Listen: Beverly Hills, Howard Hughes, Everley Hills discussed on The Q&A with Jeff Goldsmith
"And then we did a screening many years ago for savages your your first feature. Second feature. Second feature stories slums of Beverly Hills. And we we talked a lot about slums of Beverly Hills. Then I just want to ask about savages years later. What would you say is the lasting lesson of savages that kind of as you move forward? Set setting this. I we're going to get to tonight to now that's one desk a few questions to go. So what was like what was the lasting like as from a filmmaking? You look back at it with some distance. What was leftover from that experience, and how did it inform possibly this process? I feel like each time I've made a movie, and I've only made I've made it a couple of shorts. And I've made three features each time. I make something I become more protective of I've learned how to protect the object, which is the film from meddling, and I've just become better. And better at creating that and doing it with not being just protecting the movie. And protected this averages, but I. Each time. I'd be more like Howard Hughes more inside of my like, I just, you know, an I hold it as close to me as possible until I'm really close to wanting to make it like, I wrote the script on spec alone for a long time before I showed a tiny, buddy. Whereas the savages I wrote in an environment where I got paid. It was. So anyway, I I don't know if that answers the question it does. Okay. And so less meddling. I don't know how much I can. Yeah. I just I don't know if it's less meddling or it's more because that's the cost of self editing. Right. I'm defy I defend the movie more. I know that I'm the expert on the movie, and I don't think that young people sometimes when they move and that was a very traumatic for me to move from making my own weirdo theater pieces. To my own weirdo short films, and then making a movie in a studio context, which was the sums up Everley hills. That transition going into the world of commerce for the first time in the only commerce. I added experienced part of that was waitressing. I was like oh exchanging money tips. I mean, I knew nothing about the corporate structure of a studio environment. So that was very traumatizing for me. Like, oh, this is all the different motivations. Why people are telling you different things. You know, why people want the ending to be happier. Why all the stuff that all that stuff was very confusing for me and hard for me to negotiate. And I didn't know what my rights were. There are no rights except the rights that you assert. And so as thinning the story, which is defending your story near movie and your. So anyway, as time has gone on. I've just become more fierce in my defense of the movie, it's been, you know, a decade savages. And that's my thing. Curiously there other projects that you're working in between that and private life that maybe just didn't come to fruition.."