By MCN Editor editor@moviecitynews.com

Bertolucci 2014

Last Tango, When I started, I didn’t know where I could go with Marlon Brando and Maria. Because there is something that you can’t tell in the screenplays—and it’s exactly what’s missing from screenplays—which is the flesh and blood of the real people in front of the camera. The script describes the characters, but when you go to shoot, you try to invent life in front of the camera. I don’t know… My wife says that I could make a cup of tea look sexy. When I did that film, nobody could have stopped me. In Italy it had been banned—it couldn’t be shown for I think 10 years after the opening, and I was condemned for two months in prison with suspension. Just a few months ago I was at the Cinémathèque Française for a retrospective and someone asked about shooting that scene in Last Tango. It was Marlon’s idea to use the butter. She knew there was a sex scene, but she didn’t know about the particulars. She was offended that I didn’t tell her, because I wanted her to react like a girl would react to that surprise. And that became a kind of scandal: “You make actors copulate in front of the camera, shame on you.” People thought they were really fucking! This is not the only film that I’ve done, but it’s the one that goes on and on and on.”
~ Bernardo Bertolucci 2014

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“The important thing is: what makes the audience interested in it? Of course, I don’t take on any roles that don’t interest me, or where I can’t find anything for myself in it. But I don’t like talking about that. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work. My explanations would come into conflict with the reason a movie is made in the first place — for the experience of the audience — and that, I would not want.
~  Christoph Waltz

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.