Issue link: https://digital.copcomm.com/i/760821
"Man, documentaries have to be the way to go." The actors know their lines; everything is one take; no hair and makeup; or costume and production design. If I can fi nd my way in and fi nd a great story, I'm really chomping at the bit to approach a documentary. I know about Kurosawa and Fellini and the silent greats like Chaplin and Keaton who've inspired you, but who are some of the lesser known fi gures, past and pres- ent, whom you admire and maybe in some ways try to emulate? I'm a big fan of Anthony Mann's. I like the tough approach he took toward his subject matter. And then also how he used locations to reflect and comment on the narrative, while at the same time keeping the protago- nist and story in the forefront. He really was a master, and for me his fi lms grow in stature. At this point in my life, I fi nd myself more influenced by individual films than in a di- rector's body of work, certainly with modern fi lms. For example, the one great masterpiece I think that this new millennium has pro- duced is Michael Haneke's Amour. That fi lm is a towering achievement. What is the element of filmmaking that seems the most like drudgery to you, and what part of it is the most joyful? The most joyful probably is editing. The ar- duousness of writing is over, and the physi- cal exhaustion of directing is behind you. Editing is where you're sitting on top of the writing and directing and are fi nally able to put the movie together. I also very much enjoy prepping a fi lm, the time alone with the production designer and location scout, driving around to look at lo- cations, and talking about the fi lm and what could it be, and thinking how the physical as- pects of the fi lm can refl ect the story and the characters. It's also joyous to finish a film and have the script in hand for the next fi lm. I fi nd the most vexing part the screenplay. What has slowed me down from making more fi lms is the screenplay. I'm unable to successfully multitask, to be writing a script while editing. I haven't fi gured it out, or else I'm just lazy. Nor have I read, with the exception of Nebraska, some- thing written by someone else that I've want- ed to direct. I'm in a fortunate place in my career right now where within reason I can get almost anything I want to make made somehow. But procuring the screenplay, either writing it or fi nding it, is always a time-consuming task. And what kind of producer do you prefer working with? In my experience a good producer shares an idea of the film; supports the director in his or her approach; helps grease the wheels with Hollywood in terms of dealing with the studio, the fi nancier and with actors' agents; puts out fi res; and remains throughout prep, production and montage a sound and trust- worthy sounding board. I know you're in the midst of post on Downsizing, but can you talk about what's next? Not really. I'm trying to figure out what to write, and I sure as hell hope some producer or even civilian will think of the right book or screenplay and get it to me pronto. That's my prayer. ® A P R O D U C T I O N T O O L F O R F E A T U R E S T E L E V I S I O N C O M M E R C I A L S A N D M O R E @ U N I V E R S A L S T U D I O S L O T U N I V E R S A L S T U D I O S L O T. C O M D I S C O V E R T H E N E W