“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
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LETTERS FROM LARRY
Brian Poyser’s Lovers of Hate is the kind of tiny brilliant gem that low-budget indie films ought to be and so seldom are. Three no-name actors, (four speaking parts over all) star, half the movie shot on one practical set (located incidentally, in Park City, the action taking place in a three day period. The budget undoubtedly less than catering costs on a studio effects picture–the narrative combining elements of romantic-comedy psychological thriller, and slice of life character study, combining to produce a completely unclassifiable hybrid that is an authentically personal cinematic vision. Bravo!
Cooper and his programming team for finding this and if they could find five movies this good at this budget, in any one year’s program you’d know that American indie cinema was enjoying an artistic renaissance. I simply can’t start describing this film in detail without getting into damaging spoiler territory, but suffice it to say that you will think you’ve seen the set up and the situation before but I promise you that you haven’t. Every stock situation plays out in a quietly fresh and different way than you expect or assume If the multitudes in Park City know what is good for them, cinematically speaking, they will run not walk to the next screenings of The Lovers of Hate..
Quite a good deal more later.
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Larry Gross is a 25 year screenwriting veteran and Winner of Sundance’s Waldo Salt Screenwriting Award for his most recent release, We Don’t Live Here Anymore.