Selasa, Februari 10, 2015

Sundance Redux: The End of the Tour Director James Ponsoldt

Coming Soon mewawancarai sutradara The End of the Tour, James Ponsoldt, berikut kutipannya:
CS: A lot of times when you have movies at Sundance, you’re trying to get it done at the last minute. I don’t know if that was the case with this one.
Ponsoldt: This was the first time that I didn’t have to do that, where every other time, it was sprinting and I was still doing work in early January. In this case, we had finished shooting by the end of March and had it pictured locked by July. I was actually able to really enjoy – I mean, it was slower for me because I had a newborn child, but also, we were lucky. There was these amazing artists I was able to work with like Danny Elfman or our colorist, Bryan McMahan, who worked with Malick.
CS: That’s pretty funny, wow. You mentioned Danny Elfman. He obviously is a great composer, but it seemed like an odd combination of you and him for some reason. He usually does Sam Raimi and Tim Burton movies, much bigger movies.
Ponsoldt: Yeah, I mean, from early on, R.E.M. and Brian Eno were two musicians, a band and a musician that sort of factored into the time that Lipsky and Wallace spent together and they had conversations about what they listened to. So I knew that R.E.M. and Eno would feature in the movie. We end the movie on this Eno song. We have a couple of R.E.M. songs. There was talk of potentially working with Eno, but then the assistant director that I worked with for multiple movies now, Nick Harvard, we spent a fair amount of time working together, he was the A.D. onWhiplash. He’s a great AD. He actually asked me, while we were pretty early in post, he said, “Hey, are you locked in on a composer or anything?” I was like, “No, not yet.” He said, “Well, there’s this family friend I have that is a composer. He’s been asking what I was doing up in Michigan while we were shooting this thing and he’s just really curious about it. Anyway, I feel like I should just mention it.” I was like, “Oh, who is it?” He’s like, “Oh, Danny Elfman.” I was like, “Oh, I’ve heard of Danny.” He’s like, “Yeah, well, he’s really interested. I don’t know what you think.” And the reaction I had was kind of the one you had, right? The truth is that Batman was the first movie that I ever… I never have told Danny. This is such a fanboy thing. Batman is the first thing I ever bought on VHS and when I was a kid I would watch it like, three or four times a week. I learned what a composer was through the Danny Elfman, Tim Burton collaboration, like Pee-wee’s Big Adventure, Batman, everything after that. Then, the work that he’s done in the past few years with David O. Russell, but especially with Gus Van Sant, with both of them, it’s working in a completely different mode, a more minimalist mode, and it’s not the Danny Elfman sound we associate with “The Simpsons” or Burton. So I would love to meet with him because he’s a genius, and even if it works out or not, how can you say no to that? When we sat down, I just realized he was such a patient, kind, open collaborative real artist, and I was like, “Oh God, he could do this in his sleep.” He has gotten famous for doing Sam Raimi and Tim Burton movies, where he does 100 minutes of score with lots of sound effects and the London Philharmonic, but that must get old. I was interested in doing something that would be like 25 minutes of score that’s ultra minimalist, that’s real undertones to the movie.
CS: It’s very subdued, that’s what I’m saying. I would not have realized that he could do that kind of music.
Ponsoldt: Yeah, and I think he was really excited. I mean, the movies, he had done last year, he was working on Fifty Shades of Grey and Big Eyes. I think he was really excited about the challenge of this. Yeah, he was just a wonderful collaborator. He worked so, so, so, so hard on it. I was really blown away. As far as seeing someone who does something different than what I do, but my respect for his craft and artistry, he cared as much as if it was the first movie ever scored, like he was sensitive and vulnerable and self-conscious, like, when he was first playing me cues, he was really nervous. I was like, “How are you nervous?” It was mind-blowing and disarming. He was just a great collaborator.
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