![]() ![]() I sent the script to distributors, didn’t meet with many people. I was offered a number things, but I decided to go back to what I had been working on all those years. ![]() He was on board for a long time.Īfter “Blue Valentine” had its modest success, after Cannes, we had a chance to make another movie. He signed up before “Blue Valentine.” I gave him the first draft when there was a hiatus between past and present. It was one of those times when we were destined to make movies together, make dreams come true and he wouldn’t have to go to jail. He said, “I’d do it on a motorcycle, disguised in a helmet, and drive onto a UHaul truck so the cops wouldn’t catch me.” “Yeah, well I’ve always wanted to rob a bank, but I’m scared of jail.” I told him I was writing a movie about bank robbers. I was at Ryan’s agent house 18 months before we shot “Blue Valentine.” I asked Ryan, “Man, you’ve done so many things, do you still dream of doing things, do you have fantasies anymore?” I was working on this before we started shooting “Blue Valentine” in November 2007. I had this burning desire to make a three part triptych movie, because I wanted to see it. All I’ve tried to do as a filmmaker was to make movies I want to see. I was an audience member before I’m a filmmaker. Of course we couldn’t in the marketplace. The original script was 160 pages long, written with an intermission, and a title card “15 years later.” The idea would be to go out for popcorn, go to the bathroom, get a drink and come back and 15 years would have passed. I wanted to figure out a way to make a movie that had that kind of scope. ![]() The beautiful thing about TV and “The Wire” is it felt like a novel, it had huge scope. Short stories are better, like “Brokeback Mountain,” that works. They usually don’t work because it’s impossible to fit that much into a movie. We looked at adaptations of books to movies. We were both huge fans of “The Wire” at the time. I met with Ben Coccio who had done “Zero Dark Thirty,” he was turned on by it. I didn’t question it, I went with my instincts on it. I was thinking a lot about pregnancy and legacy, passing on, the consequences of the whole movie became clear to me. I wanted to make a tryptych movie, I had this structural baton pass playing in my head, but I never had a story to tell until my wife was pregnant with our second son. I remember watching Abel Gance’s “Napoleon” at 19 or 20 with its ending triptych. I knew about “Psycho” with its shower scene midway, but it seemed like you had to wait 45 minutes to follow Janet Leigh until the baton pass to Tony Perkins. I always dreamed of making a triptych movie. All my fears of being a parent went into this movie. ![]() I came up with the idea about becoming a parent, which is very personal for me, after becoming a father for the second time. My starting point as screenwriter is to go to places that scare me. My only guiding principle was to tell things that feel personal, exposing, almost like a diary. In terms of screenwriting I never took classes, never learned how to write. 'Barbie': Ryan Gosling Has Been Preparing His Whole Life to Play Ken - Here's ProofĪustin Butler Was Inspired by Ryan Gosling to Drink Microwaved Ice Cream for 'Elvis' RoleĢ023 Emmys Predictions: Outstanding Lead Actor in a Limited Series or a Movieĭerek Cianfrance: You have to be taught the rules in order to break them. Anne Thompson: You employ an unusual screenplay structure like Alfred Hitchcock you kill off main characters. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |