If Wilson’s midlife was the property of a controlling doctor, he grew up in fear of an abusive father. “ Phil Spector‘s got nothin’ on you,” he says, knowing this is the biggest praise he could possibly offer.īut Blaine’s opinion only matters so much. In a touching moment, drummer Hal Blaine reassures the wunderkind, reminding him that the musicians in that room have worked with every star there is, and that he’s knocking them all out. Soon he’s jamming a small studio with ace instrumentalists known as the Wrecking Crew, walking them through arrangements that sound wrong until they prove inspired. “I can take us further … at home,” he insists, saying he has ideas for intricately produced music that will make the Beatles’ just-released Revolver sound like an also-ran. We meet Dano’s version of Wilson just as he’s asking for permission to stay home while the band tours in Japan. Banks is as keenly alert as an animal sensing predators when Landy summons her to his office, smarmily explaining his role in Wilson’s recovery, the importance of the medications he prescribes, and his need for her to report to him the details of their time together. When the two do start dating, Landy is there either in person or by proxy, in the form of a “bodyguard” who reports back to him. Before he can ask her out, his handlers have stepped in: Aggressively chatty Eugene Landy ( Paul Giamatti), who we’ll later learn is Wilson’s personal physician and legal guardian, whisks him away. Clearly taken with her on first sight, he makes some uncomfortable emotional revelations before she even knows the older man flirting with her was a Beach Boy. Wilson meets Melinda in a car dealership where she’s a salesperson.
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