I mean, there’s not one film I want to see this summer.
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I’M CURIOUS TO KNOW IF IN THIS DAY AND AGE, THAT STILL GIVES YOU A LITTLE BIT MORE LICENSE OR SWAY.
I WAS JUST THINKING THAT INSIDE MAN GROSSED A HUNDRED MILLION DOLLARS. Those were back in the days when directors had studio deals. This is never like a ”one for me, one for you“ thing. I’m an independent filmmaker, and I have one foot in Hollywood and one foot in independent cinema. Among Hollywood directors, they say, ”One for you, one for me.” I never considered myself a straight-up Hollywood director. I wouldn’t compare what I’ve done to Kazan and Billy Wilder. WHAT WAS THE ONE FOR YOU? WAS IT MIRACLE AT ST.
AND THAT’S VERY UNUSUAL FOR ACTUAL BEST PICTURE WINNERS. SUNSET BLVD. AND ON THE WATERFRONT ARE TWO OF THE FILMS THAT WERE ACKNOWLEDGED IN THEIR YEARS AS THE BEST FILMS, AND DECADES AND DECADES ON ARE STILL GENERALLY UNDERSTOOD TO BE MASTERPIECES. Maybe Morgan Freeman, but that’s about it. No one’s watching Driving Miss Daisy today. Why are you bringing that up? We didn't get nominated for Best Picture, but that’s all right. I DON’T THINK THAT ANYONE’S PSYCHED TO SEE IF A REPERTORY THEATER IS EVER GOING TO SHOW CRASH OR DRIVING MISS DAISY OR CHARIOTS OF FIRE. THERE ARE REALLY ONLY A SMALL HANDFUL OF BEST PICTURES THAT ACTUALLY ENDURE. And even though nobody went to see both of these films, and they did not get a great critical response, they still hold up. I mean, you can only put so much-I know this firsthand-in the Academy Awards and stuff like that. So both these films follow what were Billy Wilder’s and Elia Kazan's biggest, most successful films, and nobody went. They called it The Big Carnival and cut it up. They even changed Billy Wilder’s name for the film. It was just too dark for America at the time.Īce in the Hole followed Sunset Blvd. And this was the next film, and nobody went. How many Academy Awards did it win? It was a Best Picture winner. The film before this was On the Waterfront. Well, a lot of people don’t know the dynamic duo of Elia Kazan directing and Budd Schulberg writing the scripts. JUMPING OFF ON THE NOTION OF TRYING TO FINANCE FILMS, AND HOW FILMS LIKE A FACE IN THE CROWD AND ACE IN THE HOLE GOT MADE, YOU’VE SAID IN THE PAST, “THESE ARE THE FILMS AFTER THE HUGE SUCCESSES.” Before, he was financing everything himself. Trump had a meeting, and they’ve worked it out so he will be the nominee for the Republican Party. Well, he got to a point, but he was not gonna be President of the United States without the cahoots with the Republican Party. BUT NOW, SOMEONE WHO’S INDEPENDENTLY WEALTHY DOESN’T EVEN REQUIRE THE PARTY TO PROP HIM UP. IN THIS FILM, YOU HAVE THE GENERAL POWER STRUCTURE PROPPING LONESOME RHODES UP. Because I said before… Him with the nuclear code? That‘s a real-life nightmare to me. I think the fate of the world is gonna be determined by this presidential election. He said, you know, ”Let me give it a try,“ but we’re on some serious business now. I‘m not gonna lie and say I did not see Donald Trump coming at all.
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BUT IT FEELS LIKE TRUMP IS LONESOME RHODES PLUS INDEPENDENT MONEY, AND THAT CAN'T BE STOPPED.
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FIVE YEARS AGO, WHEN YOU WERE THINKING ABOUT THIS MOVIE AS A CRYSTAL BALL, COULD YOU HAVE IMAGINED WHAT’S BEEN HAPPENING LATELY? THE FILM SEEMS TO ME, ULTIMATELY, OPTIMISTIC THAT SOMEONE LIKE A LONESOME RHODES COULD BE PUT DOWN. ONE OF THE PHRASES YOU ALWAYS USED TO DESCRIBE THIS FILM WAS THE CRYSTAL BALL. SPIKE, YOU’VE BEEN SHOWING A FACE IN THE CROWD TO YOUR CLASSES FOR YEARS.
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