and welcome to a special bonus episode of One Decision.

Today we're turning our attention to Hollywood to discuss how is diplomacy and espionage shown on screen.

It's particularly top of mind as the Emmys are today, September the fourteenth.

My co-host and former head of MI6, Sir Richard Dearlove, and I had a riveting discussion about how espionage is shown on screen with none other than Deborah Cahn.

This is an extract from a Deadline article that reported on this at the time when it happened in late 2017, December 2017.

It says, "With the growing storm cloud of sexual harassment allegations covering over Hollywood, Academy Award-nominated documentarian Morgan Spurlock has come forward and posted a revelatory essay saying that he is, quote, 'part of the problem.' Spurlock posted a link to a lengthy manifesto of sorts giving his thoughts on sexual harassment and how heroes have fallen for their indiscretions.

He said, 'When will they come for me?'" He wrote in the essay, quote, "You see, I've come to understand after months of these revelations that I am not some innocent bystander.

I am also part of the problem.

He actually ended up having to pay TNT over $1.7 million because when he released this essay, he actually was under contract with them to create a docuseries.

And just wait until you hear what the docuseries is about.

I mean, if this doesn't sum up Hollywood and the type of people who are getting these insane series deals and movies.

I mean, look at this [laughs] guy's career, and it all started from lies, and then he went on to do, ugh, just it, it's, I mean, it is just the epitome of Hollywood.

Barring that changing or research hitting an unexpected technological wall, this is probably the only short-term path to hitting the brakes on the deployment of more powerful AI systems.

[upbeat music] This week, Toronto will be simultaneously playing host to Hollywood's A-listers and C-suite execs.

Good luck getting a dinner reservation.

So here's what happened.

The original screenplay for Losing It was titled Tijuana and was conceived as a deeply nostalgic personal look back at Southern California youth culture in the mid-1960s.

Bill Norton, who had been working in Hollywood for more than a decade writing films like the 1977 musical drama Outlaw Blues and Convoy, and writing and directing the 1971 Chris Christopherson drama Cisco Pike, and the 1979 sequel to American Graffiti, was an early 20-something man in 1965 and would draw on some of his own personal experiences to form the screenplay, along with his friend Brian Gindorf.

An early version of the script would feature a younger sister for Dave named Wimp, described in a casting notice as a Christy McNichol-like character, who, as the screenplay evolved, would become Dave's firework-obsessed little brother Wendell.

The movie would be produced by Garth Drabinski, the flamboyant CEO of the Canadian exhibition company Cineplex, and his producing partner, Joel Michaels.

Without Grosses, and with such a short test run, what Fox did next with Tijuana would not be that much of a shock.

They just dumped the film altogether.

An article in the November 30, 1982 issue of The Hollywood Reporter would note that a foreign distribution rights company, Manson International, had acquired the non-American rights to the film, and that Embassy Pictures would be releasing the film in the United States during the summer of 1983.

Manson International would highlight the film, now titled Losing It with a G at the end of Losing, During the March 1983 American Film Market in Los Angeles, with an even worse tagline than the one used for Tijuana, it simply read, the last word about the first time.

They just have this like view that they're the protagonist of the story when reality they're the escapist.

So I feel like most people, and again, like, and people complain about it, you know, even so far into like the creative realm of like, You know, in Hollywood, people are like, oh, the AI is going to, I'm like, oh, no, is AI not going to be able to recreate another Marvel movie? Like, we're not, like, this isn't Chaucer out here, like, you know, creating the next great, you know, piece of romantic literature.

We're talking about, like, you know, which most, and let's be honest, like, is there ever a time, like, there's very rare times I'm looking at a piece of fitness content being like, God, what a great piece of writing.

So if AI is doing that for these people, I don't really care.

Yeah,

as Hollywood takes his life story and just modifies it slightly, shall we say? Yes.

Adam West was actually a voice in The Emperor's New Groove, and sadly, his character was cut, but we had such a great time.

He has such a great sense of humor that the thought of using him stayed in the back of our head, and he was perfect to play Chicken Little in the Hollywood version of the Chicken Little story.

And for the first time, Fish speaks, as you saw there.

Voice of Will Finn.

Ace.

Oh, Ace, no! I never intended to bring you into this.