Actually, the first draft that I wrote was almost 170 pages and I felt it was too short. What we wanted to do was sort of an immersive film that lets you experience certain elements, because you can’t tell the whole story it’s too much of a story. We were very aware of the big-screen, of the theatrical experience.
When Bill got in touch with me and we started talking about it - Bill is such a cinema guy, having worked with Terrence Malick, Ang Lee, Robert Altman he’s so attuned to cinema that you sort of have the first initial conversation about how do we find the cinematic equivalent that would work with the music, translate the music to cinema, but also translate the life into a narrative that is cinematic. MOVERMAN: Well that’s kind of the job, it’s sort of how you define it. OREN MOVERMAN: Or an ABC miniseries about Beach Boys, which we had a few years ago.ġ00%, so talk a little bit about what was the key for you in making it cinematic. Collider: I’ll start by saying I loved Love & Mercy and the thing about it is that it’s very cinematic and it feels like a movie and sometimes these can be Lifetime-esque films and this is not that.
0 kommentar(er)
