It seems that enjoying a corrupt stockbroker can land you in a courtroom your self. In 2013, The Wolf of Wall Avenue had everybody speaking—besides Andrew Greene, who was fuming. Greene claimed he was the unlucky muse for Nicky “Rugrat” Koskoff, the shady character who partied exhausting and lived even tougher. His gripe? The film made him appear to be a degenerate felony, and he wasn’t about to let it slide. So, he lawyered up and went straight for Leonardo DiCaprio, Martin Scorsese, and the entire manufacturing crew.
Greene’s defamation go well with was no small fry. He argued that the filmmakers didn’t simply stretch the reality—they didn’t even attempt to get it proper. No deep dives into the info, no cross-checking, simply vibes. His attorneys referred to as it “clear and convincing proof of reckless disregard” for accuracy. In brief, Greene wished them to pay for what he noticed as a wild mixture of fiction and insult.
In 2015, U.S. District Choose Joanna Seybert let the privateness declare slide however allowed the defamation allegations to stay round. Greene had homework: show the producers have been grossly negligent of their character depictions. The problem? Connecting the fictional Koskoff to himself in a approach that made viewers suppose, “Oh, that’s Andrew Greene.”
Because the lawsuit unfolded, depositions from Scorsese, DiCaprio, and screenwriter Terence Winter got here to gentle. Greene’s workforce argued their so-called “analysis” was laughably skinny. DiCaprio admitted to taking a “tour of Wall Avenue” and observing some New York finance varieties. In the meantime, Scorsese confessed he hadn’t spoken to Belfort or anybody linked to Stratton Oakmont, the notorious brokerage agency the place the chaos unfolded. Winter wasn’t shy both, admitting that factual accuracy wasn’t the precedence. “The one concern Defendants had was to painting the mania of Jordan Belfort’s point-of-view,” Greene’s workforce wrote of their submitting.
The protection had its counterpunch prepared. They argued the film was “considerably true” and that affordable viewers wouldn’t immediately join Koskoff to Greene. The character, they claimed, was extra of a story software to amplify Belfort’s wild journey. Greene’s lawyer wasn’t shopping for it, criticizing the workforce for relying closely on Belfort, a “pathological liar,” as their supply materials. It was a daring transfer, contemplating Belfort’s monitor document of deception.
This case wasn’t nearly Greene. It cracked open the extra intensive debate on artistic liberties in Hollywood. Ought to filmmakers have free rein to “fictionalize” actual folks for storytelling? Or does that cross a line into defamation territory? The implications reached past The Wolf of Wall Avenue, echoing in instances like Olivia de Havilland’s battle over her portrayal in Feud: Bette and Joan.
Greene’s lawsuit might have fizzled, however the questions it raised are nonetheless hanging within the air, difficult Hollywood’s stability of truth and aptitude.
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