Grande intervista ad Harvey Weinstein su Deadline Hollywood: il produttore newyorkese ha parlato di tutto. Dai suoi esordi con la Miramax al ruolo della Disney, passando per il Sony-Hack, il suo soprannome Harvey ‘Mani di Forbice’, il nuovo film di Quentin Tarantino ed i film usciti quest’anno e la campagna da Oscar per The Imitation Game.
Il mogul si è difeso a suo modo, contrattaccando su tutta la linea.
Innanzitutto chiarendo che le campagne negative sugli altri film non sono farina del suo sacco, tantomeno quelle contro Selma o American Sniper.
I used to take this badly but now find it amusing[…] most people wouldn’t know that my wife Georgina and David [Oyelowo] and his wife Jessica grew up together and have known each other since they were 17 and art kids in acting school.
I’d be dead. My wife would never let me come home. David was laughing about it, and maybe it is funny they always blame me.
Poi ha difeso la Sony, Amy Pascal e Scott Rudin dagli attacchi pavidi degli hacker coreani:
Amy Pascal called me when all that Sony stuff happened. She said, ‘Harvey, there might be some bad emails about you.’ I said, ‘On what?” We had made that TV movie on the search for Bin Laden and they had Kathryn Bigelow’s movie, and we were thinking about releasing theatrically before them.
We are not the easiest deal makers. Amy said, ‘I might have not liked you at that time.’ I say, I’m shocked that there ever would be a bad email about me. I said to her and she’ll tell you, ‘Amy, whatever it is, it’s fine, and tell me what you need and I will support you.” She said, ‘Reach out to Scott Rudin, your rival and tell him you support him too.’
Gli è stato poi chiesto di Grace of Monaco, il film che ha aperto Cannes tra i fischi e che non ha mai aperto negli Stati Uniti:
The script we signed on for was likeThe King’s Speech, with the big moment where Princess Grace steps up. That is what attracted Nicole. I made eight movies with her including co-producingThe Hours with Paramount, and The Others. I know why she took it and why I was involved. I’d seen rushes that were great. The director is French, and he turned it more into a Hitchcock movie like a paean to Vertigo, which ironically Grace wasn’t in. The writer, Arash Amel, called me and said, what happened to my script. It’s like welcome to Hollywood. Writers don’t have any say, but we decided to pair him up with a team of people and see what he could do about restoring the movie to the way it looked when he wrote it. He did a wonderful job. You can ask Nicole. A beautiful job.
The director refused and criticized me profusely. In the old days, I would have fought for it. Here, I said, the better part of valor was just to tell Nicole, you should get this done and if you can’t then I’m not going to, because I’m tired of this. I don’t want these fights. That movie would have been helped greatly by the writer’s cut of the film and it’s something that people should see someday.
E’ poi tornato anche sulla battaglia con Bong Joon Ho per Snowpiercer, che si è conclusa con il film lanciato in limited release e VOD, con grande successo:
Snowpiercer is a great example. I didn’t see the movie as commercial in a 2500 screen launch, which they wanted to do. I saw it as an art house film, the way he directed it. I said we should cut 20 minutes and a few other things. Major directors who I will not name said the same thing to me. Some of the biggest directors in the world said Harvey’s helping you. We came up with this idea about VOD and Snowpiercer worked great. Then I got criticized. They said, had I had the guts to go wide with such a great movie it would have done well. I owned Australia on the movie and I told them, go wide. We bombed. I wanted to see it for myself and then every other country, with the exception of France where the comic book is based and South Korea where Bong Joon Ho is a huge hero, and the movie didn’t work anywhere except for America where we did this VOD platform and it was a spectacular hit. Nobody writes that article, one that says, that son of a bitch was right.
Il suo business oscilla tra Netflix ed il grande pellicola: la miniserie Marco Polo è un successo mondiale grazie alla distribuzione online, ma il prossimo film di Tarantino sarà lanciato nei cinema anche in copie a 70mm.
I’m a movie theater guy. Quentin Tarantino is just starting The Hateful Eight, and we’re shooting it in 70 mm. That’s how it’s going to be initially seen. We did it with The Master. I love the pure art form of cinema but you have to be open to new technology.
Quentin’s the enemy of the new digital technology. If I were the movie theater chains I’d just play Hateful Eight forever, just figure out new and innovative ways to show it in 70 mm. But they won’t step up. We say, ‘We’ll help you with the cost, let’s show this on film.’ Right now, thanks to Chris Nolan and Quentin, film is coming back. We’re all helping Kodak. My brother is spearheading it with the other studios. We need theater owners to put some money into this effort. You show a 70 mm six track stereo Quentin Tarantino movie, and I’m sure Marty Scorsese would insist of showing his movie that way. Spielberg’s got a new movie, all these guys. Give them the tools and they will bring the audience.
L’esperienza di The Master sarà d’aiuto anche nella distribuzione di The Hatetful Eight:
Thank God we did The Master with Paul Thomas Anderson, it was our run through on an international level. We know where every 70 mm theater is in the world.
Seguite il link e leggetevela tutta. Vale la pena…