- 23 minutes ago
Tamara Jenkins, Armando Iannucci, Marc Turtletaub, Debra Granik, and Lynne Ramsay joined the panel to discuss independent filmmaking.
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Short filmTranscript
00:03okay welcome everyone my name is Matt Bellany I'm the editorial director of the Hollywood
00:07Reporter we've got an amazing crowd here today and I think what we're gonna do is we're gonna
00:11call everybody out and then I will introduce them one by one as they sit down and you can
00:17hear me correct okay great directly to my left is Deborah Granik no sorry tomorrow Jenkins oh
00:27my god oh you're off to a horrible start yes I know there are three women the problem is I
00:34wrote
00:34them down incorrectly so Tamara Jenkins who is here at the festival with a film called Private Life
00:43starring Ben Foster you may know her as Paul Giamatti oh Paul Giamatti oh my god this is they totally
00:50wrote this down wrong that's okay all right but you will know her from the savages okay yes that is
00:55correct all right and directly to her left is Armando Iannucci no no no Deborah Granik yes they're all
01:08Deborah Granik all right no Armando Iannucci besides being my personal hero as the creator of beep the
01:14HBO series he is here at the festival with a film called the death of Stalin and he's also the
01:20filmmaker
01:20behind in the loop another great satire so welcome to Armando and directly to his left is Mark Turtletoe
01:31and he is a producer and a filmmaker and a director he is here at the festival with a film
01:37called puzzle
01:38and he has produced and directed a number of films he's the producer of Little Miss Sunshine of Safety
01:47Not Guaranteed a bunch of other films and we'll talk a little bit about his his career as well of
01:52directing and producing all right and then directly directly to his left is actually Deborah Granik
02:00I'll cop to it yes she is here with a film called Leave No Trace which does have Ben Foster
02:07in it
02:08and you may know her as the filmmaker of Winter's Bone it's one of my favorite films in the past
02:14decade
02:16all right and then directly to her left is Lynne Ramsey and Lynne Ramsey is here with a film called
02:24you were never really here and she is the filmmaker behind we need to talk about Kevin which is a
02:30big
02:36film right all right so we're gonna start with a number of questions some for the group some for
02:44the individual filmmakers at the end we'll have some time for questions from the audience so if
02:48you have a question you've always wanted to ask think of it now and we'll do that at the end
02:52I
02:53wanted to throw something out there that I think a lot of people who are aspiring filmmakers want to
02:58know because if you have a certain modicum of success in the indie world you get several projects
03:03that you may or may not want to tackle and I want to know that what the the process is
03:08for determining
03:09when you say yes and what project is your next film so if anyone has a has their insight into
03:17you know
03:18how you get you get a stack of scripts you get people approaching you you get actors saying I'd love
03:23to work together what is the process for you to say this speaks to me I have to do this
03:29anyone I'm not that kind of director I write my own materials so I don't have a stack of scripts
03:37and people aren't coming up to me and asking me that although I'd be interested if somebody had
03:43something interesting to show me but I'm predominantly I I generate my own I mean I not even predominantly I
03:50solely generate my own work at an incredibly slow pace so this is my third film here and I mean
03:58it's
03:58a my third feature I've had a bunch of shorts here so I'm in a I'm not normal how about
04:04you see I would
04:05have said the same because I do my own stuff and you know write write my own scripts and so
04:10on except the
04:11death of Stalin arrived you know it was a great it was a French graphic novel and the the producers
04:16of it
04:17French producers sent me and said we want to make this as a movie we think you should make it
04:22and
04:22and I was a bit skeptical and I read it and I thought yeah yeah this is really good what
04:28about it
04:29made you say yes um well because I was thinking about doing something about dictator anyway a bit
04:33like a fictional contemporary dictator and then what would make me think of that well we shot we shot this
04:42two you know two summers ago so it was pre the event as we call it all right but but
04:50there was
04:50this story true story about a dictator who terrorized the country who dies and then the power struggle but
04:56also the whole question of do you keep the terror going or do you liberate and and and that and
05:01it was
05:01funny and a lot of the funniness was based on true events and it just instantly appealed and honestly
05:08within within five minutes of finishing it I I was thinking that's the next film and it was so there's
05:15no rule though I think yeah really yeah I totally agree with that is that is that your process as
05:19well yeah both um right more and stuff some of it's based on this adaptation but it's totally in my
05:27own way it's not really true I guess totally to the novels that have been quite different but I
05:32write so I don't have a big stack of scripts or anything either you know and I'm slow very slow
05:39so
05:40uh yeah but would you do a Justice League movie if it came I think if I felt like you
05:45when you when
05:46you read something and you know you know you kind of know I think it's a gut instance when you
05:51finish
05:51your movie it's really weird because I'm at that strange floating stage where you're like what the
05:55hell am I going to do next and lots of people are sending loads of stuff that seems good but
06:00I
06:00really need to sit and meditate on it you know I mean because like there's all you know I need
06:05to read
06:05it first you know like there's so much uh stuff in it and they sound good or interesting but I
06:11think
06:11you just need to I wrote in Santorini in Greece on a small island before and you just there's no
06:17cars
06:18there's one cafe open in the winter so there's nothing else to do you know but right and I think
06:23that I like having that space to just find the right thing yeah anyway yeah I'm curious Mark because
06:30you produce and direct what about a project says I'm not going to produce this I'm going to direct it
06:35it's not much different for me and that is I look for a voice which is original and so when
06:41we
06:42produced Little Miss Sunshine I was reading I think we talked about that I was reading about 150 scripts
06:48a year I'd just come into the film business and it was two years of reading 150 scripts a year
06:54and then I read the screenplay by a first-time screenwriter and a lot of the movies we produced
07:02had been by first-time writers or directors as it turns out with a few exceptions of course loving
07:10was not but it's an original voice and it's something that touches my heart and speaks to
07:17me and we only make movies that we tried to make movies that have they're about something and have
07:22some meaning those are so rare to find an original voice and about something is you know it's you know
07:30that's why you read 150 scripts and then you say no that one and it's that practical thing of like
07:35when you get center scripts you there is part of you that's saying okay I'm going to be spending two
07:40years right so why that why that and then if you can go I want to spend two years and
07:46it's an instinctive
07:47thing like that rare it's rare right interesting I have a question specifically for for Deborah we'll
07:53talk a little bit about the casting process but you famously found Jennifer Lawrence and put her in
07:58the winter's bone I'm curious what about her stood out to you when you were casting that and and did
08:04you ever think that she would become what she has it's a loaded question for me because I'm very I'm
08:15someone who really tries to apply a discipline to myself to constantly interrogate what celebrity
08:21culture is and as a marginal filmmaker I have to be really kind of I have to establish a relationship
08:27with that you know and because it can also crush me right because then it can it can dictate that
08:33someone of high worth has to be in my films for me to ever make a film so it can
08:38be a really you
08:40know I it can be a kind of kind of a gnarly cycle so but in terms of hard-working
08:45actors
08:46Vera Farmiga or Jennifer in this case the young one I just worked with you know that's that's what I'm
08:52always seeking right because they're scrappy films and someone has to really want to do it they have
08:56to be hungry they have to really want to immerse themselves there's usually some real physical
09:00on-site training you know learning some real skills be it skinning a squirrel or lighting a fire surviving
09:06in the woods at night during a rain you know cold rain and so these are things that you can't
09:12hire
09:12someone who's already had a really elaborate jaded existence to do those roles so I have to stand
09:19outside that and and and really always look for people that maybe you know haven't had a lot of
09:27exposure in order to make the kind of small work I want to do right so it'd be tough to
09:32cast Jennifer
09:32Lawrence today in that role I mean obviously she's older but someone who has that kind of you know
09:38experience and such I could never afford to I mean there's no there's no production that I could ever
09:44be affiliated with it could support that it's not possible so and it wouldn't suit the films I make
09:51so it wouldn't you know but but it's it's an interesting phenomenon it's very it's you know it's huge it's
09:57a
09:57big you know I think about it as this young huge machine that cranks up and then gets real ferocious
10:03you
10:03know and a lot of things you know shoot out of it but a lot of times it reminds me
10:06of the meat grinder
10:07from you know the 1970s imagery you know it's just like a person upside down in the meat grinder going
10:12through the system yeah so I have a real you know intense ambivalence to the idea of oh you know
10:19can
10:19you create one of those again can you just find someone and do that thing you know right I was
10:24like
10:24oh god I don't know what what that you know what's that building for all of us I don't know
10:28it's
10:28interesting when people rise in first time I went to LA and I wanted to meet up with a friend
10:32of
10:33mine who I used to write stuff with in the UK called Peter Bainham and he he wrote Borat and
10:38Borat came big and he decided to set on LA and I said to my agent it my agent said
10:43what are you up
10:43to today and I said oh I'm meeting up with Peter Bainham and he what did you want to meet
10:46with Peter
10:46Bainham we can we can we can get our people to sit in we can set something up and I'm
10:52saying no he's
10:52a friend well what are you going to discuss you discussing a meeting for a pizza he's the next day
10:58he ran out and said how did the Bainham meeting go you know but as you you know your choir
11:06this
11:06kind of group of people around you yeah how about some of the others on the casting process when
11:14you're when you're writing Tamara when you're writing do you have actors in mind do you have a sort of
11:20vague
11:20notion of who might be good in it I you know I don't okay no no I don't I actually
11:34try it probably
11:35on a certain level to not think of anyone because I want to draw human beings on the page that
11:43are you
11:44know and then that'll dictate who the actor is but I probably try to divorce myself but and but
11:50then you know your your ears are open in a way and on some subconscious level you're sort of looking
11:55around but it's not like I have a picture of Paul Giamatti on my wall and I'm like you know
12:02is that is
12:03that just the way your creativity works or is that because you don't want to get set on someone who
12:07maybe can't do it or won't do it there's that for sure I mean I've definitely gotten crushes on
12:12people and by the time my movie was script was ready and somebody finally decided to finance it that
12:18person becomes Jennifer Lawrence and I'm never gonna she's never gonna be my right so I mean
12:23not to maybe she's awesome but I remember reading Armando you you wrote Veep for Julie Louis-Dreyfus
12:30well no we know the pilot we wrote we just wrote Selena Meyer oh you didn't have her in mind
12:36no okay but of
12:37course instantly you're saying okay we need a really terrific comedic actress you know someone
12:44of of of that kind of stature in terms of the vice president and and an HBO said you must
12:51meet up with
12:51Julia she just finished doing this sort of the Seinfeld reunion of and we met up we were meant to
12:59speak for like meet for 30 minutes so we're a cup of tea or coffee or something and we talked
13:05for three
13:05and a half hours and made each other laugh and by the end of it we were already writing episode
13:09two
13:09and episode three so instantly how many profanities were involved in that oh very very few but she did
13:16express at great length her desire to swear on television but what we normally do and that's
13:26actually typical in that when we're writing projects even like the death of Stalin I like to cast early so
13:31we write it with no one in particular in mind but once we've written the first draft I like to
13:35get
13:35them all signed up or talking and so the process of rewriting is rewriting for them knowing they're
13:43going to do it okay let's know right hope what would be funny if Steve Buscemi to do here and
13:49that sort
13:49of thing so I kind of like I kind of like halfway through the process knowing who it's going to
13:53be
13:54like Lynn do you enjoy the casting process I love it I started doing I did it myself on my
14:00short films
14:00like you know I did a lot of street casting casting people that had never been in movies before and
14:07it
14:07was super fun you know the first time I worked with a real actor I was actually terrified you know
14:11I didn't understand Winnebago's and all that shit you know I was like would you mean that's ridiculous you
14:18know yeah and then I think the actors I've worked with since then like you know Ezra Miller and Kevin
14:25was only 15 when I met him and he really had some charisma and you know he's he's in a
14:31band and he's
14:32got he's a really bright kid and you know and I just you know tells us a bit outside the
14:37system you
14:38know and Samantha Morton's not really she's they're all kind of mavericks in a way you know and so this
14:44was the only movie that I met I made when I was like I want Joaquin Phoenix in this movie
14:49and I'm
14:50going to telepathically will him into this movie because I mean I'm looking for something that he
14:55has and I just sense just the way choices were that you know and it was a genre movie as
15:00well so I could
15:00you know but he isn't he's I don't know how to explain Joaquin but you know he just isn't in
15:07that
15:07world you know because I feel the same as Deborah that we're that's like a sausage sausage factory and
15:12like I've had some days it really surprised me when I've met had acts just turning up the day
15:17before you're gonna shoot or something like you know you're like hang on a minute this is a I've
15:22been working in this for years it's process and you know or late in the day and wanting changes made
15:26or something that that's like what you know I mean so it's just really I just got to work with
15:32real
15:33Derek Jarman came to film school he was a great film you know interesting filmmaker and he died I don't
15:38know if you know his work and he said I just work with my pals you know I just work
15:42with my friends
15:43you know I always found out really inspiring and we were all at film school and no one even filmed
15:47this you know him talking but he's it was brilliant you know you're working these things so long you've
15:53just got you feel there's a real connection and a bond and it was just really sad when I got
15:57to the
15:57last day shoot even though I was completely mackered completely you know beat I was so sad it was
16:03finishing I didn't want any finish you know so that that's a good feeling so the casting process is so
16:07intrinsic to the whole thing yes mark you know when you're producing films often you hear about
16:13producers and directors disagreeing on casting choices because of the commercial viability of
16:18the film and other things how do you handle those kinds of disputes from which side from the producer
16:23side from the producer side well you have to be attuned to what an actor means in the marketplace and
16:28such yeah you do but I'm also sort of from the same school which is we follow our heart as
16:36much as
16:36we can and so you'll see people in who are incredibly talented often known but not necessarily famous so
16:46Kelly McDonald is in the film that I directed everyone who sort of knows her goes oh I love
16:51Kelly McDonald and then they go Kelly McDonald and you go yeah no country for old men and the girl
16:57in the
16:57cafe and they start connecting the dots and they go boardwalk empire so as much as we can we just
17:06try
17:06to cast the right person for the role you have to keep one eye on the commercial aspects of course
17:14but
17:15we try to we try to follow our heart yeah do any do you feel precious well I I always
17:21find this very
17:23strange disconnect between actors who I think are just brilliant and assume that anyone would make
17:28a movie with them and a really good example would be when I was trying to make the savages I
17:33had Laura
17:33Linney and I I met with Phil Hoffman and I was like this is it this is it and then
17:40I brought that couple to
17:44the studio and they said wow you're gonna feel often it's you're gonna make the movie for this amount of
17:49money and it was just so I it was such a I you assume that was the green light well
17:54at the grad I
17:55didn't think you see it as a green light I just thought he was a genius so and he had
17:59just made
18:00Capote and it hadn't come out yet but I mean I knew he was a genius before Capote but I'm
18:04just saying I
18:05mean we connected as people he loved it and I loved him and I thought this would be great and
18:10then on the
18:10I had heard around the grapevine that OPS you know a movie in Toronto called Capote just happened and I
18:18was like well this will be great because they'll be really into this you know past and they'll finance
18:23the movie at a level where we could actually make it and it was not the case it was actually
18:28well if
18:29you're gonna go and it's just like a value system that is so antithetical to my own or that it's
18:36very
18:36hard to even understand it it's like some strange math that's going I always feel like there's an
18:41abacus somewhere and someone's sitting there going well they do say that you did they get to say well
18:45we'll just run the numbers yeah what is that machine that you're talking about I actually can't believe
18:55it would have first way sailing people but well I would suggest an actors and things were you know
18:58certain projects in them but he's not value enough or that person I was like what does that mean
19:02on artists right you know how much are they worth in Bulgaria I know and then then maybe a movie
19:08could
19:08you know you know for instance you know I don't what do I it was a well-known actor that
19:14just won
19:15an Oscar recently I wouldn't name any names but I suggested him for a part many times it was like
19:20he's not valued he's not that of course you know I went Wednesday everybody and of course you know it
19:24was an
19:24indie movie that he won his Oscar for you know independent you know but even Joaquin it was like
19:31you know he doesn't do press and I'm like I don't give a shit you know so like you know
19:35so but you know
19:37and I kept saying they kept saying who do you want to be in this film I kept saying Joaquin
19:40Phoenix and
19:41then they asked me that so many times and I was like well I've told you from the beginning you
19:44know
19:44like so so you know it's an odd system because you know that as a producer that you know this
19:49certain
19:50budget it relates to the budget and that can be tough you know but when you've got a great actor
19:55you've got a great actor and I think you've got your instinct to make that the budget we must forget
19:59some actors are really famous because they're great you know yeah I don't mind I don't mind how famous
20:05they are as long as they're right for the part and it's great you know and they're doing it for
20:11the
20:11right reason yeah yeah absolutely yeah I have a question for the female filmmakers you hear a lot
20:18about how you know how awful the numbers are for female filmmakers in the industry and how much studio
20:24executives and indie executives want to change those numbers and that's been especially true over the past
20:28year do you do you feel that's true do you feel that there has been a change over the past
20:34year in
20:35the true desire of studios and independent film companies to hire female directors nobody gives
20:46up power easily no one wants to who what what historical precedent is there for people just
20:51giving up power no one there's no there's none in human history so so that would be no it's a
20:56slow
20:56process it's a slow process and I think I think there are you know I think what gets neglected in
21:03the
21:03conversation is the decades that have been forming where men who like to work with women and who want
21:10women to succeed have been facilitating that consistently yeah you know in on the set in the in the context
21:16of
21:17collaboration in the producer director relationship in the DP and directing relationship there's many different
21:22ways in which all that desire to see the field open up is enacted on a more daily basis but
21:33it's very
21:33hard to have it pushed and say this is it because it becomes a threat versus a receptivity so I
21:44think
21:45threats are very very hard to respond to you know and then it becomes obligatory and then there's backlash
21:52you know then it becomes a quota or a PC thing or something and then there's wicked backlash also so
21:58you know it's not very insulting when you're asked to do something just because you're doing it let's say
22:02because it's kind of fashionable or it's like you want a woman director because that's the thing you
22:05do you know and then you're like you think of yourself as a director and hopefully a good
22:09director to you know make you know good good at your job and then you now find myself and take
22:15sometimes when I felt I've been you know that people have been interested in me just because I'm a
22:20woman right now I mean the great experiment would be if we just used our first initials and no one
22:24knew whether yeah I thought just in that and it'd be so it would be so liberating and so interesting
22:30just to see how that you know it's the simplest thing right we don't have to wager any battles to
22:35do that it would just be like an experiment I thought I'd change my name into George for one year
22:39you
22:40want to change your name to George your agent hasn't called and said would you like to direct
22:54a Star Wars film or Justice League to it wouldn't well I have I mean with regards to what they
22:59were
22:59just saying I think that one thing that I've noticed even though I really take I have I mean I
23:04feel like
23:04I'm a gopher who comes out of a hole and it's 10 years later and I'm like wow they're streaming
23:09now
23:12yeah but because of that bizarre I've been cryogenically sealed for 10 years before I
23:18make the next movie come out I one thing that I is interesting well first of all this whole notion
23:25of the change is the change it's menopause that's what we're talking about the female change right
23:33it's great this is Hollywood's going through a menopause we are serious hot flashes
23:38is that what's going on no you know I was thinking the other day that every time I've ever been
23:46at a
23:46film festival there's always a women in film panel it's always very
23:54sort of I I used to avoid them like ghettoizing yeah it's like a special olympics yes for film
23:59makers and it's also it's also programmed on the weird sideline like the main thing is happening
24:07here and then in the program there's some weird fine print with a yellow god and then you go down
24:13and then it's the women in film panel and then you know you go down the street and is that
24:17where it is
24:18and then you're there and it's sparsely attended and it feels really sad so one thing that it seems
24:25maybe like if that woman in film panel maybe today would be less sparsely attended so maybe that's a
24:33good thing okay oh I know a lot of your fans are wondering why do you wait so long between
24:38films they
24:39take a long time to write oh you must have gotten us there yeah yeah it takes so it took
24:43probably took
24:44me five years to make the movie I mean between writing it Wade you know getting lost in a kind
24:49of development thing and not getting financed and then having to go somewhere I mean you know it's not
24:57a straight line I mean I was ready to make it a couple of years ago and but nobody else
25:03was so it and then
25:05you know so I didn't take me 10 years to make this movie but probably took me close to five
25:13and you
25:15know what else what I'm a mother I'm a I wrote another film that's here with my husband but there's
25:20multiple writers on it I teach a class at NYU sometimes that I'm doing next semester but I'm
25:27always thinking like a filmmaker I'd like not to wait 10 years because soon that's gonna get really hard
25:32because I'm gonna be really old and Sundance and elderly filmmakers seem bad yeah and the Walker
25:39you can go to the old women in that's downstairs come in yeah yeah should we go there's that hot
25:51soup as you come in but I don't like that I don't really like that I am so slow and
25:58I don't I mean it
25:59I don't know what what's happened I mean like you're asking saying we're asking the same
26:03question both of us that they leave they introduce us that way I know this woman hasn't been
26:17as much as I take responsibility for my own dysfunction as a human being and my issues with writing and
26:23I
26:23overwrite and I always write 200 page things and I don't do it in any kind of efficient manner and
26:30I
26:30I I I have a very uneconomical approach to writing it's very intuitive and sloppy and messy and but you
26:40know but then I and everybody asked me that question I get really defensive yeah like I'm like I have
26:44a kid
26:44I mean as I do what you know and then and I took right here and I did teach a
26:49class and I and you
26:50know that's me and then um so I didn't feel weirdly defensive and then I then it dawned on me
26:57that you
26:58hadn't made a movie for eight years and then it dawned on me that Patty Jenkins had made a movie
27:03for 10
27:03years and then I was I was like you know yeah the personal is political I guess that's what they
27:10were
27:10talking about that you think it's just you yeah and then you look I mean that's what Gloria that's
27:16what those feminists were talking about you think it's only happening to you I know it's one of these
27:20things you can get quite defensive about it because like I was asked that it's been six years or
27:25something so well I had a baby you know I wrote a script for a film that didn't work out
27:31I prepped that
27:33film then what another script so for me that's kind of what to do and that's the same yeah and
27:39then
27:39you know and then I did do a film in between but it's documented yeah but not commercial you know
27:44so yeah but you know it did occupy my film I made the short film but that's been my response
27:51is to
27:52simultaneously always be working on a kind of a long-form documentary a longitudinal documentary
27:57because that then I actually can do my practice right I can take my camera you know if it's local
28:03the
28:03last one was inconvenient it was not it was in Missouri but you know it's local to the East Coast
28:07I can go
28:07and I can and I can have my tiny posse and we can actually start to work on something and
28:12then show
28:12up when when there are cool shoots to do and keep going on it in between trying to search for
28:17a material
28:17that would cost more to make so you know Agnes Varda put that model out into the world and that
28:23was
28:23something that really impressed me and it touched me and there are male and female filmmakers around the
28:28world where you try to alternate their work where something requires a green light that cannot be lit by
28:35just yourself and something is self initiating and that's a way to at least be able to touch your
28:40camera people get out there and keep working and keep me and keep meeting people and keep asking
28:45questions and learning trying to learn something about you know how we all search for meaning and
28:49you know just that you are doing something that is the recording of frames of moving image you know
28:55right now it's really amazing just to keep your hands even tape in the film I didn't make you know
28:59I
28:59felt I made that movie in my head like oh that takes it's like cooking it's like you're a chef
29:03when you've done the
29:04previous like so much water you know it's also I did a short for the Olympics and that was so
29:09free
29:09it was like you can do what you're like you can do you like the beef was called inspiration which
29:14is
29:14most uninspiring belief ever but I could just do about a light and it was to have that freedom it'd
29:20be like almost to go do a little art for something I'd never tried before an art film or use
29:24a crane
29:24because it was a decent budget late and things like that it was kills I think you're so right about
29:29you keep your hands on that camera and it's also about keeping you know we're willing the film to
29:34happen and and it's it's just a different between doing a TV where it's it's very specific you know
29:39you you won't make it until the channel or the network says we're going to make it you know how
29:43much money you've got you know when they want to you know how long it's got to be and and
29:47you know
29:47when it's going out whereas everything is unknown in film and it just took me a little while to work
29:52out that what you have to do I remember somebody tell me this do you have to learn to lie
29:57because you lie to the actor say we've got the funding yeah you like the financial thing we've
30:01got the actor and you have to keep lying until it becomes true and that's just a technique and you
30:07have to almost like will it to happen no I listen to the same the situation I had in Kevin
30:12like I
30:12got phone calls from someone that said I've read your step number like how did you beat my steps
30:16they were financiers but they were like we'll finance it for some ridiculous sum of money and I
30:21say even with non-professionals and I'm like this sounds really bullshitty but my dad was dying at the
30:25time I was a bit distracted I was right into the casting process and then the whole thing it was
30:30a the financial crash crash and it was like by the way I was in New York casting with a
30:34measure
30:35Miller and it was like your films not happening anymore and I'm like what you know so then you
30:39take all that you're good I'm making this happen so if it takes cutting this movie and editing on
30:43paper I'm going to do that I spent already like three years writing this so you know just some weird
30:48things happen along the way and you've just got in will them any existence in a way so I totally
30:52agree with
30:52that yeah do you see yourself going back to television or continuing with films oh well
30:58both actually I mean I'm I'm shooting another movie this summer and I'm doing another pilot for HBO
31:05beginning of next year and I'd love to I mean when I made in the loop I love making it
31:10and I kind of
31:11I made veep thinking well this will be over in six months because you know how many pilots are made
31:16in
31:16America that never see the life and then it got a series and I thought well it'll be cancelled
31:20but and after by season four I thought I want to make another film and you walked away from the
31:25show yes which I know have discovered is not done in LA in that I think once you have a
31:32TV series on
31:33you're meant to just make it really and when I said I don't want to make any more the executive
31:40made a
31:40noise he just went oh and I said but you know you can carry on making and applying five because
31:47I knew
31:47I wanted to make the death of Stalin but and and I love I love both you know I love
31:52the fact that in
31:53television you can reset the pieces every episode and do another one and it's an open-ended thing
31:58but I love the fact that in a feature it's got a beginning middle and end and you can play
32:03with it
32:03you could kill someone off you can bring someone in you can turn everything upside down halfway and you
32:08take the audience with you you know and I just love and it's all it's a whole world in 90
32:13minutes
32:13or as is most frequently two hours and 40 minutes but 90 minutes you know beginning middle and end and
32:20and I love that I love that so can I just ask you something so you didn't say goodbye to
32:26vive until you
32:27have this new lover no it was a bit of no it was a bit of both I knew by
32:32season four that was going to
32:34be my last one because it was also to do with being away from home and all that so I
32:38knew season
32:38four was it and and the the Stalin thing arrived during season three so I knew a question for mark
32:47you uh Tamara mentioned the stream
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