“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
Film Fests Archive for April, 2011
What a great film festival Sarasota has. Gorgeous city to get to hang out in, enthusiastic audiences, sunshine, beautiful beaches, fabulous parties, and most importantly, a really solid slate of films, curated by Artistic Director Tom Hall and Director of Programming Holly Herrick, who, in addition to having excellent taste in film, are two of the nicest people in the indie film world.
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After a long day of travel, I finally made it to Dallas this afternoon for a couple days at the Dallas International Film Festival, just in time to check into my hotel room (replete with round bed and zebra rug), change into something more appropriate for the warmer Dallas weather (the sun! my eyes!) and hit the ground running with a couple screenings.
First up was Small Town Murder Songs, a Canadian film directed by Ed Gass-Donnelly. The film stars vet Swedish actor Peter Stomare (sporting a ‘stache that would be right at home on a 1970s porn set) as Walter, a cop in a small Mennonite town in Ontario. A murdered stripper (the first murder the town’s police force has ever had to deal with) is the catalyst for the story, as Walter almost immediately targets Steve (Stephen Eric McIntyre), the seedy white-trash lover of his ex-mistress Rita (Jill Hennessy, terrific here). Martha Plimpton is quietly powerful in a less showy role as Walter’s current girlfriend (or maybe wife? This isn’t made explicitly clear).
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