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By Ray Pride Pride@moviecitynews.com

The Slumdog statements

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FILMMAKERS STATEMENT: From the moment that we hired them and long before the press became interested in this story, we have paid painstaking and considered attention to how Azhar and Rubina’s involvement in the film could be of lasting benefit to them over and above the payment they received for their work. The children had never attended school, and in consultation with their parents we agreed that this would be our priority. Since June 2008 and at our expense, both kids have been attending school and they are flourishing under the tutelage of their dedicated and committed teachers. Financial resources have been made available for their education until they are 18. We were delighted to see them progressing well when we visited their school and met with their teachers last week. In addition to their educational requirements, a fund is in place to meet their basic living costs, health care and any other emergencies. Furthermore, as an incentive for them to continue to attend school a substantial lump sum will be released to each child when they complete their studies. Taking into account all of the children’s circumstances we believe that this is the right course of action. Since putting in place these arrangements more than 12 months ago we have never sought to publicize them, and we are doing so now only in response to the questions raised recently in the press. We trust that the matter can now be put to bed, and we would request that the media respect the children’s privacy at this formative time in their lives. —Danny Boyle and Christian Colson

DISTRIBUTOR STATEMENT: The welfare of Azhar and Rubina has always been a top priority for everyone involved with Slumdog Millionaire. A plan has been in place for over 12 months to ensure that their experience working on Slumdog Millionaire would be of long term benefit. For 30 days work, the children were paid three times the average local annual adult salary. Last year after completing filming, they were enrolled in school for the first time and a fund was established for their future welfare, which they will receive if they are still in school when they turn 18. Due to the exposure and potential jeopardy created by the unwarranted press attention, we are looking into additional measures to protect Azhar and Rubina and their families. We are extremely proud of this film, and proud of the way our child actors have been treated. —Fox Searchlight Pictures, Fox Star Studios, Pathe International

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Movie City Indie

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato