"BY CHECKING MY LIFE, I PASSED 95% OF THE TIME
LOOKING FOR MONEY TO MAKE MOVIES
AND 5% MAKE THEM
THAT IS NOT LIFE " ORSON WELLES (1915-1985)
I have not sung in a Broadway musical,
but I've made everything, for better or for worse.
I made small films and large ones.
I did daytime novels and at night.
I did mini-series, I acted on and off Broadway,
I did radio and I went back to the movies
because when it's good, /> It's unique.
I have the belief that I've never done a good one.
Sometimes I felt like I was a pawn of a qualified director.
I was the spatula to turn tortillas of Mike Nichols.
I was not the omelette,
nor the spinach and the olives in the tortilla.
Maybe it was the salt with which it is seasoned,
or the director obstructed everything the good thing I could do.
They were all incapable.
You try to ignore the director,
or you pretend not to exist and you try to avoid it,
but it's like avoiding the vagina when you leave your mother.
How can you do it?
The pinnacle it's a good film, with a good director.
I got a call from my agent
and I was in...
... the worst moment of my divorce.
That was the worst moment of my life,
but my phone rang
>
I told him that I had passed a terrible and disputed day.
He asked me to go to the place where he was declaring
and to ask him to all call me Juan Trippe.
It was the sign that Scorsese
had given me a role in his film.
I would have liked to see you there, Juan, it was exciting. </ P>
As you wish, but you must answer for the goose. </ P>
It's called the Hercules < And it's going to fly, dammit!
I hope so.
The people of the USA deserve something for their $ 13 million.
people think...
Think it's about money.
And think it's fame,
and think it's it's about the ego,
but when Scorsese gave me that role,
I can not tell you what it meant to me.
THE ONLY ONE WHO IS WILLING TO DIE
SAMUEL JOHNSON
I DID NOT FEAR DEATH,
BUT I DO NOT WANT TO BE WHEN IT HAPPENS. WOODY ALLEN
I want to know if you are willing to die
because otherwise you can not live and I am willing to die
since I spent eight days in LSD when I was 19.
Films are the oxygen of my being.
They give structure to the chaos of my life.
Why do I want to make a film with you?
They must have you done that question.
Why did he betray me? I thought he liked it.
Can we teach ourselves to get out of this city alive? ?
- I'm ready. - Stay ready in your room.
- How do I have fun? - Learn your dialogues.
- I know my dialogues, - Yes?
Although I do not know the order.
I trust you, but I have trusted people... </ p >
... which I should not have trusted, as the one who takes care of those dogs.
I should kill him.
What fascinates me about what we face,
and what excites me, is that we're going to do something
that I do not consider a documentary,
Not a fiction film, but the movie without category
"Seduced and Abandoned" about our trip to Cannes,
to celebrate the cinema, its realization, the filmmakers
and a festival in his honor,
with the intention to find funding
for this intimate film to which we refer,
using the great policy as background,
without presenting it with great grandiosity.
Our version of "Last Tango in Paris"
will be "Last Tango in Tikrit ".
CINEMATOGRAPHIC SOCIETY LINCOLN CENTER
Receive screenwriter and director James Toback
and someone well-known, < br /> the actor Alec Baldwin.
- Give me the scissors. - What?
The scissors for the nails .
What do you see in "Last Tango",
that makes you want to make a similar film with me?
< i> Ideally, it would be our analogous attempt
to erase the line between the actor and the paper
and create something daring and dark from you and for you.
I want you to put your fingers in my anus.
What?
Tuck my fingers into my anus. /> Are you deaf? </ P>
Go ahead. </ P>
I'm going to find a pig to fuck you
and I want the pig to vomit /> on your face,
and I want you to swallow the vomit.
Are you going to do it for me?
Yes! Yes! </ P>
I want the pig to die while they fuck,
and I want you to smell the farts of the dying pig. </ P>
Are you going to do it for me? </ P>
Yes, and more than that! </ P>
¡Algo peor y algo peor que antes!
It is clear that Brando became Brando
when he was making those scenes. One of the masterful achievements
in the history of the directors < br /> directing actors,
was Bertolucci achieving that from Brando.
You have described better than anyone
that you want to create a character < close to me.
It can be in a script or improvising,
but it must be violent and a woman is needed.
p>
As I said, I can not specify the reason
and I can not do it because we have the right woman.
After I met you, I told you it had to be you.
My experience with Jim has been exploratory. </ P>
There was no limitations.
I wonder if it will be difficult to find
$ 25 million in Cannes for this film.
- Especially without a script. - Yes, exact, so...
Do you think? What? You did not tell me that. </ P>
I want you to come with us. Besides being fun,
we would be loyal to you as part > from the cast to look for money,
with the assurance that if it is not you, there will be no film.
Very good, fabulous.
We will not access when someone says
that we will have the movie if we use...
NICE AIRPORT, FRENCH RIVIERA
MAY 14, 2012
- Alec! - Hello.
Did you see Larry?
God mine, Claudia Cardinale and Marcello Mastroianni!
How do you feel an hour before of losing your virginity
at the Cannes Film Festival?
I'm happy to lose my virginity
from the French Riviera.
Have you traveled so and you did not know the Riviera?
Never, and now that I see it, I may never go. </ p >
What differentiates Cannes
from the hundreds of festivals around the world?
Two things: First, the story and not just in years,
but in the characters that have come in these six decades.
Everybody and everywhere:
Hitchcock, Bardot, Wells,
Cocteau, Moreau, Kera Stamey,
Groucho Mark, Gregory Peck, John Carl White,
Gary Cooper, Beatty, Mizoguchi, Lauren, Micky Rourke.
And second?
Because it is a market to buy and sell
and get the financing that we are looking for,
besides the celebration of cinema as art.
It's a festival with a double personality,
like the film we are currently doing.
This week we have meetings
with the major foreign sellers
y con varios millonarios, y espero que uno de ellos
ask us to accept your money.
I hope you're on your knees.
But first we'll see Bertolucci.
Then we go to the inauguration
and we'll see other luminaries while we search for the money.
Natalie comes to see us, Bernardo's assistant.
We recommend that we interview him here,
at the Hotel Carlton.
In a suite or at the table?
Wherever, but I recommend the suite .
We're going to do it in my room,
so that I can go into the Bertolucci suite
and I ask that I Excuse me because it's my room.
I was wondering if you were going to get out of my room.
Take your name off and put mine on.
It is interchangeable. This part is removed.
Sexual dialogue does not seem improvised
but comes from it.
No, it's a manipulation type.
He used all the dialogues that existed before.
For example,
When he is close to the dead wife,
I started with a line of...
... Strinberg.
Maybe I can understand the universe, but...
... I will never discover the truth about you.
It started with that and then it started to say:
"You're a damn liar". And he went on with that.
Cheap, damn, lost bitch,
I hope you go to Hell.
You're worse than a pig on the street.
Do you know why? Because you lied.
You lied to me. I trusted you, but you lied.
Start with that and then /> changes completely,
but makes it his own.
Did he feel grateful because he could do that?
He did not speak to me for five years.
I called him and said: "Marlon, I know you're there."
Why do you think he did that?
Maybe he felt betrayed by me
because I stole him
many sincere things from himself,
real things of him.
Maybe he felt cheated by me,
but he was a man of 49 or 50 years old.
Yo tenía 30, 31.
ON THE ROUTE TO THE CANNES INAUGURATION
The first time I came, I slept in my car.
I came from Lyon and it was easy < because I was a student
and I could not see any film, but I was here.
When I first came in 1970, </ p >
There were exactly three US journalists in Cannes.
It was very strange.
People here talk about films since the morning,
until the last whiskey of the night.
Here is a fabulous combination
of cinema art.
There is a great reverence and a lot of respect.
There is a tradition in the way of receiving the films
and they honor the filmmakers,
like nowhere else in the world.
I was very young, I was 24 years old,
and with "Before the Revolution", my second film,
was invited to the Week of the Criticism
and here we go.
The only ones who saw it were the Italian critics.
They did not like it, but the French loved it
and I decided to become in French.
For decades there has been a deep division in France
between Cahiers Du Cinéma and Positif.
Cahiers Du Cinéma was famous in the 50's
because all their filmmakers formed the New Wave.
They were enthusiastic of American films
as Sam Fuller's and Nicholas Ray,
but his films were not recognized in the USA.
They opposed what Truffaut called Cinéma Du Papa,
that followed the tradition of quality cinema.
When the New Wave started in Italian and French films,
we already knew the Cannes Film Festival
and in some way it was the Valdhalla of cinema.
This was the place.
I never miss a festival. I find it exciting.
It's where you plan the year
and half of the important films in ten days.
It's essential.
Le Filme Francais presents a daily guide
with what critics say
and if you look in the list < Positif and Cahiers,
are 99% opposed.
It seems that were consulted before
to never agree.
Thank you very much for coming. It's a pleasure to see you. </ p >
I was invited to the jury of the festival in the famous 68.
Francois Truffaut told me:
"You must come immediately, to support Henri Langlois
and have them return it to the Cinémathèque". >
He was a man adored by the youth, and I included myself,
but he directed the Cinémathèque with a lot of mess.
She kept copies of films under her bed.
Langlois was an icon < br /> I adored Henri Langlois,
but the government of the time did not want it
and that created a discontent among students in Paris
that spread and degenerated
in the revolution of May '68, or whatever you want to call it.
When I arrived, I knew that you wanted to disturb the Festival. i>
They said you had to stop it. I remember Goudard shouting:
"Comrades, they're coming the students of Nice ".
As the word suggests, a festival is for fun
and They were angry, but they would not change anything if they stopped it.
It's more, added an absurd joy to all that.
I enjoyed it a lot when it was "Mean Streets".
I went, I had a good time, I was at the Carlton,
where I met a lot of people.
There were interviews and people praised each other.
I came back with "Azziza Copso NovoCento 1900"...
... and it was difficult to present it
because it lasted a little over five hours.
There was a day devoted to this film.
The festival stopped , there was only "NovoCento".
The first part in the afternoon and the second part in the evening.
It was the best moment of my megalomania.
If I see the film again, or a part of the film,
I will see myself
an ocean species of pleasure
for the year I spent rolling it. I was young, I had wishes
and I saw that my wishes were fulfilled.
I spent two days with DeNiro, Jodi Foster and I think Harvey.
Tennessee Williams was running < br /> the jury and rejected the violence,
but we had dinner with Serge Leoni and Costa-Gavras,
who were on the jury, and they liked.
We dined at the L & apos; Oasis, we spoke with Leoni and Costa.
We thanked them, we left and the movie won.
p>
To the devil Tennessee Williams.
What's wrong with him? I like his work.
All I do is praise him.
When I was young, I went to Cannes with the film
"You & apos; re to Big Boy Now" with Elizabeth Hartman,
who was a young girl wonderful
It was a dream and it got damaged bit by bit.
It was not a film festival. It was a movie market,
where all the people were knowledgeable
and I knew if your film would go well before you.
I found an aggressive environment.
Did you not look for money in that market?
- No, and I did not want to go back. - Did not you come back?
No, and it's not the fault of the administrators of Cannes. </ P>
It's the people who attract
and the press that attracts. It looks like a bullfight .
It was after the Film Festival of 1977,
when Robert Altman brought his film "3 Women".
Pauline Keal was a jury.
It was the only time she came to the Cannes Film Festival.
The film won the award for the best actress,
but Altman won nothing.
I went to the airport the day after the festival.
Pauline was there, Altman arrived, saw Pauline,
and told her, despite being friends for 7 years:
"Damn bitch, I was going to like my movie.
You were going to support me and you did not like it. You did not give me a prize".
It exploded in front of everyone. It was shameful. </ P>
Tell me about Damon. </ P>
It's legendary in this world of film finance. </ P>
- Do you use that word? - Yes, it was a pioneer.
Pioneer in what?
In the process of sales abroad,
to fund movies
based on the names on the cast and a projection.
- In presale. - Right.
I present a plan of business possible
and, if I can project what the sales will be,
and show what should happen in the US
and that they will recover their money with earnings,
I can finance the movie that I want.
I just got $ 80 million,
for a film with Denzel Washington and Mark Wahlberg. </ P>
Where does the money come from? Are you looking for it in several countries?
It comes from everywhere. For my next film,
I have money from Saudi Arabia and Russia.
Is there more money now proportional to inflation,
or is there less money?
I would say there is less.
Please, I have to tell why we are late. I'm here. </ P>
I want to ask you something. </ P>
I have Alec for my next film. </ P>
It's a political-romantic adventure ,
set in the Middle East.
Would you be interested in funding a film with Alec,
Neve Campbell and three or four more names?
Political-romantic adventure, between 15 and 20 million.
Neve Campbell is wonderful,
but today has no commercial value.
Right.
Alec Baldwin is sensational,
but does not suggest a theatrical film .
Just to know, although our film could not cost less,
what would be the figure that would be achieved with that cast?
Four or five million.
- I'm too old for that. - Really? </ P>
I do not have the...
It's horrendous. </ P>
It's very tall, or it's very low. Nothing in between.
- There is never enough money. - Do you fight to get money?
I had a lot of problems to shoot "Repulsion"
because, unfortunately, we doubled the budget.
The "Repulsion" budget
was 41,000 pounds
and ended up costing close to 90.
- Right. - Why?
We wanted to make a film with £ 90,000.
I have an Australian distributor < br /> and another Russian.
They are waiting for me to give me money.
There is politics, there is adventure, there is sex.
There should be comedy.
- No, no, no... - No Is there comedy?
- There will be some humor. - There must be comedy.
- Do you think? - Sure.
Why are you wearing a tuxedo? </ P>
It's after six. Am I a farmer? </ P>
I know "30 Rock" well. </ P>
But there is something. Do you have a submarine? </ P>
Where is the Alpha, Josei? </ P>
You made the submarine movie a long time ago
We need action and submarines.
You can put sex on it. Lacked it on the other.
- "The last tango with missiles ". - Of course.
If it was not a gangster movie,
or of some kind I was associated with,
I had to ask myself how I was going to do that film.
I did not know where to start.
Nobody wanted me to do "Apocalypse Now"
after "The Godfather" and the Oscars I won.
It's more, I had six Oscar,
but I threw them out the window and they broke.
My mother told me that I should not do that.
p>
Then he picked up the pieces,
went to the Academy in LA and said:
"My poor son, the maid was cleaning the Oscars. "
I was very frustrated and said:
" What do I have to do to make the film I want? "
A new star like Jessica Chestain.
Listen, I'm not going to betray Neve.
I love her, I worked with her.
p>
I can invent another role for Neve.
- Neve can be the spy. - And we can use Jessica.
Do we kill? to Neve?
We do not kill her, we hurt her
and she appears with her arm in a sling.
If Neve appears, we kill her.
I would make you a star.
What is the probability with Damon?
Two a one against.
Yes? I say six to one against.
Even if you were right, do not worry
and it has more films rolling than the other sellers together.
To succeed in this business,
you have to become /> in a very selfish type.
You have to tell your mother, your wife, your children
and whoever is needed
because it should not be without reason and without a purpose,
but you tell everyone that this is your thing, it's what you are,
and I was not able to do it in all this time.
- What are you doing here? - We're filming.
Yes? During the festival? </ P>
Yes, it is a documentary with the festival as a background. </ P>
What is it about? </ P>
All that You see. It's a film about the festival.
Is it a documentary?
My partner Jimmy Toback is the director.
James Toback?
Yes, excuse me, be careful. I do not want him to fall.
Be careful. What do you expect from the festival?
First time I'm here and I'm very excited.
Thank you very much, Alec Baldwin. </ P>
Is it a film about the Cannes Film Festival? </ P>
I did it because the film business has changed. </ P>
I see it very fragile and I do not know how long it can last
in this era of divisions.
Technology is dividing to the public slowly,
but something tells me that it's going to break.
The movie business he is the worst lover
because you come back again and again,
Trying to repeat that experience you want to have.
You come back with another chance to do what you want
in the realization and the presentation of the film.
It seduces you and leaves you over and over again.
Why are you making films? </ p >
What does it give you, that is different to other options in your life?
I did not have many options,
setting aside a religious as priest and it was not...
Literally?
Yes, literally. I did not spend the first year at the seminar. </ P>
Among the world I was being asthmatic,
with working parents
and a doctor who will not let me run or laugh or anything.
I lived in a room.
You started as an assistant to Pasolini, right?
Before becoming a director, Pasolini was a great poet.
Then he moved into the building where my family lived.
I was 17 years old and I liked their poems.
I also wrote poems and, every time I finished one,
I went down to show it to him. When I was 20 years old, he said:
"I'm going to make a movie and you go to be an assistant director ".
I said," Pier Paolo, I have never been in a movie set. "
And he told me that he did not either.
I found some peace as an altar boy
on the altar of St. Patrick's Cathedral. </ P>
I enjoyed when I was there
and it was a break from ugliness and cruelty
There were in the streets.
Unfortunately, there was a sordid tragedy
that was happening around me.
and there was the cinema that was like USA.
There is something in that place called USA,
where there are people with houses, with fences, and it's serious,
and they were western movies.
You lived in a hallway and that was wide.
Those were hard times. No need to talk
about the period of communism Stalinist in Poland.
Although there were advantages and one was the film school,
due to a phrase from Lenin: "Among all the arts,
the cinema is the most important for us ".
" We "was socialism.
The school was fantastic. I have fond memories.
As a young man, I was a scriptwriter for Seven Arts,
the company that bought Warner Brothers. </ P>
I was so happy that we bought Warner Brothers,
that I showed up at Warner Brothers
and they believed I was going to take care of it.
I went to Errol Flynn's dressing room because I was the best
and I turned it into my office.
After a month they realized that I was not the new manager.
I like the sailboat
and the most beautiful part of Poland is Mazury,
which has 200 lakes that connect. </ P>
I like that part of nature
and it was a dream for me and that's why I wrote something about the place.
They received it badly in Poland, especially the party.
Gomuka, the head of the party, got angry
and threw an ashtray at him to the screen.
I went to Paris to try it in the West
because it had been my dream.
I did not want to stay in Poland.
When I saw that I could express myself by telling a story,
I used the stories that told my father and my uncle,
and they became in "Mean Streets" and my...
Was it the first one?
Yes, but it's always about the obligation to the brother.
It was what I discovered after 40 years.
It's the same film about my father and his brother.
What was the obligation with your brother?
Prevent him from being killed.
Pay the debts, sign the loans,
Go to the meetings because he was like that. </ p >
Hey, payday, at least go see Tony, okay?
So you'll know that you do not want to make fun of him. </ p >
Agree.
- I'm not asking you, I'm ordering you! - Yes!
- Bob Evans saw my films. - Was your rabbi? </ P>
Yes, Bob Evans was my rabbi and he told me he had a script. </ P>
I went to the studio, he had the script and said:
"Wait, and I also have this."
They were a parts of "Rosemary & apos; s Baby".
What did you do to him? </ P>
What did you do to his eyes? </ P>
Tiene los ojos de su padre.
When I went to Washington Square College, NYU, it was great.
And you met Haig.
That was the man, Haig Manoogian.
I was very passionate and, if combined with yours,
you could do anything,
but we had disagreements. </ p >
Why?
For your ideas and I told you:
"If any of the young people have a weapon, I expel you". </ p >
And I said: "Yes, but where I come from..."
He must have been disappointed. Feeling betrayed.
Yes, when he saw "Mean Streets".
We argued, he liked Truffaut.
But Goddard does not, for his weapons and women.
Exactly, I did not accept them in their movies.
"Do not bring that."
Where are we going?
This is the world of film business.
Are these people selling their films ?
p>
Or look for a film to market it,
or partner to find a distributor.
It's like the Diamantiferous Center on 47th Street.
- Did you lose weight? - I would like that.
I went up, so it's relative. He is Alec.
p>
Sure, how are you? Come on in. </ P>
I do not like the Festival of Cannes nor do I believe in the festival. </ P>
One thing is the market that is always and another is the festival .
Almost all the films at the festival
a Belgian film, a Danish film or a Norwegian film
are presented at the same time and with the same journalists.
There is an opportunity .
Yes, against the productions of the USA with big stars.
The big films protect the little ones.
stars protect unfamiliar actors.
When I make a movie, I think about the profit.
Before doing it, I know how much I'm going to sell.
It does not have to do with the creative part.
I see it as a business.
Cinema is not poetry, nor it is painting; you need money.
Some people say
that there is a big commercial circus,
but it's very important.
When we stop having advertising everywhere,
There will be no more money and there will be no more films.
- Right. - We can not be naive.
Cannes is a fabulous hybrid.
Malroux wrote an essay on cinema
and the last sentence is famous:
"Besides cinema, there is a industry ".
Cannes has always remembered that sentence.
There is also an industry that combines
because it is nature film imperfect.
We want to make a very controversial film set in Iraq.
We meet and have strange sexual encounters.
p>
I'm going to send you a film we did.
You already made the film. We can leave.
I'm missing half of the seventh and we finish
and, without trying to be very pretentious,
I want to resume my career in the cinema.
Can we make movies together?
Of course, but not only. I would have to support you.
I would need it.
Listen to me, I'm known as sincere.
You need support from other movie stars.
Gerry Butler received support < br /> four in...
What's the name...?
Do you want me to go to bed with four in a hotel in Iraq?
p>
If possible, five. It would be better.
In today's world it is very difficult or almost impossible
that a man make a film just with your name.
"It's a Johnny Depp movie, I'm going to watch it."
"It's a Marlon Brando movie, I'm going to watch it."
And when I was popular, they went to see Jimmy. </ P>
That does not work today. </ P>
Look for reasons why a franchise earns so much .
Johnny Depp is fabulous.
He makes the movie he wants and does not care.
My God, is the police that we burn.
Act normal.
That film produces the same as a franchise because they are fans.
They will not love me.
The gentlemen will envy me and the ladies will reject me.
What do you think of Neve Campbell?
Neve Campbell.
I like it, it's fabulous, but you can not sell it. </ P>
En Francia usamos la palabra "rentable". ¿La usan en EUA?
Of course.
It does not mean anything.
Today I get all the scripts that are possible.
I can read the script and see if it suits me
because I'm famous and I get scripts.
Profitability is no longer important.
If the story appeals to them, they go to see the film.
I do not read scripts.
What would you say if the film went with Bejo and with me?
- Who is Bejo? - Berenice Bejo.
I do not know her.
- She's productive. - The "The Artist". </ P>
- I know. - They won an Oscar. </ P>
- I do not care. - It's beautiful. </ P> p>
That does not matter to me.
It's beautiful, but it's not a woman that can sell.
What happens is that I'm not 20 years old
and I'm on the crest of the wave, but not tomorrow.
I know what happens to actresses.
I know the business and I do not expect anything.
If you get it, I would do the film with you and Natalie Portman,
or with Mila Kunis.
If Neve Campbell and I
we have exploratory relationships.
It's not animal or wild sex.
It's exploratory sex with new borders in a hotel.
Would you give us 50 cents to make the film?
With your name and yours, between 4 or 5 million dollars.
Agree.
We have to adjust the concept of the film.
We do not need foreign sellers.
We have the millionaires.
Tacky Theodore, a Greek ship owner.
Johnny Pagozzi, an Italian millionaire.
Brett Ratner is going to introduce me.
We go to Denise Richard's yacht.
Her husband left her a lot of money before she escaped.
They all look like millionaires. Do you think they'll give us money?
We only need one and we have Jeremy Thomas,
to Ashok Amritraj and we need to see other sellers.
You did not want more foreign sellers.
Yes, those who say no, but I keep my mind open.
They say the rich come to the Riviera
when they have problems. King Farouk left Egypt,
Duvalier left Haiti and Yeltsin left Russia
when they had problems and came to the Riviera.
I never make plans to see it, < But I always find it.
Sit.
Gosling, Chastain are stars of "Seduced and Abandoned".
You can help us with "Last Tango in Tikrit".
Jimmy, your optimism amazes me
because I expect frustrations and disappointments in this business.
I know, but not this time. Trust me.
What is your favorite star around the world?
With which actor do you have more fantasies?
¿Cuál es el actor más guapo?
With which actor would you like to stay in an elevator?
- Ryan Gosling! - Ryan Gosling!
Rays! Really? You look like a retouched photo. </ P>
I understand, is it a film about getting funding? </ P>
- Yes. - We want make a movie.
They have that and another on how to make films.
Yes, and "Seduced and Abandoned" is about making films.
p>
The narrative of that is looking for funds for the other.
Is it a $ 50 million drama?
Maybe, maybe...
With that we go back to 1990 on the time machine,
to find the $ 50 million because they are $ 3.5 million.
Unless you want to participate to be $ 50 million.
With you it would be $ 150 million.
- Hello. - What a dress!
I put on this Madagascar dress for a photo.
- It's beautiful. - I love seeing you.
I do not want to touch you because you are so beautiful.
- You will be ten minutes. - Do I need a microphone?
- We are going with the boom. - You're good? Thank you very much. </ P>
Good thing, it's going to be ten minutes and you step on it. </ P>
I liked the drama school, although others did not like it like.
Did you go to Julliard?
Yes, they ask you to be crazy, eccentric
and to do extravagant things for you to fail,
but you learn with every failure.
We have to achieve results.
Yes, but now I have the director as my teacher.
- To remember that? - Each film is a class.
I like movies, I always liked them.
Movies are my friends.
My mom punished me < Bringing them away.
I liked putting them inside my pants
As a child, my parents showed me old films
and it was like I grew up because I was not allowed to watch TV.
I was also looking for books,
to see photos of Robert Mitchum, Joan Crawford
p>
and people with glamor because I like the dream you give
and the pleasure of seeing your film in a theater. That's why I'm an actress. </ P>
I did not want to cut meat on 14th Street all my life.
I just stayed at the neighborhood theater.
I'm from a village German small.
There are two thousand people and there is no bar.
I started studying ballet at the Royal Academy in London
I grew up learning to express my emotions,
the anger and anguish I might have.
I was a bitter teenager.
My uncle imitated Elvis and acted with him at age three.
He had the suit, the sequins and he put them on himself.
p>
He stood in front of the mirror, rehearsed the voice, the themes...
And you saw it?
I saw him creating the character.
The criticism of my teachers was:
"You work too much. You should play more".
As it was there, he thought that it would be fun to include me.
What did you do?
I was the security chief. They made me come out in front of him
and there was a lot of people because it was Elvis.
Elvis Perry, bald, with a mustache and a mark on his face,
but I swear it was Elvis for all of us.
Being able to show myself totally vulnerable,
open up to many people who sees me
and feel the process for getting to a level of emotions,
is what makes me feel alive.
I have an idea of the role that I play in the film,
p>
until I see the eyes and actions of the speaker.
I try to work with actors better than me, so I try hard.
I must to be at the height.
It's a moment of panic and I must continue.
It's very strange, as an actor,
to get carried away during < br /> recording a scene,
to the point of not knowing what you did.
And if Francis said: "Well, let's continue ".
I knew it was good, at least I was satisfied.
Do what I ordered you!
If you were at war , I would not be here!
Dad had Jenk, what about me?
I did not mean that.
But most times , you must be aware of what you do,
and it's 10% that you lose in acting.
Your job is to make it seem that something new always happens.
That is ruined when the whole set knows your lines,
even the technicians.
You're wrong during the rehearsals.
Somebody puts tape on the floor
p>
and you're tied to what you did in the beginning.
They start with a general plan that they never use.
You waste the novelty in the general planes.
They are getting closer, and at the end of the day
the first plane comes, which is what they use .
They use the latter because there is when you make it perfect,
but you speak like a robot.
You leave the set feeling that you failed because nothing changed.
But in reality, if Bob, Harvey and the rest are on the scene,
they know who they are working with.
I hope they believe something and at the same time I'm afraid that...
How to say it? Will it be possible to create an environment
that will lead to something great and unexpected? </ p >
The best experiences that I've had
were propitiated by the environment.
Michelle and I were involved in the film for years
p>
and we did not know each other.
It was structured so that we knew each other when filming.
As we walk, he tells us where to go.
We'll go around here, over there.
The night was programmed to wander freely
Good managers are supervisors.
Knowing my position, I'll know what I'm looking for.
I know the conflict.
If I have trouble remembering it, it is badly written. </ P>
For example, in "Goodfellas", Joe Pesci says: "Am I funny?" </ P>
Yes .
It was something that happened to Joe.
He said he would make the film if it included the scene.
Damn it. I wish I was great. </ P>
You're the best. Very funny. </ P>
Very funny. </ P>
How funny? </ P>
You know, it's a good story. You're a funny guy.
What are you talking about, my voice?
You're just funny.
Because of the way you tell the story.
In what way? What's so funny about it?
You misunderstood it.
Anthony, is an adult, knows what he said.
What did you say? How funny? </ P>
They were two cameras doing shots. </ P>
While changing the tone of the scene,
faces of people and the environment changed.
But I had to talk to Joe for 5 or 6 improvisations.
With Ray.
Yes. We played with that. I wrote some things. </ P>
To get to a certain level, I had to guide Joe. </ P>
You said it was funny, /> not me.
What the hell am I funny?
Tell me what it is.
- Enough, Tommy. - Damn, you almost fall. </ P>
Woody Allen es el director ideal.
And, strangely,
reminds me of the late John Hughes at the time.
He was a director and writer very successful.
The first movie I did with was "She's Having a Baby",
with Kevin Bacon and Elizabeth McGovern.
We filmed with Hughes.
And if he did not like it, he shouted humorously:
"Who wrote this slop?" And threw the script.
Woody is the same. With all the nominations you've won,
you think about the essential that is your career. </ P>
His first words were:
"If you do not want to say anything about this, do not say it. </ P>
Say as much as you want." </ P>
And one thinks: "My God, what ego. "
I have worked with others who do not have...
Woody Allen has more talent in his nails
than other complete idiots.
Those order you not to add a "maybe",
and say "maybe" you'll go to the party.
"Do not say maybe, let's repeat it."
I do not treasure my scripts.
I still feel like a writer and a beginning director.
And I'm open to suggestions. I like improvisation.
Once in a while, you hear an idea and it's twisted, with humor.
This is not a sketch.
It's a scribble that you can not erase.
I had a conventional Catholic upbringing. That upsets you. </ P>
I went to university. </ P>
I worked in an advertising agency,
answering calls, serving coffee , making copies.
I realized that my life bored me.
I wanted to experience something that seemed bizarre
and out of the ordinary. I worked as a nudist. </ P>
The writing caught my attention because I wrote about it. </ P>
Suddenly, people wanted to listen to me. </ P>
I always wanted to be a writer, from the beginning.
What I would do with an improved financial situation
would be a great artistic film.
p>
I made movies that make me proud,
but the kind of film that I have in my mind and heart
with the kind of emotions I want to experiment,
I have not yet had the opportunity to do it.
I went through the standard phase of Anne Sexton and Sylvia Plath.
Does the choice of Anne Sexton and Sylvia Plath
suggest that you had < Early suicidal thoughts?
Yes, early, medium and recent .
- Sure. - Yes.
What do you use to avoid externalizing it? </ P>
I think that for the majority, and maybe for you too,
creating and writing are catharsis. </ P >
Yes.
They are a form of self-medication. I am an impulsive person.
I always think of the next step.
Knowing that you build something prevents you from being a total nihilist.
Yes.
We started filming without the final scene
because I had discrepancies with Bob Towne.
He wanted a happy ending
and I told him it was impossible.
"For the movie to have an impact on the audience,
she must die.
Evil must triumph. "
Forget it, Jake, it's Chinatown.
As Mickey Cohen said, it's a short anecdote.
Charlotte Chandler tells a great story
about Mastroianni and Fellini, in "La Dolce Vita".
Fellini wanted him to do it, offered him the role. </ P>
Mastroianni wanted to see the script, Fellini told him there was not. </ P>
Mastroianni needed it.
Fellini gave him a fat manuscript with blank pages,
where there was a picture of Mastroianni in a boat,
in the ocean,
and his penis came down through a hole that faced the bottom of the ocean
with a beautiful mermaid swimming around the hole.
Seeing it, Mastroianni said:
"I'll do it. The paper is interesting." </ P>
In the film we want to do, I'm a government agent. </ P> p>
The woman is a reporter, with left tendencies.
They are polar opposites.
They know each other in Iraq, in the war .
Basically, as it is the end of the world, they decide to fornicate.
Something crazy. We call the movie "Last Tango in Tikrit". </ P>
Good. Go, how deep. </ P>
We will explore what happens between the man and the woman. </ P>
Would you be interested in a film like that? </ P>
I would not know tell you. I'd love to read the script.
Your words do not convince me, but I would give you a chance.
This is invaluable.
Diane Kruger teaches us that we are not convincing.
We need to prepare another group of sales agents, 3 or 4 more.
There is one ready for tomorrow.
- Bring cash. < br /> - Yes, in an envelope.
Yes.
- There will not be car races. - No.
- Or explosions . - No.
I think Alec has the ability.
He's one of those actors who can jump between genres.
You've already done it, in your career. </ P>
Can you film the movie in Russia and elsewhere in China
with some Chinese stars, Japanese, Russian and Brazilian?
Let them surround you.
Sí. La respuesta es sí.
Work with emerging markets
so that the movie is financed in a market.
I could justify anything.
It's very hard to find someone who says: "I want to do it".
Everyone gets accounts.
Already people are not visionaries.
The visionary study heads no longer exist.
Would the possible funds that we would get from you
be yours or from sources to which you have access?
Am I next to the one indicated? Can you do it on your own?
I need my partners.
- Oh yes? - Yes. </ P>
But you...? I will not repeat it again. </ P>
Are you the one who sends in that society?
Assuming we need between $ 15 and $ 18 million.
It is too much.
It should not exceed the $ 10 million.
It should be related to what will be obtained.
5 is ideal. That's the threshold
that differentiates earning money with losing it. </ P>
When you mentioned an international cast,
did you say it? Seriously or metaphorically?
It was metaphorical.
Good. But I'm flexible. </ P>
No, let's put it like this:
I'm a prostitute I would do it anyway. </ P>
Here we look for help class what we expect logistically.
Tax exemptions.
The advantages of filming in one place or another.
Iraq, Tunisia, Abu Dhabi. </ P>
Tunisia? </ P>
Bonjour.
- Hi. - Hello.
And it says: "Ay, ay, ay".
- Without an interpreter; you speak English. - That's right.
We are looking for a funding for a film.
The story takes place in Iraq.
The film requires a war in the background.
I will be a government agent,
in the Bush era, when the war was created.
It's a CIA agent conservative,
a hawk, in terms American purists,
and you know a liberal journalist.
We could shoot in Tunisia and make it look like Iraq.
Yes.
Which is better? Tunisia or Morocco? </ P>
Yes. </ P>
I'm in the city of Abu Dhabi...
Es un emirato, similar.
I live in New York, which is an emirate.
- It's a big area. - I live in an emirate.
We try to make ourselves an idea of what would be the most beautiful
and, in addition, that your government cooperate.
Today we announce an incentive package.
We have an incentive.
Do you have a government fund for movies?
Yes.
Would your government invest < In a US production?
- Yes. - It would be possible.
Tunisia is beautiful.
We have walked through the cuosette < br /> and the whole complex for days,
looking for the Iraqi commission of films. Where is it? </ P>
- There's no. - Do not they have? </ P>
- No están aquí. - ¿Por qué no?
- In Iraq are films filmed? - I do not know of any.
Why is there no Iraqi commission?
It's a question what they should do to them.
You're good.
It's a film with great sexual content.
It's an examination of the exchange of energies.
Contains specific sexual behaviors.
Eroticism, love scenes.
Is there any possibility of...?
I do not want to be filming in bed with Neve Campbell
and being censored.
I'm the one who reads the scripts.
If we make a movie of great sexual exploration,
you read the script and you accept, that does not say much about you.
Yes .. .
I'm kidding.
Finally, immortality is the goal of many,
and of the majority that lives the cinematographic world. i>
The opportunity to live forever.
And I do not speak of the minds of your loved ones ,
but of cinematic memories
of generations to come.
Hey, Stella!
It's no accident that Marilyn Monroe
is on the poster of this year's festival.
Monroe, the greatest example of immortality after death.
Johnny Pigazzi likes cars.
Su padre era dueño de Simca. Tiene una isla en Panamá.
It has apartments in New York, London, Switzerland.
It is a great investor wealthy.
It will be easy to give us $ 15 million for a film.
That's right. Johnny! </ P>
I was talking about you to my friend James Toback. </ P>
How much time per year do you spend here? </ P>
About a month. </ P>
It's beautiful. </ P>
It is. </ P>
I owe this to my father. Not responsible for this. </ P> p>
It's wonderful to have a father to take care of you.
He did it right.
And you'll take care of us.
Where do you get your sense of identity? </ P>
Are you a lover of life in general
o hay algo especial?
For me it's the movies, without them I'm nothing.
Because besides, you've tried different things.
You've written. There's tennis, martial arts. </ P>
You wrote books. </ P>
You could have sat doing nothing, right? </ P>
I hate to admit it,
but, if it were not for my father, it would not have been anyone. </ P>
Let's admit it. I did not keep writing
because not many hire someone who does not depend on it.
It's terrible. There are prejudices against blacks, gays and rich people. </ P>
- Against trust funds. - Yes, it is terrible. </ P>
- Bad prejudices. - I want freedom. </ P>
- You are a victim of hate. - It should be a hate crime. </ P>
I want you to be part of the legacy of a great work of art.
Art collections.
This film will be a work of art.
Really?
I hope you're ready to invest $ 15 million.
What?
The Riviera was the right place.
Somerset Maugham described it as sunny for troubled people. </ p >
In summer, we all came here for the casinos.
I was Patsy and Joanna Cassidy Boucher plays the clarinet.
Jean Le Pare.
I had glamor. Montecarlo did not look like Las Vegas with sea. </ P>
It was the magical place that Fitzgerald described. </ P>
The Murphy's invented it over the years 20. </ P>
Picasso, Hemingway, Fitzgerald. </ P>
Picasso, Desqual y todos ellos vinieron aquí por la luz.
All the people anchored around should be imprisoned,
but they are all Russian, they are very bad thieves.
Why did you believe /> what was the indicated?
Because you take risks, and maybe, I do not know...
- Do you take risks? - Not with films.
I hate to say it, but I was a friend of President Nixon,
I liked him. He wrote me when I was in prison. </ P>
It was a kind letter and then the curse came. </ P>
I served four months for possession of cocaine.
He told me: "The controllers want to know if it's true."
A letter from President Nixon.
I sold the envelope for food.
Wow.
Then I told him. He thought it was funny.
Where did they get you?
In Pentonville.
Johnny will not invest. There's someone else: Arki Busson.
He's powerful.
- Enough. And successful. - He's in the industry, he likes it. </ P>
He financed the new film by Walter Salles. </ P>
- "On the Road"? - Yes.
I suggest that you come into this movie
and be the only investor.
You're young, vigorous, healthy.
But even if you live 25 years longer, it's your last round.
Yes.
- Me too. - You do not. </ P>
You can afford...
We have a phrase:
"You are one second away from the last film reel".
200 years after dying,
the reason why people will know about your existence
will be your name as producer in my next film.
The next one will be a production by Taki Theodoracopulos.
Providing the $ 15 million that we need, maybe less.
Bring me some cigars.
Who Do you have more money? Johnny or you?
Johnny, much more.
More?
I want more lunches in /> those that are reversed at the moment.
Instantaneous investments
will depend on who is at the table.
- What about Alec Baldwin? ? - Really.
- Alec Baldwin? - Yes.
- In "In Last Tango"? - In our version.
Can not. He is a TV actor. </ P>
YATE DE DENISE RICH CHARITY EVENT
What is it that you want and you can not do? </ P>
Where do you want to go and you can not?
I still think about the things that I want and can do.
Good. </ p >
It's hard to know.
But I always wanted to go into space.
I think what I most want, I do not know if I can or not, </ p >
but I would like to cure cancer so no one else will suffer it.
The other thing would be world peace.
You know, Alec and I plan a film for next year.
Would you like to invest independently in it?
I do not participate in anything that I am not involved.
p>
BUT WHAT ALTERNATIVE IS THERE?
- Ben Schneider. - How are you? Nice to meet you. </ P>
Delighted. </ P>
I'm the son of Neal Schneider, movie investor. </ P>
I've heard from you and your father.
He is the limited investor.
The others were with their fanfare.
What do you do?
I moved to LA a year ago. </ P>
I've been part of a sketch comedy for 6 months. </ P>
I'll take a shrimp. </ P>
- Where do you live? - Currently, in West Hollywood. </ P>
- And you want to be an actor? - Of course. Undoubtedly. </ P>
At what age did you arrive in California? </ P>
At 16.
- ¿Dónde te quedaste? - En West Hollywood.
I could write you an interesting paper.
Let's try to seduce your father to be partners.
I'm trying to raise funds.
Was your goal to get here? Did you expect it? </ P>
It's the best of Los Angeles. </ P>
It's full of characters like Don Quixote.
People who leave their family, homes, friends and jobs
to pursue their dream,
even knowing that the probability of Achieving it is almost nil.
But they still do. Everyone shares the same dream
and nobody knows if it was a premonition or delirium.
p>
There's only one way to know.
- Ben Schneider. - What's up?
- Ben is the son of... - I know. </ P>
- Yes. I've been acting since... - Why?
Why?
An audition is difficult.
You get it. You enter a room full of guys like you. </ P>
You're not the only cowboy. You hear the other audition. </ P>
You think about not doing the same, instead of doing your style.
Before entering,
the casting director negotiates the role for another.
It turns out that Jared Leto got the role. </ P>
When you come in, you see it as an acting practice. </ P>
I know I will not get it, /> I will only live the experience.
In the scene you must mourn for a friend.
You start to mourn emotionally. They receive a call and you go out.
You try to keep crying,
but you wait for 10 minutes and you become deconcentrated.
You want to start over and they keep you where you left off.
You go to your car and you have a fine.
Because the sign of the hearing blocked the signal.
You get in the car, you get it together. You go to the next one.
p>
You spend two hours in traffic and the cycle starts again.
I think the three of us had a good connection.
If I wrote you an original and ambitious paper,
would sign up immediately and it would rain money. >
Because the money follows the stars.
Jessica Chastain could be the woman and Neve the wife,
PREPARATION FOR THE VANITY FAIR PARTY
The sale of covers in magazines are evasive.
We had to withdraw. We talked about it .
We could make the cover, changing the way to do it.
The one to do it, it was you, together.
< In our culture, it is difficult to find someone
who knows how to move the strings and who looks good in the magazine.
And something that the people want to read.
Vanity Fair is not a movie magazine,
but it became the magazine for movies.
Was that intentional? </ P>
No. I think the people of the East have a fascination
with the "romance" of Hollywood. </ P>
Especially, with the old Hollywood. </ P >
Maybe we see it
through a different prism of those who live there.
Most of the parties in Hollywood
look like auditions to "Jersey Shore". </ P>
We're talking about now. </ P>
Yes. Watch this weekend. Movies have degenerated
to the point that there are movies about comics
competing against other about games of table.
Many people with a lot of money.
Do you know what would be a good idea? Steal them.
Just kidding. Although, you know, maybe not.
But it's full of people. They are many witnesses.
The touching thing is that they are united
the complete ignorance > that everyone will die.
What good will the money do you? They should fund us.
At least your name would be in a work of art.
I must be careful or go crazy.
NEVER ANYONE HAS PAID ME WHAT VALGO </ p >
BUT WITH MONEY. CHARLES BAUDELAIRE
GIVE ME MONEY! IT'S WHAT I WANT!
THE BEATLES
Recently they quoted me wrongly:
"We do many bad movies". </ P>
What I said was:
"As industry, we make bad and good movies. "
The real problem
is that you can make a great movie that nobody sees,
or a bad movie that everyone saw
and that's the secret to keep your job.
They do not give you credit for the good that nobody saw.
It's not the distributors
who refuse to take the film.
The truth is that they will not justify enough money to film.
It's important the market opinion
and what they create that I would achieve with the campaign of the film.
The marketability of the films has become
more important than their stories.
It is very important the opinion about the film
of the international distributors
This influences a lot the decisions today.
The opinion of local video distributors is important.
How do you think this affects the quality of the film?
While a person makes the decision
to accept boldness and originality,
a decision committee guarantees conventional shyness.
Because of this, people with innovative ideas
should always look for money outside the system.
For you as a filmmaker , and a community of agents,
stop the skill.
When I was an agent, I could see Tom Pollock.
Yes. </ P>
I could convince him or Casey Silver
to accept a movie based on my enthusiasm. </ P>
Les I used to say: "If you do not accept, I'll go to another study."
I did it at the moment.
Whoever I was with, from any study.
Currently, that's impossible.
Neither in Universal nor in any other.
Why?
If I love something and the rest hates it, it's not done .
All the films that made us win an Oscar,
and I say "we" because I was not alone,
no one wanted them.
Neither "Cuckoo & apos; s Nest nor" Dance with Wolves ".
There used to be a lot of movies </ p >
as "Taxi Driver" and "Raging Bull",
to some extent. UA was fantastic.
We were not forced to do them , We wanted to do them.
The whole group at UA supported us in making varieties of films
that we considered would be the norm.
p>
There was a time when you were doing one or two great movies
and anchoring your movie program.
Now you make five of them, And what's left?
Somehow, I've been able
to navigate that fine margin of making movies
which I think you could give me for two years.
And receive support.
I would now receive support for many movies
if they are the ones that indicate me.
We want to make films that give a lot of money,
be rich, and finance artistic films. </ p >
That was always the model.
I always ask myself:
How can I survive in this medium?
The margin is very small.
With that, and the great interest of selling movies,
you have to be careful
or fight a lot to do what you want
p>
and you think it's better for the movie. It means fighting with everyone.
Often, the fight is civilized and that makes it more difficult.
Right.
Because everything comes down to money.
They'll never give you the money
if Neve , you and I are in the movie.
Right.
They would give us $ 4.50 for the movie.
Yes.
The people who truly beat us in the industry
and the creative forces front and back of cameras,
thrive because they have arrived at a Zen level, beyond.
All information is good.
If you give me something, I will use it to move forward in my way.
In the old days, some were at the top
and they supported me . John Calley and many others.
It's not that I think that they were bad,
but that they were from another era.
- How much have they changed? - They no longer exist.
According to Scorsese,
we must learn to make films for them.
What happens is that we must overcome them.
Maybe I'm too old already, but, to make one more movie,
I will live and follow to see what I am capable of.
There must be a way to make a movie.
You did it, and you keep doing it.
Find new individuals
New individuals and technologies.
The cinema is bigger than everything else.
Cinema is really a form of art provided by the gods.
I've seen adults, people like Marty or my friend George,
who take two pieces of a film and put them together in different ways.
They discover something new, and jump with joy for that magic.
As long as that continues, the rest does not matter.
p>
On the way you find things to fan you positively.
If something bothers you, you throw it away. You throw this, that away.
Especially over the years.
How is cinematography now for you?
Well...
I'd say it's every time easier to do.
How difficult it is to get funding.
I want to use new equipment to move forward and be freer.
Being on the set and when I start preparing the edition,
everything flows. I'm looking for simplification. </ P>
I do not need to search for any dazzling effects. </ P>
The current cinema, fortunately, no longer has categories. </ P>
They are not relevant. </ P>
The idea of a solid plane like Bertolucci or Kubrick,
in any great cinema...
.. His mastery was lost.
Yes.
They were destroyed. The plans mean nothing.
And you let yourself get caught.
You get it because you started working with video.
Black and white.
You never stop learn.
There are physical changes, things happen.
But there is a big difference with great experiences.
Today they make slobs. Sorry for the term.
I criticize myself. I never cheated on anyone.
And I think, my job sucks.
p>
I walk like a beggar.
Why does not anyone call me? I go through those phases.
But in the end, I'm happy working .
Especially if it's not a passenger, if it's something you value.
Obviously, you've had health problems.
Yes, it sounds like something stupid. I was obsessed.
I could not move my back and it was strange.
I had surgery three times. < I wanted to work. And here I am. </ P>
Each operation was worse and more painful. </ P>
My sister went through that. </ P>
But I discovered that I can make movies even like this.
Will you go back to work?
I hope to find another film soon.
In 10 years, I've never felt so good
as in the shooting of "Me and You" ".
Filming reminds me my days of O & apos; Malley.
For years, I had in mind to make
a film about my childhood and the occupation of Germany.
And I found the book "The pianist".
I saw it closely related to my memories
without it being my knowledge Exactly.
Because it was not in the Krakow ghetto,
but in Warsaw ghetto.
I would never make a movie from the Krakow ghetto.
Why?
It's very close to my home.
When you make a movie from a site, what you ruin.
Because it's not a memory anymore.
And recueros are an important part of my life.
I'll never make another film /> as successful as "The Godfather".
That was a stroke of luck. And I started something new from scratch.
It's funny,
"Twixt" should be funny, but it became serious.
So the movie took a more tragic turn.
I did not have the ending.
In the script, I asked Poe what was it the end.
He replied:
"Do you want me to tell you? If I do, there is no return".
I did not know And he said, "You are the end. Look at yourself and you will know what I am saying."
It is time to face the truth. ..
... to finish the story. There is no alternative.
I never admitted...
... what is scene is and what it should have been.
I should have seen it. It was a weekend.
I was working on a movie and I said: "Let's use boats." </ P>
I thought there would be small rowing boats. </ P>
If I had been present...
De haber estado presente...
... it would not have happened.
You already had a drink.
Sonny was shot on the fly. He is dead. </ P>
An alternative for our proposal
is a film in which the essential theme is the same. </ P>
The characters, politics, sex, the past, romance. </ P>
All those things, psychologically and emotionally. </ P>
Psychology. </ P> p>
But taken to an antecedent
much more reduced and intimate. In other words,
could be two people who came back from the war
and they are lost, living wherever you want.
Basically, it would be a local place.
It would work inside of the financial framework.
Tell me how much money you will give me and I will adapt the film.
It is a much bigger investment than this.
Would you be interested /> to join?
To be part of the financing
that we are about to get apparently.
I see three types that are as a probation meeting.
And you are Sir Han. You will never be free.
Exactly.
As far as I know,
p>
you would be affected by a loss of money
or you might not notice it; that I do not know.
Everyone lies about the money and they hide it,
but they talk about the vesicle, the adventures, the crimes,
- Originally it would be done in Iraq. - Yes.
But Jimmy thought:
"No need to go to Tikrit. Come back of Iraq
shocked by the experience. "
We want to make the film. Jimmy will write it.
Will you finance it?
The truth is that this is attractive and exciting.
Of course I will.
It's really fun.
Yes, it is. </ P>
More fun. </ P>
There are two ways to do it:
From the emotional side and from the profits.
- Yes. - You must evaluate everything.
It seems like a good idea. I would have to review everything.
How much would you give us? for the movie?
- They could get $ 25 million. - Let's make the deal right now.
My God.
I will write
the amount of money that I am willing to give you.
Agree. </ p >
- But you can not see it yet. - Okay.
- Okay? - Yes.
When will this end?
Did you record that ray? Surely.
- How do you feel? - I'm optimistic. </ p >
Of course. I do not expect less from you.
I need to balance your... How to call it?
Hobby for the reality.
Yes. Taki wrote: "How much do you need". </ P>
And do you believe him? Do not you think there is great malice in your personality? </ P>
Of course I do, but not about the movie.
And even if it were like that,
we have the three investors of "Seduced and Abandoned".
We have the $ 25 million from Medavoy.
We have prospects like Gosling and Chastain.
We only have the same thing with what we got: Hope.
That's good.
Everyone loses hope. Ours is intact.
By the way, the music for "Seduced and Abandoned"
must be done by Yar Shostakovich.
The poetic dark beauty of the Fifth
juxtaposed to the perverse waltzes.
It's as if Shostakovich composed it for you.
Vitality and elegance together.
THE FILMS ARE A PHENOMENON
WHOSE FAVORITE PARTY HAS BEEN IGNORED
FOR A LONG TIME
NORMAN MAILER
I love you.
I want to know your name.
I'll ask you the same question /> I've asked everyone.
I always think about this.
I know you love life and want to live.
But Are you afraid of death or are you ready for it? </ P>
Thank you very much. </ P>
At 11:45. </ P>
No, because I want to be a mother.
I do not think about it. I guess I am.
You're ready for death, right?
You do not want it, but you do not fear it. </ P>
Por supuesto que sí. Si tú lo dices.
I can create a montage of death. It's what matters. </ P>
- I want to make 50 more movies. - Would you accept only four? </ P>
Four, no. I do three a year. </ P>
- You will not live 60 years more. - What? Get out of here. </ P>
I was never willing to die,
but I was always ready. </ P>
To die? I'm not ready. </ P>
There are still things I'd like to do. </ P>
Maybe a little later. </ P>
I do not care about that. It will happen and interrupt something. </ P>
I still struggle with the religious aspects of it. </ P>
I do not think I'm ready. </ P>
- Are you ready? to die? - No.
Shut up!
Ask everyone.
How will I be prepared? Do I sit with a pipe?
What are you talking about?
In this movie, we only need go to intensive care
and ask an elderly 95 year old intubated:
"Are you ready to die?"
I am aware , but I do as much as possible to postpone it.
I was on a plane that started to fall.
Everyone was watching who was next to me
to create a bond with the person you will die with.
People cried. It was very dramatic.
My instinct I finished my steak.
I started to swallow everything.
John Updike, very fine.
Wonderful poet, novelist and critical.
He died in the 70s of cancer, without complaining.
Nobody knew he was sick. He wrote this before he died.
It's called Requiem:
"I recently realized that when I die nobody will say
& apos; What a pity, I was very young and full of promises & apos ;.
Unfathomable depths.
Instead, sadness and dry eyes
will receive my late demise.
I know the big answer will be: I thought he was already dead &.
Well life is a tattered subterfuge
and death it's real, gloomy and immense.
There will be no print record whatsoever,
except where it happens. "
You know that I love you.
Yes.
You know I have you a great appreciation.
And this is one of the reasons.
You are an excellent reader of poetry.
p>
- Thank you. - You read it beautifully.
Thank you.
Despite all your self-destructive tendencies
I adore you.
Thank you.
You only need to kiss him.
I just adore him, I do not want to make love to him. </ p >
The best part and the beauty of the films
is that it conjures notions of finality and death.
The film ends and is a end.
Sitting in the dark, in dim light.