_Deconstructing Brad Pitt

_Deconstructing Brad Pitt EDITED BY CHRISTOPHER SCHABERG AND ROBERT BENNETT

N E W YOR K • LON DON • N E W DE L H I • SY DN EY

First Published in India in 2017 First published 2014 © Christopher Schaberg, Robert Bennett, and Contributors, 2014 Bloomsbury Academic An imprint of Bloomsbury Publishing Inc

Bloomsbury Academic

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Library of Congress Cataloging-in-Publication Data Deconstructing Brad edited by Christopher Schaberg and acting Robert No responsibility forPitt loss/ caused to any individual or organization onBennett. pages cm in this publication can be accepted or refraining from action as a result of the material Bloomsbury or the author. and index. Includesbybibliographical references ISBN 978-1-62356-946-4 (hardback : alk. paper) — ISBN 978-1-62356-179-6 Library of Congress Cataloging-in-Publication Data (pbk. : alk. paper) 1. Pitt, Brad, 1963—Criticism and interpretation. I. Schaberg, Deconstructing Brad Pitt / edited by Christopher Schaberg and Robert Bennett. Christopher, editor of compilation. II. Bennett, Robert, 1967- editor of compilation. pages cm PN2287.P54D44 2014 Includes bibliographical references and index. 791.4302 8092—dc23 ISBN 978-1-62356-946-4 (hardback : alk. paper) — ISBN 978-1-62356-179-6 (pbk. : alk. paper) 1. Pitt, Brad, 1963—Criticism2014010311 and interpretation. I. Schaberg, Christopher, editor of compilation.

II. Bennett, Robert, 1967- editor of compilation. PN2287 .P54D44 2014 81 7 ISBN 978 93 86826 791.4302ƍ8092—dc23 2014010311

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For Lara and Chris And for Julien, Camille, Theo, Sage, and Nina

CONTENTS List of figures  ix Prelude  Bryan Batt  xiii Foreword  Robert Bennett  xv Preface  Christopher Schaberg  xx Acknowledgments  xxv

Introduction  Christopher Schaberg and Robert Bennett  1   1   2   3   4   5   6   7   8   9 10 11 12 13

Making Montana  Ben Leubner  9 Romantic Hero  Elizabeth Abele  21 On Crashing  Christopher Schaberg  36 Suburban Rage  Robert Bennett  55 Abyss of Simulation  Randy Laist  78 Brangelina Blend  Michele White  94 Art Muse  Sarah Juliet Lauro  113 Oedipus Cop  Fran Pheasant-Kelly  135 Anger of Achilles  Rick Hudson  153 Becoming Brad  Bob Batchelor  164 A Star is Born  Andrew Horton  178 Brad Pitt for Mayor  Thomas M. Bayer  189 Gay for Brad  Edmond Y. Chang  204

viii

CONTENTS

Coda: Failure  Brian A. Sullivan  213 Postscript? Madness  Robert Bennett  219 Bibliography  233 Contributors  247 Index  250

LIST OF FIGURES Plate Section:  _Deconstructing Brad Pitt, A Visual Essay by Nancy Bernardo 3.1

Actual safety card in Fight Club, © 20th Century Fox. 3.2 Project Mayhem safety card in Fight Club, © 20th Century Fox. 3.3 Safety card from an Alaska Airlines MD80, circa 2003. 7.1 Still from Jillian Mcdonald’s “Staring Contest with Brad Pitt” (Reproduced by permission of the artist.) 7.2 Still from Jillian Mcdonald’s “Staring Contest with Brad Pitt” (Reproduced by permission of the artist.) 7.3 From Everett Hiller’s 2011 Holiday Party series at http://everetthiller.imgur.com/ (Reproduced by permission of the artist.) 7.4 From Everett Hiller’s 2011 Holiday Party series at http://everetthiller.imgur.com/ (Reproduced by permission of the artist.) 11.1 Photo of Andrew Horton, Bozidar Nikolic, and Brad Pitt on the set of The Dark Side of the Sun (Reproduced by permission of Andrew Horton.) 12.1 “Brad Pitt for Mayor” © Storyville New Orleans (Reproduced by permission.)

41 42 50 117 118 127 128 187 195

Every exit from the book is made within the book. —JACQUES DERRIDA, “EDMOND JABèS AND THE QUESTION OF THE BOOK”

PRELUDE Bryan Batt Bryan Batt is an American actor, author, designer, and philanthropist, known for his multiple roles on Broadway, in film, and as Salvatore Romano in the acclaimed AMC drama Mad Men (2007–2009).

When I was asked to write an introductory note for a book entitled _Deconstructing Brad Pitt, to be completely candid, I was a bit reluctant. The title was somewhat reminiscent of those skewering tabloid trash-rag headlines that surely Mr Pitt must be thoroughly disgusted with. However, knowing one of the editors as a kind and honorable gentleman, husband, and father, I gave it a read, and was thoroughly entertained. I have never met Mr Pitt, although he and Angelina have shopped on Magazine Street for their children just steps away from our shop Hazlenut, causing quite a stir. Customers clamored to get a glimpse of the A-stars while they raved, “She’s so gorgeous. . . .” She’s gorgeous? Look at him! I was hoping to meet Brad when I worked on the film 12 Years a Slave, but alas, his car was racing away from the plantation as I was pulling in. Once again, I was hoping to make his acquiantance at his Make It Right Foundation Gala, but unfortunately work took me out of town. So now, I am taking this time to tell you what I would tell him. As a New Orleanian and as a person that supports equal rights for all, thank you, Mr Pitt, for doing what you do. It’s one thing to talk about it, but it’s a completely different thing to put your money and time where your mouth and heart are and make a difference. His helping to rebuild New Orleans and producing such socially important films as the Oscar-winning 12 Years A Slave and the brilliant The Normal Heart just demonstrate his commitment to making things right. Bravo!

FOREWORD Robert Bennett The first rule of Brad Pitt Studies is you do NOT talk about Brad Pitt. I should know. I learned the hard way. I was a young, idealistic professor fresh out of graduate school when my first graduate student, Chris, suggested that we present papers about Brad Pitt at an academic conference. The suggestion immediately intrigued me. After all, the field of cultural studies continually explores new lines of critical inquiry, and Pitt seemed almost too obvious a choice. At the time Pitt’s films were both critically acclaimed and widely popular, and he even vaguely resembled other Hollywood icons like Robert Redford. Beyond their obvious co-­ involvement in A River Runs Through It, both were good-­ looking, talented actors who first established their careers with a few significant Western films before branching out to explore a wider range of roles. More importantly, both had early performances that many considered to be generation-­defining roles—most notably in Fight Club and All the President’s Men— and yet, both actors also share the curious distinction of never having won an Oscar for their acting. From this perspective, the real question seemed less whether or not we should study Brad Pitt than why hadn’t someone else already done it? Boy, were we wrong. As soon as we issued our call for conference papers, the mere suggestion that we might tentatively explore Pitt’s films struck a raw nerve among other academics.1 The Chronicle of Higher Education quickly picked up our call, and—with an openly sneering grin—reprinted it as proof that the cultural studies lunatic fringe had once again gone off the rails.2 Soon thereafter, The Chronicle’s derision went viral,