One of the most important rules of screenwriting is: never make your characters more dumb than your audience. It’s frustrating to watch characters make mistakes with very obvious and inevitable consequences.
Between that and the ominous title of this episode (The Tragedy), know that you’ve been warned: spoilers ahead.
Din Djarin and Grogu the Yoda Baby arrive on Tython, an ancient Jedi location, where Djarin’s little ward is placed upon the seeing stone to make a phone call. A Force-barrier then arises around him as he enters a deep state of adorable meditation.
Up in the skies, however, an old menace appears: the Slave I — Boba Fett’s Firespray-31 ship. We’ve known since Season 1 Episode 5 that Temuera Morrison would be playing the iconic bounty hunter; he also played the role of Jango Fett in the prequels, and as Boba was Jango’s clone/son, Morrison is a perfect casting choice. Fett returns with Ming-Na Wen’s Fennec Shand with a reasonable request: they want Fett’s beskar armor that Djarin recovered from The Marshal.
The Mandalorian, Disney+
Djarin was like, “No way, bro — that armor is for Mandalorians only,” and Fett was like, “Lemme explain, just take off your jet pack,” and Djarin was like, “Okay I’ll just put it down here and then I won’t f***ing pick it up again EVEN THOUGH I AM OBVIOUSLY GOING TO NEED IT SINCE I LEFT MY BABY ON THAT HILL UP THERE.”
To no one’s surprise, Moff Gideon and his Stormtroopers show up, which gives us a nice the-enemy-of-my-enemy-is-my-friend situation. Djarin, Fett, and Shand team up to take on the Stormtrooper assault — which does have some fun fighting sequences for Shand and some rather violent melee for Fett — but then we experience the first of our losses.
“The Soviet cosmonaut has become the first to set foot on the moon.”
For All Mankind introduces the stakes right away — and they hit hard for anyone familiar with the iconic moon landing of 1969 and what it meant to Americans.
It’s a seductive concept, as proven by Amazon’s TheMan in the High Castle, a dystopian show depicting an alternate history where the Axis powers won World War II. The first season begins in 1962. The United States is divided between the Nazis and the Japanese but our heroes discover a film tape that shows Germany losing the war.
For those of you who are fans, you’ll want to check out For All Mankind, an upcoming series brought to you by the new streaming platform Apple TV+. The premise is simple: what if the Soviet Union were to win the space race of the Cold War?
First, here’s the trailer:
For All Mankind — Official First Look Trailer | Apple TV+
For All Mankind — Official First Look Trailer | Apple TV+
For All Mankind is created by Emmy® Award winner Ronald D. Moore (Outlander, Star Trek, Battlestar Galactica) and Matt Wolpert and Ben Nedivi (Fargo, The Umbrella Academy). Told through the lives of NASA astronauts, engineers, and their families, For All Mankind presents an aspirational world where NASA and the space program “remained a priority and a focal point of our hopes and dreams.”
Now, there were a lot of zany ideas going on during the actual Space Race of the Cold War, which would be marked by the desire for each side to prove its superiority. Military might and nuclear capabilities were growing, wars between Communist and Capitalist countries were escalating, and space exploration was rising. When the Soviets successfully launched the world’s first satellite into Earth’s orbit, American urgency rose.
It ended well for the U.S. when Neil Armstrong became the first man to walk on the moon. The glory was ours! Everyone could just calm down.
But…what if history had gone another way?
“Get back to work.”
“We thought it was just about being first. Turns out the stakes are much bigger than that,” announces a voice in the trailer.
For All Mankind explores building a base on the moon, which has water on it. “We’re going to Mars, Saturn, the stars, the galaxy.” The first look at the series gives weight to the Space Race in a new and imaginative way, including (to my immense relief), lady astronauts.
Here’s one way the Soviets actually did beat out the United States: Valentina Tereshkova was the first woman in space, whose mission Vostok 6 took place on June 16, 1963. The U.S. kept women out until Sally Ride’s first space flight on June 18, 1983. I’m biting my tongue here…
Props to For All Mankind for writing women into their alternate history in ways our own countrymen refused to do.
Apple TV+ is “a new streaming service where the most creative minds in TV and film tell the kinds of stories only they can. Featuring original shows and movies across every genre, Apple TV+ is coming this fall. Exclusively on the Apple TV app.”
The platform has already announced series like See, which places Jason Momoa and Alfre Woodard in a dystopian future where the survivors of a global virus are left blind; Amazing Stories, a Steven Spielberg-helmed fantasy anthology; and even an untitled Brie Larson CIA drama series.
The Armed Services Arts Partnership (ASAP) is an organization based in Virginia that builds communities for veterans, service members, and military families through classes, performances, and partnerships in the arts. As part of their mission, ASAP offers a Comedy Bootcamp for veterans to explore and develop their comedic abilities. These three veterans are alumni of the Comedy Bootcamp program and have been given the unique opportunity to perform their standup routines at the Gotham Comedy Club in New York City. Backed by veteran headliners PJ Walsh and Dion Flynn, the alumni put on a great show for their New York audience and proudly represented the armed services on the big stage.
Everyone has their own opinion of what makes a good war movie. Unfortunately very few can offer anything of substance.
Yes, I’m talking to you, orange grime Cheeto finger-licking video game player in your momma’s basement. You can kick my ass in Call of Duty but in real life, you’d pee your pants in a kill house live-fire training mission.
So lick the cheese off your fingers and take notes, some man stuff coming at you.
Below is my small contribution to the best war movies of all time. I carefully selected my 10 favorites and put them in no particular order other than my #1 of all time, The Great Escape, at the top.
After serving in the SEAL Teams I find it really hard to sit through most action movies without being overly critical of the tactics. For me sitting through a bad action movie is pure torture. Worse than the Notebook. Worse than ingernails on a chalkboard. And like my old chief would say, fucked up as a football bat.
Top War Movie Pet Peeves
Sweeping your own guys with a loaded weapon. Just not cool, and a punishable offense in the SEAL Teams. Find a loud mouth Special Ops guys on social media and chances are he’s not really Special Ops, or worse, was kicked out of the community for a safety violation like this.
Representing the military as unprofessional. Some of the most professional people I’ve met in my life are from the military and it’s crazy to see that scene in American Sniper where the instructors are yelling at students on the firing line like boot camp kids. Not realistic, and doesn’t represent the high level of professionalism at the SEAL sniper program.
Unlimited bullets. Just doesn’t happen outside of video games folks. That ten-round magazine doesn’t last forever, Johnny.
Bad unit tactics. Take your pick… oh yeah, on Zero Dark Thirty the producers had the guys talking on target… not going to happen that way! It’s a squeeze on the shoulder or a hushed communication via inter-squad radio. Just corny…
Poor mission planning. Parachuting onto the roof of a target for example. Not going to happen unless you’re Tom Cruise in Mission Impossible.
The list goes on but you get the idea.
Here’s my top 10.
The Great Escape (1963) Official Trailer – Steve McQueen Movie
If you can get past Charlie Sheen (he hadn’t lost his mind in ’86) this is a great gritty movie about Vietnam. The same kind of movie you can expect to see rebooted with our modern-day Vietnam of Afghanistan. Drugs, stealing cash off-target, war crimes, hookers, this one has it all. I actually wrote a one-page pitch for a similar war movie called, The Reservation, about guys going haywire in Afghanistan post-2004 when it turned into a complete shit show. Stay tuned…
? PREDATOR (1987) | Full Movie Trailer in Full HD | 1080p
Just look at who’s in the movie and enough said. Ex-Special Ops taking on an alien inter-planetary hunter-kill? Fuck me, I’m in! “Head to the chaupper!” Move over Parasite…Que, the Academy award for manliest movie of the year, Predator.
Black Hawk Down (2001) Official Trailer 1 – Ewan McGregor Movie
Based on true events. Great movie but like most great war movies, when you peel it back, usually you find the guys on the ground totally let down by the guys at the top. This time, the name rhymes with “Bill Clinton”… Left our boys hanging in the breeze to fend for themselves in another half-baked country intervention. Fortunately for Delta and the Rangers they did an extremely good job at it while Bill was getting a his daily brief from a White House intern. Epic movie, but I was triggered for sure.
You may ask yourself why a sniper picked this one. Well, before I was a sniper I was an anti-submarine warfare operator and search and rescue swimmer helicopter aircrewman. (Have they now changed it to aircrew person? What the hell is the politically correct version of it? I wrote about this in The Red Circle.) So before I was born again hard in SEAL Training, I geeked out on Russian submarine profiles and harmonic sounds generated by diesel-electric subs. This is a great movie by one of the best military fiction writers ever, Clancy.
Want to know why you shouldn’t ask your military buddy, “How many kills you have bro?” Watch Deer Hunter and then STFU. Great movie. Gives a new meaning to Russian Roulette as well. Look at the cast as well, All Star!
Dirty Dozen (1967) Official Trailer – Lee Marvin, John Cassavetes World War 2 Movie HD
Back when it was ok for men to be men and pronouns weren’t weaponized by the hipster elite. The Dirty Dozen. What’s not to like about Americans kicking Nazi ass?! Plus, take a bunch of guys from the brig and put them on a special ops suicide mission and you have the makings of a great war movie. A lot of great actors in this one as well — A list for sure.
SAVING PRIVATE RYAN Official Trailer (1998) Tom Hanks HD Movie | TrueMovies Trailer
The epic and ultra-realistic D-Day scene won me over from the get-go. Plus some good sniper footage as well. Again, common theme here with allied forces kicking Hitler ass. Doom on you Nazi bastards. Great directing and great acting all around. It kicked off the amazing series, “Band of Brothers” (also a must-watch).
The Hurt Locker (2008) Official Trailer – Jeremy Renner, Anthony Mackie Movie HD
Jeremy Renner comes out swinging in this gritty movie that showcases the true toll of war. I have several friends who I lost to similar combat addictions. It’s a real thing and one of the reasons I really liked this movie, because it shows the toll it takes at home.
There you have it. I’d also like to hear from you. What are your top 10? Thanks for listening. Out here. – Brandon
It was tempting to make the headline for this review-interview “‘Terminal Lance’ creator Maximilian Uriarte gets dark with The White Donkey. That wouldn’t be truthful, at least not completely.
Much of Uriarte’s self-published graphic novel could be considered dark — and likely will be. But the word “dark” could also be substituted with the word real. Though the book opens with a disclaimer that it is a work of fiction, veterans of Operation Iraqi Freedom will find a lot of familiar feelings in its pages.
“It’s 90 percent true and then there’s a lot of fictional elements put into it,” Uriarte says. “I don’t like saying that it’s a true story because it’s not. It’s fictional. I feel like once you add one fictional element to anything it becomes a fictional story. The white donkey was real. I really did run into the white donkey in real life, which I write about it in the back of the book. In real life, I only saw the donkey once when we stopped for convoy and that was it. I thought about it a lot every day after that though.”
The White Donkey is a departure from his bread and butter work on Terminal Lance. But Uriarte’s graphic novel was a long time coming. He first conceived the idea in 2010, and launched the Kickstarter for the project in July 2013, a funding process Uriarte will not soon repeat.
“I don’t think I would ever do a Kickstarter again because I hated that. I still hate it,” he says. “It’s one thing to have an investor to answer to. It’s another thing to have 3,000 investors to answer to when things take too long. It’s really stressful.”
Uriarte may be producing the first graphic novel written and illustrated by an Iraq veteran about the Iraq war, but the process of telling this story far outweighed the stress of the financing, in Uriarte’s opinion.
He loves writing, even though he didn’t even know how to make a graphic novel at first. But writing is writing, except when it comes to novels. It’s important to note there’s no corporate ownership to his work. His graphic novel is an independent endeavor, the culmination of more than five years of work.
“I love writing,” he says. “I wrote this book as a screenplay first and that was how I approached it. I went through a few different processes of trying to figure out how to make this into a graphic novel because I had no idea how to make a graphic novel when I got into it. I started writing it out really novel-like, as a book. It didn’t really do me any favors because I needed a screenplay. I needed a script for the graphic novel. Waxing poetic in sentences and paragraphs didn’t really do me any favors. I thought, ‘Why write all this beautiful poetic language that no one is going to see?'”
Fans of Terminal Lance may wonder why The White Donkey seems so different from the comic strip. The reason is because that’s the reality of war, or at least Max Uriarte’s experience with war.
“I wanted it to be a grim war story,” he says. “I wanted it to be more self-aware in a way. I think the usual Hollywood narrative is always very heroic. I feel like a lot of being a Marine is not heroic in the slightest sense of it. I think I wanted to have a narrative that combats that idea of that glorified American ideology, that going to war is heroic. Even the “personal journey” aspect of it is pretty arrogant of people to think they’re going to experience some enlightenment at the expense of people dying. It’s a very sad and a very false reality I think.”
The White Donkey is a thought-provoking, poignant work, on the level of Alan Moore’s Watchmen, and is bound to raise Uriate’s profile beyond the large and loyal audience he’s already earned. Still, no matter how successful The White Donkey is, he wants fans to know Terminal Lance isn’t going anywhere.
“Terminal Lance is going to be around for a while if I can help it,” he says. “There’s going to be some changes on the site. I want to open it up more for op-eds and some other content. I want it to be a place any branch can come to for entertainment.”
The White Donkey will available on Amazon in February.
“It was like walking onto the surface of the moon,” Graham Elwood says of his first experience walking off of a C-17 in Afghanistan.
His experience was not unlike many of our own first times deploying to a far-off edge of the world. We take a long, long C-17 (or god help you, C-130) ride for seemingly endless hours. There are no windows. The plane is packed. Forget about an in-flight movie or looking out the window. And when you walk off, it’s invariably the middle of the night and you and the hundred or so people you’re with walk off the flightline in a single file.
From there, who knows? There’s a good chance the “hurry up and wait” has just begun. For civilians visiting war zones for the first time, it’s no different – except they have no idea how to speak the acronym language.
“They said ‘When your bird hits the LZ, find your POC, they’ll take you to the MWR tent then you can go to the DFAC,'” he jokes. “It’s like… what are you saying to me right now, man?”
Elwood is a Los Angeles-based comedian with appearances in comedy clubs across America, on college campuses, and even CBS’ Late Late Show. He’s also a veteran podcaster with shows like Comedy Film Nerds, and The Political Vigilante, and he’s a co-creator of the Los Angeles Podcast Festival.
None of that prepared him for performing for U.S. troops deployed in combat zones. His first documentary, Laffghanistan: Comedy Down Range, is about his first time volunteering to go do just that. It’s amazing how fast you can go from playing the Hollywood Improv to playing Bagram Air Base.
Elwood’s film documents his personal journey from the sunny beaches of Southern California to the sun-baked moonscape of Afghanistan, where the military’s Department of Morale, Welfare and Recreation enlisted him to entertain the troops. Elwood’s psychedelic travels through a war zone are simultaneously hilarious, harrowing, and heartbreaking. His journey becomes unpredictably personal, creating a documentary that no one expected, least of all Graham.
For someone who admits he’s pretty far removed from the Global War on Terror, it all came home to him when went around the small firebases of Afghanistan. It was his first time in helicopters, driving in unarmored vehicles on the ground in Afghanistan, and seeing minefields. It got real for him for him real fast.
“What was said to me and what I’ve said to other comedians,” he says. “Well don’t go over there if you don’t want to be changed. It will change you. You have no idea. This is no joke.”
Now that Elwood has done a number of these shows and tours around deployed military bases, he looks back at his first experience in this episode of Mandatory Fun.
Nothing could adequately prepare him for performing a comedy act in Afghanistan. All the dive bars and sh*t holes he played as a young comedian is the best thing he could do to prepare. He was still freaking out but couldn’t help but put himself in the shoes of young troops.
“I’m here for two weeks,” Elwood says, “and MY family is freaking out. Imagine them and their families and how much they’re freaking out.”
But they quickly realized that they need to be the comics. They were there for a reason: to give American troops fighting overseas a few laughs, a taste of a normal night, and a show to help ease their tension, even if it was only for a short time.
Mandatory Fun guest: Graham Elwood has been a stand-up comic for over 20 years working comedy clubs, colleges, TV shows, Holiday Inn Lounges, war zones, dive bars, and one time on the top of a double-decker tour bus in Chicago (not joking) . You’ve probably seen him on the TV as the host of the socially relevant game shows “Cram” (GSN) and “Strip Poker” (USA), along with making the world a better place by appearing on shows like “Best Bodies Ever” on VH1. Don’t forget the time when he told jokes on “The Late Late Show” (CBS). He has also starred in the theatrical plays Speed the Plow, Light Sensitive, and Cash Flow, and co-wrote the one act play Brothers. Learn more about Elwood:
In the fourth quarter of the 1963 Army-Navy game, Army’s “Rollie” Stichweh faked a handoff and ran in the endzone for Army’s final touchdown against Navy for that contest. The touchdown didn’t change the outcome of a 21-15 loss for Army. What was special about it was the broadcast for the viewers at home.
CBS play-by-play commentator Lindsey Nelson had to tell people watching that Army didn’t score twice – they were watching the future of sports television.
In the days before the Super Bowl was the game that brought America together for TV Sports’ biggest day, the game that brought everyone to their televisions was the Army-Navy Game. In December 1963, the Army-Navy Game was airing just days after the assassination of President Kennedy shocked Americans to the core. And CBS Director Tony Verna brought a 1,300-pound behemoth of a machine to use for his broadcast.
Millions were watching, and this monster was either going to make or break the young director’s career. Nelson was worried that the new technology might confuse people. So was Verna.
“There was the uncertainty about this game,” says Jack Ford, a correspondent for CBS News. “How is it gonna be played? How are fans going to react to this?”
In those days, replay technology still took up to 15 minutes to get ready, far too long to rehash an individual football play. Verna’s machine would be able to do it in 15 seconds when and if it worked. What happened during the game play was not as Verna had hoped. The machine mostly saw static, and when it did replay plays, there was a double exposure from what the crew had taped over, which was an old episode of I Love Lucy. As a result, Lucille Ball’s face could be seen on the field during the replays.
But when it came down to it, Verna’s machine did work, just in time to catch Army’s last touchdown of the game. It was the only time fans saw the instant replay during that game, but it was revolutionary. One of the Dallas Cowboys’ big executives, Tex Schramm, called Verna to congratulate him.
“He told me the significance of it, that I hadn’t confused anybody, which Lindsay and I were worried about, certainly me,” Verna told NPR later in life. “And he said, ‘You didn’t confuse anybody. It has great possibilities.’ “
Russia recently announced that it would begin drawing down its deployment to Syria. One of the first major assets to depart will be its lone aircraft carrier, the Admiral Kuznetsov, according to a report by Agence France Press.
The Russian government produced a slick tribute video that harkens back to the 1950s Soviet Union, where the same M-4 Bison bombers were flown past the reviewing stands of the 1955 Aviation Day parade several times to make it look like the Soviets had tons of planes.
The new Kuznetsov video showed crewmen standing watch – some on the carrier’s flight deck with an assault rifle, as well as Su-33 Flankers taking off from the ship.
The Admiral Kuznetsov in drydock — a place it should never leave.
That said, there is a whole lot of stuff this video has left out. Regular readers of this site are familiar with the Kuznetsov Follies, coverage of the many… shortcomings, this carrier displayed on the deployment.
The highlight of these follies — well, let just say the term lowlight might be more accurate — would be the splash landings Russian Navy fighters made. In November, a MiG-29K made a splash landing shortly after takeoff. The next month, a Su-33 Flanker made its own splash landing. The Flanker wasn’t to blame – an arresting cable on the craptastic carrier snapped.
The carrier has been known to have breakdowns, too, and as a result, deploys with tugboats. Other problems include a central heating system that doesn’t heat, a busted ventilation system, broken latrines, and a lot of mold and mildew.
So, with all that in mind, here is the Russian video:
Carl Reiner, the comedic presence that was know for various roles across many generations passed away yesterday at the age of 98 according to a statement from his son, Rob Reiner via Twitter.
Reiner’s career spanned decades from TV to the movies and gave us all millions of laughs along the way. But before his legendary Hollywood career, Reiner, like many from his great generation served our country during one of its darkest hours and put a smile on soldiers’ faces while doing it.
Reiner was born in the Bronx, New York, in 1922 to an immigrant Jewish family. In 1943, Reiner joined the Army Air Forces. He was originally slated to be a radio operator but contracted pneumonia and was sent to the hospital to recover for several months.
After recuperating, Reiner was sent to train as a French translator. While there at Georgetown, he got his first taste of directing. After learning French, the Army decided to send Carl to the next best logical place…Hawaii. There, he worked as a teletype operator. One day before he was to be shipped off on assignment, he saw a Special Services production of Hamlet. He managed to do a quick audition and was immediately transferred into Special Services himself. He spent the rest of the war touring the South Pacific while performing for GIs in places like Guam, Saipan and Iwo Jima. He was honorably discharged as a corporal in 1946.
Reiner later wrote about his time in the military, including his famous audition and how his buddies almost got court martialed for passing on a message that Japan surrendered three days early.
After his time in military service, Reiner started two enduring partnerships. He was cast to work with Sid Caesar in “Your Show of Shows.” While working with Caesar, he also met another World War II veteran who was a writer on the show. Mel Brooks and Reiner hit it off and began a partnership that culminated in the legendary routine, “The 2000 Year Old Man.” The routine made its way into five comedy albums, numerous TV show appearances and an animated series.
2000 Year Old Man Mel Brooks Carl Reiner Hollywood Palace 1966
Reiner also started working on a show based on his life. It was later turned into the massively popular Dick Van Dyke Show. He worked as a writer but also started cutting his teeth as a director. He worked on two incredible comedies, “Oh God” and “The Jerk” starring Steve Martin. Reiner directed and/or co-wrote three other Steve Martin films, helping him when his career took up in the late 70s.
The Jerk (7/10) Movie CLIP – He Hates These Cans! (1979) HD
(Photo Credit: Hollywood Reporter via Lou Pitt. Used with permission.)
Manager/producer and former Agent at ICM Lou Pitt shares about his life and experiences in the entertainment industry. His current clients include Oscar winning actor Christopher Plummer, New York Times best-selling authors Brad Meltzer, Lorenzo Carcaterra. Tilar Mazzeo, A.J. Hartley, Visual Effect Oscar winner John Bruno and Director Jason Ensler.
Former clients include Arnold Schwarzenegger, Gale Anne Hurd, Dudley Moore, Bruce Lee, Rod Serling, Nick Nolte, Blake Edwards, Howie Mandel, Paul W.S. Anderson and Jessica Lange.
WATM: Tell me about your family and your life growing up?
Pitt: I was born in Brooklyn, NY, where I spent the first six years, but my growing up years were in Miami Beach and Sarasota, Florida, until I moved to Los Angeles the summer of 1957. At 14, my single working mother wanted me to go to Kentucky Military Academy (KMI) which had its winter quarters in Venice, Florida, some 18 miles south of Sarasota. The Fall/Spring terms were in Lyndon, Kentucky, adjacent to Louisville. I spent all four years there. One of my roommates went on to West Point and retired as a Lt. Colonel after serving two tours in Vietnam. All the regimentation was on preparing teens for the military with a full ROTC program recognized by the Army with dedicated instruction by active military officers. Upon my initial arrival at KMI as a freshman, I found that my best friend from Sarasota, Jay Lundstrom had also committed to going there. We had become great friends and played Little League and Pony League together. In fact, it was really because of him that got me on my first team after badgering one of the coaches that I should be selected. Nobody should be left out, he reasoned. A classy gesture from a 9-year-old that became a life lesson about friendship in its purest form. We roomed together for most of the 4 years we were there and have remained good friends to this day. When I was chosen to be Captain of the KMI baseball team in my senior year, I said, “not without Jay.” We served as co-captains of the team.
Lou (left) with his buddy Jay (right) on the KMI baseball team where they were both co-captains.
WATM: Were you involved in any sports?
Pitt: I loved baseball and played shortstop. I continued playing throughout my years at KMI and beyond. My mother and I moved to California at the end of my junior year and returned to KY for my senior year in ’58. My dream was to play professional baseball where I was invited for a tryout with the Dodgers during the Christmas period 1957. It apparently went well with follow ups meant to happen following graduation. However, the rubber met road once in college following a pre-season workout with the start of season, a week away. The truth was, I came to the realization that I didn’t want to live out of a suitcase in pursuit of a dream. Went cold turkey and never picked up a baseball again until I played in a few Hollywood Stars games at Dodger Stadium thanks to my friend Jack Gilardi. I wanted to stay rooted in one place which had been absent most of my life. It was a decision I never looked back on or regretted. I went to Cal State Northridge and graduated in 1962 with a degree in theatre and a minor in English.
Fun fact: Famous actors Jim Bacchus (Gilligan’s Island, Mr. Magoo, Rebel Without a Cause), Fred Willard (Best in Show, Modern Family, Spinal Tap), and Vic Mature (Kiss of Death, The Robe, My Darling Clementine) attended and/or graduated from KMI as well.
Lou as a senior cadet at KMI in 1958.
WATM: Did you serve in the military?
Pitt: Yes, I was actually drafted into the Army but was fortunate to find a Reserve unit in Van Nuys in the nick of time. I was against the war and fortunate this option materialized given the dramatic escalation of the war. I did my Army Basic at Fort Ord and MOS school at Fort Gordon, GA. My MOS was a Military Policeman (MP).
While at Fort Gordon, a high security post at the time, I auditioned for a play that was being done on the base. I figured this would keep me out of trouble and away from the “lifers” (career EM’s and Officers). The play was “Look Homeward, Angel” and starred Army personnel and people from off-base. It was a great escape and I made a lot of friends from the local town along the way. One of them turned out to be Lt. Col. David Warfield who, as it turned out, was not one of the city folk, but the Adjutant General of Fort Gordon, the second man in charge of the base.
At the time, I didn’t know who he was as we were in “civvies” during rehearsals. He said if I ever needed anything, to let him know and gave me his card. Covered! The night of the first tech rehearsal, our barracks was subjected to a surprise inspection for drugs and each soldier was required to be sequestered by their bunks for however long it took. I knew I’d never make it to the theatre. Unexpectedly, he showed up at my barracks looking for me. His big black car rolled up outside of our building and heard determined footsteps that got louder and louder with each step. I was called out to the front of the barracks and he opened the car door himself. I had never seen a car that big in my whole life. The Col. said, ‘We can’t be doing this all the time, but hop in. I assume you’re not hiding drugs.’. I thought I was living in a Neil Simon play and it wasn’t going to end well after the final curtain.
Lou on stage in his role as Ben Gant in the stage production of “Look Homeward, Angel”
A newspaper clipping from the play “Look Homeward, Angel”. Lou is at the top.
WATM: How did you get involved in the entertainment industry?
Pitt: With an introduction by a friend’s dad, I secured my first job at Creative Management Agency (CMA) mailroom in 1964 predecessor of ICM Partners. At the time, it was the “Tiffany” of agencies with no more than 60 clients at the time and all of them big stars. The size of the mailroom was the average size of a closet. I was in the mailroom for about six months and then went to train on the desk of Alan Ladd Jr (Producer/Studio Executive; Star Wars, Blade Runner and Braveheart). Alan was my mentor along with Marty Elfand (Agent/Producer; Dog Day Afternoon, An Officer and a Gentleman).
While the agency was primarily motion picture focused, they sold variety shows and packaged Gilligan’s Island which made more for the agency than any star they represented. In the mid to late 60’s, I went to the Arthur Kennard Agency who represented TV stars (Raymond Burr-Perry Mason) and many stars of horror films like Boris Karloff, Bela Lugosi, Vincent Price, Lon Chaney, Christopher Lee, and Richard Kiley who was starring on Broadway in “Man of La Mancha.” It was there, I signed Bruce Lee who was in the series, Green Hornet. At nights, he taught classes in martial arts. Bruce introduced me to Kung Fu. Among his clients were Steve McQueen, James Coburn, Mike Ovitz (CAA), Marvin Josephson (CEO International Famous Agency) and Tom Tannenbaum (Universal TV Studio Executive;) and many other Hollywood luminaries.
Bruce charged a minimum of 0 an hour, which was a lot of money in those days. The Silent Flute (later produced in 1978 as the Circle of Iron) was a script that Bruce wanted desperately to put together but couldn’t get anybody in Hollywood to take an interest. Coburn did his best to bring it to life in LA. We were together for about two or three years when Bruce said, “I will never be a star here, and the only way I will get this made is in Hong Kong.” Off he went. The rest is history as they say. Bruce died before making the film where the produced 1978 version starred David Carradine. In 1971, I went to work at IFA who, in 1975 merged with CMA to become ICM and remained there until 1998.
A picture of a friend, James Coburn, Chuck Norris, and Bruce Lee.
WATM: What values have you carried over from the Army and military school into Hollywood?
Pitt: KMI’s motto was, “Character makes the man.” That to me, defined the traits which mattered most to me in life. Responsibility, honesty, discipline and keeping one’s word. Promises made and promises kept. The centerpiece at KMI was always about the team effort and found it so applicable in a business so dependent on others for success.
Graduation Day 1958 from KMI.
WATM: What are some of your favorite memories with your clients both past or present?
Pitt: Meeting Princess Diana a few years after she married Prince Charles, that came about when I represented Dudley Moore. He did a film in 1985, “Santa Clause, the Movie,” that had a Royal Premiere during the Christmas holidays in London. Dudley’s girlfriend, my wife Berta and I met the Royal Family before the screen presentation. The filmmakers were positioned in a circle for the prince and princess’ arrival. When introduced, they walked inside the circle and greeted everyone individually moving from one to the other. Princess Diana spent a lot of time with each person and was interested in chatting about the movie. She asked a lot of questions and was truly engaged. In truth, Princess Diana weakened my knees. She was extraordinary, as anyone who ever met her could attest. I remember she was still in conversation with the first person while Prince Charles was pretty much done with the group…while encouraging her to “move it along.”
The other that comes to mind was the July 4 holiday opening weekend of “Terminator 2.” At the time, it earned a box office record million over the five day holiday. Having put all the pieces of the film together that included the rights, which were overly complicated as they were jointly held by Gale and Hemdale (who needed to be bought out if it was to ever work), the financing (Carolco) with three high-profile stars; Arnold, Gale Anne Hurd and James Cameron, each with their own schedules that needed to marry organically. It took four and a half years to put that film together and its success was a career game changer for everyone involved.
Lou with Arnold in Budapest, Hungary.
WATM: What was/is it like to represent Rod Serling, Gale Anne Hurd, Bruce Lee, Christopher Plummer, Gena Rowlands and Arnold Schwarzenegger?
Pitt: Rod was my first writer client and I was working with him during the latter part of his career. It was after the Twilight Zone and the Night Gallery series. Rod was a straight-forward, clear headed thinker and smoked a lot. He was a great storyteller with a distinctive voice and an incredible mind. Someone you could listen to for hours. Rod was a WWII veteran as well. He walked the walk.
Bruce was intense and serious but couldn’t have been more grounded at the same time. But mostly, self- assured about his career and looking to break new ground. I can still see Bruce’s smile. His frustration was that he couldn’t get the buyers in Hollywood to take the martial arts action genre seriously enough. By the late 70s it was obvious Bruce was ahead of his time and the martial art films exploded. I never doubted Bruce’s eventual success because he was so centered and full of confidence, talented and focused. It was not a question of if, it was a question of when and how. I really liked him and can tell you he was not that character portrayed in Quentin Tarantino’s movie.
Christopher is simply a very classy man grounded in empathy…especially among other actors regardless of their profile and standing in the business. A man of mischief when it’s playtime but utter discipline when it’s time to prepare and go to work…in fact, obsessively so in a good way. He literally and figuratively never walks in front of you, always behind whether on the red carpet or to a restaurant. “What can I get you” precedes “Hello.” Maybe the greatest storyteller I’ve ever met. He is dedicated to his work and truly loves his profession. Chris inhales the work and the most prepared person I’ve ever met. He has old fashioned manners in a good way. Prefers writing letters then sending emails. Behavior matters and thoughtfulness matters. He’s the first to the set and the first to be “off the book”. We’ve worked together for 45 years and he is a truly special friend.
Love Gale! Her first agent. Smart and I always felt like a partner in “how do we make this work”. She has such a strength, determination and intelligence about her that’s inspiring. She was like a teammate and that we were on an adventure together. There was great trust between us and an unusual giver of herself for others. She’s a “get it done” person that was always open to ideas. A wonderful inner sensitivity that was never far below the surface. We created a “no frills” concept for film budgets that were below a certain level in addition to films she made with or without Jim as a way to introduce new talent or stories that needed special handling.
Arnold is simply one of a kind. 24/7 was not just a descriptive phrase, it was a lifestyle. He defined the word, “commitment” and made a believer that anything is possible. The challenges were exciting because he broke ground that was transformative that defined a movie culture for the 80’s and 90’s. He defied gravity.
Gena Rowlands –What an extraordinary, graceful person she is. Never one to “work the room”, read the trades or lay judgement on anyone’s work in idle chatting. In the 45 years together, she never asked me what she was up for or when she was going to work. She figured if I had something to say, I’d let her know. As warm on screen as she was in her living room. Legendary and an elegant person that’s simply comfortable to just be around whether on a set or in the kitchen. Her career with John was a family centric of gifted actors that spilled into a comfort zone for others that followed. She and John rolled the dice on how to make movies that didn’t have any rules. She just makes you feel you want to kick off your shoes and just chat about stuff.
Lou, Berta, Dudley Moore, Brogan Lane, Peter Sarah Bellwood in Bora, Bora
WATM: What was it like working your way up in the industry in the 60s and 70s?
Pitt: The 60s broke the ground for what the system is today. No longer exclusive contract players, writers, directors, make-up, casting, etc. that could be controlled, and contracted out to other studios or disciplined for whatever infraction the studio bosses captiously inflicted on their talent. The emergence of stars making films away from the studio system and putting together the films they wanted to make as Producers. The emergence of Kirk Douglas, Burt Lancaster, Gregory Peck and others opened the door to an independent way of thinking, putting movies together and taking them to studios became the new norm…a new freedom with new rules to play by.
Mr. Plummer as Kaiser Wilhelm – “The Exception” which Lou produced.
WATM: What are words that you live by?
Pitt: “There are no bad meetings”
Character Makes The Man
Respect for all no matter the rank or position
Mark Twain’s quote about, “If you tell the truth, you never have to remember what you said.”
I remember when I was learning to type, there was a sentence designed for a speed test that stuck with me. “Do all that you can do as quickly and as quietly as when you were told to do it.” For me it was about “get it done” and don’t waste a lot of time getting there. Keep your eye on the ball.
WATM: What are you most proud of in life and your career?
Pitt: I have a remarkable family who’ve been loving, emotionally supportive and inclusive. I’m immensely proud to work in a business that I really love. To have worked with so many extraordinary gifted clients and colleagues who challenged the world every day with their ideas, their talent and trust, has been inspiring and exhilarating. Everyone has been a gift to me.
The second season of The Mandalorian brought much content out of the Star Wars franchise Legends and into the new Canon. From Boba Fett’s return to the Krait Dragon, season 2 was a Star Wars fan’s dream come true. Included in the revival of Star Wars past were the Empire’s deadly dark troopers. More than just a commentary on the color of their armor, dark troopers were among the most feared of the Empire’s tools of war. While a garrison of them seemed more than a match for Mando and his allies (but not a Skywalker in a hallway), there’s an aspect of dark troopers that was touched on that made them darker than you may think.
The Clone Wars that led to the rise of the Empire saw the Grand Army of the Republic’s clone troopers pitted against the Confederacy of Independent Systems’ droid army. Whereas the droids could be more easily mass-produced and overwhelm their enemy with superior numbers, the clones were more creative and genetically-based on the legendary bounty hunter Jango Fett. However, the clones had to be modified with an age accelerator that doubled their growth rate in order to meet the manning needs of the GAR. As a result, clones reached the end of their combat life more quickly than a regular person. Anyone in the military will tell you that time in the service already adds additional years of wear and tear on the body. For the clones, three years of constant and intense combat on top of their age acceleration took a heavy toll.
When the Empire rose from the ashes of the Republic, the fate of the ageing clone troopers came into question. The vulnerability of a genetically-pure army was made apparent during the Clone Wars and the Empire needed to cut spending across the military to fund the Death Star. Rather than continue to clone and raise their army from birth, the Empire returned to more traditional recruitment and training to fill the ranks. However, these new recruits could hardly match the lethality and professionalism of the clones that came before them. “Since the Empire has redirected the clone trooper program to other pursuits and stepped up recruiting inferior humans from the Outer Rim, the operational effectiveness of this army has declined significantly,” noted Clone Commander Cody. Cody was a Clone War veteran and one of the best-trained clones that the Republic had produced. His years of experience made him, and other clones like him, a valuable asset to train the new recruits. However, there was one other program that could make use of the clones’ combat experiences.
While the bodies of the clone veterans were deteriorating past their combat usefulness, their minds were full of tactical, operational, and strategic knowledge that could still be useful to the Empire. This idea led to the creation of the Dark Trooper Program. Using much of the same cyborg technology used to transform Darth Vader into a cyborg after his duel with Obi-Wan Kenobi on Mustafar, the Empire began transforming clone troopers into cyborg dark troopers. The process involved integrating the trooper’s brain and nervous system with a mechanical exoskeleton that could perform even better than a clone in his prime. With over 70% of their bodies replaced with enhanced cybernetics, the clones were able to return to combat deadlier deadlier than ever. Equipped with more heavy weaponry than a regular human could carry, the dark troopers were also fitted with jump packs that allowed them to transit the battlefield quickly. Like Vader, the clones were more machine than man; their bodies discarded and their minds now sealed in durasteel.
In the finale of The Mandalorian Season 2, the evolution of the dark troopers is revealed. When Mando asks how many troopers are armed in the dark trooper suits aboard Moff Gidedon’s cruiser, he gets an answer that he doesn’t like. “These are third-generation design. They are no longer suits,” Doctor Pershing explained. “The human inside was the final weakness to be solved. They’re droids.” Though the fate of the cyborg dark troopers is not revealed, it’s unlikely that the Empire gave them a severance package and a gold watch so that they could retire peacefully on Naboo. Despite their loyal service to the Republic as clone troopers and their sacrifice to continue serving the Empire as cyborg dark troopers, it’s likely that they were attritted out of service or simply discarded like other obsolete military equipment. Whatever the case, the gruesome fate of the clones who were turned into dark troopers is yet another tragic story from the galaxy far, far away.
“Captain Marvel” is the latest Marvel Cinematic Universe movie to hit a huge box-office milestone.
The movie just reached $1 billion at the worldwide box office, joining six other MCU movies. “Avengers: Infinity War” even made $2 billion, and is one of only four movies to ever do so.
“Captain Marvel” fought off online trolls, which launched a campaign to tank its Rotten Tomatoes audience score, to become a global phenomenon. The next MCU movie, “Avengers: Endgame,” will likely join this club and shatter box-office records. Among them, it’s projected to open with the biggest debut weekend of all time, beating “Infinity War.”
Below are the seven MCU movies to hit $1 billion, ranked by how much they made globally, according to Box Office Mojo (unadjusted for inflation):