the project into turnaround in early 1999 due to budgetary concerns. In early December 2001, it was reported that "German-based VIF Intl. Films had come aboard to finance White Jazz, co-producing with Nick Nolte's Kingsgate Films and L.A.-based production company Interlight. Nolte and John Cusack were set to star in the film, with Winona Ryder reportedly in discussions to join them. Nolte was to play Klein, Cusack to play Junior Stemmons and Ryder to play Hollywood starlet Glenda. Uma Thurman was also attached to the project at one point and was to play Glenda. The screenplay was written by Ellroy and Christopher Cleveland. After the demise of the project, Richardson said "That's why directors go absolutely crazy – the development of a project is highly unpredictable and doesn't make tremendous sense. It may happen, but not in my time frame." On November 30, 2006, it was reported that George Clooney was set to star in a newly green-lit film adaptation of the novel for Warner Independent Pictures. Clooney was also on board as producer along with his Smoke House partner Grant Heslov. The film was to be written by Matthew Michael Carnahan and directed by his brother Joe Carnahan. Both Jason Bateman and Peter Berg had signed on to appear in the film. The script changes the Armenian Kafesjian family in the novel to the Mexican Magdalena family. Joe Carnahan said this of his brother's script, "It's, to me, what that book always was – the point of departure from the Eisenhower '50s to the psychedelic freakshow, Manson '60s. It's a total combination of the two with a heavy, heavy voice-over narration, this kind of classic noir." Carnahan had also confirmed that the characters of Ed Exley and Dudley Smith would not be in the film version despite their presence in the book, as Regency Productions has its own plans for a sequel to L.A. Confidential and asked the director to remove Exley from his screenplay as they own the rights to the character. Instead, the Carnahans had constructed a "doppelganger" for Exley, "giving him all of [his] traits and speech patterns." Carnahan described his vision of White Jazz as reflecting the "kind of mid-century explosion of art and music, and really letting that be the kind of guiding force behind it, as opposed to making it like this ... all 'period suits'. I really want to try to make