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Category: Interviews

Interview: Mary Steenburgen and Melissa Manchester

14 January 2012

The unique experience of interviewing two of my favorite artists, Grammy-winning singer Melissa Manchester (“Don’t Cry Out Loud”) and Oscar-winning actress Mary Steenburgen (What’s Eating Gilbert Grape) about their collaboration in motion picture songwriting was an early Christmas present. The three of us talked about their mutual work and careers in a lively and earnest conversation. I can attest that the ladies, who let me address them informally, are as lovely as they seem on screen and on record. This is an edited transcript.

New York-born Manchester, daughter of a Metropolitan Opera Orchestra musician and clothing entrepreneur, has studied under Paul Simon, performed as a solo artist in Greenwich Village, played Carnegie Hall and headlined at Radio City Music Hall. Her hit singles include “Midnight Blue”, “Whenever I Call You Friend”, which she co-wrote with Kenny Loggins, “Through The Eyes Of Love” and “You Should Hear How She Talks About You.” In 2010, Ms. Manchester co-created and starred in the ballroom dance spectacular Fascinating Rhythms, and her song “I Know Who I Am” was recorded by Leona Lewis for Tyler Perry’s For Colored Girls.

Nine of her songs are highlighted in Dirty Girl, including the original theme song “Rainbird” which she recorded and co-wrote with the movie’s co-star, the widely known and popular Mary Steenburgen, most recently seen in The Help and The Proposal. Ms. Steenburgen (Philadelphia, Back to the Future III, Melvin and Howard, Life as a House) is represented by Universal Music and has been working as a songwriter for the last five years. Dirty Girl is the story of a reputedly “dirty” schoolgirl in an Oklahoma town, circa 1987, who is paired with someone who is secretly gay. Together, they flee to California, and discover each other and themselves. Though the Weinstein Company gave Dirty Girl a brief theatrical release last year, it’s available this Tuesday on DVD. The soundtrack is available on Lakeshore Records.

Scott Holleran: Had you known one another before your collaboration on “Rainbird” for Dirty Girl?

Mary Steenburgen: We had only just met shortly before Dirty Girl. We actually started with another song that had nothing to do with the movie, which didn’t exist yet. I completely idolized Melissa. She narrated many moments of my life—we actually even look a tiny bit alike—including this one day on a bus, when someone thought I was Melissa Manchester. So, everyone that knew me knew I adored her and that her music resonated with me. When I first found out that I might write with her, I was like a little kid. What was so strange about the movie was that she was already on my mind. I had made my list of what I needed to do. The script had been sent to me and I was a little behind in my reading. I started reading the script and it was like a love poem to Melissa—and I thought it was the most beautiful coincidence.

Scott Holleran: Melissa, are you part of the picture’s plot?

Melissa Manchester: Yes. It’s not a spoiler to say that—my work is sort of a muse for one of the characters.

Scott Holleran: Mary, were you moved by the script?

Mary Steenburgen: Yes, and while the press was just catching up with the issue of people being bullied for being gay, it resonated with me on many levels. It’s also funny and quirky and original. I loved the character I was playing.

Melissa Manchester: It’s about this lost young gay guy—[writer and director] Abe Sylvia refers to this film as a vulgar valentine—but it isn’t preachy.

Scott Holleran: The main character is a girl who’s perceived as dirty—?

Mary Steenburgen: —She’s the girl who’s got a bad reputation. Like many of those girls, she’s complicated. It doesn’t ruin anything to say they get thrown together in a parenting class. My character is married to a character played by Dwight Yoakam, with whom I worked in Four Christmases. We’re both terrible gigglers, so we enjoy working together.

Scott Holleran: Is it the girl’s story or the boy’s story?

Mary Steenburgen: It’s even-handed. To me, the film centers on both characters.

Scott Holleran: Melissa, what it means to be female and the art of being feminine is a career theme. Do you see your work as a journey of self-expression?

Melissa Manchester: Oh, yes. My job is totally about the art and craftsmanship of self-expression. I started writing and walking my track of being a singer-songwriter at the height of that [1970s self-help] movement. That’s what we did and I inadvertently became a passing communicator of the women’s [liberation] movement. The unexpected gift is that, when you perform, your work becomes the listener’s version. It’s always a gift.

Scott Holleran: Mary, different points in time are a recurrent theme in your career, from your first film, a Western, to Dirty Girl, which takes place in the 1980s, and the time travel movies. Does this contribute to the perception of you as a versatile actress with a timeless persona?

Mary Steenburgen: I don’t think about how people perceive me. I think it would confuse me and put a pressure on me that I don’t want to have. I’ve never had a game plan. I literally read the things that make me laugh or cry and, if it does, then I want to do that film. Or if [a script] intrigues me or makes me scared that means I will probably do it—it’s like what Melissa said about her music; the receiver takes the work and makes it their own. For every artist, you put your work out there and someone makes it their own. I recently had someone come up to me on a plane. She was a very conservative-looking woman who was a flight attendant and she asked if I would talk with her. She told me her brother was gay and, she said, ‘to be honest, we were not comfortable with that and we kind of banned him from my family—and he was banned from family gatherings and was no longer welcome.’ She said he later became diagnosed with AIDS. In its later stages, she said, he came to them and finally said, ‘I won’t bother you again, please just watch this movie, Philadelphia‘ [1993]. She said they did watch it. After they saw the movie, they saw how the family rallied behind the Tom Hanks character and the family did the same. She told me that it wouldn’t have happened without that movie.

Melissa Manchester: —that is a prime example of what art can do—

Mary Steenburgen: —I lost one of my best friends to AIDS two days before that movie. [Pauses]. Peter.

Scott Holleran: I’m sorry to hear that, Mary. [Pause]. Were you thinking about losing him when you delivered that powerful line, “God I hate this case”?

Mary Steenburgen: Yes. I had just lost him. I was such a wreck when I got there—I was overemoting in every scene and I was struggling so much. When we shot the first scene, I wasn’t good in it. By the time we got to that scene where [my attorney character is] holding the mirror up to [the AIDS patient’s Kaposi’s sarcoma] lesion, [director] Jonathan [Demme] said ‘I think we should add this line’. So, we did. [Pauses]. Philadelphia is really not about AIDS. It’s about justice.

Scott Holleran: It’s interesting and both the lawyer character in Philadelphia and the mother character in Dirty Girl play against the stereotype that the straight woman is the ally of the gay male—

Melissa Manchester: —Right. As with any fear that’s based on ignorance, any time we demonize others, we eventually become the others. The only way to bridge that gap is to humanize them. For example, I work with women in prison. They are largely there for having killed their abusers. When I work with them, the layers are peeled away to reveal their humanity. What’s there is the compassion.

Scott Holleran: What is the musical theme of Dirty Girl and does it match or complement the film’s dramatic theme?

Melissa Manchester: Abe Sylvia comes from the world of musical theater so he understands that, in the world of film, music is an afterthought—and there’s a sort of Greek chorus in Dirty Girl. It’s a whole other texture. It’s a story where music is integral.

Mary Steenburgen: To your question, I can talk about Melissa easier than she can. Just as her music was very personal to me, she is this boy’s muse but she’s kind of more than that. I recently read about this kid who wrote a letter to Lady Gaga about bullying. This boy’s world is not safe, so he related to Lady Gaga—I did this, too [as a youth], by the way, creating a magic world, only mine was in books—and this boy’s world [in Dirty Girl] is not safe and beautiful, so he appreciates beauty and drama and music. He finds all those things in the music of Melissa Manchester. So, his safe place is in his room, with his gigantic headphones, listening to her [songs] and trying to be [like] her and connect with her. In those moments, he can be fully alive. And that’s part of his connection to this girl. So Melissa’s music is the heart of the movie. When you get around to “Rainbird”, for me, it was almost as though Melissa Manchester was speaking in her beautiful, caring, all-knowing voice, saying that it gets better. That is what we are trying to say.

Melissa Manchester: In the end, the heart yearns for the resonance of melodies—it’s what stills that swirling anxiety—and then they can move mountains. Melodies can move kids away from that ledge. The currency of the song can be life-changing and that is no hooey. Mary’s performance occupies as small a space as possible. It left me breathless. The trajectory of her character, who finds her voice and finds a way out, is fantastic.

Scott Holleran: Do you appear in the film, Melissa?

Melissa Manchester: Yes. Mine is a sweet little cameo.

Mary Steenburgen: It’s a wonderful moment.

Scott Holleran: You have something else in common—you both worked on projects with Kelsey Grammer.

Mary Steenburgen: Well, I just did a voice for a call-in on one of the Frasier episodes. And of course [my husband] Ted [Danson] worked with him for so many years [on Cheers and Frasier].

Melissa Manchester: I had a spectacular time working with Kelsey on Sweeney Todd. It was unbelievable working with Stephen Sondheim, who was there, while I played Beggarwoman, so that was thrilling. Working with Kelsey was great but he was still filming Frasier, so it was a bit of a challenge. He is tremendously talented.

Scott Holleran: Mary, how was working with Lasse Hallstrom on What’s Eating Gilbert Grape?

Mary Steenburgen: I adored that experience. I would be an idiot to say that I didn’t enjoy spending a large part of my day kissing Johnny Depp and I was huge fan of Lasse’s since My Life as a Dog—and of [writer] Peter Hedges, whose book I had read. I wanted to play Betty Carver. I would love to work with Lasse again—he hasn’t asked me. It would be amazing.

Scott Holleran: As established artists, do either of you encounter sexism?

Mary Steenburgen: [after a long pause] Sure, though I feel very blessed and things are getting better. I love seeing so many women crew members. But I just saw some statistics on women writers, what women are paid and the number of women CEOs specific to [the entertainment] business and I was shocked at how far we have yet to come. When I started, sexual harassment wasn’t even discussed as a subject, so it has gotten better. I’m a proud feminist, but I don’t have a chip on my shoulder. If there’s anything that makes me sad, it’s that some women find the word feminist worrisome or objectionable. To me, it means that I want every woman—just as I want every man—to be the best they can be.

Melissa Manchester: I’m with Mary. There are more roadies that are women and life on the road is a very singular experience. There are certainly more bands made of women. The thing that saddens me is that there’s a sense of entitlement among some women and groups of artists.

Scott Holleran: Your collaboration for Dirty Girl is the bittersweet song, “Rainbird”, which combines a sense of melancholy with an upward arc. Any thoughts on the tune in the context of the motion picture?

Mary Steenburgen: I’ve written a number of songs and the experience of writing that song in particular had a sort of alchemy to it. I’m proud of what the song says as a song and in the movie.

Melissa Manchester: Me, too. I really appreciate that Abe got the point of the song for this moment in the movie—it’s a rare opportunity to be given a song to write after everything’s finished. This song is serving such a special purpose.

Scott Holleran: Why do you think Dirty Girl didn’t do well in theatrical release?

Melissa Manchester: I went with Abe on several [promotional press] junkets to gay pride [events] and people were screaming ‘I love this film!’—but in reviews it was just getting its heart broken. Critics didn’t seem to get it.

Mary Steenburgen: I don’t read reviews, with all due respect, and especially the good ones are bad for me. So I didn’t read a single review. I do know that the movie was very successful at the Toronto Film Festival, one of only two films that the Weinstein Company bought there—they currently have The Artist, The Iron Lady and My Week with Marilyn—and I don’t know if they eclipsed Dirty Girl. With some films, they get lost. Europeans tell me that they don’t know how Melvin and Howard [1980] was dumped for distribution and every time I go to Europe, people ask me why it was never released. They couldn’t figure out how to sell this movie that in their minds was about a loser. I think with this film that may have happened, too. I watched it with my family. They loved it.

Melissa Manchester: I watched it with my daughter. I know there’s always an astounding reaction to Dirty Girl. But, sometimes, it takes a whole lot of people to push something up the mountain.

Interview: Jon Winokur

8 November 2011

Jon Winokur (pronounced winne-kuhr) is a writer’s writer and the author of numerous books on writing and other topics, including The Portable Curmudgeon, Advice to Writers and his newest book, The Garner Files: A Memoir, written with 83-year old actor James Garner. We talked about his books during a recent conversation.

Scott Holleran: How did you approach James Garner as a subject?

Jon Winokur: As the subject, he is there, bigger than life—the subject approaches you. You know that guy up there on the screen and you think he’s a nice guy. Well, he’s even better—and that’s after taking two years of researching his life. He was there. He writes the book for you. Much of The Garner Files writes itself.

Scott Holleran: Is it mostly based on interviews?

Jon Winokur: Yes, with him and with friends and colleagues and quite a few interviews with family members. It’s a wonderful clan, by the way; there’s a certain dignity and honesty about them.

Scott Holleran: So you created the narrative?

Jon Winokur: Yes. It was easy to do because I’ve known him for 25 years. With a lot of famous people, you think you know them and you don’t. But Jim pans out.

Scott Holleran: That’s impressive. You’ve got his tone down just right—

Jon Winokur: —sometimes, I’d find myself putting down a word and saying, ‘oh, no, that’s not a Garner word.’

Scott Holleran: Did you have an outline?

Jon Winokur: Yes, because I had put together an outline for the book proposal, which I had to tweak a little bit. But this is a departure [for me]. I’d never done a memoir or anything biographical. There’s autobiography, there’s biography and there’s memoir. The distinction I make is that autobiography has to cover all the details and a memoir is from the subject’s perspective. A memoir is subjective—and an autobiography strives to be objective.

Scott Holleran: Did you have a theme?

Jon Winokur: I think the theme emerged. I don’t think it’s helpful to say ‘insert scene here’; [the theme] will be organic. A couple of themes emerged. One is his sympathy for the underdog, which informs his work, his personal relationships and his politics. It’s probably unavoidable to point to his being abused as the source of at least some of that empathy.

Scott Holleran: How did you get the job?

Jon Winokur: I published The Portable Curmudgeon in 1987—it was a tiny first printing—and it came out and was doing OK. At that time, someone had suggested that I get an unlisted telephone number because sometimes a writer get some bizarre responses. So I said, ‘why? I’m lonely. Let them call me,’ and one day I got a call and heard, ‘this is Jim Garner. I’m an actor.’ And of course I knew who he was. Then he said, ‘What kind of a curmudgeon has a listed telephone number?’ Apparently, he had been in the hospital and he had been depressed. [Comedians] Bob Newhart and Dick Martin had sent him my book and he said he wanted to thank me because the book had cheered him up. That was that, until about a month later. The phone rings at 9 o’clock at night and a friend told me that [Mr. Garner] was reading from my book on The Tonight Show. It put my book on the map and sales shot through the roof. It in effect gave me a career. He and I kept in touch—he would send wine from his vineyard for Christmas—and about two years ago we were having lunch and I heard myself asking ‘how come you’ve never written a book?’ And he said because he thought no one would want to read it. I thought and thought about it and I wrote this letter and brought out all guns for writing a memoir. His manager called and said OK. I guess he felt safe with me.

Scott Holleran: What’s your favorite line in the book?

Jon Winokur: There’s a line he quotes from Murphy’s Romance, something like, ‘When I’m pushed, I shove.” He doesn’t go looking for a fight. But, by golly, if you wrong him…

Scott Holleran: How did you primarily relate to Mr. Garner—as his friend, observer, partner?

Jon Winokur: As the most extraordinary human I’ve encountered. The things he’s done anonymously for countless people—the endless goodwill—comes up whenever I mention his name. I always get the same response: “Oh, I love him.” In one of the TVQ categories [a measurement of a celebrity’s cultural influence] he’s still in the top ten. He’s wonderfully skilled. He could have been a pro golfer or a pro race car driver, and he has a great intelligence that I don’t think always comes through. Jim’s really good at whatever he chooses to do—the Grand Prix drivers [working on the movie] say he could have raced and beat some of the pro drivers. He’s just an amazingly quick study. He could sit in the makeup chair and learn the script right there. He learned how to memorize lines from his first acting job in [the stage production of] the Caine Mutiny Court-Martial. He played a judge and he had no lines but he was paid by the producer to run lines with Lloyd Nolan and Henry Fonda and he told me that he learned to use the lines as building blocks—building one line on top of the other—and he said the trick is that you don’t go from one to the next without learning the first line. ‘You don’t learn lines,’ he told me, ‘you learn thoughts’. He’s the most easygoing person I’ve ever worked with—he applies his work ethic—and he was always there. The only negative thing he ever said in our two years was when I brought him the [book jacket] cover. He didn’t say anything and, finally, he said, ‘I don’t like it.’ I asked why and he said ‘your name is too small.’ So they made it bigger.

Scott Holleran: Maverick or Rockford Files?

Jon Winokur: Maverick. Because I’m that old—I was ten [years old] when it came on. There was Mad magazine and there was Maverick.

Scott Holleran: What’s your favorite James Garner movie?

Jon Winokur: I’m going to agree with him—The Americanization of Emily [1964]. I love [screenwriter] Paddy Chayefsky’s work. The script and the way Garner handles it is amazing. But the role was a huge departure for him.

Scott Holleran: Did you watch any of the movies together?

Jon Winokur: Yes. We watched a few, such as Skin Game. He likes to watch Grand Prix for the racing. We were watching Support Your Local Sheriff and that’s when he told me he was imitating Henry Fonda in My Darling Clementine when he was sitting with his feet propped up.

Scott Holleran: Are you surprised by the media’s emphasis on the book’s salacious aspects?

Jon Winokur: No. [Pauses] Maybe a little bit.

Scott Holleran: Does it surprise you that Mr. Garner adores The Notebook?

Jon Winokur: Not at all. Because it’s his best work and I think he thinks so. He loved working with [director] Nick Cassavettes and Gena Rowlands and I think it was one of those shoots where everything fell into place. He cried in that movie; it’s one of the few movies he cries in, the others are The Children’s Hour and Promise. He hadn’t planned to do it. He said he was going to take his cue from [Ms. Rowlands]. I think he was a little out of control and it turned out OK.

Scott Holleran: Did you co-write the memoir’s “outtakes”, too?

Jon Winokur: Yes. Those are based on interviews, basically edited versions.

Scott Holleran: Did you meet and interview Doris Day?

Jon Winokur: I talked to her on the telephone. She was amazing. The most amazing was Lauren Bacall.

Scott Holleran: Do you have any other memoirs planned?

Jon Winokur: I have had some nice feedback from people in the [entertainment] industry, and from Simon and Schuster.

Scott Holleran: What is the impetus for Advice to Writers?

Jon Winokur: My first [non-self] published book, Writers on Writing, was a collection I had been amassing since I was 13. Advice to Writers [stems from] my attempt to try to figure out how to write.

Scott Holleran: Any new works in progress?

Jon Winokur: I don’t like to talk about it because when you talk about it, you discharge the energy. I am working on a pre-proposal. I can say it’s non-fiction.

Scott Holleran: Who are your favorite writers?

Jon Winokur: George Orwell. I like the essays on politics and the English language mostly and the short stories, especially Shooting an Elephant. He was on the right side of the Spanish Civil War [against the fascists] but he wasn’t taken in by [their enemies] the Communists. He was right about poverty and capitalism and he lived by his principles—he renounced his modest inheritance, which may be part of the reason he died at age 45. I also like Christopher Hitchens, Joan Didion—just her Zen-like brevity—Kurt Vonnegut, who’s the most magical, whimsical writer. Also Charles Bukowski and Jack Kerouac.

Scott Holleran: Any curmudgeonly thoughts on the late Andy Rooney?

Jon Winokur: I tried to interview him for one of the Curmudgeon books—and he refused, thereby verifying his curmudgeonliness. He served a great purpose—he was a gadfly and he was certainly a curmudgeon. He was 92. I’m sorry to see him go.

Scott Holleran: What’s the difference between a curmudgeon and a cynic?

Jon Winokur: That’s a good question. I think it was Oscar Wilde who said that a cynic knows the price of everything—and the value of nothing. A curmudgeon knows the value of everything. Curmudgeons are offended by the lack of value—they’re fighting the good fight for truth, justice and the American way; their crankiness comes from being disappointed from the lack of quality around them. They are hurt easily—they’re very fragile and they need the misanthropy to protect themselves. In [The Garner Files], Jim calls himself a Tootsie Pop. Hard on the outside, soft on the inside.

Work Cited

20 September 2011

An essay in The Galaxy Is Rated G: Essays on Children’s Science Fiction Film and Television (2011, edited by R. C. Neighbors, Sandy Rankin) on the underrated animated Warner Bros. feature, The Iron Giant (1999) cites my October, 2003 interview with the film’s screenwriter, Tim McCanlies, who spoke with me from his ranch in central Texas. McCanlies also wrote Secondhand Lions with Michael Caine and Robert Duvall and Dancer, Texas, Pop. 81, which was also his feature directorial debut. It’s one of my early film interviews for Box Office Mojo, currently not indexed here, and we discussed everything from sneaking into studio offices to put his scripts on directors’ desks to his service as a Dallas, Texas, police officer and why Hollywood depicts the U.S. military as bad. I asked McCanlies, who described the theme of The Iron Giant as “Choose who you want to be,” if free will was a conscious philosophy in his work. His answer: “Yes, absolutely…there are deciding moments when we pick who we want to be and that plays out for the rest of your life.”

Interview with John David Lewis

3 September 2011

The goal of a war is to defeat an enemy’s will to fight. So argues the author of Nothing Less than Victory: Decisive Wars and the Lessons of History (Princeton University Press, 2010), who makes the case that a strong military offense can win a war and establish lasting peace while playing defense often leads to destruction. This study of six major wars, from the Second Punic War to World War 2, by historian John David Lewis, contrasts the use of overwhelming force, such as the Greek victory over Xerxes’ army and navy, with a lack of reason, purpose, and commitment to fight. On the eve of the 10th year since the worst attack in American history, I turned to my friend John Lewis, a visiting associate professor of philosophy, politics, and economics at Duke University and teacher at Objectivist Conferences (OCON), to discuss today’s war from an historical perspective. Dr. Lewis is the author of Solon the Thinker: Political Thought in Archaic Athens and Early Greek Lawgivers.

Scott Holleran: What is the theme of Nothing Less Than Victory: Decisive Wars and the Lessons of History?

John David Lewis: That wars are driven and caused by people’s decisions to fight and that those decisions are based on the ideas they hold. This has enormous implications for what victory means, because it means discrediting the ideas we’re trying to defeat. For example, one could never explain Germany’s massive attacks [against other countries] or Japan’s massive attack on America, in which they launched into intercontinental warfare, without understanding the ideals that they held. The theme of Nothing Less Than Victory is that one must defeat the enemy by discrediting his ideas.

Scott Holleran: How was Nothing Less Than Victory suggested by your students?

John David Lewis: I was teaching a class on ancient and modern warfare and it became clear that a comparative history would be useful. My students posed good questions.

Scott Holleran: While writing about the rise of the Nazis, did The Ominous Parallels: The End of Freedom in America by Leonard Peikoff help your understanding?

John David Lewis: Yes, because it’s the only book I know of that places philosophical ideas as the lesson of history. It’s not only an explanation of Nazi Germany in terms of ideas but, much more deeply and widely, it demonstrates how ideas move history.

Scott Holleran: The current administration supports military involvements in Iraq, Afghanistan and Libya, as well as other underreported incursions in nations such as Yemen and Pakistan, with something other than, or less than, a purpose let alone a victory. The Oxford English Dictionary defines warmonger as “a person who seeks to bring about or promote war.” As a commander-in-chief who supports and initiates militarism with no purpose or end, is President Obama a warmonger?

John David Lewis: I think he’s incompetent but I don’t think Obama is a warmonger. He inherited those wars but he’s simply unable to bring those wars to a decisive end. His main goal is to bring about a fundamental restructuring of the relationship of every American to the government, which is why ObamaCare was among his top three initiatives, because there’s no better way to define that relationship than through health care. So, his major initiative is to change us from the inside out and I think foreign policy is a distraction to him. It’s a symptom of his incompetence, not warmongering. One other aspect of this is that, unlike Bush, with regard to rules of engagement, he generally lets the generals do as they want but this slight improvement [over Bush] is not because Obama is driven to victory.

Scott Holleran: Are the U.S. military interventions in Libya, Iraq and Afghanistan properly described as wars?

John David Lewis: When you have combatants you have a war. As Ayn Rand said about the Vietnam War, and I’m paraphrasing, when foreign soldiers are killing Americans, it’s a war and nothing but a war. Certainly, these are wars, but they’re wars in which one side knows it’s fighting a war and the other side is desperately avoiding using that term.

Scott Holleran: You have publicly discussed your cancer diagnosis with regard to domestic health policy and compared your battle against cancer with the themes in Nothing Less Than Victory. Has your condition affected your thoughts on war?

John David Lewis: It has sharpened something—that my battle against cancer is a metaphor, not a war. There’s intelligence gathering in the first stage, nuclear warfare—chemicals and radiation—in the second stage and then we send in the Marines—with doctors and nurses. In a war, you’re dealing with other human beings, who have free will. With cancer, the disease does not have a mind of its own; beating it is a matter of biological causality.

Scott Holleran: Are you primarily a teacher, a writer or an historian?

John David Lewis: It depends on what day it is. Tomorrow, I start teaching two courses at Duke, so tomorrow I’m a teacher. I don’t see any kind of exclusivity—I think they’re mutually supportive. I would not want to be only a historian or writer, because I need the stimulation of teaching.

Scott Holleran: If the U.S. continues to deteriorate, with, for example, an economic collapse or major Islamic terrorist attack, historically speaking, which is more likely: anarchy, civil war, or religious dictatorship?

John David Lewis: Probably some form of religious dictatorship. The two events you name, economic collapse from inside and an attack from outside, are very different. In the case of an attack, I think the American people would look for a leader to unite them and the chances are much greater that they’ll look to a religious leader and we’ll end up with a fascist dictatorship. It depends on the attack, too; obviously, if there are 20 nuclear bombs detonated at once, we may lose our infrastructure and descend into some form of anarchy, but I think we’re more likely to have a single nuclear attack. With an economic collapse, the public would [be more likely to] look for a leader who would seek centralization of power. The infrastructure—the command structure—the equipment—for a police state is already in place at our airports with the TSA. The American people are already habituated to accept it.

Scott Holleran: What is your most controversial point in Nothing Less Than Victory?

John David Lewis: That ideas drive history. Two things are necessary in war; the capacity to fight and the will to fight. During the so-called Cold War, the two great powers were the Soviet Union and the United States, but a third power with capacity was England—and no one went after them because they posed no threat. So, in fact, the most controversial idea is the most obvious; that ideas are the drivers of history. Among readers, the most controversial idea is my point that it was moral to drop the atom bomb on Japan.

Scott Holleran: We now know that the Soviets had infiltrated the United States government and U.S. industries, including motion pictures, and society. Is jihadist Moslem infiltration—including takeover—of the U.S. government possible?

John David Lewis: I don’t think takeover was the kind of thing the Communists were after. What they were going to do is [try to] elect people who would be sympathetic to the Soviet cause. I think that, in a certain sense, there’s a strong parallel, because those who want a radical Islamic war culminating in a one-world government are just as overt in pursuing their goals as were the Communists. But the Soviets were less interested in a one-world government [than jihadists]. The Iranians may be less focused on one-world government than the Saudis. The Iranians act more like the Soviets—they want to have nukes to play like the big boys, whereas the Saudis are more like the Trotskyites. They want this worldwide evolution [toward Islamic statism] and are more patient about infiltrating [Western civilization]. The Saudis have built thousands of mosques and [radical Islamic group] CAIR has directly said that Sharia law imposed over the United States will come. To actually take over the U.S. government in the sense that they impose Sharia law? We’re a long way from that. But if you mean creating sympathies and bringing about a radical Islamic-influenced government…

Scott Holleran: Certain presidential candidates have recently been linked to campaign donors who may be connected, directly or indirectly, to groups that support Islamic jihadist aims. Are you concerned that the enemy could shape and influence American government through a Manchurian candidate?

John David Lewis: Yes. It’s part of the insidiousness of these groups. Today, any candidate knows that accepting money from jihadist groups for influence would kill the campaign—you can’t keep that kind of thing a secret. So that would be less likely than the threat of covert multiculturalist ideas being spread and accepted throughout the culture.

Scott Holleran: What is the central lesson of each war discussed in Nothing Less Than Victory as it relates to today’s war?

John David Lewis: The need to name the enemy, identify him as an enemy and develop a strategy that defeats him at his center—an elusive concept—or close to a center of gravity of economic, social, political support for the [jihadist] war [against the West]. [Carl von] Clausewitz writes about this—that Americans have a strong moral center, so that, by attacking our moral center, the enemy imposes guilt. We saw this in the Vietnam War when we were criticized for distinguishing between [Communist] North and [non-Communist] South Vietnam. After the war ended, one of our generals went to a former North Vietnamese military general and said, “you never defeated us in the battlefield.” And his North Vietnamese counterpart said that was irrelevant. You need to be right in what you’re doing and you need to know that you’re right in what you’re doing.

Scott Holleran: You write about the citizens of ancient Carthage and those in South Carolina and Georgia during the Civil War not facing the consequences of war. Are today’s Americans disconnected from war?

John David Lewis: Yes. In a certain sense, they’re very disconnected from the war because they’re not facing an attack on their soil right now, so I don’t think they know what’s going on. When I talk to soldiers, I get a very different sense about what’s going on in Iraq and Afghanistan than what I see in the media. But, in another sense, we are more connected because we live in the age of technology, and people can get news from the battlefield. What would Americans at home have said had images from Iwo Jima been sent back home?

Scott Holleran: You write about Union General Sherman’s remarkably low casualties during the Civil War. Why is that fact not widely taught or known?

John David Lewis: Because people today are caught up in the myth of Sherman as the Attila from the North. Southerners created that myth.

Scott Holleran: How did the myth become so widely accepted in the North?

John David Lewis: That’s a good question. The intellectuals, historians and the press are all complicit in this—it strikes their morality that Sherman specifically targeted civilians—and once they accept that that’s what Sherman did, they move on rather than examine the facts of what happened. Why are Hiroshima and Nagasaki held up as moral evils while failing to consider what alternatives the United States had? Facts are forgotten and subordinated for moral reasons.

Scott Holleran: You also write about Confederates hiding behind civilians like today’s Moslem jihadists. Are there other examples in history of using civilians as covers for combatants during war?

John David Lewis: That happens all the time in war. Any time an army backs up into a city and defends against its walls, the civilians are being held hostage in some way. So there’s certainly a precedent in history. I don’t think the Confederates were necessarily worse even than the Union. Palestinian snipers look for Israeli troops where they are facing civilians and what they want is to get the Israelis to return gunfire against civilians to get publicity—they want the enemy to kill civilians as a pretext. That’s worse.

Scott Holleran: Is the mass death of freed slaves at Ebeneezer Creek in any way indicative that the Union army was racist, too, and does the tragedy diminish the moral righteousness of the Union cause?

John David Lewis: Racist? Of course. Everyone was a racist back then. Does it diminish the moral status of the Union’s cause? Absolutely not! Many freed slaves wanted to be with Sherman’s army. As Union armies were moving ahead under Union General Jefferson C. Davis’s command, freed slaves followed. Coming to the creek, with Confederates behind them, Davis ordered pontoons brought up, leaving the freed slaves behind, and then they were attacked by Southern armies. Davis may have been racist but who caused the dangers to the freed slaves? It was the Southern army. Davis is given moral criticism for failing to rescue blacks from Southerners. But it’s the Southerners that were to blame. They were the ones attacking. They were ones who’d enslaved them.

Scott Holleran: Coming to the 20th century wars, you write that President Woodrow Wilson sought “peace without victors.” Who is the last president who didn’t?

John David Lewis: Franklin Roosevelt.

Scott Holleran: You trace President Wilson’s ideals to philosopher Thomas Hobbes and, centrally, to philosopher Immanuel Kant. Is Wilson America’s first Kantian president?

John David Lewis: I don’t know enough about the intellectual history of American presidents to say whether he’s the first but he’s heavily influenced by Kant because the basis of his education was German. It’s Kant’s 1795 essay on Perpetual Peace that calls for the establishment of a worldwide state. Kant calls for “a league of nations”. Kant directly influenced the League of Nations. People forget that Kant said that all nations of the world should be republics and he rejected democracy—but he blanked out the fact that all nations in the world are not republics. The influence of Kant in education that was German-based clearly influenced Woodrow Wilson.

Scott Holleran: Why do liberals condemn Nazi Germany but drop the context of the Nazis’ government-controlled economics?

John David Lewis: I don’t know. I think the inference takes them down a road that they don’t want to go. They don’t want to face the fact that being an advocate of a government-controlled economy makes them tyrannical. It’s forgotten that these fascist states were woefully inefficient. I have evidence that Mussolini did not make the trains run on time, yet this notion that fascism is efficient persists. Last night, I saw a Star Trek episode in which Spock tells Kirk that Nazi Germany was the world’s most efficient society. That’s not true.

Scott Holleran: You report that the media aided and abetted the rise of the Nazis. Is today’s press complicit in aiding the rise of fascism, too?

John David Lewis: Oh, sure, though they wouldn’t say it that way. The press itself is almost always solidly on the side of greater and bigger government programs, except for the Wall Street Journal and some conservative outlets. They don’t want to call themselves fascists but in effect that is what they are supporting.

Scott Holleran: Did the West drive Italian dictator Benito Mussolini into an alliance with Nazi Germany?

John David Lewis: I don’t know—I don’t have a good answer for that. If it’s true that Mussolini was afraid of Nazi Germany, there certainly were times, especially when the Germans moved into the Rhineland and Czechoslovakia, when all offers and opportunities might have stopped the Nazi flood. I think the West was instrumental—and complicit—in driving Mussolini into an alliance with Nazi Germany in the same way we did with [Cuban dictator] Fidel Castro and the Soviet Union, but I would never place primary blame or cause on the West because both probably would have happened anyway. They shared a basic philosophy.

Scott Holleran: Was Imperial Japan as racist as Nazi Germany?

John David Lewis: In its own way, yes. The more I read about Japan, the more I realize what a truly foreign nation it is—in their morals, in their writing, you see now that, when something goes wrong in a company, the executives have to bow down and apologize. Japan was as racist as Germany in the sense that they saw themselves as racially superior and destined to rule Asia.

Scott Holleran: Is General Douglas MacArthur underestimated as leader and thinker in occupied Japan?

John David Lewis: Yes. In terms of the occupation of Japan, which MacArthur was put in charge of, it resulted in zero deaths and there were no insurrections. What he did was a monumental task and it went as benevolently and well as any occupation in history. He is greatly underestimated.

Scott Holleran: Is it possible for the U.S. public to come to worship a leader, such as Texas Governor Perry, Minnesota Congresswoman Bachmann, or President Obama, as a deity as people did in Japan?

John David Lewis: We’re a long way from that, especially the way it was done in Japan. But the way people treat Barack Obama—as if he’s the divine one, his word is oracle and he can do everything—has parallels.

Scott Holleran: There are a number of war movies in recent years, from 300 and The Alamo remake to recent war-themed pictures such as Stop-Loss, Jarhead and The Lucky Ones—even The King’s Speech hinges upon an understanding of what’s at stake in war. Do you recommend any movies as effective dramatizations of war and/or a proper historical perspective?

John David Lewis: I don’t have a recommendation. I did see one war movie recently—Escape from Sobibor [British made for television, which aired on CBS in 1987] with Alan Arkin. It’s about a German concentration camp—a death camp—in Poland. Like all these camps, there were some prisoners who were not killed; they were out in barracks. Sobibor was where the only full-scale revolt by camp prisoners took place. They ran into the woods and escaped—it’s the one case where everyone, especially the Jews but also the Poles, fought back. They killed the Germans, and then they rushed the main gate and hundreds escaped. That’s worth seeing. I stopped seeing a lot of modern war movies. I have not seen 300. I’ve got the graphic novel and it looks awful. A much better movie about the historic battle is The 300 Spartans [starring Richard Egan, 1962].

Scott Holleran: Any other classic movie recommendations?

John David Lewis: I still like to see Battle of the Bulge [starring Robert Shaw, 1965], which is about reversing the wills to fight. In the beginning, the Americans are demoralized and the Germans are motivated. In the end it’s the opposite. There are some good classic war movies set in World War 2. Even a movie like A Bridge Too Far [1977] has a certain point to it.

Scott Holleran: You write that President Franklin Roosevelt wrote about “the destruction of a philosophy” in achieving victory in World War 2. Does the planned construction of an Islamic mosque near where the Twin Towers once stood—before Islamic jihadists destroyed them on 9/11—represent a victory to the enemy?

John David Lewis: I think it does. It’s not because the people who want to build the mosque are on the side of those who want to destroy the U.S. but they chose to build it near the World Trade Center site for sympathetic reasons and those reasons—for building a $100 million cultural center—are the same reasons that make me want to oppose it. In the plans, there are separate places for men and women, so it’s clearly a place to enforce certain political ideas, which are not consistent with the ideals of the United States. That they choose to build it there is why I oppose building it there.

Scott Holleran: You contrast the Japanese with the Americans in terms of motive, demonstrating that the Japanese, like today’s jihadists, were motivated by death while the Americans fighting in World War 2 were motivated by life. We have been fighting and appeasing jihadists for over 10 years with thousands of U.S. casualties and no progress toward victory. Are Americans losing the will to live?

John David Lewis: That’s a difficult question. If one sees an enemy as out to destroy you and does not act against him, and instead builds bridges to him, then certainly Americans are losing the will to live. Certainly, if we don’t demand a nation that defends itself, that’s true.

Scott Holleran: You write about dropping napalm and atom bombs, not food, on civilians during war. What is the primary reason why we drop food packages not bombs on our enemy?

John David Lewis: On one level, we don’t want to destroy and kill people that way—Americans are very benevolent—and we fail to make the connection between dropping bombs and saving our lives. American intelligence in Japan looked at what was happening inside the country of Japan—inside the houses. When they found out that civilians were being trained to kill Americans, they realized that within those houses were weapons and that civilians were an active part of the war effort and an American intelligence officer made a direct connection; he reported there were no civilians in Japan as far as the war effort was concerned. Recently, we saw a Navy SEAL team come across a group of shepherds that were hostile to the U.S.—and they let them go, knowing the shepherds would turn them over to the enemy if given a chance. It goes back to your question about the will to live, and, in that sense, it’s gone.

Scott Holleran: Which is the greater threat to the United States—Iran, which openly declares its intent to destroy America—or Saudi Arabia, which sponsors Islamic jihadism while claiming to do otherwise?

John David Lewis: They’re both threats. I can’t elevate one above the other.

Scott Holleran: The Nazis were appeased by the West and swept into power, exterminating millions of Jews. The Soviets were allied with and appeased by the West and subsequently conquered much of the civilized world, exterminating millions of people, enslaving tens of millions and fighting a proxy war with the U.S. that funded the forces that created jihadist Islam. Islamic jihadists, too, were allied with and appeased by the West and are fighting a proxy war with the U.S. through subversive terrorism. What horror awaits civilization should jihadists prevail?

John David Lewis: The first thing we would see is the entire Middle East given to Islamic government and all-out war—we would see Islamic rule in the south of France, Spain, and Indonesia, and the predominantly Islamic republics of the former Soviet Union. I do not think that we would see a single caliphate against the United States. I think we would see Iran and Syria against Saudi Arabia and Egypt and whatever would come out of that would push out against the West. European nations are already failing by internal rot. But how far are we from France becoming an Islamic state? Probably far off. The war would spread like a plague through Africa and South America, where they would come to regret the alliance that [Venezuelan dictator] Hugo Chavez made with Iran. And if Iran gets nuclear weapons—and then the Saudis do, too—that would be very bad for the rest of the world.

Scott Holleran: Is America’s current predicament with regard to the unacknowledged war with jihadist Islam fundamentally comparable to either the 300 Spartans or the Alamo?

John David Lewis: [Pauses] No. I don’t think so. In neither Greece nor the Alamo was it denied that there was a problem. Today, we are evading the fact that there’s a problem—that this politicized Islam [jihad, which means holy war] is what motivates the enemy. In that sense, it’s not comparable. The Greeks made a stand against the Persians and it became a rallying cry—the men at the Alamo made a stand against the Mexicans and it became a rallying cry—but when the passengers of United [Air Lines flight] 93 made a stand against the radical Moslems, there should have been a rallying cry, and there wasn’t. Throughout history, we’ve heard “Remember the 300 [Spartans]!” “Remember the Alamo!” and “Remember the Maine!” No one cries “Let’s Roll” to remember United 93.

Scott Holleran: What’s your favorite war memorial?

John David Lewis: It makes me sad to think of that. [Pauses] There is one that comes to mind, though I haven’t been there—the U.S.S. Arizona at Pearl Harbor in Hawaii. The [sunken] ship [destroyed with her 1,777 crewmen by the Japanese] was left there and a memorial was built over it. Some of the Confederate war memorials, such as the memorial at Shiloh, are very moving. But the one that seems most moving to me is the Arizona memorial. [Pauses] I do not think it’s time to build a memorial to the victims of 9/11. There’s a line about building a war memorial during a war that may be attributable to, of all people, Eleanor Roosevelt: We’ll win the war—then we’ll have a memorial.

Scott Holleran: What one idea, more than any other idea, must be accepted in our culture for the West to achieve victory over jihadist Islam?

John David Lewis: Knowledge of our own good. Most of all, we must realize that we stand for the values of freedom, the sanctity of the individual, and reason.

Maltin on Movies

25 August 2011

Film historian Leonard Maltin, promoting the latest edition of his Movie Guide, recently chatted with me about movies. The teacher, critic and historian, a regular on the syndicated television show Entertainment Tonight since 1982, who teaches a film class at the University of Southern California’s School of Cinematic Arts, is also the author of The Disney Films, The Great American Broadcast, and Leonard Maltin’s Classic Movie Guide. Leonard Maltin writes, co-produces and hosts the Walt Disney Treasures DVD series, which he tells me has been suspended, and produces a newsletter.

Scott Holleran: What single movie do you get the most out of with repeat viewings?

Leonard Maltin: It’s a tie between my two favorite movies—Citizen Kane and Casablanca. In both cases, I seem to notice and appreciate new things each time out. With Casablanca, I recently wound up writing a lengthy article on all the background music—it occurred to me that there’s “Love for Sale” by [composer] Cole Porter and others—and here we thought just about everything that could be written about Casablanca had been written.

Scott Holleran: Why are you migrating old movies from your annual Movie Guide to your classic film guide? Why not jettison some of today’s mediocre, irrelevant pictures?

Leonard Maltin: Because in a reference book I don’t feel it’s my place to decide what’s irrelevant in the main scheme of things. I certainly express my opinion film by film—it’s as thick as it can be without falling apart—and that’s what gave birth to the Classic Guide, so those films have a place to reside.

Scott Holleran: And it’s another way to make money?

Leonard Maltin: Uh, no. Let me just say that being in the reference book business in the Internet age is not a doorway to great riches.

Scott Holleran: What is the primary purpose of the Movie Guide?

Leonard Maltin: It hasn’t changed since it was introduced—to be a fingertip guide to movies for people who watch movies at home—to provide a brief review and opinion and to provide more information than one can get from TV guides and screen guides.

Scott Holleran: What single, consistent reader response do you get to the Movie Guide?

Leonard Maltin: Well, now when we make a mistake, we hear about it right away by e-mail—they used to let us know through snail mail. People still seem to be grateful for some guidance. I hear a lot of comments like “I was deciding whether to stay up late and watch this movie and, thanks to you, I did”—or, “thanks to you, I didn’t.”

Scott Holleran: Do you think film criticism can be reduced and aggregated to a number?

Leonard Maltin: No. That’s not criticism, that’s shorthand for an opinion. It may be a consumer service. We hope that in our brief reviews we offer a compact form of criticism.

Scott Holleran: You use stars in the Movie Guide. Does your friend Roger Ebert’s Thumbs Up symbol dumb down motion picture criticism?

Leonard Maltin: No. It’s another form of shorthand, and it’s legitimate within the boundaries of what it can cover. An editor forced the stars on me. I argued with him but he said people will love it and he was right. People respond to those things.

Scott Holleran: Are you primarily a teacher, a critic or an historian?

Leonard Maltin: I wear different hats at different times. If I could do only one, I would be an historian.

Scott Holleran: What’s the next installment in the Walt Disney’s Treasures DVD series?

Leonard Maltin: There is no next installment. That is out of my hands. I would love to do more but it’s up to the Walt Disney Company.

Scott Holleran: What’s your favorite Hollywood movie theater?

Leonard Maltin: I love Grauman’s Chinese Theatre [on Hollywood Boulevard]. I also like [Disney’s] El Capitan, the ArcLight Hollywood and the Samuel Goldwyn Theater at the Academy [of Motion Picture Arts and Sciences] on Wilshire [Boulevard]. If I had to pick one, I would probably pick the ArcLight. It’s a nice environment and a nice theater.

Scott Holleran: What’s your best movie review?

Leonard Maltin: I can’t say. I can tell you the review that has gotten more compliments than any in my career. It was a review of a [horror spoof] movie called Transylvania 6-5000 [Maltin delivered a short sentence during an appearance on Entertainment Tonight in 1985 in which he declared that the movie “stinks” on cue with the tune “Pennsylvania 6-5000” by the Glenn Miller Orchestra]. The review appeared on ET and it was as thorough and as definitive a review as that movie warranted.

Scott Holleran: What’s your most controversial movie review?

Leonard Maltin: Either Blade Runner or Taxi Driver. Both get negative reactions. There’s also my positive review of Cecil B. DeMille’s [1952] The Greatest Show on Earth [starring Charlton Heston, Jimmy Stewart, and Betty Hutton], a film which gets attacked as undeserving of winning the Academy Award for Best Picture. I feel somewhat vindicated by Steven Spielberg’s praise for The Greatest Show on Earth, which he has said influenced the train wreck scene in Super 8.

Scott Holleran: Who is your favorite movie critic?

Leonard Maltin: I don’t read a great many movie critics—I certainly don’t read reviews before I write my own—but of those I read, I like David Denby in the New Yorker, also Anthony Lane and [former newspaper critic] Kenny Turan and possibly the best film critic in America is Todd McCarthy now with the Hollywood Reporter. He is incredibly knowledgeable and incisive and eloquent. And I like Roger Ebert.

Scott Holleran: I’m going to put you on the spot and ask you for a one-word evaluation or estimate of 22 movies you recently added to this year’s edition of the Movie Guide. 22 movies in 30 seconds—are you ready?

Leonard Maltin: I’ll try—unless it’s a movie that one of my associates [editors for the Movie Guide] saw and reviewed for the Guide.

Scott Holleran: Super 8?

Leonard Maltin: Terrific.

Scott Holleran: Win Win?

Leonard Maltin: Great.

Scott Holleran: The Tillman Story?

Leonard Maltin: Profoundly moving.

Scott Holleran: Atlas Shrugged, Part 1?

Leonard Maltin: Didn’t see it.

Scott Holleran: Tangled?

Leonard Maltin: Great fun.

Scott Holleran: The Social Network?

Leonard Maltin: Exceptional.

Scott Holleran: The King’s Speech?

Leonard Maltin: Wonderful.

Scott Holleran: District 9?

Leonard Maltin: Disarmingly original.

Scott Holleran: Up?

Leonard Maltin: Enchanting.

Scott Holleran: The Hangover?

Leonard Maltin: Really funny.

Scott Holleran: Milk?

Leonard Maltin: [pauses] Ambitious—and emotionally stirring.

Scott Holleran: Frost/Nixon?

Leonard Maltin: Brilliant.

Scott Holleran: Slumdog Millionaire?

Leonard Maltin: Also brilliant. [pauses] Awfully tough but rewarding.

Scott Holleran: The Curious Case of Benjamin Button?

Leonard Maltin: Great entertainment.

Scott Holleran: There Will Be Blood?

Leonard Maltin: Tremendously compelling.

Scott Holleran: No Country for Old Men?

Leonard Maltin: Riveting.

Scott Holleran: Juno?

Leonard Maltin: Unexpectedly winning.

Scott Holleran: Little Miss Sunshine?

Leonard Maltin: Sleeper.

Scott Holleran: The Lives of Others?

Leonard Maltin: Unforgettable.

Scott Holleran: The Queen?

Leonard Maltin: Superb.

Scott Holleran: The Sea Inside?

Leonard Maltin: Unjustly undervalued.

Interview with Gary Johnson

21 August 2011

American businessman Gary Johnson, a candidate for the Republican nomination for president in 2012, served two terms as governor of New Mexico, from 1995 to 2003. The 58-year-old North Dakota native, whose mother worked for the Bureau of Indian Affairs and whose father was a public school teacher, is best known for having vetoed over 750 bills during his tenure as governor, more than all other 49 governors combined, earning him the nickname “Governor Veto.”

In a state with 2 to 1 Democrat voter registration, he cut the rate of government growth in half and oversaw the elimination of the state’s budget deficit without once raising taxes. In fact, Johnson cut taxes 14 times as governor, and by the time he left after term limits forced him out of office, New Mexico was one of only four states with a balanced budget. Additionally, he pushed school choice reform, which the New York Times described as “the most ambitious voucher program in the country.” In 1999, Gov. Johnson became the highest-ranking public official to speak out against America’s so-called war on drugs, arguing that prohibition of marijuana in particular is the chief cause of violence along the U.S.’s southern border. He favors a reassessment of the nation’s drug laws, and he recently endorsed Proposition 19, California’s campaign to legalize marijuana in the state.

Working his way through college as a handyman, Gary Johnson later founded one of the largest construction companies in New Mexico, with over 1,000 employees. The athlete and outdoorsman is an avid skier, cyclist, and mountain climber and he has reached the top of Mt. Everest, which he climbed with a partially broken leg. The divorced father, who announced his candidacy for president in Concord, New Hampshire, earlier this year, spoke with me during a nine-day swing through the Granite State.

Scott Holleran: You told the Wall Street Journal last year that you support means testing for Medicare and Social Security, for which you said you would raise the eligibility age. In what specific ways would you cut entitlement programs to balance the budget?

Gary Johnson: Specifically, and this is waving the magic wand, because I recognize that there are three branches of government, I would have the federal government cut Medicare and Medicaid by 43 percent and block grant the programs [to the states] with no strings. Instead of giving the states one dollar—and it’s not really giving because there are strings attached—the federal government needs to give the states 57 cents, take away the strings and give the states carte blanche for how to give health care to the poor. I reformed Medicaid as governor of New Mexico and, in that context, even with strings attached, I believe I could have delivered health care to the poor. I believe I could have done the same thing with Medicare. Also, I would cut military spending by 43 percent believing that we can provide a strong national defense as opposed to what I would call an offense and nation building. I would cut Social Security by raising the retirement age and have common sense means testing that’s fair. I would scrap the entire federal tax system and replace it with the fair tax—a one time consumption tax, with no more Medicare and unemployment payroll deductions—so we’d have one national consumption tax to replace all federal taxes, abolishing the IRS.

Scott Holleran: Which programs will you terminate?

Gary Johnson: There are currently two that I advocate abolishing: the Departments of Education and Housing and Urban Development (HUD).

Scott Holleran: Do you favor a balanced budget amendment?

Gary Johnson: I do—but the problem is that passing balanced budgets for future years is what we do and it takes away the immediate problem and kicks it down the road.

Scott Holleran: Is it your position that we should audit, not end, the Federal Reserve—that ending the Fed may be desirable but not immediately realistic?

Gary Johnson: I think ending the Federal Reserve would be positive but if we end the Fed it’s important to point out that that’s not the end of the solution. A lot of the central banking function would have to be taken up by regional banks.

Scott Holleran: Will you issue an executive order to repeal ObamaCare as unconstitutional?

Gary Johnson: Yes, if it’s possible. I would do the same for [President Bush’s Medicare] prescription [drug subsidies]. Two parties can take responsibility for where we’re at right now.

Scott Holleran: You’ve said that you would not have raised the debt ceiling and that it would have still been possible to avoid default. How?

Gary Johnson: I believe that we would have still brought in $200 billion a month and [control] how we make payments and whether we default on any bills. But obviously going forward, we have to put the brakes on spending. I just argue that it will never be easier than now. In the bond market, if no one was buying our debt, that would mean the Federal Reserve printing money as opposed to individuals or countries loaning us money; that’s the bond market collapsing—so when that happens, that is a whole lot of money and it has to result in inflation. Russia is the most recent example. As frightening as that scenario is, that’s what going to happen. But we can fix this—there’s going to be a lot of hardship and pain, but that’s better than killing the patient and, the way we’re going, we’re going to kill the patient in a monetary collapse. But I am an optimist because I think it can be fixed.

Scott Holleran: You write that “[m]aintaining a strong national defense is the most basic of the federal government’s responsibilities. However, building schools, roads, and hospitals in other countries are not among those basic obligations. Yet that is exactly what we have been doing for much of the past 10 years.” Do you oppose current U.S. military intervention in Iraq, Afghanistan, and Libya and, if so, on what moral grounds?

Gary Johnson: I do. In all three cases, I don’t see a military threat. I initially thought the intervention in Afghanistan was warranted—we were attacked and we attacked back—but we’ve wiped out Al Qaeda and here we are; we’re still there.

Scott Holleran: Isn’t there evidence that we merely drove Al Qaeda from Afghanistan into Pakistan?

Gary Johnson: Sure.

Scott Holleran: Each of those interventions was partially and eventually justified by the morality of altruism—with helping others as the primary purpose—not on the principle that our nation’s self-interest comes first. Which one is your criteria for foreign policy?

Gary Johnson: I think we should act in our self-interest. As I understand it, I think Eisenhower was a pretty good role model for that. Morally, you can justify almost anything we do by saying that we’re doing it for the sake of others. I would point to past realities that have unintended consequences. For example, by taking out [the secular regime in] Iraq, we removed a threat to [religious totalitarian regime] Iran—by the way, I don’t think Iran’s a military threat, though it might prove to be, but we [have the military capacity to] deal with that threat.

Scott Holleran: It’s a fact that Iran in several instances has stated its intention to destroy the United States, which Iran calls “the Great Satan.” If, as president, you had information that Iran was preparing an attack—either through sponsorship of terrorism or by nuclear strike against one of our military bases or cities—how would you respond?

Gary Johnson: I’d meet with the military experts and ask a lot of questions. We have airborne lasers that can knock out incoming missiles in the launch phase.

Scott Holleran: You state that “[n]o criminal or terrorist suspect captured by the U.S. should be subject to physical or psychological torture.” On what moral grounds should our government be precluded from using torture to protect our nation from foreign enemies that seek to destroy the United States through subversive terrorist activity?

Gary Johnson: I just think that there’s no end to that. Let’s say we know there’s a bomb ticking, so we have to torture this guy—that’s the argument for the death penalty—but the law that gets written also is public policy which allows us to put someone who’s innocent to death. The basis of our country is that we protect the innocent. Are we going to torture people to prevent nuclear briefcase bombs? It amounts to the ends justify the means.

Scott Holleran: You oppose the death penalty. Why?

Gary Johnson: As governor of New Mexico, I was a bit naïve and I did not think the government made mistakes with regard to the death penalty. I came to realize that they do. I don’t want to put one innocent person to death to punish 99 who are guilty.

Scott Holleran: You propose to let the so-called Patriot Act—which arguably violates individual rights—expire, yet you have not said you would abolish the invasive TSA, which arguably violates the Constitutional right to travel. Why not abolish the TSA?

Gary Johnson: I would abolish the TSA.

Scott Holleran: Do you support separation of religion and state?

Gary Johnson: Yes.

Scott Holleran: You oppose gay marriage, though you favor civil unions. Why?

Gary Johnson: I wouldn’t say I oppose gay marriage as a matter of public policy. The government shouldn’t be in the marriage business. I would not be opposed to belonging to a church that supports gay marriage.

Scott Holleran: You claim to advocate capitalism. So, who in America is your favorite businessman?

Gary Johnson: [Pauses, thinking] My favorite businessman. [Apple founder] Steve Jobs comes to mind—he represents incredible innovation. Maybe Bill Gates. I didn’t have any business heroes growing up. One of the realities of my life is that those I thought were heroes were not.

Scott Holleran: Who is your favorite political philosopher?

Gary Johnson: [Chicago economist and Free to Choose author] Milton Friedman.

Scott Holleran: Do you favor nuclear power?

Gary Johnson: Yes.

Scott Holleran: If Ron Paul ran as an independent or third party candidate for the presidency, would you support the Republican nominee?

Gary Johnson: Not necessarily.

Scott Holleran: You refused the Libertarian Party nomination in 2000. Why?

Gary Johnson: I refused to run as a Libertarian. I don’t see myself getting elected as a Libertarian Party or independent candidate.

Scott Holleran: You endorsed Ron Paul in 2008 for president. Why?

Gary Johnson: I thought he was saying the things I was.

Scott Holleran: You told a libertarian publication that you disagree with Ron Paul on aid to Israel; that you think “it’s important to distinguish between foreign aid and foreign alliances” and support an alliance with Israel. But you agree with Ron Paul that Iran—a religious totalitarian regime that sponsors Islamic terrorism and has threatened to wipe out the United States—is not a threat. Do you share Ron Paul’s view on foreign policy?

Gary Johnson: I’m not sure I can say whether I support or oppose Ron Paul’s positions because I am not completely versed in them. I think Israel is an important military ally and I support that alliance. I think Iran gets dealt with by Israel, which is likely to stop Iran from acquiring nuclear weapons. I think it’s wrong for our government to presume to tell Israel what to do.

Scott Holleran: Are you aware that Ron Paul is anti-abortion?

Gary Johnson: Yes.

Scott Holleran: With Congressman Paul denouncing a woman’s right to an abortion, and Mitt Romney emphasizing his newly proclaimed support for capitalism, are you more likely to gain support from Romney supporters than from Ron Paul supporters?

Gary Johnson: I don’t know. I support a woman’s right to choose to have an abortion.

Scott Holleran: On April 21, 2011, you announced via Twitter that you were running for president. You followed the announcement with a speech at the New Hampshire state house in Concord, New Hampshire. Why is New Hampshire at the forefront of your campaign?

Gary Johnson: I am being outspent over 300 to one in this race—I’m not complaining about it—so New Hampshire is a place where I can come out as a top tier candidate.

Scott Holleran: Do you support mandated government nutrition labels, such as calorie counts, on all foods?

Gary Johnson: Yes—I think that’s a good idea. It’s just labeling food we consume so we can make intelligent choices.

Scott Holleran: Do you support First Lady Michelle Obama’s anti-obesity campaign?

Gary Johnson: Yes, I think it’s terrific.

Scott Holleran: Wearing combat boots and a 35-pound backpack, you completed the Bataan Memorial Death March, commemorating Japan’s historic death march during World War 2. Why was that important to you?

Gary Johnson: For one thing, I’m an athlete and I love doing athletic competitions and it was a commemorative event, so the Bataan Memorial Death March accomplished two important things at once.

Scott Holleran: You’ve been injured with frostbite, bone fractures and a broken knee while mountain climbing, skiing, and paragliding. Are you a thrillseeker and will you continue these extreme sports during your presidency?

Gary Johnson: I like to think I live a full life. I wouldn’t say I’m a thrillseeker, I would say I like to have fun. Yes, I’m going to continue my adventures as president.

Scott Holleran: What criteria do you seek in a vice-presidential running mate?

Gary Johnson: Compatibility first. Also, support, and the notion that he could be president and best carry on my vision.

Scott Holleran: Why is The Fountainhead your favorite novel?

Gary Johnson: I think Ayn Rand put into words that the best thing I can do for my fellow citizen is to be the best I can be. I think that’s how I can impact other people’s lives—not by having government give to them but by being my best and leading by example.

Scott Holleran: Have you read all of her novels?

Gary Johnson: No. I’ve read Atlas Shrugged and The Fountainhead.

Scott Holleran: Do you agree with Rand’s philosophy?

Gary Johnson: Yes, I do.

Scott Holleran: Let’s talk about movies. According to your Facebook fan page, The Curious Case of Benjamin Button is one of your favorite movies. Why?

Gary Johnson: I enjoyed it very much when I saw it. I also like Groundhog Day with Bill Murray. Doctor Zhivago is my all-time favorite film. The scene where Dr. Zhivago [played by Omar Sharif] comes back to his house in Moscow after the [Communist] revolution to find all these strangers living in his home—and the whole love story—is powerful. I think it’s because my great-grandparents emigrated from Russia at the time of the Communist Revolution.

Scott Holleran: Is it true that you built your own home in Taos, New Mexico?

Gary Johnson: Yes—for two and a half years. It’s my dream home in northern New Mexico. Skiing is my biggest passion and it’s as good there as anywhere else on the planet.

Scott Holleran: Why did you sell your construction company?

Gary Johnson: We weren’t getting the work we should have gotten while I was governor. When I sold the company, no one lost their jobs.

Scott Holleran: According to a recent report, most of your donors live in California, which means you could conceivably beat expectations in New Hampshire and gain momentum coming into the California primary. Is that your campaign strategy?

Gary Johnson: It’s a possibility. We could have a breakout.

Scott Holleran: In a sentence, what is the proper role for government?

Gary Johnson: To protect you and I as individuals from harm whether to one’s property or from a foreign government. Government has a role to provide.

Interview: Randy Barnett on ObamaCare

23 June 2011

Randy E. Barnett

Law professor Randy Barnett, who has argued before the Supreme Court, is described by Forbes as the legal scholar “who laid the intellectual groundwork for the surprisingly effective legal attacks on ObamaCare by state attorneys general.” Barnett, the Carmack Waterhouse Professor of Legal Theory at the Georgetown University Law Center, where he teaches contracts and Constitutional law, has also taught torts, criminal law, evidence, agency and partnership, and jurisprudence. He graduated from Northwestern University and Harvard Law School, tried felony cases as a prosecutor in the Cook County States’ Attorney’s Office in Chicago and, in 2008, he was awarded a Guggenheim Fellowship in Constitutional Studies. Professor Barnett, who lectures internationally and has appeared on the CBS Evening News, The News Hour (PBS), and National Public Radio, offered his thoughts on America’s sweeping new socialized medicine—ObamaCare—during a recent interview.

Scott Holleran: In terms of American law, is health care a right?

Randy Barnett: Health care is not a Constitutional right. There are a lot of spending programs that create various entitlements, such as Medicare, but these are statutory rights not fundamental or Constitutional rights.

Scott Holleran: Is ObamaCare Constitutional?

Randy Barnett: ObamaCare, or the Patient Protection and Affordable Care Act, is unconstitutional for at least two reasons. One is that the individual mandate requires every American to purchase [health] insurance or face a penalty, which is an extension of Congressional power that goes beyond anything that has previously been authorized by the Supreme Court. From its inception, the substantial effects doctrine, though commonly conceived as a Commerce Clause doctrine, has been grounded in the Necessary and Proper Clause. The Supreme Court developed a judicially administrable test for whether it is “necessary” for Congress to reach intrastate activity that substantially affects interstate commerce: the distinction between economic and non-economic intrastate activity. Because [ObamaCare’s] individual mandate [forcing people to “buy” health insurance] fails to satisfy the requirements of this test, it exceeds the power granted to Congress by the Commerce and Necessary and Proper Clauses as currently construed by the Supreme Court. The Supreme Court has said that Congress could not reach non-economic activity and Congress, in this case, is trying to reach non-economic activity, mandating that people engage in economic activity. The other problem is that, as certain states are contesting, Congress is using its spending power coercively.

Scott Holleran: Is ObamaCare legally inevitable?

Randy Barnett: Absolutely not—it is not inevitable that legal challenges will fail or succeed. Neither side has an argument that can dictate or mandate or require the Supreme Court to decide this issue for or against their side.

Scott Holleran: Is the Constitutional case against ObamaCare an originalist perspective?

Randy Barnett: I am an originalist who advocates interpreting the Constitution according to its original meaning, but nothing in the legal challenge to ObamaCare is based on the original meaning of the Constitution—we’re just following the opinions on the Supreme Court, applying what they have previously said to this statute. I would describe our arguments as doctrinal, not originalist.

Scott Holleran: What are the legal options for opposing ObamaCare?

Randy Barnett: There are more lawsuits than I can keep track of, but, of the five district court judges who have ruled on the Constitutionality of the law, two struck it down and all five are on appeal, and we’ve so far had three appellate arguments, in Richmond, Cincinnati, and Atlanta, involving four of the lower court decisions. There may be other options that arise but I don’t want to express an opinion at this point and I don’t want to be overly optimistic. We expect decisions in the cases that have already been argued by the end of the summer, or possibly by September [2011] and, if the Supreme Court takes a petition for appeal, there could be a decision by June 2012. That would be the earliest. I have a high opinion of the lawyers in the Virginia case, and the lawyering in the 11th Circuit Court of Appeals was excellent.

Scott Holleran: Have you read Virginia Attorney General Ken Cuccinelli’s address to Hillsdale College arguing against ObamaCare?

Randy Barnett: I have not seen that speech but I’ve testified to Congress with him. This guy is smart but what really amazed me was his press conference in Richmond. He was amazing—he got up there and gave one of the most knowledgeable, careful, legal analyses of his case [against ObamaCare] and he was crystal clear and completely on top of the case. I thought it was a masterful performance. I was really, really impressed.

Scott Holleran: What are the legislative options for opposing ObamaCare?

Randy Barnett: It would be helpful if the Republicans in Congress would pass a law that is Constitutional and market-based—I don’t think anybody wants to go back to [the mixed health care system of] 2008—and I have discussed this with several people and I get the sense that there is interest. If the GOP were to pass the [Rep. Paul] Ryan plan, it would be very beneficial [to killing ObamaCare] because it would show that there are alternatives [to ObamaCare]. It would offer something identifiable as an alternative—not just a think tank proposal—something worked out of a legislative body and that would be important. Ultimately, the people will have to elect a president who will sign a repeal bill and, if the court upholds the [ObamaCare] law, that will fuel the fires. I think any Republican who gets the nomination will have to pledge to repeal ObamaCare. I do think it’s going to be a challenge for people on the Hill to come up with something that’s not ObamaCare-lite because that’s the way they think. But the need for health care for poor people does not deprive other people of the right to choose their health care. A government takeover and distortion of the health care market is not the way to go.

Scott Holleran: Are there executive options for opposing ObamaCare, in case Congress buckles in favor of the law?

Randy Barnett: [Former Massachusetts] Governor [Mitt] Romney says he’ll give a waiver to everyone. But I’m a Constitutional lawyer and, when you’re talking about something so far down the road, a lot can happen.

Scott Holleran: Are there state law options for opposing ObamaCare?

Randy Barnett: Some states have enacted health care freedom [from ObamaCare] acts and the Constitutionality of those acts are at issue in the lawsuits. If we lose [and ObamaCare is upheld], those acts will be inoperative. States can try to resist the Medicaid part, if they can afford to—and they generally can’t—but the idea that 27 or 28 state attorneys general are suing is significant and it’s going to be noticed by the Supreme Court.

Scott Holleran: Are there opt-out provisions that a single individual can exercise in compliance with U.S. law to get out of ObamaCare?

Randy Barnett: I don’t want to comment on that.

Monroe Anderson on Leanita McClain

31 May 2011

Leanita McClain with Monroe AndersonJournalist, former Chicago Sun-Times columnist, Chicago television executive and host and blogger Monroe Anderson recently talked with me about the 1984 suicide of his friend and colleague, Leanita McClain. He wrote a column about losing her in 2009.

Scott Holleran: How did you meet Leanita McClain?

Monroe Anderson: I was still working for Ebony and living in Prairie Shores at 28th and South King Drive by Michael Reese [Hospital] and it was a very black middle class apartment complex that [Ebony/Jet publisher and businessman] John Johnson had a stake in. I had moved to Chicago in 1972 to work for Ebony. We had a meeting in my apartment to talk about organizing black journalists, which eventually became the Chicago Association of Black Journalists. I was married to Christine Harris, my college sweetheart at Indiana University. Leanita was a student who struck me as very quiet, very poised. She was attractive. I remember her not saying anything.

SH: Where did you live in 1984?

MA: In Lincoln Park.

SH: Where do you live now?

MA: Lincoln Park.

SH: Did you feel guilty about moving to a predominantly white neighborhood?

MA: No, no, no, though there have been attempts to make me feel guilty. I looked in Hyde Park and the DePaul [University] area and I couldn’t afford it. I didn’t move here to live with whites but because I didn’t know how long I’d be in Chicago and I wanted to make a profit and gain [property] value.

SH: Leanita McClain was a friend and colleague and you both split from your spouses around the same time. Following your divorces, did she confide in you about her mental state?

MA: Yes. Leanita had talked with me about her attempt at suicide, and how her stomach had been pumped. This was my first and only [experience with] suicide. She was talking about suicide, like a kind of banter back and forth, and I did not take it seriously until she attempted it. Then, instead of banter, I lectured her about it. I talked her into going to therapy. In retrospect, I know that she wasn’t honest with me. She had reached out to me first—she felt I was safe. She came and told me about leaving Clarence [Page] to find herself, which is what my wife had left me to do.

She knew I wanted to write opinion pieces and she encouraged me. I would talk to her about them. Because I had grown up in a segregated community, I had not known any white people until I went to college. So I felt comfortable talking about my ideas with her. Leanita became my go-between.

SH: Was Leanita friends with other black Chicago journalists, such as Vernon Jarrett, Bob Petty, Rosemarie Gulley, and Harry Porterfield?

MA: She was friends with all of them. Vernon was her mentor.

SH: Was she political?

MA: No.

SH: Did she think Harold Washington was a type of great black hope when he ran for mayor of Chicago and did she have unrealistic expectations about his candidacy that were dashed?

MA: It was the idea of Harold Washington—and he was a charming communicator—and, when she was forced to face reality, it was too personal. All those Democrats [who refused to support Washington’s candidacy] became Republicans overnight. From her perspective, when he met all the benchmarks that should have allowed him to be mayor and wasn’t supported, it was a rejection of her.

SH: She wrote of being her brother’s keeper. Did Leanita McClain consider serving her race as a moral obligation?

MA: No. It was because of the history of racism in this country. I know that when I went to Indiana University in 1965, in this lilywhite environment, I felt that I, too, carried the weight of my race on my back. These things are rarely discussed openly.

SH: Is there anything you would have done differently about Leanita McClain?

MA: No. Because there’s nothing I could do. We talked literally every day, like Gayle [King] and Oprah [Winfrey], and the weekend before Memorial Day, she had avoided me. I didn’t make too much of it but then I didn’t talk to her that Friday, or Saturday, or Sunday, so on that Monday I called her, because she hadn’t called me. There was no answer. I came in Tuesday morning and her office was dark and the newspapers were stacked up in front of her door. That’s when I called a friend who knew her real estate agent—she was selling her house—who had a key. They went over and found her. He called me and said ‘she’s gone’. I had just come out of a divorce and I had just lost my father, who had a heart attack, and her suicide was part of a maturing process for me. I had done everything to save my marriage and I realized that, sometimes, there’s nothing you can do. It’s gonna be what it’s gonna be. I think she was just crazy. I would tell her that too. She would say ‘I’m not happy’. She just didn’t get the mental health help she needed. Not a week went by when she didn’t talk about suicide. Her mother was an albino and she didn’t talk about—she talked about being poor but not about her mom being an albino.

SH: Have you spoken with Keenan Michael Coleman, whom she was reportedly dating prior to her suicide?

MA: No. I had met him while she was dating him.

SH: Did Leanita McClain pull a gun on him after they split?

MA: Yes. She shot at him. She called me and I went and got the gun. She didn’t shoot to hit him; she shot to scare him. She was hysterical. I got a call from her saying ‘I shot at him! There’s a big hole in my wall and he left and he’s gone!’ I got in my car and drove there and she was crying, tears running down her face, and she showed me the gun, and the hole in the wall—and her concern was that she would never see him again. I was not gonna leave that gun there—I calmed her down, and I took it home and, since I didn’t want a gun in the house, I called Clarence [Page] and told him to take it. I later went to see her and she wasn’t frantic anymore.

SH: What advice do you have for those who have been affected by suicide?

MA: There’s nothing you can do about it. Don’t encourage it—but when they do it, they do it. A friend of mine here in Chicago, who moved to L.A., has written this book about his son’s mental illness and suicide called The Dragon and the Angel. If someone wants to end their life, there’s nothing you can do to stop them.

SH: A Chicago Tribune reporter was quoted in her obituary as saying that Leanita McClain carried the weight of the city upon her shoulders. Should she have shrugged?

MA: Yes.

Clarence Page on Leanita McClain

31 May 2011

Clarence PageI met Pulitzer Prize-winning Chicago Tribune columnist Clarence Page while he was on a book tour in Los Angeles and I scheduled him for an interview on The Leonard Peikoff Show at KIEV. I remember the interview as lively and interesting, and we reconnected years later through social media. This is an edited transcript of our recent conversation about the suicide of his former wife, Leanita McClain.

Scott Holleran: You were married to Leanita McClain for several years before you divorced. How did you meet?

Clarence Page: I was working in the [Chicago] Tribune newsroom—it was about 1972, because she was four years younger—and I looked up and she was the new intern hired from Northwestern [University in Evanston] and she was fresh off the campus. She was about 22. I was fresh out of the Army. I was about 26.

As soon as I met her I wanted to go out with her but I didn’t want to be too forward. I had two tickets to see Westworld and I asked her to attend the screening. We dated rather steadily and it was a slow build. We moved in together into an apartment between Lincoln Park and Lakeview, a one-bedroom apartment off Broadway on Wrightwood, just south of Diversey. We lived there and, after we moved in, we were married in six months—I was an only child and she was [the youngest of three children] and I wasn’t that eager to jump the broom. One day, my mom called and Leanita was there and answered the phone. She felt so guilty and nervous and she said ‘can we please get married?’ We went to City Hall and later we moved into the condominium on Lake Shore Drive off Belmont Harbor. It was in 1980 that she wrote the Newsweek piece [“The Middle-Class Black’s Burden”] and I left the Trib and went to [Chicago CBS affiliate] WBBM-TV.

On Memorial Day in 1980, our four-year-old nephew died in a tragic accident. After that, things took a bad turn. We could hardly see a four-year-old without her breaking down. It was a rollercoaster. She was the one who wanted to leave. She said she needed to be alone. I took it personally and figured that she just got tired of me. Then, one day she called me and said she had cut her wrists and had taken pills. I rushed her over to St. Joseph’s Hospital. I talked her into moving back in and she did—but she moved out again within a week. She bought a house in Hyde Park, with the primary motive to get married and have kids; then she backed out and went ahead and bought it anyway—she was digging a hole and feeling that she deserved this feeling. At one point, she fainted during a TV show taping. I picked her up and took her to her home and her refrigerator was empty.

Psychologically, you could see that Lea’s problem was race. Now we know that she was clinically depressed and what we would now call bipolar.

SH: What was she like as a journalist?

CP: She liked the copy desk best and she was happiest there. She didn’t like people that much—she didn’t like strangers and getting into people’s business, so she was not one who had dreamed of being a reporter her whole life. She had wanted to be a teacher like her sisters. A teacher at Chicago State [where Lea had attended college] had told her that she was an excellent writer and thought she could get a scholarship to Northwestern. They sent her a $6,000 check for her tuition to the housing project. Her father, who was a factory floor janitor, sat there staring at it because it was more than he made in a whole year.

But she never had a fire in her belly. One of her assignments was to cover the circus and Leanita was assigned to write a feature story, so she had to ride an elephant. She was scared of the elephant, riding down State Street, and the photographer kept telling her to smile and she came back and wrote that she had hated the experience—but her editor made her rewrite it. She was talented enough to write a piece of fiction. And that was one of my early indications that she was not in sync with the newsroom.

SH: How was her My Turn column in Newsweek received?

CP: Black folks loved it—conservatives hated it. But everyone thought it was moving. This piece was more like the agony of the black middle class. She was saying what [certain] black intellectuals had been saying about the terrible twoness of being African and being American and Leanita changed the metaphysics to having a foot in each world and not feeling comfortable in either. She was the only one writing about the paradox.

SH: What advice do you have for those who have been affected by suicide?

CP: The first thing is that it’s like Alzheimer’s—which my dad had and just died from—in that it’s harder on the survivor, so you need to not be ashamed to get counseling and get through it. Be aware of the danger signs and don’t be in denial. Get help. They usually try at least twice before and Leanita fit right into that pattern. Don’t hesitate to get them into counseling and if the person still commits suicide, don’t feel guilty. There’s more open discussion now and there’s a general understanding to get out of the superstition stage and start to deal with these [depressant] emotions.

SH: What advice do you have for those who may have thoughts of suicide?

CP: Like the campaign to help gay teens says, it gets better. A disparate number [of suicides] are gay kids or they are carrying a cloud of depression—my wife, who teaches at George Washington University—has been concerned about certain students. Since [the suicidal murders at] Virginia Tech, there’s more awareness. When I think of Leanita, she wasn’t the only tragic case in journalism. One of the Trib’s Pulitzer Prize-winners, George Bliss, had a nervous breakdown. He went away, came back and sat there, spaced out, and apparently he had a problem grasping reality. Then, he shot his wife and shot himself. That affected Leanita deeply.

SH: In her suicide note, Leanita McClain asked you to handle the arrangements. How did you cope and what pulled you through?

CP: At the time, I felt sad and remorseful and guilty but I also didn’t feel alone—I had her family and a circle of friends and it helped that I was being interviewed all the time.

SH: Do you think you suffered a type of post-traumatic stress disorder (PTSD)?

CP: Yes, I suppose so. I’m an Army veteran, though in a way it was like ‘ignorance is bliss’. When [she] finally did [kill herself], I was shocked but not surprised. It was therapeutic for me to help her friends and family. And I learned a lot about the media. It made me a more responsible reporter.

SH: One Tribune reporter was quoted in her obituary as saying that Leanita McClain carried the weight of the city upon her shoulders. Should she have shrugged?

CP: I think so. She was emblematic of Chicago and a racial and political mood of the city at that time, which she filtered through her own personal troubles.

Interview: Composer Desplat on The King’s Speech

20 January 2011

The King's Speech soundtrackToday, I had the pleasure of speaking with one of my favorite movie composers, Alexandre Desplat, about 2010′s best movie, The King’s Speech. We discussed several of his scores for some of the most well-made motion pictures of the last ten years, including The Queen, Casanova, and The Curious Case of Benjamin Button. He is bright, thoughtful, and very focused and, in a tender moment, he disclosed the recent loss of his father, which I thought he handled remarkably well. Here is this morning’s interview, which I must say I enjoyed almost as much as the movie and Desplat’s music, which I thoroughly recommend as his best work yet. Click on the soundtrack image in the interview to buy the compact disc and enjoy reading.