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Samsung q310 Battery This year’s Envelope Directors Roundtable features Greek-born Yorgos Lanthimos discussing his subversive English costume drama “The Favourite,” English-born Josie Rourke with her historical tale of a Scottish queen in “Mary Queen of Scots,” Brooklyn’s Spike Lee with his fact-based period satire on race and bigotry with “BlacKkKlansman,” Mexican-born Alfonso Cuarón with a personal story drawn from his childhood in “Roma,” Los Angeles-based Karyn Kusama with an intense L.A.-set crime story in “Destroyer,” and Oakland-born Ryan Coogler with his sharp, transcontinental upheaval of superhero conventions in “Black Panther.”This eclectic group of directors found much common ground to discuss, from social and political messaging in film to the impact of Netflix and shrinking screens, to James Bond and the horror that is Auto-tune. Here’s an excerpt of their conversation, edited for length and clarity.Los Angeles Times: Spike, in “BlacKkKlansman,” there’s a scene of people watching a movie, and it really brings up the idea of finding a space for yourself in the industry and within the history of cinema. Do you feel like that’s something you’ve been trying to do throughout your career?Spike Lee: Well, I don’t know about throughout my career, but definitely with this new film. I mean, the film begins with “Gone With the Wind.” And then we go into “Birth of a Nation,” films that are supposedly the greatest American films ever made in cinema. So my first semester in NYU grad film school, we were shown “Birth of a Nation.” And we were told of the many innovations of D.W. Griffith, but they never brought up the social-political ramifications. The Klan was dormant. That film made the Klan come alive. Black people got lynched because of that movie. I also remember third or fourth grade, they reissued “Gone With the Wind.” It was a class trip and the teacher did not do anything to speak about the (racism in it). So those two films are very personal to me.
LA Times: Karyn, your last couple of films were made independently at the same time you’ve been directing television. Do you feel that you’ve had to consciously carve out a space for yourself outside of the studio system?Karyn Kusama: I feel like as a director I’ve learned through some painful give-and-take that I just function best with a sense of creative authority on set and then beyond in the post phase. And then ideally in the marketing phase, it’s important to feel like you’re still a part of the voice of the film at all stages. And the lower my budgets are, the more possibility I feel to have that control. It’s just the decision I’ve made.LA Times: And Josie, “Mary Queen of Scots” is your first feature film after working in theater. Was the experience of making that movie as you expected? Josie Rourke: The thing that really struck me is that it’s an athletic act. I mean I had never been paid to work outdoors when I went to the highlands of Scotland and shot this movie. But, you know, it’s not just about physical athleticism or endurance. It’s also about a political athleticism. And it’s about a rigor and holding on to what you really believe in and giving clarity. It’s not that theater’s not like that, but there’s a gigantic difference of scale, and also there’s just the plurality of voice I think in (the film) space that you have to learn to negotiate and that takes enormous strength.LA Times: Alfonso, your small, personal black-and-white film ended up at Netflix. Why did you feel like this was the right home? Cuaron: Well, maybe you just defined why. You know, this is a film that due to finances is a Mexican film in Spanish, black-and-white, that if you see it through that filter — in a conventional market, particularly — it’s very challenging nowadays and very complex, the market for foreign films. And you start facing a lot of limitations. And what Netflix offered that was amazing is they saw the film past those filters. They went into the emotional core. And they’re doing an amazing job so far about taking it to theaters and then hopefully giving it a great life on the platform later on.Lee: It’s very exciting and not just Netflix. I mean this is a good time to be a filmmaker … the more places that stream, they need product. They need people, they need young people. And it gives filmmakers an opportunity because there’s just more outlets.
LA Times: But do you get hung up on this sort of existential crisis of like what is a movie, does Netflix redefine that?Cuaron: I don’t understand why the definition of one of these platforms means not theatrical. I think that both things could be absolutely compatible. So in the best-case scenario, in a film that is highly successful in terms of economics like Ryan’s film … How many months was “Black Panther” in theaters?Ryan Coogler: Maybe four. Don’t hold me to that because I’m not sure, but around four.Cuaron: Let’s say four months and that is an amazing run, amazing. But in the context of 20 years, 30 years — what I’m saying is that there was (always a limited film run) in theaters. And then now our films are going to live on in platforms no matter what. I think that if anything creates new options as Spike is saying because it’s not only about films from different cultures. It’s also about exploring different forms, different formats, maybe even different lengths.Rourke: It’s so funny to have everyone say “theater,” “theater,” “theater” when, you know, that’s the medium I spent my life in. I know you’re from that world as well, Yorgos, and you know we’re a 2,000-year-old medium. One of the things that actually starts to push our craft forward as theater directors is to think about the different spaces in which we’re making that work. And so that’s a fascinating thing about cinema. It’s such a young medium, and that’s thrilling to think that this is the beginning of this change. LA Times: Yorgos, how do you feel that your background in theater informs the work you’re doing now in cinema?Yorgos Lanthimos: What I learned and what I appreciate is you don’t have to come in with a very fixed idea of what you want to do and then, you know, set it up and show it. You can experiment. You can make mistakes. You can go in a different direction. You can learn with the people that you work with. The downside with film with all those different platforms is that you make a film that will be seen from, you know, an iPhone to a huge screen to a laptop.Lee: I’m a professor of film (at NYU’s Tisch School of the Arts), and the first thing every semester I have a list of films. And I ask my students to raise your hand if you’ve seen this film. And especially David Lean films — “Bridge on the River Kwai,” “Lawrence of Arabia,” “Doctor Zhivago” — they say, “Yeah, I saw it, Professor Lee, but I saw it on my iPhone.” I’m like, “Oh, my God! ‘I saw “2001” on my iPhone?’” And then they watch it vertical.  |
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