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"Hollywood rabble rouser"

Late one night in the summer of 2008, I found what turned out to be a stockbroker’s iPhone in the back of a NYC taxi. Turning it on in order to contact the owner, I noticed that amongst the stock watch apps and currency converters was an icon of Gordon Gekko, the corrupt market raider immortalized by Michael Douglas in Wall Street, Oliver Stone’s 1987 tale of insider trading and corporate excess. Intrigued, I hit Gekko’s pixilated face (it felt good) and a website flashed up with an entire transcription of his infamous “Greed is good” speech — one of Hollywood’s most iconic parables to the pursuit of unrestrained greed. Whoever owned the phone found those words as important as checking Facebook or texting his girlfriend. Gekko was his hero, his daily inspiration.

Watching back Wall Street a few weeks later as news of the Lehman Brothers collapse and global recession spread, it struck me that a whole generation of financiers must have grown up, like Charlie Sheen’s character Bud Fox, yearning to be Gekko. He was the business equivalent of a rapper wanting to become Tony Montana, another Stone creation. And some of these brokers, as we’ve all since discovered, were willing to trade money that didn’t exist in pursuit of pin stripe suits, corner offices, penthouses, boats, women, and stacks of cash. Perhaps the perks made the 22-year prison stretch Gekko received at the end of the film seem like a viable risk. Or they deliberately chose to ignore his downfall.

Inspired by financial fiends like Bernie Madoff, Stone decided to spring Gekko out of prison for Wall Street 2: Money Never Sleeps. Set in 2008, he is a reformed character that tries, and fails, to warn business leaders of the impending credit crunch. Many fans are understandably nervous about Douglas reprising his Oscar winning role, especially since his hair gel and brick phone have long been put into storage. Stone, who only agreed to direct the film because he felt that current financial climate lent itself to a sequel, understandably feels that it’s time for bankers to grow up. As the director of Natural Born Killers, JFK and Platoon he’s used to Marmite reactions. But, after giving Dubya an easy ride in W, will Gordon 2.0 be one step too far? Is the world ready for goody Gekko two shoes? Or will traders across Wall Street be deleting their “Greed is good” iPhone bookmarks forever? As they say on the stock market floor, let the bull charge.

Tim Noakes: When you were 18 your father got you to work on a financial exchange in France. Was that your inspiration for Wall Street?

Oliver Stone: No, it was a great summer job actually, because it was very exotic. My father was always into the stock market, into numbers. He loved that world in New York and I grew up on the fringes of it but I wasn’t particularly attuned to it. So it was a chance to see it first hand but I didn’t do very well as a trader. In those days you’d run from the phone booth in the back to the floor. It was cocoa and sugar. It was violent and busy. They used to elbow each other to get into the inner circle, like matadors. It was a real crush. I elbowed my way through it and got up to be assistant buyer, which was very complicated because you had to make the orders for everything right. You couldn’t screw up. A lot of money’s involved. So then I thought I should be one of the cocoa buyers. I was a little too ambitious for my own good.

Your father died before you made Wall Street. What do you think he would have made of it?

I think he would have appreciated that I had done a business movie. We always talked about it. He loved movies and he took me to them. We discussed them afterwards, which was an invaluable experience, and he would say that there weren’t many business movies. And there weren’t. There was not a specific genre. Hollywood was not into the business movie concept. It’s hard. I can understand why. It’s all financial talk, it’s not interesting to most people and it lacks those human emotions. Money is an interesting subject, however, for America. That’s why I addressed it in 1987. I thought, ‘Americans love money’, and what lengths they will go to get it is what that movie is about. Especially coming off Platoon, which is a different kind of movie. I was trying to prove that I could do something domestic with ‘Wall Street’.

The original was very much of its era.

It was the era of “Greed is good” and Reagan. With Wall Street 2, I’m obviously more mature, I’ve done more films, I have more confidence, I hope. I’m trying something a little bit deeper in the relationship field. There’s no Darryl Hannah in the movie. There’s a real English girl this time (Carey Mulligan). She anchors strongly the emotions of the film, because she is damaged. She’s the daughter of Gordon Gekko, if you can imagine what that can be like.

Michael Douglas once said that your style of directing is like taking people into the trenches. What did he mean by that?

He makes it sound like I dress him up in uniform and have a military hierarchy. Every single actor that I’ve worked with, and there’s obviously dozens now, you’d have to talk to every single one of them to get their perception. I would say some would disagree. Maybe Michael, because he hasn’t been in the military, would regard it as a military experience. I didn’t think of it that way. I think of a movie as an organisation that has to work at a very fluid pace involving a large amount of people who have to move quickly over a landscape. Call that what you will. It could be an adventure party or a military organisation. It’s really a satellite business. You form, you group, you rehearse, you shoot, you separate. It’s very nomadic. In that chemistry you bring together so many conflicting types of people who have different kinds of egos. It’s quite a mix. At the end of the day, if you look back at the — what is it? 19, 20 films — that I’ve directed, it’s just a mix of styles. Sometimes it really works with people. It clicks. I think Michael did great work on both films, so I’m very pleased with his result. My style might not have been good for him, but it works for other people. Some people, like Shia LaBeouf and Josh Brolin, were digging it. They loved the way I worked because it was intense and to the point and relatively fast.

Do you see yourself as a hard taskmaster or a disciplinarian?

No, I’m not a disciplinarian. I’m disciplined with myself and I think I try to lead by example not by imposition of my will. I try to lead by example. That’s just to say that people know that I’m trying to get this thing done. My approach is that we’re all in this together. The idea is king. We all serve that king. It is not a democracy, it is a constitutional monarchy, so to speak, with strong legislative power in the House of Lords. No, but the idea is king. I repeat that. Not the director. The idea. I serve the idea.

How do you balance the logistics with trying to create a piece of art?

Oh boy, if I didn’t tell you I wasn’t humbled so many times, you would not believe it. It’s a very humbling experience to make a movie, because you’re at the mercy of the elements. Of the winds and the weather as well as conditions that can go wrong — disease, sickness, bad tempers. All sorts of stuff can happen. Given that nature, to pull off a movie is extremely difficult. The editing room is another humiliation. All your mistakes are thrown back in your face. No matter how many good choices you make, and making a movie involves thousands of choices, you’re constantly having to question yourself again. I find it a very difficult position. I don’t think I enjoy it. I think I’m more experienced at it but I don’t think I completely enjoy it. I think sometimes it’s so painful you want to scream bloody murder and run somewhere.

What’s the cut-off point? How do you stop?

How do you stop? A famous director once said that every film is abandoned, never finished.

So you just let it go?

Some people won’t but I do let it go. I’m not looking for perfection. I don’t believe in it. I believe that a film is many things to many people and it changes over time. I think you have to feel good about it and about what you did. It hangs together and it’s going to be a story that can move an audience. It’s so difficult to pull off quickly. It takes time.

The world’s moved on since Wall Street. Were you apprehensive about creating a sequel to such a well-loved film?

Apprehensions? No. I’d have had more apprehensions if I’d had to do it in 1990, I think. Twenty-three years is a long time to call it a sequel. I think of it more as a bookend.

Don’t you think that’s laying you open for even more criticism? Look at what George Lucas did with Star Wars..

We’re not going back into that period. The beauty of this thing is that there’s a new period upon us, which is quite different, technically. It’s a different kind of Wall Street. The landscape has changed. It’s no longer 1987. It’s really a computer game now. The money has accelerated at a square root that is beyond belief from millions to billions. Hedge funds invest 30–40 billion dollars. Even to have one billion dollars is an enormous amount of money. When you hear these guys say, “Oh, it’s just a billion dollar hedge fund” it’s unbelievable arrogance. The heights are dizzying, and the losses are dizzying. It’s just unbelievable what happened. By all accounts it was a near-fatal heart-attack.

Were you planning on revisiting Wall Street is the crisis hadn’t happened?

No, that was the catalyst for it. It wasn’t the only reason. It was a wonderful idea for a script, that Gekko would be a different type of person. That he would start from the outside. He didn’t have power or connections anymore. Time had passed. He was dated.

Is Michael Douglas in danger of becoming a pastiche of what made Gordon Gekko good?

I feared that. That’s why we approached it in a wholly different way. Michael is playing it twenty-two years older, he’s coming out of prison. Michael has changed in that interim. He was a charming rogue, certainly, in the Eighties. You saw a lot of that in his subsequent performances. You saw a lot of Gekko in later films, so I think it was smart to move away from that pastiche, as you call it, because it would have been boring after a while. There are flashes of the old Gekko, which I love, but it’s not like the charming reptile, so to speak. It’s a different man now. I’m not saying that he’s a wholly reformed figure looking for a martyrhood, but what’s interesting about him is what he’s going to do, and how he’s going to play the game to get back. He has suffered extensively in prison, his family has fallen apart, his oldest son has committed suicide. It’s very tough on him.

How did you persuade Michael to get back on board?

Frankly, I didn’t convince anybody. I passed on the script in 2006. It wasn’t important for me to make it. I felt, what was the need to make this movie if it was going to glorify the pigs on Wall Street? They were really making money and it was ugly. There was a spate of books too like The Wolf of Wall Street, which was a big hit and they are going to make a movie out of that. There was kind of a surfeit and there was sickliness to it all. I got turned off by it. I passed, and I moved on with my life, and I did W and World Trade Centre and stuff like that. Then there was this crash and the crash changed the equation I think, I hope.

Do you think the original message of Wall Street failed because young traders ended up idolising Gordon Gekko?

That’s a very good question. Frankly, I wondered at times. The original Wall Street came about because of my experiences on Scarface. I was living in New York and I was hanging out with the dealers and the mob. That whole scene in Miami was a very shocking thing in 1982–3. Wall Street, was like Scarface north. I was suddenly seeing people my age, in their twenties, making millions of dollars, so easily, so quickly. Moving inordinate amounts of money. Also, snorting and drinking. The partying scene had really kicked in big time in the 80s. It was all new to me, so that’s how that was born. Then it went to excess. But I was very clear that Gekko was the antagonist in the movie, but as you say a lot of young people caught on to him. I do think, and perhaps I’m retrograde, that although he was not feted at the time the anchor of the movie is Charlie Sheen.

But no-one wanted to be Bud Fox.

Well that’s the movies. They want to be heroes. They want to make money. I did meet a lot of people in their 40s that said, “When I saw your movie I was studying this-or-that at this-or-that school, I was going to do history or medicine or law but then I saw the movie and I moved to Wall Street for that reason.” The the kicker was that some of them were multi-millionaires, one of them was a billionaire, and they had moved to Wall Street because of the movie. I said, “Oh boy, I wish I had a royalty on that.” These guys are really rich.

I find that quite worrying.

I gave birth to some rich people. But some of them did good. Some of them created something. That was the whole point of the original. Not to shit on Wall Street but to basically say, ‘Look, this is an engine of capitalism’. This can work. My father always felt that Wall Street was a good thing. It creates companies, it finances new companies, creates research and development, and it does. It still does, by the way, it’s not forgotten but it’s been buried in the greater picture of making bigger profits and more greed, but it’s still there. Wall Street is a good thing. It was a good thing and it can be a good thing.

Throughout your career critics have said you shouldn’t glamourise the people you put on the big screen. Do you like to provoke that reaction?

No, I like to make bigger-than-life characters but ‘World Trade Centre’ is about two very ordinary men who were real heroes. On Bush I guess you could say I supped with the devil and brought out all the reasons I thought why people voted for the guy. There is this fundamental thing which Americans like in him, and I was trying to root that out and how he became President.

You were criticised for making Bush too likeable.

You can fault that, but he was re-elected. I didn’t like him. I was very clear — I empathised. Empathy means I walked in his shoes, or tried to. As opposed to sympathised. I don’t agree with anything he said. Anything. I think he was a disaster. It was a nightmare eight years.

Do you think you were too soft?

No. I wish I’d done it a year earlier and it would have been more timely. He was out of favour when it came out, because of the economy, but frankly the movie was about the national security state which concerned me more.

Why are you drawn to these anti-heroes?

They don’t do me any good. Nixon, too.

I see a lot of similarities between Tony Montana and Gordon Gekko. In Scarface, Tony says “You need people like me to point the finger at and say, ‘That’s the bad guy’”. Do you think film critics see you in that light?

I think you’re right. I think film critics have me as a punch ball. It’s an easy target, I guess. I’ve been misidentified with the characters, but I think over time you see that there’s a whole assortment of different characters. But I agree, I think that’s true and I think that’s hurt me. It’s hurt my career as well as some of the political statements I’ve made and positions I’ve taken in documentaries I’ve made. They’ve hurt me too and they’ve given me a profile that’s not necessarily me, it’s just a profile. Absolutely.

There’s been huge furor recently that you’re reported to be attempting to humanise Hitler, Stalin and Mao Zedong.

I think it’s out of context. I did use the word ‘scapegoat’ and I think that was an unfortunate word, but frankly it’s a very interesting history that we’re putting together. We’re using the facts that we have, that are known but have been forgotten. There’s no question that Hitler had a big hand up the ladder. He didn’t come out of nowhere. He is a Frankenstein, he is a monster and I have no sympathy for him, but he was created by a Dr Frankenstein. That Dr Frankenstein is a very interesting mixture and you have to study cause and effect to understand history, otherwise you don’t learn anything from it. It’s my fault because I’m interested in the world, and I’m willing to go out there. I’m not trying to provoke, I’m trying to look for the truth. I’m trying to shine a light. For Christ’s sake, I feel like we’ve become so politically correct that you can’t do shit anymore. You’re not supposed to turn around.

Do you feel like you sometimes exploit sensitive subjects too much? More than some people can take?

Well, that’s why I like the English. They’re much more out there and they’re willing to explore subjects that the Americans are not. Having been to war, having seen the devastation America visited onto Vietnam, I cannot just be another typical American and live in isolation. My taxes are going as we speak to blowing up people in Afghanistan. I don’t feel good about that.

Back to Wall Street. Gekko says “Every dream has its price”, what’s the biggest price you’ve paid to get to where you are?

I’d have to talk to my psychotherapist, who I haven’t seen in ages. I suppose the price is that you do have long absences from home and normal quotidian values, at times. Your children grow up and you have to readapt to the fact that you haven’t been the attentive father. That’s a big issue, but I have been as attentive as I can be in taking care of them. Still, there’s gaps there. Divorces have happened. Those things.

I see Wall Street as epitomising the ruthlessness of the Eighties. During that era did you find yourself being a slave to the success that you had earned?

Yeah, I suppose everybody can become a mental slave to the need to produce. Remember, I was on a roll in the sense that I had to get financing for very complicated movies. I felt like I had a mission. To get JFK made in that era was very tough, still. You need heat. To make that movie after The Doors you need to keep rolling. In a sense I worked very fast, and hard, but I knew that I could get things done. Nixon was sort of the end of the line. I was making movies all those years. Platoon was impossible to get made. So was Salvador. Every single fucking one. ‘The Doors’. They were always problems. There were always tremendous issues. You asked what the price is? The price was to keep going fast, before they change their mind. The idea was ‘Wrap it up, get another one done’. These are tough subject matters. With ‘Nixon’ I’d done eleven or ten, I was exhausted. Frankly, I needed to take a break.

What kept you moving on? Obviously the pressures that you’re talking about manifested in different ways. You had your drug problems earlier on, but how did it manifest when the financing started to crumble down? Did you resort to those kind of vices?

I think there’s other factors. There was a lot of living. A lot of pain. Children. Divorces. This and that. But I think I have been very successful. I got movies made that wouldn’t have been done in the normal radar. They were not on the scope.

In Wall Street 2 Shia LeBeouf says, “No matter how much money you make, you’ll never be rich”. With all your success, do you empathise with that sentiment?

Of course I do. I don’t think money is the solution to happiness. Life is complicated, but certainly money can have the opposite effect. It can make you unsatisfied with life, and make life harder for you. There are two effects of it. One is that it leaves you unsatisfied, you always want more, as we see from these billionaires. Two, it leaves you falsely content and over-satisfied.

And you’re not either?

I don’t feel that way, no. I feel like I’m one trade away from disaster.

The new film is called Wall Street 2: Money Never Sleeps. What gets you off to sleep?

What gets me off to sleep? Sonata. Medication. I’m just joking. The best solution for sleep is having lived a full day and tried hard to live life fully. That makes you feel the reward of sleep.

-Tim Noakes, "The Hollywood rabble rouser sets his sights on a new generation of Wall Street wolves," Medium, Mar 3 2010 [x]

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