May 18, 2021 • 30 mins
Pierce misses Don's funeral and mistakenly ends up at the funeral of fabled Hollywood lawyer and fixer Sidney Korshak. It’s there that he connects with the producer of Chinatown, The Godfather, and Rosemary’s Baby- Robert Evans. It was Don that took Evans’ old job at Paramount as President of Production. Back then Evans was in a rapid career spiral, while Don was the hottest executive in town. Evans invites Pierce to his house for a game of tennis and to talk about his relationship with Don. Pierce learns that Don and Evans shared the same Hollywood madam. He also learns that Evans had a connection with the actress Autumn Weston- who may or may not have been connected to Don’s death.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
This is the ballad of Hollywood Shack and the Ridge Cage.
In Hollywood, Shack hit the big time and went to
make movies. From I Heart Radio, the based on True
Events anthology, we chronicle true events in the Hollywood tradition,
that is to say, adhering to the facts as long
(00:22):
as the facts don't get in the way of a
good story. First Up the Down the Definitive episode podcast
series on Hollywood producer Don Simpson, Episode three, Mobsters and Tennis.
Days after Don's death, Pierced crosses paths with Don's old rival,
producer Robert Evans. Alan Carr had been out of show
(00:45):
business for seven years. Other than trips to Tahiti, where
he would pack a week's worth of pills and sequester
himself in his hotel room, popping painkillers and drinking champagne.
Alan never left I'll Haven. He had long given up
hope he would ever again work in show business. Pierce
had no reason to believe Alan wasn't telling the truth,
(01:06):
but Alan's remark on Don's sexuality confounded him. Two. Pierce,
there wasn't a man with more testosterone, more Hemmingway swagger,
more hetero masculinity than Don it was Don who led
the Hollywood studio heads on rafting trips down the Colorado River.
It was Don who organized the gun clubs and hunting
(01:29):
trips and late night poker games. And it was Don
who created the image of the alpha male eighties movie
star that every thirteen year old boy in the world
wanted to be. And yet Alan Carr was telling Pierce
that it was an all gay male fantasy. In rewatching
Don's films American Giggielow, Saturday Night Fever, Top gun I,
(01:53):
began to see the not so subtle homo erotic messages
Alan was speaking of. Alan Carr had in that Don's
funeral was to be held the following morning on the
West Side. Pierce didn't want to make the same mistake
he did at Morton's by arriving conspicuously late and underdressed.
He regretted not borrowing one of Don's suits when he
was sleuthing around his bedroom. Don had over fifty Armani's
(02:16):
in his closet, and they were the same height five
seven and, depending on Don's weight, a size forty. Pierce
made a quick stop into French Connection on the Third
Street Promenade, emerging in a black Armani knockoff big in
the shoulder pads, giving Pierce the appearance of a movie
theater usher. In his black sunglasses and black Pontiac firebird,
(02:36):
he drove with the top down to the star studded
funeral of Don Simpson in a Los Angelinos centrally located
would typically give one's self twenty minutes on the surface
streets to arrive across town, Pierce gave himself forty minutes
to make it to Don's service. The extra time was
(02:57):
needed as he was having difficulty remembering to drive on
the right side of the road while constantly having to
check his Thomas Guide maps brawled out on the passenger seat.
He finally arrived at Hillside Memorial Cemetery with just a
few minutes to spare. He entered and saw a towering
white stone monument with a canopy held aloff by six
white columns. A series of terraced blue tiled waterfalls cascaded
(03:22):
down the hillside. Beneath the canopy was the marble sarcophagus
of the jazz singer Al Jolson. Inside was a three
foot bronze statue of Jolson down on one knee in
his famous jazz singer pose Al Jolson eighty six to
nineteen fifty misunderstood hero or villain? How would Don be remembered?
(03:45):
Pierce wondered. Directly behind the Jolson monument was a mammoth
two story mausoleum housing thousands of crypts. This has to
be the finest mausoleum in the world. It feels like
someone's home, if that someone was a pharaoh. There are
couches and lamps gilded in gold and ivory, shaped like
(04:06):
the Star of David. At the time, Pierce felt a
welcome break and losing himself in the maze of tombs,
reading off the names of the stars, Jack Benny Milton, Burl,
Dinah Shaw, Shelley Winters, the actor who played Dr Kimball
in the Fugitive TV series, A noble man on the
(04:28):
run in pursuit of the truth. I'd always drawn that,
parallel to journalism, the running was what made life less ordinary.
The tapes then revealed Pierce in a sort of self analysis,
reflecting on his chosen profession and vagabond lifestyle. It's unclear
if this was the reason Pierce was late for Dan's funeral.
(04:50):
The next tape skips ahead with Pierce recording Dan's funeral
in progress. The crowd is twenty rows deep. It is
not the slick, well healed crowd from a few units
earlier at Morton's, just the opposite. The mourners are older,
conservative East Coast, many in their sixties and seventies. Pierce notes,
(05:10):
there's something of a New York Godfather vibe. He scanned
the lineup for a familiar celebrity face, Will Smith, Eddie Murphy,
Tom Cruise, but there wasn't a name to be found
but for Robert Evans. Robert Evans had been the president
of Paramount, overseeing classic films like The Godfather, The Conversation,
(05:32):
Harold and Maude, Chinatown, Marathon Man, Rosemary's Baby. He was
a maverick of the artist driven movie. Eventually, Evans and
the art films era would be pushed out by another maverick,
Don Simpson and his high concept movies. Evans would later
become a producer at Paramount, the executive who would decide
(05:54):
whether evans films would get the green light that would
be done. Evans year followed a rapid downhill trajectory. His
cocaine youth had finally gotten him into trouble when he
was caught smuggling cocaine into Malta for Robin Williams and
the crew of Popeye. Evans called on Down to bail
him out, soliciting the help of Henry Kissinger in some
(06:16):
international diplomacy. Two years later, Evans would be arrested in
possession of nineteen thousand dollars of highly sought after pharmaceutical cocaine.
It was made by one company, Mark, which made it
difficult to obtain but easy to trace. His punishment was
what you would expect for a big shot Hollywood producer.
Probation in lieu of jail time, the judge instructed Evans
(06:40):
to make a series of anti drug p s a
s called Get High on Yourself Sunday It's Get High
on Your Soup with Henry Winn, Carol Burnett, Paul Human
and Star special from the Singing of Dr J and
Maggie Johnson. Bob emptied his Rolodex to call in celebrities
to sing along about the message of staying away from drugs.
(07:13):
The celebrities sing along would be a precursor to productions
like We Are the World and band Aids. Don't They
Know It's Christmas. Get High on Yourself would suggest that
that was just what Evans was doing when he made
the production, and yet the p S a s became
the feel good event of the summer, airing on NBC
for twenty six weeks. Tonight, Get High on Yourself with
(07:36):
Robert Conrad in the Coach of a Year to take
on these kids. You ask it for trouble, he can't
walk when he's a tough coach with lots of hearts.
Want these boys to know that they've got achieved. And
he shows a bunch of the liquid losers how to
become winners. I teach you learn the Coach of the Year,
just the beginning of Get High on Yourself, a week
on NBC. Year. Two years after Get High on Yourself,
cocaine would once again bring Evans down in what would
(07:58):
become known as the Hot In Club scandal. Evans was
implicated but not charged in the murder for higher plot
of his producing partner Ray Rayden. The murderer and his
accomplice Karen Greenberger, who was said to be evans lover
at the time, had shot raided multiple times in the
head and then just to air on the safe side,
(08:20):
blew raiding up with dynamite to make identifying the body
more challenging. Evans would plead the fifth during the trial.
It would be twelve years before Evans would be making
movies again. Pierce attempted to record Bob evans eulogy, but
(08:41):
sitting so far away from the podium made it difficult
to salvage much of the sound quality, but for a
few excerpts. He was known in the myth. Many said
they knew him, but few actually did. One thing was
for sure, he was one powerful motherfucker. Evans was speaking
as if Don was some sort of upster. The Godfather
(09:01):
five only reinforced the tribute. There wasn't a day in
thirty years we didn't spend an hour on the phone together.
He treated me with the same respect as when I
was want to be active, as when I ran normouth.
In life and in memory. He was the quintessential example
of a friendship treasure. Pierce wondered if this was true
(09:22):
or just Hollywood showmanship. For Don Simpson and Bob Evans
really that close. They were cut from the same cloth,
both outsized personalities with a reputation for outsized excess. But
where Evans was all about the art. Don was all
about the box office. In the end, Don's vision won
the day. Pierce wondered if Evans would tell the Popeye
(09:45):
cocaine story or his wild times with Don and Houston
working on Urban Cowboy. But Evans didn't have the focus
to tell stories. It was apparent to Pierce and everyone
in the crowd that he was high on cocaine. He
was long winded, rambling. He was known as the Silence
and one of his sayings was continued silence is the
(10:08):
greatest insurance policy for continued breathing. One word for him,
and there wasn't a second one. He never had to
say anything twice. Pierce was now very intrigued. He knew
that during Don's tenure, Paramount had given a minority stake
to mobster financier mckelly. Sindano, who represented the interests of
the Vatican. Was the Vatican mob here at Don's funeral,
(10:31):
Pierce took a second glance around the crowd. The men
in dark coats now seemed less Hollywood, more hardened businessman types,
disdainful of the law mobsters. A nod from Sydney and
the teams has changed management. A not from Sydney and
the Center and eat a racetrack closes, A non from
(10:52):
Sydney and Vegas shuts down. Sydney Carshack was a powerful
man and a true friend, and I will him daily,
cursed himself. The color drained from his face. He realized
he was now sitting in a crowd full of gangsters
at the funeral of Sydney Korshak, the fabled fixer for
(11:15):
the Chicago Mob, the man who, from the nineteen forties
until his death, was considered the most powerful lawyer in
the world. As the mourners lined up to sprinkle dirt
over the casket and the Jewish burial tradition, Pierce lowered
his head. He had missed Don's funeral and any opportunity
(11:35):
to talk to those who might know anything about his death.
The crowd soon dispersed to their waiting town cars, but
Bob Evans stuck around holding court with a trio of
tough guy fixer types. Pierce lingered, hoping for an opportunity
to talk to Evans. Feeling like he was getting too
close to the Evans crew, he drifted out of earshot
(11:58):
over to the grave. As a cover, he bowed his
head as if lost in grief, pretending to pray for
the most intimidating mob fixer in Hollywood history. Pierce looks
up to find Evans and the mobsters now circled around him.
Pierce on shore what to do, continues to pray intensely,
(12:18):
keeping his head down while the mobsters pay their final condolences. Eventually,
Evans and his crew moved to their cars. Pierce fails
to get evans attention. Just as Evans approaches his car,
Pierce shouts out, get high on yourself. His crew suddenly
turns around. Was Pierce mocking him? Pierce tells him that
(12:42):
he was there covering the Get High p s a
at NBC Studios. He was the guy standing behind Paul
Newman and the kid from eight is enough to prove
the point. He bursts into song with any well. Evans
stood speechless for a moment. Pierce explains that he had
(13:04):
mistakenly attended Sydney Korshack's funeral, believing it was Don Simpson's funeral,
and that he had hoped to ask Evans about his
relationship with Don at Paramount, Much to his astonishment, Bob
Evans invites Pierce to come to his house. For an interview.
(13:28):
The next day, Pierce arrives inside the gates at evans
estate known as Woodland. Years later, he would come back
to Woodland for a profile in the home section for
the l A Times. It was modest in size, just
three bedrooms with a guesthouse, but the grounds, privately perched
on two beautifully mannickered acres, were magical. It was once
(13:50):
a hideaway, regretta garbo gated secluded the kind of a
state that would suggest a butler, and that is just
who greeted Pierce at the door. Would Pierce be playing
tennis or swimming? He inquired. Pierce played in borrowed tennis
Waites and Stan Smith's. Evans told Pierce he was now
up close and personal with Dustin's balls and apparent reference
(14:12):
to the shorts he was wearing. Dustin halfman offten left
an extra set of tennis clothes for when he dropped
by impromptu for a match. The tennis game was recounted
and recorded after the fact. I'm rewarded by my gaff
in missing Don's funeral with a tennis match at Robert
Evans's estate. If I had known then of the notables
that have played on Evans's hallowed court, Barbara Streisan, Ted Kennedy,
(14:34):
Jack Nicholson, Lawrence Olivier. I perhaps would have been more
nervous in warmups. I mentioned I'm more of a fan
than a player. I recount my one and only tennis
tale when I was sixteen. I've stuck onto center court
at Wimbledon to witness my fellow countryman Roger Taylor upset
Rod Labor in the fourth round. Bob casually mentions He's
(14:58):
played with Labor several times, and Bobby Riggs and Giamo
Villas and Jimmy Connors. Bob and Connors were doubles partners.
They played forty one matches and went love for forty one.
There's a disarming humility that speaks to Evans's show. By
his career, an outlooked that he was one lucky bastard
(15:18):
that deserved little credit for his successes and much credit
for his failures. I suspect Don, with his total lack
of humility, would say the inverse. Evans will tell you
he stumbled into making some of the best movies ever made.
Don will tell you he made some of the best
movies ever made, because it was he who made them.
(15:38):
These men couldn't be more different, and yet their careers
were intertwined for over a decade. Evans had an effective
sliced backhand and an infuriating lob that took the wind
down my power strokes and taunted me into many an
unforced error. We player a gentleman's best of three sets.
(16:02):
I'm no match for Evans is crafty game. My stamina
is embarrassingly weak. A reminder I need to cut back
on cigarettes. Evans over bent a six four six to
I borrow a swimsuit. Evans makes another dustin Hoffman's balls joke.
Apparently I'm also swimming in Mr Hoffman's swim trunks. I
(16:27):
feel a bit like Mr Hoffman, floating in an empty pool,
like the graduate gazing up at a cloudless sky on
one of those magical Hollywood days where time stands still
and the world's problems and none of my own. Bob
invites me to stay for lunch. His butler serves hot
dogs and cold beer as we sit by the pool.
(16:48):
Now I see why Greta Garba called this place a hideaway.
I've never felt such peace. Bob waves to a small
crowd being led by the butler to the back screening room.
I recognize the act of Billy Zane from his brilliant
villany in the film Dead Calm. He is accompanied by
a blonde actress whose name escapes me. I believe she
(17:10):
played the lead in the Mannequin movies. Christy Swanson was
the actress in question. They disappear into Evans's screening room
to get a sneak peak of Evans's new film, The Phantom.
Evans has high hopes for the film, spawning a franchise.
You can lively, christ Can't ask. The Phantom would be
(17:35):
released later that year. It would tank at the box office.
I have momentarily forgotten my purpose for the visit is
to interview Evans on Sydney Korshack, and so did Evans.
It is immediately evident that the only subject Evans wishes
to expound upon is Bob Evans. No man is more
gifted at courting publicity. After all, he has a movie
(17:58):
coming out he needs a profile. Bob begins to talk
and talk and talk. As much as I want to
hear his highly entertaining stories of the golden days of
seventies cinema, I am disciplined enough to steer Evans to
speak of his time at Paramount when Don Simpson was
president of production. It was here that Evans revealed that
(18:22):
after he came home from Korshak's funeral, he was stirred
by Pierce's interview request regarding Don. The encounter prompted him
to sit down to write several additional scenes about his
relationship with Don for his new play, a one man
show he was set to perform. Evans told Pierce the
material could be used in lieu of an interview. Pierce
(18:44):
indicated his preference for a straightforward interview, but Evans was
eager to test out the material. He would allow Pierce
to record. The setup was not ideal to complicate matters.
The Santa Anna winds were blowing hard that day and
distorted much of the tape quality. In the recording, you'll
find his voice was much more tuned to the younger
actor Bob Evans polished and theater trained, a distinction from
(19:08):
the gravel voiced Evans of later years. Don and I
leap frogged each other for the good part of two decades.
When I was high on the hog, Don was low
on the pole. When I was broke depressed and out
of the game. Don was beating his chest the King
of the Mountaintop. Funny thing we both started out as actors,
(19:32):
and terrible actors at that too vain, too stiff to self.
Where the difference one of us had a bit of
lady luck. The story goes that a young Evans was
sunbathing at the Beverly Hills Hotel pool when he was
discovered by the actress Norma Shearer, who hired him to
play her husband Irving Thalberg in A Man with a
Thousand Faces Mind. If I commit a minute, you know
(19:55):
I don't look just to the barracade, but I've just
come from a revolution from of the jazz LINYA should
have seen that audience. Well star was playing the lead
in a major motion picture. Poor Don couldn't get an
audition for Cheerios. But Don was resourceful in ways I
could never be. He couldn't act his way in movies,
so he wrote his way in. Don wrote the movie
(20:18):
Cannonball in five days, Give Me the Highway, Patrol squealing smashing.
It's a cross country demolition Derby winner cannon Ball. Don
wrote himself apart as the tough minded district attorney. He's
the first guy speaking. He gets about twenty seconds of
screen time. Sir, have you seen this? They're doing it again? Well,
(20:42):
they're in for surprise. If they're racing anywhere, they're going
to race to the impound lot. Sir Keviny Brad Phillips
on the phone and tell him it's a district attorney.
The movie also featured the pairing of Sylvester Stallone and
Martin Scorsese as gangsters discussing a drug deal over fried Chicken.
Us we got money writing on this same I made
your socio, Benny going to deliver. I gotta go back
(21:04):
on my time, and I'm gonna tell you something look
very good. You know, man does something for you. In
the three years that Donna is founding the pavement for
acting work, I've graduated from actor to studio head. Success
came fast. I moved into Woodland and the studio converts
the poolhouse into a screening room, and everybody in show
(21:24):
business shows up to the party, everybody but Don. I
was dating Grace Kelly, Lana Turner, Ava Gardner, Alan McGraw,
Don was hunting dates and the classifieds. Even after Dawn
became arguably the biggest producer on the planet. He continued
to look for dates in the classifieds. He was too
(21:45):
self conscious to ask a woman out in person. I'm
playing tennis with Johnny Carson and the head of General Motors,
Don is playing tennis with the old Russians at Plumber Park.
This was when Don first moved to Los Angeles. In
order to make rent, Don hustled tennis matches at Plumber Park.
Often when Don lost a match, he was rumored to
(22:05):
drop his shorts and pee all over the neck. Robert
Town said, if I was to come back in another
life as a racehorse, I'd be named Goshen to the Wind.
My hot streak in Paramount came to an abrupt end.
So long Evans take a soft landing producing deal on
your way out. Evans left the studio a year before
(22:26):
Don was hired. At Paramount. Don would climb the ranks
in the story department, ultimately becoming president of production. He
was number three behind Barry Diller and Michael Eisner, but
the only guy he really cared about was the Gulf
and Western CEO, Charlie Bluethorn. Bluetthorn was a powerful, intimidating
movie mogul with a heavy Austrian accent and a psychotic temper.
(22:50):
The press labeled him the mad Austrian and hurricane Charlie
In Bluethorn, Don saw a clear trajectory of succession. Don
would one day succeed Bluehorn as the last mogul to
ever run a studio. It's unclear from Evans if Don
was even close enough to being in consideration to succeed
Charlie Bluehorn, but he did acknowledge Don's unrelenting pace that
(23:13):
fueled his ambitions. Don just moved faster than everyone else. Uh,
no time to smell the roses. He outraced everybody until
the only one he was racing against was time. But
for a while he kept up the pace. I remember
visiting my good friend Robert Town on the set of
Days of Thunder. I was awe struck by Don's transformation.
(23:35):
He looked the same age as when he first started
working at Paramount, and I asked Town, was it the
scientology he was dabbling in the supplements to magic youth serums.
Nobody knew, but he was doing everything he could to
keep up with Tom Cruise. Don never let his dreams
of becoming an actor die on Days of Thunder. He
(23:56):
took a page out of his acting debut in Cannonball
twenty year earlier by writing apart for himself. He was
set for a supporting role opposite the biggest movie star
in the world, Tom Cruise. This was always Don's dream
to be a movie star. I remember seeing him on
set in costume and his race cars suit. The makeup
(24:17):
girl is touching him up. There's two hundred crew members
revving up the race cars. It's loud, it's exciting, It's
pure Don. And I'll never forget what he said, Bob,
I will never ever lift my foot off the gas pedal.
And I knew then it wasn't going to end well
for Don. Pierce asks if Evans knew anything of Don's
(24:40):
last days. Here, Evans asks to speak off the record.
It was apparent that Evans had never wished to give
Pierce a candid interview about Don. Pierce would come to
realize that nobody in Hollywood wanted to go on the
record about Don. So off the record, Evans mentioned that
(25:00):
he had heard from a mutual friend that Don might
have had mob troubles. Pierce recalled the motion centers Don
had installed under his carpeting. He asked Evans if Don
thought somebody might be after him. Again, Evans mentioned the
mob rumor. He clarified it was not the Italian American mob,
(25:21):
but the Italian mob. The tapes at evans house ended
here with a final tape recorded after the fact. I
wanted to ask him more about the mob rumor. When
the doorbell rings, Evans excuses himself. Before he does, he
wants to show me his collection of designer eyeglasses. He
has over a hundred pairs. He gives me a pair
(25:45):
of prototype eyeglasses he's patented. They're designed to rest on
the forehead and the cheekbones, but not the nose. They're
a necessity, he says, for anyone who's had plastic surgery.
I have a look in the mirror. The designer plastic
surgery eyeglasses look ridiculous. I came here for some information,
(26:06):
and I've got nothing but a useless pair of glasses
that don't rest on my nose. I try to think
of something that might spark Evans to shed some light
on Don's final days. I ask again, who was the
mutual friend that mentioned the mob. The butler calls Evans.
Evans excuses himself. The butler takes the coats of two
(26:27):
well proportioned women. They're attractive, well dressed. They don't seem
like actresses or models, and yet they appear to be
in the profession of looking beautiful. Evans takes a detail
through the powder um, taking a tupe off a cocaine spoon.
He turns to see me looking through the window and
beckons me to join in. He chuckles, making an offhanded
(26:48):
remark about how he and Don actually had a few
things in common, a love for movies, tennis, cocaine, and
shared girlfriends. You'd think we would have enjoyed each other's
company more. I blurt out my amazement that he and
Don had shared girlfriends. He laughs, looking at me like
I'm the dumbest schmuck on the face of the planet.
(27:09):
It's a beat before I realized what the women are prostitutes.
Seeing my window closing, I asked again if I might
speak with the mutual friend that he had shared with Don.
At this point, Evans had launched into a story about
visiting his friend, the French movie star Elaine du Lain
in Paris and how Dulon gave Evans a welcome gift
(27:30):
upon arrival a trip to Madame Claudes, the most famous
brothel in the world. Evans wrapped his arm around Pierce
and wrote down a name and address of an exclusive
brother he was giving Pierce his Elaine Dulin welcome gift
upon arrival. Evans then calls attention to the brunette and
(27:52):
the blonde waiting in the foyer. I have yet to
see their faces, but in my mind they are already
the most beautiful women I've ever seen. The blonde flips
her hair over our shoulder and turns to greet Evans,
who slips the cocaine spoon under her nose. My heart
skips a beat when I see her face. She looks
(28:15):
uncannily like the actress I saw two nights ago, Autumn Western.
I take a step forward, discarding my designer sunglasses. She
doesn't just look like Autumn Western, she is Walton Western.
She gives me a smile as if to say we've
(28:37):
met before My mouth opens, but no words come out.
Evans takes her hand and leads her upstairs. Listen to
(29:06):
the don on the I Heart Radio, Apple Podcasts, or
wherever you get your podcasts. Episode three, disclaimers. First off,
Don's relationship with Robert Evans. There isn't much documentation that
they were friends, nor that they were enemies. Evans was
once the head of production at Paramount. When he was
forced out of the job, he struggled to make movies,
in part because he had to answer to Don, who
(29:28):
took his job as head of production. They made two
movies together, Urban Cowboy and Popeye, both considered flops. There
were rumors of rampant cocaine use on set. Bob Evans
did in fact speak at Sydney Korshak's funeral, as we documented,
he was reported to be most likely high on cocaine.
We don't believe that Bob also went to Don's funeral,
though it was likely on a different day than Core Shucks.
Don and Bob both left movies Cocaine, Prostitutes and Tennis,
(29:51):
most likely in that order. Where Evans was beloved as
a mention at charming reconteur who oversaw some of the
great art house films of the seventies, Don was much
reviled as a narcissist and a bad boy who did
much to destroy the seventies art house movement, and who
in the words of his director and Popeye Robert Altman said,
I'm only sorry he didn't live longer and suffer more.
(30:12):
Other disclaimers, the actors Billy Zane and Christy Swanson did
not arrive during Pierce's fictitious visit. Evans did actually perform
a one man show, but we fictionalized that he was
trying to incorporate a monologue about don into his act.
The voice of Evans was played by the actor Matt Nolan.
Pierce's mention of the sunglasses that Evans designed to rest
on the forehead specifically for those who have undergone plastic surgery,
(30:33):
was in fact true. We don't believe that Evans actually
brought the sunglasses to the marketplace, but we'd love to
get a pair.
This is the ballad of Hollywood Shack and the Ridge Cage.
In Hollywood, Shack hit the big time and went to
make movies. From I Heart Radio, the based on True
Events anthology, we chronicle true events in the Hollywood tradition,
that is to say, adhering to the facts as long
(00:22):
as the facts don't get in the way of a
good story. First Up the Down the Definitive episode podcast
series on Hollywood producer Don Simpson, Episode three, Mobsters and Tennis.
Days after Don's death, Pierced crosses paths with Don's old rival,
producer Robert Evans. Alan Carr had been out of show
(00:45):
business for seven years. Other than trips to Tahiti, where
he would pack a week's worth of pills and sequester
himself in his hotel room, popping painkillers and drinking champagne.
Alan never left I'll Haven. He had long given up
hope he would ever again work in show business. Pierce
had no reason to believe Alan wasn't telling the truth,
(01:06):
but Alan's remark on Don's sexuality confounded him. Two. Pierce,
there wasn't a man with more testosterone, more Hemmingway swagger,
more hetero masculinity than Don it was Don who led
the Hollywood studio heads on rafting trips down the Colorado River.
It was Don who organized the gun clubs and hunting
(01:29):
trips and late night poker games. And it was Don
who created the image of the alpha male eighties movie
star that every thirteen year old boy in the world
wanted to be. And yet Alan Carr was telling Pierce
that it was an all gay male fantasy. In rewatching
Don's films American Giggielow, Saturday Night Fever, Top gun I,
(01:53):
began to see the not so subtle homo erotic messages
Alan was speaking of. Alan Carr had in that Don's
funeral was to be held the following morning on the
West Side. Pierce didn't want to make the same mistake
he did at Morton's by arriving conspicuously late and underdressed.
He regretted not borrowing one of Don's suits when he
was sleuthing around his bedroom. Don had over fifty Armani's
(02:16):
in his closet, and they were the same height five
seven and, depending on Don's weight, a size forty. Pierce
made a quick stop into French Connection on the Third
Street Promenade, emerging in a black Armani knockoff big in
the shoulder pads, giving Pierce the appearance of a movie
theater usher. In his black sunglasses and black Pontiac firebird,
(02:36):
he drove with the top down to the star studded
funeral of Don Simpson in a Los Angelinos centrally located
would typically give one's self twenty minutes on the surface
streets to arrive across town, Pierce gave himself forty minutes
to make it to Don's service. The extra time was
(02:57):
needed as he was having difficulty remembering to drive on
the right side of the road while constantly having to
check his Thomas Guide maps brawled out on the passenger seat.
He finally arrived at Hillside Memorial Cemetery with just a
few minutes to spare. He entered and saw a towering
white stone monument with a canopy held aloff by six
white columns. A series of terraced blue tiled waterfalls cascaded
(03:22):
down the hillside. Beneath the canopy was the marble sarcophagus
of the jazz singer Al Jolson. Inside was a three
foot bronze statue of Jolson down on one knee in
his famous jazz singer pose Al Jolson eighty six to
nineteen fifty misunderstood hero or villain? How would Don be remembered?
(03:45):
Pierce wondered. Directly behind the Jolson monument was a mammoth
two story mausoleum housing thousands of crypts. This has to
be the finest mausoleum in the world. It feels like
someone's home, if that someone was a pharaoh. There are
couches and lamps gilded in gold and ivory, shaped like
(04:06):
the Star of David. At the time, Pierce felt a
welcome break and losing himself in the maze of tombs,
reading off the names of the stars, Jack Benny Milton, Burl,
Dinah Shaw, Shelley Winters, the actor who played Dr Kimball
in the Fugitive TV series, A noble man on the
(04:28):
run in pursuit of the truth. I'd always drawn that,
parallel to journalism, the running was what made life less ordinary.
The tapes then revealed Pierce in a sort of self analysis,
reflecting on his chosen profession and vagabond lifestyle. It's unclear
if this was the reason Pierce was late for Dan's funeral.
(04:50):
The next tape skips ahead with Pierce recording Dan's funeral
in progress. The crowd is twenty rows deep. It is
not the slick, well healed crowd from a few units
earlier at Morton's, just the opposite. The mourners are older,
conservative East Coast, many in their sixties and seventies. Pierce notes,
(05:10):
there's something of a New York Godfather vibe. He scanned
the lineup for a familiar celebrity face, Will Smith, Eddie Murphy,
Tom Cruise, but there wasn't a name to be found
but for Robert Evans. Robert Evans had been the president
of Paramount, overseeing classic films like The Godfather, The Conversation,
(05:32):
Harold and Maude, Chinatown, Marathon Man, Rosemary's Baby. He was
a maverick of the artist driven movie. Eventually, Evans and
the art films era would be pushed out by another maverick,
Don Simpson and his high concept movies. Evans would later
become a producer at Paramount, the executive who would decide
(05:54):
whether evans films would get the green light that would
be done. Evans year followed a rapid downhill trajectory. His
cocaine youth had finally gotten him into trouble when he
was caught smuggling cocaine into Malta for Robin Williams and
the crew of Popeye. Evans called on Down to bail
him out, soliciting the help of Henry Kissinger in some
(06:16):
international diplomacy. Two years later, Evans would be arrested in
possession of nineteen thousand dollars of highly sought after pharmaceutical cocaine.
It was made by one company, Mark, which made it
difficult to obtain but easy to trace. His punishment was
what you would expect for a big shot Hollywood producer.
Probation in lieu of jail time, the judge instructed Evans
(06:40):
to make a series of anti drug p s a
s called Get High on Yourself Sunday It's Get High
on Your Soup with Henry Winn, Carol Burnett, Paul Human
and Star special from the Singing of Dr J and
Maggie Johnson. Bob emptied his Rolodex to call in celebrities
to sing along about the message of staying away from drugs.
(07:13):
The celebrities sing along would be a precursor to productions
like We Are the World and band Aids. Don't They
Know It's Christmas. Get High on Yourself would suggest that
that was just what Evans was doing when he made
the production, and yet the p S a s became
the feel good event of the summer, airing on NBC
for twenty six weeks. Tonight, Get High on Yourself with
(07:36):
Robert Conrad in the Coach of a Year to take
on these kids. You ask it for trouble, he can't
walk when he's a tough coach with lots of hearts.
Want these boys to know that they've got achieved. And
he shows a bunch of the liquid losers how to
become winners. I teach you learn the Coach of the Year,
just the beginning of Get High on Yourself, a week
on NBC. Year. Two years after Get High on Yourself,
cocaine would once again bring Evans down in what would
(07:58):
become known as the Hot In Club scandal. Evans was
implicated but not charged in the murder for higher plot
of his producing partner Ray Rayden. The murderer and his
accomplice Karen Greenberger, who was said to be evans lover
at the time, had shot raided multiple times in the
head and then just to air on the safe side,
(08:20):
blew raiding up with dynamite to make identifying the body
more challenging. Evans would plead the fifth during the trial.
It would be twelve years before Evans would be making
movies again. Pierce attempted to record Bob evans eulogy, but
(08:41):
sitting so far away from the podium made it difficult
to salvage much of the sound quality, but for a
few excerpts. He was known in the myth. Many said
they knew him, but few actually did. One thing was
for sure, he was one powerful motherfucker. Evans was speaking
as if Don was some sort of upster. The Godfather
(09:01):
five only reinforced the tribute. There wasn't a day in
thirty years we didn't spend an hour on the phone together.
He treated me with the same respect as when I
was want to be active, as when I ran normouth.
In life and in memory. He was the quintessential example
of a friendship treasure. Pierce wondered if this was true
(09:22):
or just Hollywood showmanship. For Don Simpson and Bob Evans
really that close. They were cut from the same cloth,
both outsized personalities with a reputation for outsized excess. But
where Evans was all about the art. Don was all
about the box office. In the end, Don's vision won
the day. Pierce wondered if Evans would tell the Popeye
(09:45):
cocaine story or his wild times with Don and Houston
working on Urban Cowboy. But Evans didn't have the focus
to tell stories. It was apparent to Pierce and everyone
in the crowd that he was high on cocaine. He
was long winded, rambling. He was known as the Silence
and one of his sayings was continued silence is the
(10:08):
greatest insurance policy for continued breathing. One word for him,
and there wasn't a second one. He never had to
say anything twice. Pierce was now very intrigued. He knew
that during Don's tenure, Paramount had given a minority stake
to mobster financier mckelly. Sindano, who represented the interests of
the Vatican. Was the Vatican mob here at Don's funeral,
(10:31):
Pierce took a second glance around the crowd. The men
in dark coats now seemed less Hollywood, more hardened businessman types,
disdainful of the law mobsters. A nod from Sydney and
the teams has changed management. A not from Sydney and
the Center and eat a racetrack closes, A non from
(10:52):
Sydney and Vegas shuts down. Sydney Carshack was a powerful
man and a true friend, and I will him daily,
cursed himself. The color drained from his face. He realized
he was now sitting in a crowd full of gangsters
at the funeral of Sydney Korshak, the fabled fixer for
(11:15):
the Chicago Mob, the man who, from the nineteen forties
until his death, was considered the most powerful lawyer in
the world. As the mourners lined up to sprinkle dirt
over the casket and the Jewish burial tradition, Pierce lowered
his head. He had missed Don's funeral and any opportunity
(11:35):
to talk to those who might know anything about his death.
The crowd soon dispersed to their waiting town cars, but
Bob Evans stuck around holding court with a trio of
tough guy fixer types. Pierce lingered, hoping for an opportunity
to talk to Evans. Feeling like he was getting too
close to the Evans crew, he drifted out of earshot
(11:58):
over to the grave. As a cover, he bowed his
head as if lost in grief, pretending to pray for
the most intimidating mob fixer in Hollywood history. Pierce looks
up to find Evans and the mobsters now circled around him.
Pierce on shore what to do, continues to pray intensely,
(12:18):
keeping his head down while the mobsters pay their final condolences. Eventually,
Evans and his crew moved to their cars. Pierce fails
to get evans attention. Just as Evans approaches his car,
Pierce shouts out, get high on yourself. His crew suddenly
turns around. Was Pierce mocking him? Pierce tells him that
(12:42):
he was there covering the Get High p s a
at NBC Studios. He was the guy standing behind Paul
Newman and the kid from eight is enough to prove
the point. He bursts into song with any well. Evans
stood speechless for a moment. Pierce explains that he had
(13:04):
mistakenly attended Sydney Korshack's funeral, believing it was Don Simpson's funeral,
and that he had hoped to ask Evans about his
relationship with Don at Paramount, Much to his astonishment, Bob
Evans invites Pierce to come to his house. For an interview.
(13:28):
The next day, Pierce arrives inside the gates at evans
estate known as Woodland. Years later, he would come back
to Woodland for a profile in the home section for
the l A Times. It was modest in size, just
three bedrooms with a guesthouse, but the grounds, privately perched
on two beautifully mannickered acres, were magical. It was once
(13:50):
a hideaway, regretta garbo gated secluded the kind of a
state that would suggest a butler, and that is just
who greeted Pierce at the door. Would Pierce be playing
tennis or swimming? He inquired. Pierce played in borrowed tennis
Waites and Stan Smith's. Evans told Pierce he was now
up close and personal with Dustin's balls and apparent reference
(14:12):
to the shorts he was wearing. Dustin halfman offten left
an extra set of tennis clothes for when he dropped
by impromptu for a match. The tennis game was recounted
and recorded after the fact. I'm rewarded by my gaff
in missing Don's funeral with a tennis match at Robert
Evans's estate. If I had known then of the notables
that have played on Evans's hallowed court, Barbara Streisan, Ted Kennedy,
(14:34):
Jack Nicholson, Lawrence Olivier. I perhaps would have been more
nervous in warmups. I mentioned I'm more of a fan
than a player. I recount my one and only tennis
tale when I was sixteen. I've stuck onto center court
at Wimbledon to witness my fellow countryman Roger Taylor upset
Rod Labor in the fourth round. Bob casually mentions He's
(14:58):
played with Labor several times, and Bobby Riggs and Giamo
Villas and Jimmy Connors. Bob and Connors were doubles partners.
They played forty one matches and went love for forty one.
There's a disarming humility that speaks to Evans's show. By
his career, an outlooked that he was one lucky bastard
(15:18):
that deserved little credit for his successes and much credit
for his failures. I suspect Don, with his total lack
of humility, would say the inverse. Evans will tell you
he stumbled into making some of the best movies ever made.
Don will tell you he made some of the best
movies ever made, because it was he who made them.
(15:38):
These men couldn't be more different, and yet their careers
were intertwined for over a decade. Evans had an effective
sliced backhand and an infuriating lob that took the wind
down my power strokes and taunted me into many an
unforced error. We player a gentleman's best of three sets.
(16:02):
I'm no match for Evans is crafty game. My stamina
is embarrassingly weak. A reminder I need to cut back
on cigarettes. Evans over bent a six four six to
I borrow a swimsuit. Evans makes another dustin Hoffman's balls joke.
Apparently I'm also swimming in Mr Hoffman's swim trunks. I
(16:27):
feel a bit like Mr Hoffman, floating in an empty pool,
like the graduate gazing up at a cloudless sky on
one of those magical Hollywood days where time stands still
and the world's problems and none of my own. Bob
invites me to stay for lunch. His butler serves hot
dogs and cold beer as we sit by the pool.
(16:48):
Now I see why Greta Garba called this place a hideaway.
I've never felt such peace. Bob waves to a small
crowd being led by the butler to the back screening room.
I recognize the act of Billy Zane from his brilliant
villany in the film Dead Calm. He is accompanied by
a blonde actress whose name escapes me. I believe she
(17:10):
played the lead in the Mannequin movies. Christy Swanson was
the actress in question. They disappear into Evans's screening room
to get a sneak peak of Evans's new film, The Phantom.
Evans has high hopes for the film, spawning a franchise.
You can lively, christ Can't ask. The Phantom would be
(17:35):
released later that year. It would tank at the box office.
I have momentarily forgotten my purpose for the visit is
to interview Evans on Sydney Korshack, and so did Evans.
It is immediately evident that the only subject Evans wishes
to expound upon is Bob Evans. No man is more
gifted at courting publicity. After all, he has a movie
(17:58):
coming out he needs a profile. Bob begins to talk
and talk and talk. As much as I want to
hear his highly entertaining stories of the golden days of
seventies cinema, I am disciplined enough to steer Evans to
speak of his time at Paramount when Don Simpson was
president of production. It was here that Evans revealed that
(18:22):
after he came home from Korshak's funeral, he was stirred
by Pierce's interview request regarding Don. The encounter prompted him
to sit down to write several additional scenes about his
relationship with Don for his new play, a one man
show he was set to perform. Evans told Pierce the
material could be used in lieu of an interview. Pierce
(18:44):
indicated his preference for a straightforward interview, but Evans was
eager to test out the material. He would allow Pierce
to record. The setup was not ideal to complicate matters.
The Santa Anna winds were blowing hard that day and
distorted much of the tape quality. In the recording, you'll
find his voice was much more tuned to the younger
actor Bob Evans polished and theater trained, a distinction from
(19:08):
the gravel voiced Evans of later years. Don and I
leap frogged each other for the good part of two decades.
When I was high on the hog, Don was low
on the pole. When I was broke depressed and out
of the game. Don was beating his chest the King
of the Mountaintop. Funny thing we both started out as actors,
(19:32):
and terrible actors at that too vain, too stiff to self.
Where the difference one of us had a bit of
lady luck. The story goes that a young Evans was
sunbathing at the Beverly Hills Hotel pool when he was
discovered by the actress Norma Shearer, who hired him to
play her husband Irving Thalberg in A Man with a
Thousand Faces Mind. If I commit a minute, you know
(19:55):
I don't look just to the barracade, but I've just
come from a revolution from of the jazz LINYA should
have seen that audience. Well star was playing the lead
in a major motion picture. Poor Don couldn't get an
audition for Cheerios. But Don was resourceful in ways I
could never be. He couldn't act his way in movies,
so he wrote his way in. Don wrote the movie
(20:18):
Cannonball in five days, Give Me the Highway, Patrol squealing smashing.
It's a cross country demolition Derby winner cannon Ball. Don
wrote himself apart as the tough minded district attorney. He's
the first guy speaking. He gets about twenty seconds of
screen time. Sir, have you seen this? They're doing it again? Well,
(20:42):
they're in for surprise. If they're racing anywhere, they're going
to race to the impound lot. Sir Keviny Brad Phillips
on the phone and tell him it's a district attorney.
The movie also featured the pairing of Sylvester Stallone and
Martin Scorsese as gangsters discussing a drug deal over fried Chicken.
Us we got money writing on this same I made
your socio, Benny going to deliver. I gotta go back
(21:04):
on my time, and I'm gonna tell you something look
very good. You know, man does something for you. In
the three years that Donna is founding the pavement for
acting work, I've graduated from actor to studio head. Success
came fast. I moved into Woodland and the studio converts
the poolhouse into a screening room, and everybody in show
(21:24):
business shows up to the party, everybody but Don. I
was dating Grace Kelly, Lana Turner, Ava Gardner, Alan McGraw,
Don was hunting dates and the classifieds. Even after Dawn
became arguably the biggest producer on the planet. He continued
to look for dates in the classifieds. He was too
(21:45):
self conscious to ask a woman out in person. I'm
playing tennis with Johnny Carson and the head of General Motors,
Don is playing tennis with the old Russians at Plumber Park.
This was when Don first moved to Los Angeles. In
order to make rent, Don hustled tennis matches at Plumber Park.
Often when Don lost a match, he was rumored to
(22:05):
drop his shorts and pee all over the neck. Robert
Town said, if I was to come back in another
life as a racehorse, I'd be named Goshen to the Wind.
My hot streak in Paramount came to an abrupt end.
So long Evans take a soft landing producing deal on
your way out. Evans left the studio a year before
(22:26):
Don was hired. At Paramount. Don would climb the ranks
in the story department, ultimately becoming president of production. He
was number three behind Barry Diller and Michael Eisner, but
the only guy he really cared about was the Gulf
and Western CEO, Charlie Bluethorn. Bluetthorn was a powerful, intimidating
movie mogul with a heavy Austrian accent and a psychotic temper.
(22:50):
The press labeled him the mad Austrian and hurricane Charlie
In Bluethorn, Don saw a clear trajectory of succession. Don
would one day succeed Bluehorn as the last mogul to
ever run a studio. It's unclear from Evans if Don
was even close enough to being in consideration to succeed
Charlie Bluehorn, but he did acknowledge Don's unrelenting pace that
(23:13):
fueled his ambitions. Don just moved faster than everyone else. Uh,
no time to smell the roses. He outraced everybody until
the only one he was racing against was time. But
for a while he kept up the pace. I remember
visiting my good friend Robert Town on the set of
Days of Thunder. I was awe struck by Don's transformation.
(23:35):
He looked the same age as when he first started
working at Paramount, and I asked Town, was it the
scientology he was dabbling in the supplements to magic youth serums.
Nobody knew, but he was doing everything he could to
keep up with Tom Cruise. Don never let his dreams
of becoming an actor die on Days of Thunder. He
(23:56):
took a page out of his acting debut in Cannonball
twenty year earlier by writing apart for himself. He was
set for a supporting role opposite the biggest movie star
in the world, Tom Cruise. This was always Don's dream
to be a movie star. I remember seeing him on
set in costume and his race cars suit. The makeup
(24:17):
girl is touching him up. There's two hundred crew members
revving up the race cars. It's loud, it's exciting, It's
pure Don. And I'll never forget what he said, Bob,
I will never ever lift my foot off the gas pedal.
And I knew then it wasn't going to end well
for Don. Pierce asks if Evans knew anything of Don's
(24:40):
last days. Here, Evans asks to speak off the record.
It was apparent that Evans had never wished to give
Pierce a candid interview about Don. Pierce would come to
realize that nobody in Hollywood wanted to go on the
record about Don. So off the record, Evans mentioned that
(25:00):
he had heard from a mutual friend that Don might
have had mob troubles. Pierce recalled the motion centers Don
had installed under his carpeting. He asked Evans if Don
thought somebody might be after him. Again, Evans mentioned the
mob rumor. He clarified it was not the Italian American mob,
(25:21):
but the Italian mob. The tapes at evans house ended
here with a final tape recorded after the fact. I
wanted to ask him more about the mob rumor. When
the doorbell rings, Evans excuses himself. Before he does, he
wants to show me his collection of designer eyeglasses. He
has over a hundred pairs. He gives me a pair
(25:45):
of prototype eyeglasses he's patented. They're designed to rest on
the forehead and the cheekbones, but not the nose. They're
a necessity, he says, for anyone who's had plastic surgery.
I have a look in the mirror. The designer plastic
surgery eyeglasses look ridiculous. I came here for some information,
(26:06):
and I've got nothing but a useless pair of glasses
that don't rest on my nose. I try to think
of something that might spark Evans to shed some light
on Don's final days. I ask again, who was the
mutual friend that mentioned the mob. The butler calls Evans.
Evans excuses himself. The butler takes the coats of two
(26:27):
well proportioned women. They're attractive, well dressed. They don't seem
like actresses or models, and yet they appear to be
in the profession of looking beautiful. Evans takes a detail
through the powder um, taking a tupe off a cocaine spoon.
He turns to see me looking through the window and
beckons me to join in. He chuckles, making an offhanded
(26:48):
remark about how he and Don actually had a few
things in common, a love for movies, tennis, cocaine, and
shared girlfriends. You'd think we would have enjoyed each other's
company more. I blurt out my amazement that he and
Don had shared girlfriends. He laughs, looking at me like
I'm the dumbest schmuck on the face of the planet.
(27:09):
It's a beat before I realized what the women are prostitutes.
Seeing my window closing, I asked again if I might
speak with the mutual friend that he had shared with Don.
At this point, Evans had launched into a story about
visiting his friend, the French movie star Elaine du Lain
in Paris and how Dulon gave Evans a welcome gift
(27:30):
upon arrival a trip to Madame Claudes, the most famous
brothel in the world. Evans wrapped his arm around Pierce
and wrote down a name and address of an exclusive
brother he was giving Pierce his Elaine Dulin welcome gift
upon arrival. Evans then calls attention to the brunette and
(27:52):
the blonde waiting in the foyer. I have yet to
see their faces, but in my mind they are already
the most beautiful women I've ever seen. The blonde flips
her hair over our shoulder and turns to greet Evans,
who slips the cocaine spoon under her nose. My heart
skips a beat when I see her face. She looks
(28:15):
uncannily like the actress I saw two nights ago, Autumn Western.
I take a step forward, discarding my designer sunglasses. She
doesn't just look like Autumn Western, she is Walton Western.
She gives me a smile as if to say we've
(28:37):
met before My mouth opens, but no words come out.
Evans takes her hand and leads her upstairs. Listen to
(29:06):
the don on the I Heart Radio, Apple Podcasts, or
wherever you get your podcasts. Episode three, disclaimers. First off,
Don's relationship with Robert Evans. There isn't much documentation that
they were friends, nor that they were enemies. Evans was
once the head of production at Paramount. When he was
forced out of the job, he struggled to make movies,
in part because he had to answer to Don, who
(29:28):
took his job as head of production. They made two
movies together, Urban Cowboy and Popeye, both considered flops. There
were rumors of rampant cocaine use on set. Bob Evans
did in fact speak at Sydney Korshak's funeral, as we documented,
he was reported to be most likely high on cocaine.
We don't believe that Bob also went to Don's funeral,
though it was likely on a different day than Core Shucks.
Don and Bob both left movies Cocaine, Prostitutes and Tennis,
(29:51):
most likely in that order. Where Evans was beloved as
a mention at charming reconteur who oversaw some of the
great art house films of the seventies, Don was much
reviled as a narcissist and a bad boy who did
much to destroy the seventies art house movement, and who
in the words of his director and Popeye Robert Altman said,
I'm only sorry he didn't live longer and suffer more.
(30:12):
Other disclaimers, the actors Billy Zane and Christy Swanson did
not arrive during Pierce's fictitious visit. Evans did actually perform
a one man show, but we fictionalized that he was
trying to incorporate a monologue about don into his act.
The voice of Evans was played by the actor Matt Nolan.
Pierce's mention of the sunglasses that Evans designed to rest
on the forehead specifically for those who have undergone plastic surgery,
(30:33):
was in fact true. We don't believe that Evans actually
brought the sunglasses to the marketplace, but we'd love to
get a pair.
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