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Posts Tagged ‘Ron Howard’

OrlandoBW-web

I started this postcard thing a couple of years ago to help keep the blog going when I was on the road or busy on productions and couldn’t devote time to a new post. But this blog also celebrates a sense of place so it’s an opportunity to do that at the same time.

Yesterday after a shoot at Disney World I took the above photo of an old train depot. I haven’t seen it in over a decade but decided to check it out because traffic was bad on I-4. A few hours later I went to see the movie Rush and when I reflected on the day I realized it stirred a lot of memories. A lot of odd connections.  Yesterday just happened to be the exact day Disney World opened in 1971. Keeping with the 70s theme the movie Rush is set in the 1970s. Two of my biggest teenage influences in the 70s were the Eagles’ album Hotel California and the photographer Ansel Adams. If you know both of them you know how that formed my taking the above photo.

Ron Howard who I watched faithfully in the 70s when he was an actor on Happy Days, directed Rush. I went to see Rush with my wife who happened to do extra work on another Ron Howard film, Parenthood, that was shot in Orlando. And finally in the movie Rush one of the Formula One race drivers featured is the great Mario Andretti. One of the first jobs I had in the Orlando area when I was a teenager was a place called Mario Andretti’s Gran Prix International which was glorified go karts dressed up to look like mini-formula one cars. It was a fun job.

Sorry for the detour, but hope you like the photo.

BTW— I thought Rush was terrific.

Scott W. Smith

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“Everything’s always about page-turning, right? What’s next? So, if you create questions for audiences, then they’ll want to know the answer. Or they begin to formulate possible outcomes. That’s the game we play when we’re hearing a story unfold. That’s part of what sucks us into a movie.”
Producer/Director Ron Howard (A Beautiful Mind, Frost/Nixon, Rush)
Extended interview: Ron Howard on directing
CBS Sunday Morning

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On this repost Saturday I’m going back to a post I wrote 2 1/2 years ago on Ron Howard. While his latest film Rush (centered around the effects of a race car accident) gets a wide release here in the States this weekend, many people may be unaware that his feature directorial debut released back in 1977–also had to do with cars crashing. Here’s the original trailer for Grand Theft Auto, followed by the post that first ran on February of 2011.

“I literally thought I might get fired at lunch.”
Ron Howard
Speaking about the first day of shooting his first feature film at age 23.
(Grand Theft Auto for Roger Corman. A film Ron co-wrote with his actor father, Rance Howard.)

Ron Howard has had one of the most amazing careers in entertainment history. First, as a youth and a young man he was an actor in several iconic TV shows and movies; The Andy Griffith Show, The Music Man, Happy Days and American Graffiti. He played Huck Finn, met Walt Disney and had cameo parts on Gunsmoke, Lassie, M*A*S*H, The Waltons, and The Twilight Zone. He acted alongside Hollywood legends John Wayne and Lauren Bacall in The Shootist where he earned a Golden Globe nomination.

Then as he shifted to directing he started his education at USC and finished it directing a feature for Roger Corman. From there he’s gone on to make over 30 more films including and as varied as Apollo 13, Cocoon, Slash, Backdraft, How the Grinch Stole Christmas, and The Da Vinci Code. In 2002, he won two Oscars for his role as producer and director on A Beautiful Mind. Howard has also won a few Emmys as one of the producers of Arrested Development and From Earth to the Moon.

He comes from a perspective few, if any, can match— accomplish actor, low-budget filmmaker, Oscar-winning Hollywood producer/director. So just maybe he’d be a good person to listen to as the film business transitions to actually not having anything to do with literal film strips. A time when people are asking, “Will there even be movie theaters in the future?”

“It can be unsettlingAny time you go through a period when technology and delivery systems and distribution systems broaden and change, when there are generational shifts—all that influences what filmmakers do, the decisions they make, the kinds of projects they can work on. But I sometimes think about this 96-year-old guy, named Charles Rainsbury, who had a tiny speaking part in Cocoon. He’d been an actor and a film crew member when Fort Lee, New Jersey, was the center of the film world. He hadn’t been on a set since 1915, 1916. When I asked him how movies had changed since then, he said, ‘We didn’t have to shut up when they were shooting then; otherwise, it’s the same, hurry up and wait.’ And I find that comforting. As we go through this period of transition and worry about whether people are seeing our movies in multiplexes or on cell phones—or seeing them at all—I’m reminded that the thing I love is this process that hasn’t changed so much: You try to tell a story that’s meaningful, and share it with people. What really gets me out of bed in the morning is this lifestyle that I’ve always been a part of: the creative problem-solving, the collaboration.”
Ron Howard
DGA Quarterly/Fall 2009

See it’s not really the film biz after all—it’s the story biz. Go tell some meaningful stories.

Link to Ron Howard’s Oscar Acceptance Speech.

Scott W. Smith

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“A rivalry is an act of obsession and love, I wanted [Rush] to feel like a love story even though they were just bashing the living daylights out of each other.”
Rush screenwriter Peter Morgan
Reuter/Rush screenwriter inspired by rivalry, not Formula On racing

“[Rush] was suggested to me by my friend George Lucas, and it was enthralling because of both the unique characters and the thrilling drama of motorsports. When I started working with screenwriter Peter Morgan, we immediately understood that there was the opportunity to make a film that was fresh and different. He’s exceptional in unearthing these surprising conflicts in personal relationships, and the fact that Lauda and Hunt were so different allowed us to work on their profiles in an original way….The main theme is ambition. The level of ambition that’s necessary to overcome fear. Rush also tries to answer a simple, but terrifying question – what pushes a man to flirt so much with death?”
Rush Director Ron Howard
RUSH:The Movie—A Ron Howard Interview

Related Post (Theme, Character, Conflict Emotion cover a lot of ground)
Ron Howard and the Story Biz
Theme (What Your Movie is Really About)
Writing from Theme
Martin Luther King & Screenwriting (Tip #7) “Strong-willed characters”
Everything I Learned in Film School (Tip #1) “Conflict, conflict, conflict”
40 Days of Emotion

P.S. Ron Howard’s two Oscar-Awards were for producing and directing Frost/Nixon, a film which brought Morgan his second screenwriting Oscar-nomination.

Scott W. Smith

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There’s an Iowa kind of special,
Chip-on-the shoulder attitude,
We’ve never been without.
Iowa Stuborn from The Music Man
Song & play written by Meredith Willson

Composer, conductor, songwriter, and playwright Meredith Willson is most well known as the creative forced behind The Music Man. He was born in Mason City, Iowa in 1902 and educated at what would become The Julliard School. What’s less known about Willson is that he composed the scores for Charlie Chaplin’s The Great Dictator, and William Wyler’s The Little Foxes——both of which earned him Academy Award Nominations.

He also wrote The Unsinkable Molly Brown which had a two-year run on Broadway and became a film starring Debbie Reynolds. His radio program ran between 1935 and 1953. And since it’s December, I should point out that he also wrote the classic holiday song It’s Beginning to Look a lot like Christmas.

But Willson’s real legacy is The Music Man which took reportedly took him seven years to write and premiered on Broadway back in 1957 and has twice been made into films. Though I’ve lived in Iowa for almost ten years, this week was the first time I toured his childhood home in Mason City and The Music Man Square which pays honor to the man that paid tribute to his home state.

There’s too many layers to pull back at this time about The Music Man, but you can file Willson’s bio in the folder titled, “Talent Comes from Everywhere.” And let me just end this post with a clip of future Hollywood director Ron Howard singing the Wells Fargo song in The Music Man (1962):

Scott W. Smith

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 “Happy Days was for me the quintessential television success story. I had followed my instincts, and they had turned out to be right.”
Garry Marshall

The early 70s were not happy days. A sweeping snapshot of the United States during that time might look like this; Viet Nam, Watergate, oil crisis, rising drug use, Taxi Driver. Gritty stuff. Of course, the 70s weren’t all dark days—but it wasn’t best time to launch an upbeat show about the happy days of the 1950s. In fact, Garry Marshall’s original pilot for Happy Days died after it first aired in 1971.

But it now only found new life three years later, but the series ran from 1974-1984 for a total of 225 episodes. Here’s what changed to bring a dead project to life.

“My friend from Korea Fred Roos was producing a film with George Lucas called American Graffiti about the 1950s. They wanted to see my 1950s pilot because they were thinking of casing Ron Howard as the lead of their movie. They liked Ron, cast him, and American Graffiti was a big hit. Then a play called Grease hot Broadway, and it further reinforced the popularity of the 1950s. The executives at ABC called Eisner, and he remembered my pilot about the 1950s. Happy Days was repitched as a midseason replacement and given a second life three years after it appeared on Love, American Style.
Garry Marshall
My Happy Days in Hollywood (written with Lori Marshall)

Of course, I should point out that when Marshall was picking a setting for quintessential America in the 1950s he picked the Midwest— Milwaukee, Wisconsin.

“Knowing that Happy Days appealed to people from eight years old to eighty makes me smile even today. I always wanted to be remembered as the Norman Rockwell of television, Happy Days represented the part of me that wanted to make mainstream America laugh. If television was the education of the American public, then Happy Days was recess. And I always loved recess best.”
Garry Marshall
My Happy Days in Hollywood

Happy Days not only had an emotional and creative payoff for Garry, but when he went through some financial difficulties later in his career that put him on the edge of bankruptcy there was a thing called cable TV that came along and not only exposed Happy Days to a whole new audience (including his own grandchildren), but it brought him a whole new income stream. Happy days indeed.

Scott W. Smith

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“I literally thought I might get fired at lunch.”
Ron Howard
Speaking about the first day of shooting his first feature film at age 23.
(Grand Theft Auto for Roger Corman. A film Ron co-wrote with his actor father, Rance Howard.)

Ron Howard has had one of the most amazing careers in entertainment history. First, as a youth and a young man he was an actor in several iconic TV shows and movies; The Andy Griffith Show, The Music Man, Happy Days and American Graffiti. He played Huck Finn, met Walt Disney and had cameo parts on Gunsmoke, Lassie, M*A*S*H, The Waltons, and The Twilight Zone. He acted alongside Hollywood legends John Wayne and Lauren Bacall in The Shootist where he earned a Golden Globe nomination.

Then as he shifted to directing he started his education at USC and finished it directing a feature for Roger Corman. From there he’s gone on to make over 30 more films including and as varied as Apollo 13, Cocoon, Slash, Backdraft, How the Grinch Stole Christmas, and The Da Vinci Code. In 2002, he won two Oscars for his role as producer and director on A Beautiful Mind. Howard has also won a few Emmys as one of the producers of Arrested Development and From Earth to the Moon.

He comes from a perspective few, if any, can match— accomplish actor, low-budget filmmaker, Oscar-winning Hollywood producer/director. So just maybe he’d be a good person to listen to as the film business transitions to actually not having anything to do with literal film strips. A time when people are asking, “Will there even be movie theaters in the future?”

“It can be unsettlingAny time you go through a period when technology and delivery systems and distribution systems broaden and change, when there are generational shifts—all that influences what filmmakers do, the decisions they make, the kinds of projects they can work on. But I sometimes think about this 96-year-old guy, named Charles Rainsbury, who had a tiny speaking part in Cocoon. He’d been an actor and a film crew member when Fort Lee, New Jersey, was the center of the film world. He hadn’t been on a set since 1915, 1916. When I asked him how movies had changed since then, he said, ‘We didn’t have to shut up when they were shooting then; otherwise, it’s the same, hurry up and wait.’ And I find that comforting. As we go through this period of transition and worry about whether people are seeing our movies in multiplexes or on cell phones—or seeing them at all—I’m reminded that the thing I love is this process that hasn’t changed so much: You try to tell a story that’s meaningful, and share it with people. What really gets me out of bed in the morning is this lifestyle that I’ve always been a part of: the creative problem-solving, the collaboration.”
Ron Howard
DGA Quarterly/Fall 2009

See it’s not really the film biz after all—it’s the story biz. Go tell some meaningful stories.

Link to Ron Howard’s Oscar Acceptance Speech.

Scott W. Smith

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“Under no condition can you teach curiosity.”
Producer 
Brian Grazer
(Apollo 13, Cinderella Man, A Beautiful Mind)

“Learn from yesterday, live for today, hope for tomorrow. The important thing is not to stop questioning.”
Albert Einstein

“I believe in disrupting my comfort zone.”
Brian Grazer

Producer Brian Grazer of Imagine Entertainment has put up some pretty good numbers; More than 50 films for a box office total over $1 billion, five Emmys and an Oscar. (And one funky haircut.)

In the last few days I’ve written about Akiva Goldsman writing the script for A Beautiful Mind, and Sylvia Nasar first uncovering John Nash’s story, and a shout out to the movie’s director Ron Howard, but the connector of the entire project was Grazer. He reportedly had been looking for the right project for years that was an intriguing story about the brain.

A Beautiful Mind was an impossible movie to get made. Brian (Grazer) got it made. For a time, I wasn’t even going to direct it. But it was going to be a movie. Brian made sure of that. Brian nurtured this difficult project to fruition. He was responsible for A Beautiful Mind.”
Ron Howard
Esquire magazine

One of the ways that Grazer is said to keep information and ideas flowing in the pipeline is to work with a “cultural attaché.” A person who can keep up with cultural trends and help direct Grazer to meet some of the most interesting people alive. A couple of years ago in The New Yorker, Lizzie Widdicombe published an unofficial email that entailed just what a cultural attaché was expected to do working for Mr. Grazer:

This person would be responsible for keeping Brian abreast of everything that’s going on in the world; politically, culturally, musically. . . . They’re also responsible for finding an interesting person for Brian to meet with every week . . . an astronaut, a journalist, a philosopher, a buddhist monk. . . . There is LOTS of reading for this position! Grazer may ask you to read any book he’s interested in. You’ll probably get to read about 4 or 5 books a week and you may be required to travel with him on his private plane to Hawaii, New York, Europe—teaching him anything he asks you about along the way. . . . You will also be provided with an assistant. . . . Salary is around $150,000 a year. . . . You will be to Grazer what Karl Rove was to Bush.

Not a bad gig if you can land it. (Not sure if you’re paid overtime, but it doesn’t sound like a 40 hour a week job.) But if you can’t work for Brian Grazer—or be Brian Grazer (and I don’t think they’re currently taking applications for that position either)—you can at least learn from Brain Grazer.

“When I started out in the entertainment business, I made a list of people I thought it would be good to meet. Not people who could give me a job or a deal, but people who could shake me up, teach me something, challenge my ideas about myself and the world. So I started calling up experts in all kinds of fields: trial lawyers, neurosurgeons, CIA agents, embryologists, firewalkers, police chiefs, hypnotists, forensic anthropologists, and even presidents.”
Brian Grazer
Disrupting My Comfort Zone
NPR June 6, 2006

P.S. If you happen to be Brian Grazer’s cultural attaché, I am available next Wednesday for lunch if Mr. Grazer happens to be traveling through Iowa—or more likely flying over.(We do actually have one small connection. Back in the late ’80s when his film Parenthood was being shot in Orlando, my wife and son were extras. Our red Toyota van even got a cameo for a few seconds—a few frames?— in the alley scene where Steve Matin & Mary Steenburgen digging through trash. Almost famous.)

Update 2/17/11: Found a interview where Grazer was ask if he still has a cultural attaché, and he said, “That was sort of a joke title. I’ve been out meeting different people, I have a record, for 24 years, of meeting someone every two weeks. It helps inform your filter and hopefully informs your taste. I don’t have anyone that’s doing that for me right now. I use a couple of my assistants and I just say ‘hey, can I meet so-and-so’ and then we work on it or I’ll call them myself, but I don’t have a person that does that any longer.”

Related post: Jack Kerouac in Orlando

Genius, Madness & a Genuine Third Act

Scott W. Smith



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“Literature abounds with stories about meteoric rises followed by catastrophic falls. There are very few stories, much less true stories, with a genuine third act. But John Nash’s life had such a third act. In fact, it was that amazing third act that drew me to his story in the first place.”
Sylvia Nasar

On the DVD commentary of A Beautiful Mind director Ron Howard mentions that mathematicians on the level of John Nash don’t think it terms of numbers but of patterns.  I’m no mathematician (and certainly no genius), but in doing this blog for the past three years I’ve seen a number of patterns emerge. Today it happens to be journalists and Yellow Springs, Ohio.

Just as there was a great trail of talented people that led to the making of the classic film On the Waterfront , there was also a lot of talented people who were behind the success of A Beautiful Mind. And though both of those films were made over 45 years apart there are some common denominators between them.

Important parts of both stories take place in New Jersey. On the Waterfront in Hoboken and A Beautiful Mind in Princeton. I have been to both places, and though they are only 50 miles apart, culturally they are a worlds away from each other. (At least they were years ago.) Both stories center around a man facing great odds with a strong woman helping them endure. Both movies won Best Picture Oscars: On the Waterfront (1955), A Beautiful Mind (2002). Wait, both titles also have three words—this is getting scary.

And both stories were first brought to light by journalists. On the Waterfront flowed from 26 front page articles written by Malcolm Johnson. They first appeared in 1947-48 in The New York Sun and later in book form. For his work in exposing organized crime Johnson won the Pulitzer Prize.

A Beautiful Mind was the brainchild of Sylvia Nasar.  She was working as an economics reporter for the New York Times when she heard that John Nash would be sharing the Nobel Prize for his doctoral dissertation that was over 40 years old.

What had become of John Nash? Was he even still alive? He was alive, but he didn’t  understand why anyone would want to write a story on his life and did not give Nasar a formal interview. His friends and peers also were reluctant to speak to Nasar. She knows why, “There had not been a paragraph written on Nash, and no one who knew him wanted to put schizophrenia on the record because he had already suffered so much.” In 1994, The New York Times published Nasar’s article, The Lost Years of a Nobel Laureate.

One person who did talk to Nasar was Nash’s sister and that was enough to get started going deeper into the story. Nasar was also able to interview and talk with John’s wife, Alicia.

“In many ways these were the first prints in the snow, and the greatest thing that could happen to a reporter. It was an extremely rewarding experience not just telling a rise and fall story, but the fall and rise of an intellectual giant.”
Sylvia Nasar

Nasar took leave from the Times and spent two and a half years writing the book A Beautiful Mind: The Life of Mathematical Genius and Nobel Laureate John Nash. In 1998 the book won the National Book Critics Award for Biography and was a finalist for the Pulitzer Prize.

Nash had a great (though not perfect) first act as a rising academic in the cold war era when some mathematicians were rock stars. He earned his Ph.D. at the age of 21. He married a physics major who also happened to be a cheerleader and was said to resembled Elizabeth Taylor in the movie Butterfield 8

Act 2 is when things got rough. He failed to accomplish the great things he thought he would in his field. He began hearing voices and having delusions. He was diagnosed with schizophrenia in an era where the treatment was brutal. He ended up divorced, living in poverty and obscurity.

Five years after their divorce John called Alicia from a mental hospital  in West Virginia and asked her to help him. She did. And a mere 25-years-later he was honored with the Nobel Prize, and later the film A Beautiful Mind. He had finally found the success and fame that he hungered for as a young man.

“I dedicated my biography of John Nash to his wife Alicia. A Beautiful Mind is a drama about the mystery of the human mind, but it’s also very much a love story. It is very much an exploration of what Wordsworth called “the tenderness, joys, and fears of the human heart”...Without Alicia, Nash would have perished. There would be no recovery, no Nobel, no second take on life or the marriage.
Sylvia Nasar
Talk at MIT & Interview

So what does all of this have to do with Yellow Springs, Ohio? That is where Sylvia Nasar received her undergraduate degree in literature at Anitoch College. A place I have mentioned before since it is where Rod Serling graduated from on the road to creating The Twilight Zone.

We’ve all heard the horror stories from authors of books who’ve been less than pleased with the movie results based on their writings. Nasar’s Hollywood experience is on the other end of the spectrum.

“Was I happy with the movie? Well, look….when Ron Howard screened the movie for us I had read many drafts of the screenplay. I visited the set, I talked with Ron Howard—nothing prepared me for how good it was. I was really blown away. To me this movie captured what was truley— yes, in a fictional way— what was truly unique and meaningful about this story, and did something that I have never seen any movie do by this very cleaver device it put the audience in the shoes of someone who can’t distinguish between delusion and reality…To be able to translate a story about two states of mind, mathematics and schizophrenia, that are pretty remote from most people’s experience and to communicate that to audiences in many different cultures  and countries around the world I think is extraordinary. So, I was very happy with it.”
Sylvia Nasar
MIT Talk

Nasar is the John S. and James L. Knight Professor of Business Journalism at Columbia Journalism School.

Related Posts:
Writing “A Beautiful Mind”
A Beautiful Heart
Rod Serling’s Ohio Epiphany

Scott W. Smith

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“I was the worst writer in my seventh grade class. And when I went to college I was the worst writer in my college class. But each time somebody told me to stop writing, I never stopped…When I went to graduate school and tried to get  a degree in creative writing they told me to stop because I wasn’t that good. And I didn’t stop writing.”
Akiva Goldsman
2007 WGA Rally

It seems every step of the way Akiva Goldsman has had someone tell him that he wasn’t that good of a writer. It’s a good thing that he has an Oscar to remind himself otherwise. But perhaps it was Goldsman’s naysayers that best prepared him to write the screenplay for A Beautiful Mind (2001).

As he told the story based on the life of John Nash and Sylvia Nasar’s bio of the mathematician who suffers from schizophrenia, Goldsman had to know he was also telling his story. A story of a man who knew that he could achieve something greater than what he had accomplished up to that point in his life. (By the way, that story or theme will resonate with every man, woman, and child that’s ever walked on this earth.)

Goldsman was raised in a group house where his mother, a child psychologist, lived and worked with children diagnosed with childhood schizophrenia.

“I am no expert on mental illness, but I am sure of one thing: the children who shared my home were not without reason. Their behavior made sense to them. They had reasons for everything they did. We just couldn’t understand their reasons. So, the idea of writing a screenplay about John’s life and the way he saw the world was tremendously exciting to me.”
Akiva Goldsman
A Beautiful Mind, The Shooting Script

An the team at Imagine Films (Brian Grazer, Karen Kehela, Ron Howard) got behind Goldsman’s vision of writing the story from the perspective of someone who has schizophrenia. Much of the time we see the world as Nash saw the world.

“It’s not a literal telling of Nash’s life. I tried to take the architecture of his life—his genius, his schizophrenia, his Nobel Prize—and construct a semi-fictional story.”
Akiva Goldsman

One of the pieces of the Nash’s life that became an anchor for the story was the relationship with his wife Alicia.

“It’s kind of a grown-up romance. The relationship was intensely complex, as where the challenges that Alicia and John faced together. John Nash’s story is incredibly heroic, but so is Alicia’s.”
Ron Howard
Director, A Beautiful Mind

One of the ways that Goldsman visually showed that bond comes at the 40 minute mark of the movie when Alicia puts a handkerchief in Nash’s tuxedo pocket just before he has his picture taken. On the DVD commentary this is how Goldsman explains the importance of that moment :

“Here’s where we set up the handkerchief. The sort of talisman, the ‘objective correlative’ as Wallace Stevens said. The object that represents emotion—in this case the handkerchief is the object that represents their love and will carry throughout the piece.”
Akiva Goldsman

The handkerchief becomes a motif throughout the film. And in the closing speech at the end of the film, John Nash is wearing the same handkerchief that she gave him—a symbol of their love and endurance.

And speaking of endurance. Goldsman not only endured the years in school where he was discouraged from continuing to write, but he was by his own admission a “failed novelist for ten years” before turning his hand to screenwriting. And screenwriting is where he started winning awards, unfortunately his first award was a Razzie which honors bad acting, writing and filmmaking. And he actually won two; the 1997 Batman & Robin (Worst Screenplay) and the 1996 A Time to Kill (Worst Written Film Grossing Over $100 million.) It must have good felt five years later to walk up and receive his Oscar for A Beautiful Mind.

And Goldsman has gone to write many other screenplays that have made him one of the highest paid screenwriters in the history of motion pictures.

P.S. I’m going to start throwing that phrase”objective correlative” around, because that really makes it sound like you know what you’re talking about. Not to mention that T.S. Eliot used it as well.

“The only way of expressing emotion in the form of art is by finding an “objective correlative”; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.”
T.S. Eliot/Hamlet and His Problems

Objective correlative. Hence the presence of some outward object, predetermined to correspond to the preexisting idea in its living power, is essential to the evolution of its proper end, — the pleasurable emotion.
Washington Allston around 1840 in the “Introductory Discourse” of his Lectures on Art

A few “objective correlative” examples off the top of my head are the volleyball from Cast Away (WILSON!), the fish from Jerry Maguire, and the Heart of the Ocean necklace from Titantic. Can you think of others?

Scott W. Smith

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