The News

Ebiri Anderson

Paul W. S. Anderson: “The movies I gravitated toward tended to be movies that were very visual and sparse on dialogue: Walter Hill’s The Driver, which is a beautiful movie with very, very little dialogue, and also the works of Jean-Pierre Melville, who heavily influenced Walter Hill. Melville was taking American archetypes, gangsters, and then putting them in Europe and making these very cool existential European gangster movies with very little dialogue and lots of looks and glances. Even in life, you read all these studies where it says 80 percent of communication is visual rather than verbal. So even if you’re standing in front of somebody, you know whether they’re angry or sad; you can tell what they’re trying to say to you just through the visual cues that they’re giving you. So it’s more of a challenge, but it’s perfectly possible to build character through action. And action is always dictated by space and by location, so that tied the whole thing together for me. In terms of this movie, specifically, I was influenced by a John Boorman movie called Hell in the Pacific, with Toshiro Mifune and Lee Marvin. At its heart, it’s a story of two characters who just hate one another, but they’re trapped in this isolated place. They try and kill one another at the start, but if they are to escape from that island, they have to learn how to work together. Obviously, we’re a totally different movie from Hell in the Pacific, but the relationship between Milla and Tony builds in a similar way. I like these quiet moments where people don’t speak, and I like working with actors where you can just stare at them and imagine what they’re thinking, project yourself into their head. Because once you start doing that, then you start empathizing with that person, and you’re doing it visually rather than through telling backstory.”

No Responses to “Ebiri Anderson”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All


May 1, 2022

The New York Times

"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

The New York Times

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022

The Video Section See All

Mike Mills, C’mon C’mon

David Poland | January 24, 2022

The Podcast Section See All