(upbeat music)
- David, I do want to ask you about working with Quentin
on Once Upon a Time In Hollywood, it's obviously
such an ambitious film, what was the one thing he really
wanted or needed that you had to make sure
you delivered for him?
- Quentin is very detailed and is pushing the envelope
and he wanted to recreate L.A. of his childhood
with great specificity, and things like turning
Hollywood Boulevard into how it looked in 1969
and while some of it looks like it did
an awful lot of it doesn't, and so we needed to work
with all the local vendors
but Quentin to his credit
you know, he went down spoke to Hollywood,
you know, the city of Hollywood, he actually really engaged
in the process and that's the thing about Quentin,
he doesn't sit back, he steps forward in every which way
so working for him was challenging because
he's very specific about the things that he wants,
but he also knows what he wants and communicates
what he wants and so--
- And you made a movie with him before this?
- Nope, first time, it was my first dance
(laughter)
and it was about as much fun as I've ever had on any movie
in my life.
- Oh that's great.
- The crew is his family, he treats everybody in front of
and behind the camera the same, with great, great respect
and he's demanding of everyone, you know if you
don't pull your weight, you'll know.
But he's very supportive and you're supporting his vision
but at the same time he's open to suggestions
and the mistakes or things that happen during the day
and embracing those.
Ya it was an amazing, amazing experience.
(upbeat music)
A film like Marriage Story would never be seen
by as many people, or heard about by as many people
as it would without the marketing of Netflix.
The support from Stuber and Ted to Lisa Tebeck
and their marketing and Julie has been unwavering
and also their analysis and understanding of every single
aspect of the process has been really, really impressive
and they are great partners and I would make another film
there in a heartbeat.
With us, the condition of making it was that they would
guarantee us a significant distribution, so we get
four weeks, I mean I think that you only got,
you know we're out for a month prior to going on the service
we begin small, we expand, and then in a way going broad,
going wide is when we hit the streaming, but they're also
talking about keeping it in the theaters through February,
March, April.
- Isn't Roma still in theater?
- Roma is still in theaters.
So, clearly they are about the service and that's the
most important thing for them, but they also want to attract
filmmakers and support the film making experience.
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On both fronts, it's sort of the high wire act and I think
probably for all of our films, they're high wire acts
there are moments where they could tip over in the wrong way
and that conversation with the director or having faith
in writer director who understand that place,
is a really exciting place to be, it's thrilling,
but it's scary and it doesn't necessarily make life easy
for the producer or for anybody working on the film.
- So movies are not easy to get made, they sit
in development for a long time, you have to fight
every step of the way, tell me how you know
a movie is worth fighting for.
- I think it's instinctive, you feel it.
If there's sort of an urgency within you that you've got
a story to tell, that you're passionate about, that you
believe the people that are involved in it with you,
the director, the writer director, the cast, the people
behind the camera, when you feel that you know that
that's something that you've got to fight for,
you've got to push through and it's worthy of being made.
It's got to be about something, for me anyway, something
that means something to me in one way or another.
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