All language subtitles for Documentary Now s02e07 Mr Runner Up 2

[lively instrumental music]

- When last we left me...

Cue music.

[light orchestral music]

As 1966 began,
I was determined

to bring my studio,
Pinnacle Pictures,

an Academy Awards

First,
I needed the material.

"She Cried for Justice"
was the novel of 1966.

It told the story
of a Jewrsh girl

who escapes Hungary
during the Holocaust

and comes to America

Years later,
she sees her lormer Nazi guard

living under an assumed name
in New York City.

I knew from the moment
I read the ?rst page

this story had Oscar
written all over it.

I called the author,
Edna Bach,

and convinced her to meet.

She was a recluse
who was not interested

in dealing with Hollywood.

So I wined and dined her.
[cork pops]

We sat at my lavorite table
in the candlelit gardens

of the Chateau Marmont

and I laid on
the Wallach charm.

"Edna, I simply must have the
rights to your memoir."

She was tough,
"This is a sacred story

"of my life, Mr. Wallach.

"Why would I ever trust
a Hollywood producer

to do itjustice?"

"Because I promise
to treat your story

with the utmost respect.

You will be involved
every step at the way.

Your novel is beautiful.
Just like you."

"Oh, Jerry, I haven�t had
a warm embrace

since the Taft Administration."

By the next morning,
she had agreed.

Then I got to work.

For the lead role
of the Jewish refugee,

Hannah Novak,

I wanted to ?nd an actress

who was vulnerable,
yet resilient.

Someone who, when the audience
looked into her eyes,

they saw the horrors
of the Holocaust.

But she had to be hot.

[upbeat music]

Bridget Bailey
was the "It Girl" of 1967.

She drove men
wa�wa�wa�wild.

She was like whipped cream
and whiskey.

Fluffy,
and God damn dangerous.

She had just the right
va�va�voom

to play
a Holocaust survivor.

And for the male lead,

the Gestapo of?cer,

l was blessed with
the best method actor

of his generation.

You better believe
I went with my main wop,

Enzo Entolini.

At ?rst,
Enzo wasn�t up for it

sol called him up.

Enzo, wipe that spaghetti sauce
off your mouth,

because I got
another project for you."

- But Jerry, I too common,

I don't know nothing
about no Nazi.

- Enzo, I own the property.

We can have our way
with this book

the way we did
with those girls lrom Reseda.

- I had the cast
of my dreams,

and we were ready
to bring the novel to lite.

Sometimes you throw
in the right ingredients,

and out of the oven
comes a perfect movie.

[stirring orchestral music]

[militaristic music]

- Hannah Novak
escaped Nazi Poland

only to ?nd
her tormenter here.

- This young,
Jewish refugee

comes to this court
seeking justice.

- You say my client
was a war criminal?

- That man.
That man was Gestapo.

And I know because

I am a Jewish refugee.

- Can�t you see...

that I love you?

Come here, ma.

[romantic music]

- Their chemistry
was undeniable.

There was just one problem.

Our corporate owners
had no interest in owning

an art house studio.

Pinnacle Pictures
was independent for 40 years.

But in 1951,
it was bought as a tax shelter

by the CIA to funnel
South American money.

Like how Kevin Costner
is three different people.

Of?cially,
United Papaya of Uruguay

controlled the studio.

They didn't want me
futzing with

their slush funds
and assassinations

just to win an Oscar.

They wanted to dump
Pinnacle Pictures all together.

And sell off everything
I had built.

But I knew how
to appeal to them.

Through the magic of movies.

I called down
to the sound stage

and told them
to get the cameras ready.

[beeping]
[?lm reel ?ickering]

Hello, agents of the CIA.

Se?ores.

I�d like to tell you
a little bit about

Pinnacle Pictures,

and what we have
going on here,

and why we think
this movie studio isn�t a front,

but something with a front
and a back and sides.

[chuckles]

We have a lot of ?lms
coming up on ourslate

at Pinnacle Pictures.

One of which
is "Swashbuckler�s Island,"

a children�s movie.

Oh, and here�s
one of the stars, now.

Puf?n, the bird.
- [squawking]

- [laughs] Puf?n says he hopes
you like the ?lm.

And that it comes out in June
of this year.

We're very proud of it.
- [squawking]

- Puffin�s proud of it, too.

Another picture we�re very,
uh, proud of

is "She Cried for Justice,"

and Oscar contender starring
Bridget Bailey

and Enzo Entolini.

Now I want to show you
one clip from it.

Just one.
And you�ll see

why Pinnacle Pictures
is the bet to make.

- [gasps] Whoa, whoa,
whoa, whoa!

- It speaks for itself.
We need your money.

But I promise you,
your name will be

on an Academy Award.

Or if you don�t want your name
on any documents,

that�s ?ne, too.

Maybe that�s how
you guys work.

[exhales sharply]

The next morning,
we had the money

in a black duffel bag,
all cash.

Had some blood on it.

Very upsetting
for the woman at reception.

[sweeping orchestral music]

- The movie opened
just in time for nominations.

And sure enough,
we were in the running

for Best Picture of 1967

Two years of work,
assembling the finest cast,

changing most of
the plot ofthe novel,

banning Edna Bach
from the set

and completely
changing the title

but we were here.

I knew we had the most
revolutionary film of the year.

- We�ve seen excerpts
from the ?ve ?lms nominated

for Best Picture.

For the record,
they are:

"Bonnie and Clyde,"

"Doctor Dolittle,"

"The Graduate,"

"In the Heat of the Night,"

and "Blondes, Blondes, Blondes,
and a Millionaire!"

Based on the novel,
"She Cried for Justice."

[applause]

And now for
the Best Picture.

May I have
the envelope, please?

Thank you.

The winner is...

"In the Heat of the Night,"
Walter Mirisch.

[applause]

[sweeping orchestral music]

- Mary Poppins screwed me.

l was so distraught
at the after party,

I could barely speak.

The only highlight
of the evening

was that I discovered ?an.

"Blondes, Blondes, Blondes,
and a Millionaire!"

was a victim of its time.

I�ll be honest,
I had no idea

there was all this,
"young people are angry

and Black people
are this and that" going on.

I hung out with Enzo
and Playboy Bunnies

and wealthy crooners.

We talked about boats
most of the time.

But I vowed never again
to be behind the times.

I would dive into
the changing America.

At age 41,
l embraced the revolution.

I started smoking pot
and wearing leather vests.

And that was it.

- So l--l think it was
late �67.

It was just after Jerry had done
"She Cried for Justice."

At any rate, l~l came up
and I said to Jerry,

"A writer writes, a director
directs, an actor acts.

Tell me, just what is it
that you do?"

And hejust laughed and said,

"Snakes--"
[chuckles]

He called me Snakes
for no reason.

I don�t get it.

"Snakes, I�m the guy
who keeps the money men hard

while making sure
you don�t get [bleep]."

I always liked that answer.

[laughs]
Far out.

[upbeat funky music]

- As a new decade began,
I was more determined than ever

to bring home an Oscar
by any means necessary.

The 1970s saw the greatest
cinema boom in history.

"The Godfather,"

"Annie Hall,"

"Jaws,"
and 700 other movies

that don�t hold up at all.

And the Oscars
were changing, too.

- Oh, my God.
The winners is

George C. Scott in Patton.
[cheers and applause]

- Accepting the coveted award
for Mr. George C. Scott

is the ?lm�s producer,
Mr. Frank McCarthy.

- George C. Scott
boycotted the Oscars

and the son of a bitch
still won!

Meanwhile,
Pinnacle Pictures continued

to turn out
cutting edge ?lms.

l was determined
to keep up with the times

by telling the grit�liest,
most progressive stories...

about a year after they were
told in different movies.

"French Connection"
too intense?

How about
the heavily focus-grouped,

"Plan to Sell Dope"?
[gun cocks, ?res]

"Love Story" too sad?

Try "Going Steady,"
where no one dies at the end.

"The Exorcist" too scary?

How about
"Detective Rabbi"?

He'll chase the Dybbuk
right out of your room.

The Academy loved
a political film.

But more importantly,
it loved a political protest

on Oscar night.

When Marlon Brando sent the
Land-O-Lakes Butler mascot

to refuse his Oscar,

I knew the bar had been set.

If he was gonna
bring one Native American,

l was gonna show up
with a whole tribe.

When a Pinnacle ?lm
was nominated in 1975,

I arrived
with seven Brazilian men

from the indigenous
Yanomami Tribe.

If we won,
I promised the fellas

they could rush the stage,
grab the award,

and say whatever the hell
about the rain forest.

- Um, the nominees for the Best
Picture of the year are...

"Chinatown,"
a Robert Evans production,

Robert Evans producmg.

"The Conversation,"
a Directors Company production,

Fred Roos, co-producer.

"The Godfather: Part II,"
A Coppola Company production,

Francis Ford Coppola,
producer.

"Lenny,"
a Marvin Worth production,

Marvin Worth, producer.

And "Kenny,"
a Pinnacle Production

Jerry Wallach, producer.
[applause]

And the winner is...

"Godfather: Part II."
- God damn it!

- Francis Ford Coppola,
Gray Frederickson and Fred Roos.

["Main Title (The Godfather
Waltz) playing"]

- I�d been making ?lms
for almost ten years.

And not a single statue
graced my mantle.

It was at that low moment
that my indigenous friends

introduced me
to the cocaine leaf.

Ten times more potent
than the stepped-on powder

sold in LA.

For the rest of the 70s,

I lived like
a jacked-up koala.

[funky music]
- J� Ha ha, get some I

[bell dings]
- I felt great.

And a little violent
all day.

I worked harder
than I ever had,

turning out more and more
Oscar contenders.

-J�Hahahahaha
hahahaJ�

I Get down I

- In 1977, Oscar-winning
screenwriter Michael Walters

told me about a new
psycho-sexual drama

he was writing.

Walters was a mad genius,

writing only at night

and only typing with
the front ends of handguns.

I bought the script
sight-unseen.

And then I called
the one guy I knew

who could direct it.

The Roman Polanski...

of Italy.

My best friend,
Enzo Entolini,

who had never directed
anything before.

Entolini needed money.

He�d invested
every dime he had

in the sparking water
business.

The Caps weren�t shut
tight enough,

and the whole supply
went llat.

They worked
night and night

in a special mirrored office
I had made for them.

We were determined to make
the coke-lest movie ever.

In an effort
to add to the whole,

"What the [bleep]?"
of this production,

we decided to cast
no�name actors

who can
improvise dialogue.

And on top ofthat,
Enzo and Walters

insisted on shooting
on real locations

with no permits

and with no green lights
at crosswalks.

I put every dollar we had
behind the project.

The press was
gunning for me.

We were now in the era when
averages and release dates

were the stuff of
the nightly news.

Still, I knew
we had the goods.

A bondage-themed,
improvised movie

with borderline-unattractive
no-name actors.

The anticipation
for our masterpiece

kept growing and growing.

[chatter]

On May 25th, 1977,

"Fisting"
opened worldwide...

the same day as
"Star Wars."

Was "Fisting"
a better movie?

You bet it was.

Can you rent it anywhere?

Not really.

One store has it.

The point is,
we lost a ton of dough

and once again,
I had to go beg for money

to keep Pinnacle running.

Hello, agents of the CIA.

Se?ores.

Uh, me and the fellas
would just like to apologize

for, uh, not getting you
the Oscar.

Oh, look,
if it isn't Puf?n.

- [squawking]
- From our newest ?lm,

"Swashbuckler Island,"
from 12 years ago.

Puf?n--
- [squawking]

- You�re the only one
I trust, Puf?n.

- [squawking]

Rosie, Dale.
[claps]

This is the the team
that�s gonna put

Pinnacle Pictures
back on the map.

This time,
the ?lm didn�t work.

And I got the shock
of my life.

- After 13 years
working to rig

an Oscar
for Pinnacle Pictures,

I was ?red.

Some men would see this
as a bottom.

I saw it as the top
ofa new and weirder mountain.

I was going solo.

[upbeat pop music]

I ran my production company

out of my beautiful home,

Villa Casalati.

The future looked as good
as a blonde

With long,
flat buttocks.

Little did I know,

what lay ahead of me

was 10 more years of losing.

- The winner is...

"Chariots of Fire."
[cheers and applause]

- In '82, I lost
to "Chariots of Fire,"

which is, at best,
a soundtrack

that your mother has
in her car.

In 1988, I made $200 million
with "Robot Bachelor."

-And the winner is...

"Rain Man,"
Mark Johnson, producer.

- And lost to "Tootsie Counts
Cards in Vegas."

Throughout the 19805 and �90s,
I made millions

as | pivoted
to win the gold.

Here's a period piece.

No dice?

All right, a biopic.

Not this year, huh?

How about
an underdog sports movie

with Meat Loaf as the coach?

Get out of your of?ce?

Whatever you say, lady.

The breaking point
was in the mid-19905,

when my Wyatt Earp movie,
"Mr. Old West"

went head to head
with "Tombstone"

and "Wyatt Earp."

None of us were nominated

and "Forrest Gump"
won Best Picture.

"Forrest Gump."

I�m sorry,
but what the [bleep]

is the message of that movie?

If you're dumb enough,
you can meet three presidents?

It was all too much.

My heart couldn�t take it.

My doctor told me
I could be happy

with the millions
of dollars I had,

or I could
chase Oscars and die.

My life was a mess.

I needed to get smart,

wisen up,
kick the stupid

out of my brain
and rev the Corvette.

Clean and sober,
I dedicated my life

to doing good.

Here we go, everybody.

We're doing charity work.

With some donations
from AFI

and every major studio,

I started
Lights, Camera, Hopel,

the ?rst charity
to give state of the art

cameras and boom mics
to L.A.�s most dangerous gangs.

Something magical
is happening down here

in God knows where,
South LosAngeles.

Hardened youths
are putting down their guns

and picking up
a different kinda weapon:

a movie camera.

It�s Lights, Camera, Hope!

Lights, Camera, Hope!
helped me

get over
my Oscar obsession.

All I wanted to do
was charity work.

So much so,
that I simultaneously

lobbied the Academy
to make a special award

for showbiz people
who do charity work.

The proudest moment
of my life

was when the Jerry Wallach
Humanitarian Oscar

was presented
for the ?rst time.

-And now, presenting
the Jerry Wallach

Humanitarian Award,

please welcome,
Anne Hathaway.

Hello.

It is my honor
to present the ?rst ever

Jerry Wallach
Humanitarian Award.

We at the Academy--
- I was about to

receive an Oscar.

The bald boy from Brooklyn
who only wanted

to make people smile.

It was ?nally
Jerry Wallach�s night.

- To read the nominees

for the Jerry Wallach
Humanitarian Award.

Sidney Poitier,

for the Poitier Center
for Racial Harmony.

[applause]

Paul Newman, for the
Newman�s Own Foundation.

Hey, Paul. [chuckles]
[applause]

Jerry Wallach,
producer of "Fisting."

[very light applause]

And Enzo Entolini for his
Italian Don't Litter campaign.

[applause]

And the Jerry Wallach
Oscar goes to,

of course,
Enzo Entolini.

[Italian music]
[applause]

- Leave it to Julie Andrews�
little minion

to [bleep] me over.

- [laughs]

Whoa!

[laughter]

- Grazie mille.
Grazie.

- Was I mad at Enzo?

[chuckles]

Not on your life.

Enzo saved my ass
many times.

Enzo was the longest
relationship of my life.

Forget my money.

Forget my wives.

Forget my four sons.

Enzo was truly
my best friend.

And I miss him
every God damn day.

[somber music]

Now I spend my days
awash in a cologne cold memory.

lt stinks of regret
like a diaper in a hot car.

Each spray
a jolt to the past.

So many missed opportunities.

So many awards
given to my Iessers.

My career is in the past.

The door is closing.

The curtain is falling.

The waiter
is bringing the check.

The masseuse has stepped out
of the room

and reminded me
where my robe is.

I will never make
another movie again.

It�s over.

Fin.

Next stop...

death.

Or...

Hold on.
Hold on everybody,

I got an idea
for a movie.

Racism.

We do a movie
about different people

of different races
not getting along.

Put a lot of
movie stars in it.

Right?
That�s a thing.

Right?
Am I right?

[sweeping orchestral music]

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