One of the things that made Hong Kong cinema of the 1980s such a powerhouse was that there were so many talented people cranking out films in a market dominated by. Movies There’s A Godzilla Easter Egg In The New Star Wars Movie Rogue One director Gareth Edwards teases the sneaky scene. Adapted from the Jonathan Evison novel “The Revised Fundamentals of Caregiving,” the film tells the story about a young boy with Duchenne muscular dystrophy, played by Roberts, and his caregiver, Paul Rudd, who are both equally wounded and have low prospects of getting any better. Variety spoke with director, producer and writer Burnett about why Netflix was the best venue for the project and why Rudd was the perfect fit. What attracted you to the project? When I read this book by Jonathan Evison, I thought he did such a nice job telling a very tragic story in a funny way. That bittersweet quality of these characters is something that always attracts me to the material. Was it difficult to adapt the novel? It. Ultimately, you want to get to a place where you realize that a movie and a book are two different things.
I mostly took the plot and the relationship between Ben and Trevor and tried to capture the spirit of it and make it my own. To his credit, Jonathan loved the screenplay and the movie, which is a real testament to his generosity as an artist. What is the one thing that you would have wanted to include in the movie but couldn. What was interesting what that here the caregiver was just as injured as the person he. Neither will get over their circumstances, so how do you make something heroic when they don? The growth is microscopic, but I love the little celebration in life. They go from not living to living just a little, and that will resonate with a lot of people. Customer Service; Subscribe; Buy this issue; Billboard biz. The online extension of Billboard Magazine, billboard.biz is the essential online destination.At the end of the day, is there anything more than kissing a girl? How did Netflix come into the mix? It was sort of a two- step process for us. We had a research screening for the movie in Los Angeles and the movie, quite frankly, tested off the charts. We finished the movie and then had another similar screening but invited buyers to come and see it because it played so well the first time. Again, the movie played incredibly well and Netflix Acquisitions made us a big offer for the streaming rights for the movie right before Sundance. After Sundance and our success there, we were about to map a theatrical release when Netflix came back with the other part of the company and said we want to make this a Netflix original and we were thrilled. From that moment on it. From a practical standpoint, the idea that this little movie will open Friday in 1. Because we sold the streaming rights to Netflix first, which was unusual at the time and it was a big story at Sundance because it normally goes in a different order, once the streaming rights are gone it mutes the theatrical possibilities because you. Since we already sold those, I never imagined that the movie would be able to get into thousands of screens, if that makes sense. How did Paul Rudd get attached to the film? As I was writing the script I couldn. I reached out to him directly. We had maybe met a couple of times, but didn. We know a lot of the same people just as New York comedy fellas. He agreed to meet me for a cup of coffee and we chatted about the script. He responded to it and amazingly agreed to be in the movie. Once Paul Rudd says he. Pretty much everyone with a pulse then wants to be in your movie because everyone want to act next to Paul Rudd and I don. The nuances that he rides through with Ben being vulnerable and strong at the same time in incredible. What about Craig Roberts? How did you know he was Trevor? We honestly considered 2. This movie rises or falls based on that chemistry, so if we didn. I think as head writer of that show is a pretty nice boot camp that helps you in the directing world. There I really cut my directing chops. These were one- hour scripted television, we shot of film. It really was like making a small movie each week. It was just a natural extension for me to going from writing to then heading into a full- length feature film, it felt like a natural progression for me.
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