“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
By David Poland email@example.com
“ComicCon just keeps getting bigger because it is a really cheap way to reach tens of thousands of the core demo for a lot of expensive studio product and to inspire grass roots enthusiasm. And the media follows the Pied Piper’s tune, writing about the thumbs up/thumbs down reaction of The 6000 in Conference Room H.
It is not unlike advertising on the Super Bowl. It is way overpriced as a specific advertisement, but buying a minute for $2.5 million not only announces how serious you are about a particular movie, but it also leads to days and days of anticipation and analysis in all media, from old to new and everywhere in between.”
From Tuesday’s Hot Button