3. Cynicism in the Optimism

For the past few weeks, we’ve been tracking the career of filmmaker Whit Stillman, a writer and director who entered the scene with 1990’s  Metropolitan, a wry comedy about debutante parties. The film, which was truly independent in its financing and production, became an unlikely success, launching several careers from its cast of unknowns and earning Stillman an Oscar nomination for its screenplay. This was a unique moment in American cinema, a time when independent became not just an economic condition but a brand. Studios began to harness the idea of independent cinema and crafted entire marketing campaigns around authentic voices as brands–Quentin Tarantino, Richard Linklater, Nicole Holofcener, Robert Rodriguez, Kevin Smith, Sofia Coppola, and many more.

Today's show focuses on the making of his third film, The Last Days of Disco, the conclusion in what is often referred to as his Doomed Bourgeoise in Love Trilogy. Each film follows characters navigating the tensions between who they thought they’d be and who they become, often set in a backdrop of a changing world threatening to leave people like them behind. Disco was the biggest production Stillman had mounted to date, a critical success, but a financial failure that threw off the momentum Stillman had amassed throughout the 1990s. This episode features interviews with Stillman, actor Taylor Nichols, composer Mark Suozzo, and critic Marya E. Gates.

The Entertainment is a production of KIOS 91.5 FM Omaha Public Radio. It is produced and edited by Courtney Bierman. Today’s show featured music and clips from The Last Days of Disco, Desperado, Slacker and Metropolitan.

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