Evil "Man Mountain" Baeson, I have been sent over here after being thrashed by your tag team partner, "Antonio the Magnifico."
I'm afraid, as usual, you have me at a disadvantage because I have not seen EDGE OF OUTSIDE, and so, I cannot really comment. Not knowing what fulminating lies "Evil Dave" rained upon Orson Welles leaves me defenseless.
[Whimper . . .]
I can't imagine what made him say such a foul thing, that Stanley Kubrick's films never made money for Warner Brothers. I don't have his words, and I don't know the context. BUT WHAT MORE TERRIBLE WORDS COULD A MAN UTTER ABOUT SUCH A SACRED SUBJECT!!! MAY THE WROTH OF OUR PRESIDENT'S GOD BE BROUGHT DOWN UPON HIM!!!!
[He deserves to be lying over there, in the corner of the ring, moaning.]
The only thing I can think of is that Evil Dave is very close to Diane Johnson, who lives in San Francisco, and who wrote a screen play on which THE SHINING was based.
I remember, in a long evening presentation of the film by the two a couple of years ago at the SF Castro Theater, she told him (and us in the audience) of the amazingly high-handed and extravagant luxury in which she was kept in England by Kubrick at Warner's expense. He liked her. And if he liked you, there was no wrong you could do. (Should he not like you, and there were many, starting with Studio Heads and lawyers, but going down to players, he replaced or cut you without a moment's notice).
If I recall correctly, she was on the job for better than a year, and she was entirely a novice at screenwriting. He hired her because he liked her first novel, which came out in the late 1970's, The Shadow Knows.
At first, Kubrick proceeded to make her a consultant, mainly a sounding board for late night transatlantic calls on the work of Henry James. Then, he flew her to London, wined her and dined her, while she told him what a lousy writer she thought Stephen King was, what a lousy novel (if a page turner) The Shining was. He agreed with her, and then asked her to write the screen play for the novel. She protested that she had never written a screen play. He said, it didn't matter.
After leasing a house for her, he would send a car for her every morning to make a long drive, in English terms, to his compound, where he taught her, over months and months, all expenses paid, on salary, how to write a screen play at Warner's expense.
[I wonder if that is the job Larry French was up for?]
Ms. Johnson has been telling "Evil Dave" stuff like this for twenty years. (Her screen play for THE SHINING is the only one she has ever sold.)
Knowing nothing about the subject, nor Dave's remarks, my guess is that Diane Johnson estimated for Evil Dave that, from Warner Brothers' standpoint, kachinging the deadly "overhead" for nearly three decades to maintain a complete self-contained unit for himself, his family, and his relatives, and hangers-on, Kubrick lost them money. No matter if most of his films, a few of them undoubted masterpieces, made money, at this yearly overhead expense, a total of five products in thirty years, only two of them real money makers, does not cause a Studio's heart sing.
[THE SHINING, for instance, has made an estimated gross of about $60,000,000 over 25 years. $30,000,000 of that was in rentals. It had an estimated budget of $22,000,000, when it was shot in 1978-79 (an 11 month shoot). Kubrick's production company made five films for Warner Brothers over 30 years. CLOCKWORK ORANGE and THE SHINING made money; the other three, from a Studio's point of view, lost money. EYES WIDE SHUT had an estimated budget of $65,000,0000. It grossed $22,000,000 in its initial weekend, and fell off sharply from there. All the films had substantial costs in expensive alternate versions for altenate markets. I've already related how he completely re-shot the ending of THE SHINING for the American Market after it had run a week in London. You do the pro rata, writing down the overhead. Was Kubrick's contract a good financial deal for Warner's, as their accountants would look at it? You can see that "Evil Dave" may just have a case.]
Kubrick demanded and got the contract Welles had in 1941, and he held on to it. Everyone who ever knew him said that he was a brilliant businessman, and that he spent money like goldwater if something attracted his artistic or intellectual fancy, or it was something someone he liked needed.
So . . . ar-h-h . . . ar-h-h -- in Greco-Roman rules, that's called "The Gut Wrench Defense," Man Mountain" Baeson!
And here's . . . THE KLINCH!
As I said as I finally struck down "Antonio the Magnifico," if you are going to keep fouling my tag team partner, "Evil Dave," I'm going to have you both disqualified for the WWF Literary Title Competition!
"Evil Dave" demands that you spell his name correctly. Look at him over there, clutching his groin! My tag team partner demands that you spell his name correctly.
It's "Evil Dave THOMSON"! Not "ThomPson." Get it?
I hope so. If not, I'm going to complain to Larry French. I might even take it to the top: WWF Commissioner Jeff Wilson.
How can you two misspell "Evil Dave's" name for months like that?
Whoever gave you guys your World Welles Federation Spelling Licenses?!
Okay, I'm going to rest now.
"Baesen doth murder sleep."
:p :angry: :p