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By Ray Pride Pride@moviecitynews.com

Don DeLillo talks COSMOPOLIS (spoilers)

 

From the press kit: “It all happened very quickly, actually. [The script] was incredibly close to the book. Of course, Cronenberg cut out a few scenes that couldn’t work out, but it is totally faithful to the spirit of the novel. Of course, I had no intention to make comments when I read it, it had become a Cronenberg film. It is my novel, but it is his film, there is no question about it. Then, last March, I saw the film in New York once it was completed. I was really impressed. It is as uncompromising as it can possibly be. I liked it from the very beginning, from the opening credits: what an amazing idea to start with Jackson Pollock, and to finish with Rothko, for that matter. And the final scene, with [—] and [—], is just mind-blowing! Throughout the years, there have been many proposals to adapt several of my books, but they have never come through. I thought that adapting ‘Cosmopolis’ would be particularly tricky, since most action is confined within a car, which doesn’t translate well to the screen. But not only did Cronenberg respect that, he also shot in the limo some scenes that originally happened elsewhere, like the sequence with Juliette Binoche, for instance.”

On his novels, often fixated on movies, being hard to adapt: “I thought that ‘Libra’ or ‘White Noise’ could easily be turned into films, but apparently it is very complicated. I don’t know why. Anyway, don’t expect me to take care of it myself and write a screenplay… Many people think that in the 1960s I quit my job in an advertising company to write my first novel. Not at all: I just quit so I could go to the movies every afternoon. Only afterwards did I seriously take up writing… As I live close to New York, I keep discovering many new films that have become impossible to watch in a theater anywhere else in the United States. At some point in my life I lived in Greece, for three years, and I was film-starved, many good films weren’t shown there, I really missed it. Otherwise, I have kept a close look on what has been happening in the cinema industry, and I think that lately The Turin Horse by Béla Tarr, The Tree Of Life by Terrence Malick or Melancholia by Lars von Trier have been real milestones.”

On the visual obsessions of his writing: “I am not comfortable with abstract writing, stories that look like essays: you have to see, I need to see.”

On mixing New York and Toronto locations: “The important thing is that it happens inside a limousine. It is like a world itself, with several intrusions of various kinds, visitors, or an angry mob. This is what really matters. Besides, shooting elsewhere gives the film a more general dimension, of course it is New York, but it is more the idea of ‘the great contemporary city’ we are dealing with, which is perfectly fine.”

And on Cronenberg taking swathes of dialogue directly from the novel? “It is the strangest thing! These are my words, but they take on another life. I wrote this conversation about art that Eric and the character played by Juliette Binoche have, but somehow it felt like I was discovering it, or even understanding it for the first time.”

One Response to “Don DeLillo talks COSMOPOLIS (spoilers)”

  1. evan says:

    excellent info. Very excited about this, especially since it has the DeLillo seal of approval!

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“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

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas