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Mulligan: Yes, in The Rat Race, they told me Iwas to play a bandleader on a cruise ship, but itturned out they were just throwing me a bone. Itwas a very small acting role and they reallywanted me to play baritone for Tony Curtis—aghost baritone voice. Well, I like Tony and Ididn’t want to be a bad guy, so I wound updoing it anyway.In The Bells Are Ringing, my scene withJudy [Holliday] comes right at the beginning ofthe picture and the whole thing is slapstick. Shetold me she’d had no experience with this kindof thing, and I’d had less than none, so it’s awonder we didn’t kill ourselves! Hitting eachother in the head and breaking glasses and catchingon fire. ... But this opening is supposed to bebuilding to a love story, and it should be a gentlebuildup to her first love song, which she singsbeautifully. But coming right after this comedysequence really kills it for her, so I asked, “Well,it’s nice and everything, but please cut it out ofthe picture.” So they cut out one of her songsand they cut this scene and that scene. But ourown scene, the one that was the root of the trouble,they left in!Feather: Gerry, let’s project a little into thefuture. What would you like to be doing whenyou’re, say, 50 years old?Mulligan: When I’m 50? Well, I’d like to bedoing some of the same things as now—but I’dlike to double on other horns, and play a lotmore piano than I’m playing now. And I’d liketo be a producer in various other fields besidesjazz. I’d love to do some television production,with jazz used on a popular level.As far as the immediate future is concerned,I’m glad to be getting into the position where Ifeel I’m able to call my own shots. I want to takethis band out on the same level of prestige as mysmall bands. I’d like to package my own showbuilt around the band; I’m sick of being bookedon these miscellaneous package shows, and Ifeel my name has drawing power enough to filla hall.The powerful sound-wave on the crest ofwhich Gerald Joseph Mulligan is currentlyriding seems unlikely to diminishin intensity in the foreseeable future. After along siege of hard times, he has found the artisticand economic security that for so many yearsseemed hopelessly out of reach.Perhaps the best summation of Mulligan’sstory, during the weeks I spent talking abouthim to friends and associates, was offered byChubby Jackson, who knew Jeru (as MilesDavis nicknamed him) back in the hungry ’40s.“Some people,” said Jackson, “would sayGerry was stupid in his attitude, but in so manyways it was the most commendable thing hecould do. Gerry wouldn’t conform, would nevergive up his musical principles, even when itmeant starvation. He played true to life the defiancethat every musician of a creative naturefeels. And he’s finally made it. And I say, morepower to him.”DBMay 2010 DOWNBEAT 49