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By DP30

DP/30: Midnight in Paris, producer Letty Aronson

One Response to “DP/30: Midnight in Paris, producer Letty Aronson”

  1. The Pope says:

    Okay, I think we can deduce from this very illuminating interview that Woody Allen is one of the most independent filmmakers. Ever. Kubrick? No, he had to go to the studios. Woody operates beyond their reach. Welles had complete autonomy but once, on Kane, so probably not since Charlie Chaplin has anyone had such creative autonomy. Woody writes one paragraph and the money appears. Neither the financiers nor the distributors see the script. Neither do they have a say in casting. They don’t get to see the rushes. They don’t get to see the movie until Woody is ready to show it to them. They can’t change it. The movie is put out… and the whole thing starts again.

    Wow. Just wow.


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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima