By Ray Pride Pride@moviecitynews.com

ARP On Money

“My new film, Her Smell, cost less than First Reformed. The crew pulled off miracles and executed things that most people couldn’t dream of affording for twice our budget. We were ruthlessly efficient and I got everything I needed to make the script exactly as I wanted. The film did not sell for $13 million but I remain optimistic that its distribution and release in no way runs the risk of being relegated to esoterica. However, I am sorry to say, to the next 10 filmmakers who have a comparable film at a comparable budget level, I don’t think I made it any easier for you to get your script produced. We are seemingly stuck in a situation befitting classic American ideals where the rich (i.e. easygoing, mass-market crowdpleasers that sell to Schrader’s target companies) benefit or profit the most, the poor (relatively or extremely inexpensive movies) can no longer survive or justifiably exist, and the middle class (movies like Her Smell or First Reformed) are threatened with extinction due to being potentially unsustainable. And if we are not creating a sustainable means of production and also a marketplace for those coming up behind, then I must worry about the future as much as I fret about the present.”
~ Alex Ross Perry

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott