Cinema Canada (May 1980)

aa a a eT ee ee ee out of France ? Few, if any. Do you know anybody who sees Japanese films ? One or two Kurasawa. This means what ? Itisa question of distribution. ETS LE SDE LR LTTE BERLE ETI RED SET SIE ... these companies are practically impenetrable. World distribution is in the hands of three, four, or five major companies, and these companies are practically impenetrable — if they decide not to give you the possibility, you don’t get it. Yet the world market is overflowing with absolute trash, and you know it as well as I do! It’s incredible... | mean the trash that is shown from Timbukto to Cairo, from Tel Aviv to Delhi, it’s unbelievable...while Bread and. Chocolate remains in Italy. But I think that Canada — being so close to the United States, and with the financial possibilities and a lot of intelligence — could penetrate the world distribution market. I think that’s what’s important. My friend, Henri Langlois’ biggest dream was to create a world chain of cinemas, and a completely independent distribution system. He had already bought three cinemas in France to be able POST PRODUCTION SERVICES EDITORS CUT LIMITED 44 WELLINGTON ST. E. SUITE 24 TORONTO,ONT. MSE1C8 (416) 364-4038 18/May 1980 to start such an independent circuit, but unfortunately, he died before he could start it. He had begun negotiations with a group in Holland and they, too, were interested in creating an alternative world film distributing possibility. And that’s what I think about Canada’s potential. This potential should be exploited to open up distribution possibilities. Part of the money available should be dedicated to opening up channels of distribution. You must create the films and create the distribution markets at the same time. What is the use of making films if you haven’t got the distribution ? Cinema Canada: Is the distribution of The Lucky Star set ? Max Fischer : | don’t know. That’s in the hands of the producer. I think it is and I hope it is. | mean, I am busy finishing my film. But it is very important. If not, Canada will fall into the same problem that Italy has. Of course, Canada has some advantages : it is English-speaking, there isa common border with the Americans, Canada can use the American star system to penetrate, and all of that. And the things Canada is doing, like encouraging more and more co-productions, A Special Day and other films — if the world cinema can channel their films through Canada by way of co-productions, it is already an enormous step. Cinema Canada: Some people seem to feel that the Canadian film industry is in the business of making films to be seen at drive-ins. Max Fischer : You knov, it is very early to decide. You cannot change the public. The film industry is a very expensive industry and the money that is put into a film has to regenerate itself and create new money, or we are going to face the end of the industry before it starts. I agree with your assessment of some of these films, although I don’t make them and | never go and see them. But the general public has to go and see these films in order for there to be money rolling in; then, probably, some of that money can be dedicated to, let’s say, ‘bette” films. It is impossible to start out making what we call ‘better films’ for a limited audience, because what we will do is kill the industry. I am making The Lucky Star because this film has both sides to it, and one shouldn’t go without the other. | mean there are sensational films which are also money-makers ; Amarcord, for example, Many excellent films are not only fine public films, but also great stories’ with great direction. The history of the cinema has known people like Frank Capra and Howard Hawkes and Hitchcock; films which are seen again and again. They are great films in every sense; they made money and they are monuments to the history of cinema. Today, because seven people want to be intellectual, they seem to want to annoy the public, and so we get into Rohmer: I adore Rohmer, but the big public does not. I have seen them walk out of Rohmer films. He is limited to Cinéclubs. I think that film absolutely needs the Hawkes’ and the Capras and the Hitchcocks — we need these people, their energy, their power. Cinema Canada : Working here in Canada, do you feel pressured to make a certain kind of film? Have you been granted the time and the possibilities to make the film as you envisioned it ? Max Fischer: Yes. Absolutely. I must admit that I have been. Let’s face it, when you are a professional and you talk to a producer and you decide to make a film, you say, okay, we’ve got this amount of money and a certain schedule to do it in. If you’re a professional, a good director, you try to do it within the scheduled time without making any concessions. Of course, you can’t do The Ten Commandments with ten people making the pyramids ; but this is only an example, not an excuse. The work of a producer is to find money and it’s very difficult. I have an enormous amount of respect for people who can rise on what? On wind. The same amount of money that is put into a film you could put into estates, or whatever, where you are sure to make money. I think it’s remarkable that a guy from nowhere can convince people to put their money into a film. Cinema Canada: When you spoke of the difficulty of penetrating world distribution markets, you mentioned the American star system. In The Lucky Star you have two ‘star's; were they your idea ? Max Fischer: Yes, Louise Fletcher was my idea completely. Louise has been involved in this film for three years, since I met her for the first time. Steiger has been, not imposed, but suggested, along with a number of other people; and of course, since heis a great actor, there was no problem. We are living in a system of stars. Cinema Canada: And the casting of the boy Brett Marx ? Max Fischer: The casting of the boy came about through sessions organized by Steve Speilberg when I first went to Los Angeles about three years ago. He organized calls in New York and Los Angeles — about a hundred kids in all.