Doyle Gipson: So, now what?
Gavin Banek: I’m going to dinner with my wife. . .her parents. And this weekend, I’m gonna go look at a boat. And then on Monday, I’m gonna come back in here and go to work. And then magically this whole incredible day just somehow. . .becomes a memory. It’s like you go to the beach. You go down to the water. It’s a little cold. You’re not sure you want to go in. There’s a pretty girl standing next to you. She doesn’t want to go in either. She sees you, and you know that if you just asked her her name, you would leave with her. Forget your life, whoever you came with, and leave the beach with her. And after that day, you remember. Not every day, every week… she comes back to you. It’s the memory of another life you could have had. Today is that girl.
June: Tell me about the movies you make.
Griffin Mill: Why?
June: Because I want to know what you do.
Griffin Mill: I listen to stories and decide if they’ll make good movies or not. I get 125 phone calls a day and if I let that slip to 100 I know I’m not doing my job. Everyone who calls, they want to know one thing. They want me to say yes to them and make their movie. If I say yes, they think that come New Year’s it will be just them and Jack Nicholson on the slopes of Aspen. That’s what they think. The problem is I can only say yes, my studio can only say yes 12 times a year. And collectively we hear about 50,000 stories a year. So it’s hard. And I guess sometimes I’m not nice and make enemies. That’s what I was to David. An enemy.
June: Was his story one of the 12?
Griffin Mill: No, it wasn’t.
Griffin Mill: It lacked certain elements that we need to market a film successfully.
June: What elements?
Griffin Mill: Suspense, laughter, violence. Hope, heart, nudity, sex. Happy endings. Mainly happy endings.
June: What about reality?