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Orson Welles's "Citizen Kane" incurs the wrath of William Randolph Hearst, animator Ub Iwerks creates Mickey Mouse, and the Reagans transition from acting to politics. (21:14)

WITH A ONE HERMAN MANKIEWICZ,SCREENWRITER,

AND MANKIEWICZ ALL OF A SUDDENSTARTS GOING LIKE,

YEAH, I WAS--I WAS ATSAN SIMEON THE OTHER WEEK,

AND ORSON'S LIKE,YOU HAVE INSIDE INFO

AND--AND LIKE LITTLE JUICYTIDBITS OF WHAT'S HAPPENING

AT THE HEARST CASTLE?

HE'S LIKE, OH, YEAH.

HE'S LIKE, OH [bleep],I HAVE AN INSIDE GUY.

DO TELL, DO TELL.

I PARTIED THERE REGULAR.

I'M HAVING DRINKS, SMOKING CIGS,DRINKING CHAMPY,

HAVING DELICIOUS APPETIZERSWITH MARION DAVIES

AND DOUGIE FAIRBANKSAND ALL THOSE PEOPLE, LOVING IT.

HE'S WITNESSING THIS STUFFFIRST HAND OF [chokes] HOLD ON.

[bleep]

SORRY, WHISKEY BEARD.

[laughs and burps]OH, MAMA.

BUT THEN HEARST WOULD LEAVETHESE PARTIES AND GO OUT

AND SPREAD ALLHIS NEWSPAPERS OUT

AND JUST LORD OVER HIS POWERS,

LIKE I CONTROL MEDIA,WHICH CONTROLS THE WORLD.

I AM [bleep] GOD.

AND ORSON GOES STOP.

I NEED YOU TO WRITE ME

A SCREENPLAY ABOUT THIS,

AND I AM GOING TO MAKE IT

INTO A FEATURE FILM.

DEAL WAS MADE.

ORSON WELLES KNEW THAT WE NEEDTO KIND OF KEEP THIS TOP SECRET,

AND KEEP IT UNDER WRAPSBECAUSE OF HEARST.

MANKIEWICZ WOULD POUNDOUT THE PAGES,

ORSON WELLES KEPT ONREADING THIS STUFF,

HE WAS LIKE,THIS IS AMAZING SCREENWRITING.

THIS IS GONNA BETHE BEST MOVIE EVER,

LIKE I'M MAKING A [bleep]KICKASS MOVIE MAN.

CAPICHE?

HE WROTE, PRODUCED,

DIRECTED,HE STARRED IN IT.

WHEN THE MOVIE WAS COMPLETE,

THE MOST POWERFULGOSSIP COLUMNIST OF THE TIME,

SHE SAID TO HEARST, THEY MADEMARION DAVIES LOOK LIKE

A COMPLETE FLOOZY,HORRIBLE PERSON.

I MEAN THE--THE WHOLE MOVIEWAS BASICALLY TRASHING

THE HEARST NAME.

HEARST HEARS ABOUT THIS,AND HE SEES RED.

HE STARTS THREATENINGANY NEWSPAPER OUT THERE

IF YOU PUT A REVIEW,IF YOU PUT AN AD OUT FOR THIS,

YOU'RE DONE.

HE TOLD EVERY MOVIE THEATRE,IF YOU RUN THIS MOVIE,

WE WILL NEVER PLACE AN AD FORONE OF YOUR FILMS EVER AGAIN.

SO.

HMM, UM.

OH, WHAT WAS I TALKING ABOUT?

- CITIZEN KANE?

- [laughs]THAT WAS VERY GENERAL,

UM [laughs]AH, RKO CALLED ORSON WELLES

SO OSWALD IS GREATFOR UNIVERSAL.

WALT GOES TO CHARLES MINTZAND HE SAYS,

LISTEN, WE ARE [BLEEP]KILLING IT,

TIME FOR YOU TO PAY USSOME MORE MONEY.

AND MINTZ, MINTZ LOOKS AT HIMAND HE LAUGHS.

[laughs]I'M GONNA GIVE YOU LESS MONEY.

AND MINTZ GOES, I HAVE SIGNEDALL OF YOUR ANIMATORS,

AND I OWN OSWALD, HE'S MINE.

WALT DISNEY VOWED FROM THAT DAY,

NOT ONLY WILL I EVER NOT OWNANY CHARACTER I CREATE,

I WILL NEVER NOT OWN THEM.

THEY-THE [laughs]I THINK.

HE SAID TO UB,UB, YOU WITH ME?

AND UB, YET AGAIN,LEFT WITH WALT DISNEY,

AND UB SAID TO HIM,WHAT ARE WE DOING WALT?

AND WALT'S LIKE, WE NEED ACHARACTER, UB, WHAT DO YOU GOT?

WHAT ABOUT A HORSE?NOPE.

WHAT ABOUT A DOG?NOPE.

[sighs]WHAT ABOUT A CAT?

NO, MAN,WE GOT ENOUGH CATS.

WE GOT FELIX THE CAT,THERE'S A LOT OF CATS OUT THERE.

WHAT ELSE YOU GOT?

WHAT ABOUT A MOUSE?

WALT'S LIKE, YEAH,LET'S DO THAT.

BUT WHAT HAPPENED NEXTWAS ALL UB IWERKS, OKAY?

SO UB LOCKED HIMSELFIN THE STUDIO,

AND HE CHURNS OUT 600 TO 700FRAMES A DAY, UNHEARD OF.

HE DID TWO MONTHS OF ANIMATIONIN TWO WEEKS,

AND HE CREATED A CHARACTER,MICKEY MOUSE.

HE SAT DOWN AND DREWTHAT CARTOON PLAIN CRAZY,

WALT LOVES IT,BUT HE GOES YOU KNOW WHAT?

WE NEED SOMETHING BIGGER,AND UB WAS LIKE,

BUT WHAT IF WE COULDSYNC SOUND TO IT?

WHAT IF WE DID OUR NEXT CARTOONWHERE WE COULD SEE

THE ACTION HAPPENING IN THE TIMEWITH THE MUSIC,

AND WALT WAS LIKE YEAH,LET'S DO SYNC SOUND.

SO STEAMBAY--SO STEAM MILL--

SO STEAMBOAT WILLIE COMES OUT

AND IT BLOWS AUDIENCES AWAY.

THEY WENT,I CAN SEE THAT MOUSE WHISTLING.

I CAN HEAR THE MOUSE WHISTLING,OH MY GOD,

THIS MOUSE IS WHISTLING ALONGWITH WHAT HIS MOUTH IS DOING.

THERE'S [bleep] SYNC SOUND.

THERE WERE STANDING OVATIONS.

MICKEY MOUSE BECAMEAN ICON OVERNIGHT.

HE WAS REFERENCEDIN MOVIES AND SONGS,

AND IT CREATES DISNEY.

LIKE THIS EM--EMBELLISHESTHEIR MICE TO EVERYBODY.

THEY KNOW THAT THIS IS LIKETHE GAME HAS CHANGED.

WITH THE ADDED PRESSURESOF MICKEY DOING REALLY WELL,

THE REAGANS WERE MARRIEDIN 1952.

NANCY, YOU KNOW,DEFINITELY CONVINCED RONNIE,

WE'RE--WE ARE HAS-BEENS.

LIKE WE--WE'RE NOT GONNA MAKE ITIN HOLLYWOOD.

YOU NEED TO BEMORE CONSERVATIVE.

OW. OH, [bleep].

- YOU OKAY?WHAT'D YOU DO?

- I'M FINE.

I STABBED MY OWN EYE OUT.

- I DIDN'T LE--- WHAT?

- HOW DID YOU STABYOUR EYE OUT?

- LET'S BE FAMOUS,YOU KNOW, POLITICALLY,

AND BECOME THE--THE FACESOF CONSERVATISM?

SHE WAS BASICALLY LIKEHIS MANAGER.

YOU NEED TO BE THE MOVIE STARTHAT YOU ARE, ALWAYS SMILE,

AND HOLD YOUR HEAD TO A HALF,45 DEGREE RIGHT ANGLE.

I THINK SHE, IN HER MIND,RAN HER OWN STUDIO,

AND--AND--AND SHE HADONE--ONE PLAYER,

AND THAT WAS RONALD REAGAN.

REMEMBER, BUSINETH--BUSINESS.

SO IT WAS 1964.

BARRY GOLDWATER WAS RUNNINGFOR PRESIDENT,

A HYPER-CONSERVATIVE,A BORING HUMAN BEING.

THEY EMPLOYED RONALD REAGAN,

WHO WAS THIS FAMOUS, GREAT ACTORTO GIVE THE SPEECH.

IN THE SPEECH HE SAID YOU CANEITHER GO RIGHT OR LEFT.

BUT THAT'S NOT WHAT IT IS,IT'S EITHER UP OR DOWN.

AND UP, YOU CA--YOU CAN CHOOSETO BE UP

TOWARDS INDIVIDUALISM,OR DOWN

IN THE DEPTHSOF TOTALITARIANISM.

PEOPLE WERE LIKE,WOW, I NEED TO WATCH THIS.

HE HAS A CHISELED JAW,I TRUST HIM.

I LIKE THIS GUY.

AND SO LIKE, THEN HE GOT VERYPOPULAR WITH THE REPUBLICANS.

SO THEY WERE NOTSUCCESSFUL ACTORS AS ACTORS,

BUT THEY WERE INCREDIBLYSUCCESSFUL ACTORS

AS POLITICIANS.

AND RONNIE BECAMETHE GOVERNOR OF CALIFORNIA.

NANCY WAS ALWAYSABOUT BEING FAMOUS ON ANY LEVEL.

LIKE, IF I'M NOT GOINGTO BE A MOVIE STAR,

I'M GONNA BE, YOU KNOW,IN THE WHITE HOUSE.

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