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The movie adaptation of The Fountainhead was first released in theaters in July 1949, and it featured two of the era’s biggest stars, Gary Cooper and Patricia Neal. But the making of that film was itself a dramatic story.

It’s a story of “how Ayn Rand sold the screen rights to The Fountainhead — without selling out.” That’s how Shoshana Milgram, a scholar who has studied Rand’s life and writings in depth, has described it. To learn about the making-of story, I turned to Dr. Milgram, a professor at Virginia Tech, whose knowledge of Rand’s intellectual and literary development is truly encyclopedic.

During our conversation, Dr. Milgram shared a wealth of fascinating details about Rand’s role in adapting her novel to the screen. Warner Bros. Studios hired Rand to write the script. Although the scope of a two-hour movie required a considerable delimitation of the story, Rand was intent on ensuring that the film would convey some of the distinctive thematic aspects of the book.

During filming and then in editing, there were further challenges that Rand had to navigate gingerly. For example, there was the attempt to substantially alter the meaning of a climactic courtroom speech that Rand viewed as critical to the theme. (Rand wrote about that conflict in a previously unpublished letter, now available on ARI’s site.)

Finally, we also talked about Rand’s delimited purpose in selling the film rights and her evaluation of the finished product. Near the end, Dr. Milgram shares her own thoughts about the film and a 2017 Dutch-language stage adaptation of The Fountainhead by the director Ivo van Hove.

The interview assumes some knowledge of the basic plot of The Fountainhead novel — though we tried to fill in some context and avoid plot spoilers for those who’ve not yet read the book.

Remember DVDs? Along with the feature film, these sometimes included a short behind-the-scenes documentary on the making of the film. My interview with Dr. Milgram offers something like that kind of background for The Fountainhead adaptation.

The Islamic State, or ISIS, was a grotesque enigma when it burst on the scene in 2014. After conquering vast tracts of Iraq and Syria, ISIS became notorious for beheadings and crucifixions, and for reinstating the practice of slavery. But to what end? What did ISIS really want? It soon became clear that our political and military leaders lacked anything like real understanding of the ISIS phenomenon.

Graeme Wood, a staff writer at The Atlantic, set out to answer a few simple, yet crucial questions: What is the Islamic State? Where did it come from, and what are its intentions? The resulting article, “What ISIS Really Wants,” went viral. By one reckoning, it received more than a million pageviews the day it went online. It became one of the most-read digital articles of 2015, garnering nearly 100 million minutes of reading time.

Wood’s article was remarkable for debunking a common perception of ISIS as essentially a collection of psychopaths who had hijacked Islam for their own decidedly secular ends. His research led to a different conclusion: ISIS is in fact deeply Islamic. Its ends and means are bound up in sincerely held religious belief.

Building on that article, Wood wrote The Way of the Strangers: Encounters with the Islamic State, and recently I caught up with him to discuss his writings on jihadists. We explored the findings of his research, some of the opposing views, or counter-arguments, regarding what’s essential to the Islamic State, and the unwillingness of some scholars to take seriously the religious character of ISIS. Among other topics, we touched on the issue of “Islamophobia” and how it impedes discussion of jihadist ideas (an issue that came up in the attempt to shut down a panel discussion on Islamism that Wood and I took part in at University of Rochester).

A key takeaway from this conversation is that our intellectual and political leaders vastly under-appreciate, if not ignore, the role of ideas in animating the jihadist phenomenon.