Jokermen Podcast – Teaser // Brian Wilson: LOVE & MERCY (2014)

Date: March 30, 2026
Hosts: Evan & Co-host 1

Episode Overview

In this teaser episode of Jokermen, Evan and his co-host dive into the 2014 film Love and Mercy, a biopic chronicling the life of Brian Wilson of the Beach Boys. The discussion focuses on Love and Mercy in the broader context of music biopics, exploring the film's unique position, the director’s background, and why the story of Brian Wilson translates particularly well to the big screen. The episode also touches on the inherent qualities and limitations of biographical films about musicians.

Key Discussion Points and Insights

Music Biopics: Love and Mercy’s Place ([01:10]–[02:04])

• Evan wonders aloud how Love and Mercy compares to other “big” music biopics, musing on their similarities and differences:

  “Is this better? Do we like it better? How do we feel with this film compared to the other big music biopic of recent times?” ([01:13])

• Co-hosts agree there is a broader conversation to be had about biopics and their stylistic sameness.

  “It might say something about music biopic movies, though, as a…” ([01:57])

Director Bill Pohlad — Unexpected Auteur ([02:07]–[04:39])

• The hosts introduce Bill Pohlad, director of Love and Mercy, whose background is primarily in film production rather than directing.
• They rattle off Pohlad's eclectic resume, including credits on Brokeback Mountain, The Tree of Life, 12 Years a Slave, and work with Terrence Malick and Robert Altman.

  Evan: “Executive producer. A Prairie Home Companion. The… The movie.” ([03:39])
  Co-host: “Oh, he's... He's involved with that fucking David Byrne, whatever thing.” ([03:56])

• The hosts note how Love and Mercy marked Pohlad's return to directing after 24 years, making it something of a passion project.

Technical Crew and Vision ([04:39]–[06:12])

• Robert Yeoman, famed cinematographer for Wes Anderson, was onboard, initially eyed as a possible director but encouraged Pohlad to carry through himself due to his clear vision.
• They reflect on Yeoman’s extensive Anderson credits, highlighting the talent assembled behind the film.

The Challenge of Bringing Brian Wilson to Film ([06:12]–[08:15])

• The hosts contextualize Love and Mercy alongside prior Beach Boys dramatizations, especially the “laugh-out-loud, funny at moments” TV biopic The Beach Boys: An American Family ([05:30]).

• Love and Mercy stands out as the most substantial and polished dramatic treatment.

• On whether telling Wilson's story is a good idea:

  Evan: “Good idea, I think. Okay, I'll just say I think that this is a better idea than doing a movie about Bob Dylan in this similar fashion.” ([06:50])

The Inherent Corniness of Music Biopics ([07:07]–[08:15])

• Co-hosts unpack why certain subjects are more suited to the music biopic’s “corn” and “schmaltz;” Brian Wilson and the Beach Boys, with their lush sounds and emotional highs and lows, fit this mold better than, say, Bob Dylan.

  Co-host 1: “Brian Wilson and the Beach Boys are just more conducive to the cheese, to the corn, to the schmaltz. It’s just part of the Beach Boys in a way, to me, at least, that it is not part of Bob Dylan.” ([07:38])

The Biopic Dilemma: Cinema Trying to Capture Music ([08:15]–[End])

• The hosts discuss the fundamental problem biopics face: conveying musical genius through film, often coming up short or relying on cliché.

  Evan: “It's a medium that is not another medium trying to communicate what's great about the other medium, which just seems... uniquely doomed.” ([08:15])

• They note it’s easier for music to evoke cinema (soundtracks) than for film to explain the magic of music.

Notable Quotes & Memorable Moments

• On Biopic Aptness:

  “That cheese and that corn and that schmaltz belongs in Beach Boys world… and it’s just not something I associate with Bob at all.” – Co-host 1 ([07:44])

• On Biopics’ Challenges:

  “It’s uniquely doomed when it comes to… well, I don’t want to say doomed, but it’s on the back foot. Let’s say it comes from a… it’s a difficult task for a movie.” – Evan ([08:18])

• On Yeoman’s Credentials:

  “Wes Anderson's cinematographer, should be noted, the guy who shot basically everything. Rushmore, Bottle Rocket, Tenenbaums, Steve Zissou, Grand Budapest Hotel, Moonrise Kingdom, Prince Dispatch, Asteroid City. Like, all of them.” – Co-host 1 ([05:06])

Timestamps for Important Segments

• Love & Mercy and the Biopic Landscape: [01:10]–[02:04]
• Director Bill Pohlad’s Filmography Explored: [02:07]–[04:39]
• Cinematographer Robert Yeoman and Creative Origins: [04:39]–[06:12]
• Why Brian Wilson as a Subject Works: [06:12]–[08:15]
• The Problem of Translating Music Magic into Film: [08:15]–[End]

For further deep dives into Brian Wilson, the Beach Boys, and music culture, subscribe to Jokermen Podcast. Full episodes and archives available via Patreon.