Fortune Favors the Kind

Altruistic Texan is the bankable subject of award-winning documentary

Good Fortune filmmakers Joshua Tickell and Rebecca Harrell Tickell with John Paul DeJoria.

Courtesy photo

In America, we are told we can be — and achieve — anything we want. Our fascination with the self-made man lies in the fact that those who truly succeed in that role are few and far between.

This is why the new documentary Good Fortune is such compelling viewing. It's the story of billionaire entrepreneur and native Los Angelino John Paul DeJoria, who is now based in Austin, and is a passion project of filmmakers Josh Tickell and Rebecca Harrell Tickell, whose previous films include the documentaries Pump, The Big Fix, and Fuel.

A breezy look at how DeJoria went from homeless biker to billionaire co-founder of Paul Mitchell hair products and Patrón tequila, Good Fortune came about through a fortuitous meeting at the Sundance Film Festival seven years ago.

“They won the audience award for Fuel and I got to meet them,” recalls DeJoria. “I did a little film for them on electric cars. One thing led to another, and they turned (my life story) into a documentary. We entered the Sedona Film Festival and not only won best documentary but the best of the festival, and Lion’s Gate picked it up.”

It’s surprising that no one thought of DeJoria as a natural documentary subject in the past. The arc of his life is nearly mythic. Raised poor alongside his brother by a single mother in LA’s Echo Park (friend Danny Trejo jokes in the film DeJoria didn’t know he wasn’t Hispanic until he was 16), he was taught to give back something even when he had nearly nothing.

“At 6 years old my mom and I gave a dime to a guy ringing a bell,” he recalls. “I said, ‘Mom, that’s two Coca-Colas and three candy bars,’ and she said, “Boys, that’s the Salvation Army, they take care of people who don’t have a house or food to eat.’”

After a stint in the Navy and the implosion of his first marriage, DeJoria found himself in a similar spot, one of two times he was homeless. Despite dire circumstances, his “the only way is up” philosophy led him to continue to look on the bright side, so much so that in even recalling the most depressing situations he remains relentlessly cheery.

After succeeding in (but yet still being fired from) a series of sales jobs, DeJoria partnered with hairdresser Paul Mitchell in 1980, turning his boutique line of products into a runaway success with the investment of just a borrowed $700.

“I knew Paul for nine years before we started a business together,” he says. “Our backer pulled out and we did it anyway. Our dream was maybe we’d do $5 million a year, and that was all the money on the planet. Little did we know what would happen.”

The company was already a success when its namesake and co-founder died, and DeJoria stepped from behind the scenes into the spotlight, turning it to an even bigger success in the process. Possibly most famous for his friendly, bearded visage staring out from the pages of 1980s fashion magazines, he drove sales up to their current status of over $50 million yearly.

Not content to settle on his laurels, DeJoria followed that up by co-founding Patrón, currently the world’s number-one ultra-premium tequila, as well as ROK Mobile and Aubio, an over-the-counter cold sore gel. Although the film touches on these highs, what sticks with the viewer is not only how DeJoria treats his employees, but also how he treats human beings in general.

Says co-director Josh Tickell, “J.P. is one of the rare individuals in today's society who imbibes his business practices with his real world ethos of first taking care of people and the planet, and then — and only then — making a profit. He's cool, he's real, and he is a refreshing antidote to the cynicism that seems so commonplace in America.”

Bookended with scenes of its star appearing on Shark Tank, the film highlights DeJoria’s ability to think completely differently than the rest of the one percent. As Mark Cuban and the other sharks in the tank try to convince the Florida-based creator of the Tree-T-PEE water conversation system to jack up his prices, DeJoria is the only one to buy into the concept, keeping finances low for farmers so that they can afford it.

This egalitarian thinking separates DeJoria from his equally successful brethren, and makes Good Fortune work. When the bottom line is “profit, people, planet,” everyone succeeds.

DeJoria, who contributes to a plethora of charities with a special focus on animals, children, cancer research, the environment, and healthy food, explains his philosophy in terms anyone can understand.

“I do what I can, and I work it into my style of life," he says. "The right thing for me to do was make the film, because hopefully it influences others in a good way. The average person can wake up every morning and smile at the first three people you see. Find [a charity] you like, and just volunteer some time.”

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Good Fortune opens July 14 exclusively at the AMC Stonebriar Mall in Dallas and at the AMC Studio 30 in Houston.

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Movie Review

Comedy all-stars Jack Black and Paul Rudd can't save Anaconda sequel

Photo by Matt Grace

Jack Black and Paul Rudd in Anaconda.

In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

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Anaconda is now playing in theaters.

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