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Wall Street

WeWork: Fake it Until You Make it

April 2, 2021 by Steve Norton Leave a Comment

Everybody wants to believe in unicorns. 

These fabled creatures are majestic to see on paper. With every image, they inspire dreams and hopes of the Fantastic. But, no matter how hard you look, it’s clear to see that they never existed in the first place.

Based on this description, unicorns also exist in the business world—although the end result is the same. Directed by Jed Rothstein, WeWork: or the Making and Breaking of a $47 Billion Unicorn follows the unbelievable rise and fall of one of the largest corporate flameouts in recent memory. Led by their magnetic hippie leader Adam Neumann, WeWork began with a simple vision: to give young businesses a place where they could work together and support one another as they launch. Growing at an explosive rate, their community-centric ideal sent waves through Wall Street, amassing global interest. However, if something looks too good to be true, it probably is and, eventually, dreams must face the hard truth of reality.

Compelling from start to finish, WeWork is an amazing cautionary tale that speaks to the power of vision but the toxicity of arrogance. In WeWork, Rothstein has a fascinating subject that highlights the unique state of the business world. Coming at a time where YouTube millionaires have become commonplace, Neumann’s story almost sounds familiar. Loaded with a dream of creating space to support small businesses, this young man and his team built a business that seems worth admiring. (Does it get any more mythic than the tale of a dreamer empowering other dreamers?) However, at the same time, it quickly becomes clear that WeWork is not going ToWork financially, until ‘creative bookkeeping’ keeps them in the game. Filled with interviews from those who participated in (and bought into) Neumann’s ideal world, Rothstein does an excellent job of presenting a well-rounded portrait of WeWork’s culture from the inside. While never endorsing Neumann, neither does he fully demonize him either, allowing the viewer to decide the true value of his vision.

With this in mind, the most polarizing aspect of WeWork is Neumann himself. Part guru, part Zuckerberg, there’s a lot to admire about the young dreamer. His charisma and charm are infectious, especially at WeWork’s initial launch. However,WeWork also recognizes that these attributes, while attractive to follow, do not necessarily make a quality leader. With a mantra and expectations dependant on employees buying into their corporate culture, Neumann’s personality seems to border on cult leader at times. Preaching the benefits of community and, at times, world domination, he speaks as a spiritual guru and works (seemingly) with little accountability. (As one person says, ‘If you tell a 30-something male that he’s Jesus Christ, he’s inclined to believe you.’) Then, as things begin to spiral out of control, Neumann’s commitment to the vision makes him both sympathetic and terrifying as he attempts to scramble to preserve what’s left of his dream. 

What’s amazing is that WeWork’s premise that start-ups could work together in an open space actually appears to have merit. Neumann’s vision to bring people together to achieve their dreams is a surprisingly powerful model for businesses moving forward, especially for young Millennials who truly believe that they can change the world. (What’s more, the fact that this took place immediately before a global pandemic is not lost on WeWork, as former employees yearn for the type of community that was pitched to them when they first hopped on board.) Led by a simple vision, WeWork gave young people the opportunity to work in a Facebook or Google-esque environment while still creating their own vision. This was an environment where people could feel supported by one another as they attempt to carve out their niche together… and it was working. While there will be some that question their expansion into the world of housing and education, there is much to be said about the value of their intent. To Neumann and his wife, the true value of WeWork as a company began not out of financial value but in its (supposedly) spiritual emphasis on connectivity.

The one thing lacking from this film is the voice of the enigmatic creator, himself. Though its completely understandable why he would not want to participate, one wishes that Neumann would have agreed to appear in the doc so that we could hear his perspective. His belief that the workplace—and the world—could be transformed by collaborating and celebrating the achievements of others is a noble goal and seems achieveable. To change the face of Wall Street while doing it though truly does seem too good to be true.

Most unicorns do.

WeWork is available on Hulu on Friday, April 2nd, 2021.

Filed Under: Featured, Film, Hulu, Reviews Tagged With: Adam Neumann, hulu, Jed Rothstein, unicorns, Wall Street, WeWork

Boarding BELKO: An Interview with John C. McGinley

March 16, 2017 by Steve Norton 1 Comment


Written by James Gunn (Guardians of the Galaxy) and directed by Greg McLean (Wolf Creek), The Belko Experiment tells the story of eighty Americans working in a company in Bogota, Colombia.  When an unknown voice comes over the company intercom system, they hear an announcement that they must kill thirty co-workers or be killed themselves.  Trapped within the confines of the building, the entire staff find themselves in the midst of the cruelest of circumstances and must decide how they’re going to survive.

One of these trapped employees is Wendell Dukes (John C. McGinley), a socially awkward top executive who becomes aide de camp to Belko’s villainous COO.  A veteran of stage and screen, McGinley’s career spans more than four decades and features an incredible variety of projects ranging from dramas (Platoon, Wall Street) to action (The Rock, Point Break) to comedies (Office Space, Scrubs).  When asked what would draw him to a project like this, McGinley admits that, for any film to be attractive, it begins with the quality of the writing.

“First, it’s the script… if it’s not on the page, I’m out,” he remarks.  “You get in the room with these people and they try to convince you of all of the things they’re going to do on the set and it’s not true.  If it’s not on the page, you’re dead meat.  So, if it’s on the page, that’s good.”

While The Belko Experiment has drawn comparisons to other genre films such as Battle Royale and The Hunger Games, McGinley argues that what sets this film apart from the rest is both the quality of James Gunn’s writing and its cast.  In the end, McGinley was stunned by Gunn’s ability to spin a strong narrative while also allowing McLean space to create his own vision as well.

“I think James Gunn is such an agile writer and Greg McLean was so adept at handling this huge ensemble that what sets it apart is the quality of the cast and the quality of [the] writing,” he claims.  “He put it all on the page and he largely let Greg orchestrate the film. [James] was pretty amazing at not stepping on [his] toes and usurping his power as director.  [That would be] hard when you’re someone as skilled and as amazing as James is to not kind of elbow in there… which he did not.  Ever.  He did stay for about three weeks longer than he meant to because he was having so much fun.”

As for his first time working with McLean, McGinley was extremely impressed by his work ethic and ability to balance multiple character arcs.

“He was just cranking.  His pace of work and his ability to orchestrate that set with, maybe 20 principles on the set which is very unusual.  Usually there’s the leading man, the leading girl, the best friend and the bad guy.  Usually there’s four principles.  And, in this, there were twenty of us.”

“We had a real family experience down there,” he continues, “which is very unusual as you progress forward… Actors have become hired hands and they kind of come and go and then they’re on to the next thing.  It was a lot of bonding and some lovely friendships that evolved out of that gig, which is not usually the case.  People have families.  They have places they have to go.  You have to commit to the next picture.  Then, all of a sudden, you have something outstanding like Belko where we’re all down in Columbia together in Bogota.  That’s a real treat.”

One of the most unique characteristics of the film is its location.  With all the action taking place within the confines of Belko’s claustrophobic office space, one might wonder how the film can maintain its intensity.  Nevertheless, McGinley believes that the tone is maintained largely due to the strength of the film’s background artists.

“The big difference for me was the background artists were all soap stars in Bogota and they played the tone of the piece.  As the piece evolves, obviously, it becomes more and more desperate and they played the tone so real and were so invested that it was stunning.  I mean, these are soap stars—they’re huge stars in Bogota—and, [with us,] they were background artists.  They’re unbelievable [and it really] contributes to the tone of the piece.”

Unfortunately, however, sometimes real world events have an impact on productions such as these.  Despite the film’s sci-fi setting, the cast and crew found themselves given pause for reflection after the events in San Bernardino, CA in December 2015.

“We shot it down in Bogota, a year and half or two years ago,” he recalls. “[Then], in the intervening time, there was that workplace slaughter in San Bernardino, California.  Even though it’s science fiction, I think Belko had to take a chill pill for a second because, if you’re not into [that genre, it] could be confused with workplace violence.  It’s not about any of that.  It’s science fiction.  It largely had to take a time out for a while.”

Of course, McGinley is most fascinated by the film’s examination of characters in a heightened hyper-reality.  For instance, he believes that the most thought-provoking aspect of the film is watching characters decide how to deal with their circumstances.

“What becomes interesting about the film is the decisions that people make in order to stay alive.  What cliques become vital?  Who chooses to hide?  Who chooses to band together?  Who chooses to go underneath their desk and pray?  The different decisions that people make is what, to me, is most interesting.”

When asked what he might do under the same circumstances, McGinley doesn’t hesitate when he reflects on what his motivation would be.

“I would find a way to get home to my family.  I’d do whatever it took.  That’s probably why they cast me.  I don’t think there’s that big a distance between me and Wendell.  I think I’d have a different approach than him… but I’d do whatever it takes to get home to my family.”

It doesn’t take long speaking with McGinley to discover that family is the most important aspect of his life.  In fact, McGinley insists that his family comes first, even to the extent that they travel with him whenever possible.

“My people travel with me now–not to Bogota.  It’s too dangerous.  But… my whole troop came with me last summer [while filming Stan Against Evil],” he beams.  “They made that whole thing doable.  I don’t have any interest in traveling away from them.”

What’s more, McGinley’s love of his family has also spread into his desire to help those in need as well.  Referring to himself as a ‘special needs advocate’, he serves on the board of the Global Down Syndrome Foundation an ambassador for the Special Olympics.  According to McGinley, this passion is also personal, rooted in the deep love he has for his son.

Says McGinley, “My son Max was born nineteen years ago with Down Syndrome and, once you get your head out of the sand and start looking around after—in Max’s case, his infantile seizures and sleep apnea.  Once those things abate and the playing field starts to level out, you look around and see who else you can help.  Being a part of the special needs community is sort of my main job and I’m a storyteller after that.  I like to help people that can’t help themselves.  What greater cause?  People that can’t advocate for themselves.”

By demonstrating his commitment to his family, John C. McGinley continues to prove that he is not only a renowned character actor but also a man of character.  Soon, when The Belko Experiment is released in theaters, we’ll also get to see if Wendell Dukes is as well.

The Belko Experiment opens nationwide on Friday, March 17th, 2017.

To hear more from John C. McGinley about his body of work and current projects and passions, listen to the interview audio below.

http://screenfish.net/wp-content/uploads/2017/03/1on1-wJohn-C.-McGinley-Belko-Experiment.mp3

 

Filed Under: Film, Interviews Tagged With: Dr. Cox, Greg McLea, Guardians of the Galaxy, horror, James Gunn, John C. McGinley, Platoon, Scrubs, The Belko Experiment, Wall Street, Wendell Dukes, Zach Braff

1on1 w/Allan Loeb (screenwriter, COLLATERAL BEAUTY)

December 26, 2016 by Steve Norton Leave a Comment

collateral

http://screenfish.net/wp-content/uploads/2016/12/1on1-with-Alan-Loeb-writer-Collateral-Beauty.mp3

One last present under the Christmas tree! This week, Steve has the privilege to speak with screenwriter Allan Loeb (21, WALL STREET: MONEY NEVER SLEEPS) about his latest film, COLLATERAL BEAUTY, which stars Will Smith and Helen Mirren. They chat about love, death and the nature of fables.

A special thanks to Allan for joining us on the show!

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Filed Under: Film, Interviews, Podcast Tagged With: 21, Allan Loeb, Christmas, Christmas movie, Collateral Beauty, death, drama, Edward Norton, film, Helen Mirren, interview, Kate Winslet, Keira Knightley, life, Michael Pena, Oscars, Wall Street, Will Smith

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