Mr Mccarthy, Stillwater, Director Scott Cooper discussed on The Director's Cut

The Director's Cut
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Allison who is imprisoned for murder. She claims she did not commit eager to regain her trust. Bill embarks on a mission to exonerate alison despite language barriers cultural differences and a complicated legal system in addition to stillwater. Mr mccarthy's other direct royal credits include the feature films the station. Agent the cobbler and timmy. Failure mistakes were made and episodes of thirteen reasons why he was nominated for the award for outstanding directory achievement theatrical feature film for his two thousand fifteen spotlight following a recent screening of the film at the theater in los angeles. Mr mccarthy's folkenflik. Director scott cooper about filming stillwater. Listen odd for their spoiler conversation. Good evening thank you very much. Thanks for coming out tonight. I said to tom i said i. I'll be surprised if anyone's here. In what a great turnout. Thank you guys for coming out to such a beautiful and powerful and in very human film. Tom and i had dinner just before. This and i said tom you've packed so much. Into into this film it starts off as this investigative thriller which of course. Tom does quite well with the beautiful foam spotlight. And then said yes. And then it segues into this kind of tender and an unexpected romance and then to this kind of on memory and kind of questions and america's moral authority. So what was the genesis of this film. Great question does the trailers led me to believe that. This was going to be something. And i'll get to it like a taken decidedly. Not that it's definitely not that And i love those movies. But yeah i don't cut the trailers Unfortunately who cuts trailers. But yeah this movie. It's been a long haul with this. When i started this ten years ago. Thinking about it worked. Was there another writer on it. Sort of rotor thriller based on the same story. At least the setup of the story about this man going to visit his daughter in prison. And then i just wasn't satisfied with it. I felt i didn't have a point of view on it. I i felt like it wasn't dimensional enough. I couldn't feel the humanity in the movie. And so i put down. And i've never really done that with script before. I normally just write them figuring out and then make them and this one. I just couldn't figure out. So put down for about six years. And i picked it up again in two thousand sixteen and the whole world started to change and i you know i reached out to to new writers. These are guys who collaborate. Jacques oh dr. Who's the director. I greatly admire from france. And i just sent them the draft. I said i'm not. I don't like the script but i like this setup. I like the idea. I like at the heart of it. This father daughter dysfunctional relationship. And these extreme circumstances and tomorrow bit again in no way. Deborah and i started working together and You know we. Suddenly i felt like i had something point of view on it which was like. Who is this guy from the middle of the country. What don't i understand about him. And what can i start to understand about him in this discussion and also as you point out at the time like america was suddenly everyone in the world was suddenly questioning are what we perceive to be our moral authority and i thought that played pretty well into the sort of mythic hero idea of american abroad guy emission. Getting it done moral imperative. This is the right thing to do at all costs and it just felt like the right time to have that conversation with an audience through this character. The screenwriters that you mentioned wrote rust and bone prophets and Depend movies that. I also really really great movies. So how'd for someone who writes his films as you generally by yourself. How did that come about you. Did you just call them up. And you call their agent. I literally just call the film to the email. I sent them a script and a really lame email and just said would you guys read this and can we talk and we did a very awkward zoom or. They were very french with me and they were squeezed into the frame together and they just sort of like you know they didn't like the script and tell you that yeah pretty much They're like we like the idea but we don't like it but they were. They were direct and more than that. There were incredibly specifically articulate about what wasn't working what they thought it could be and the way they diagnosed. It just really spoke to me. I was like okay. That's the movie i wanna make. I don't know what it is yet. So i flew to paris a couple of weeks later and we just sort of hold up in their place where they worked for about two weeks and just kind of like talked about the movie and everything And what it could be in. That was then spent another year kind of laying out the draft will having no idea what you wrote and what. They didn't knowing your films as well as i do. Which are always really character based in deeply humanistic and with really great minimal dialogue and then also knowing the films that they've that they've written and you can really see how these films benefit from both of your points of view. How did you divide the labor great question. It's really interesting because we had similar aesthetics systematically really appreciated their movies. I think they appreciate a mine. At least they said so. And you know i'm i. I'm as influenced by european films. As i am american cinema without question and also a big fan of french cinema so it was great because you know as writers i would. They would make these choices which i would be like. What are they doing. You can't do that and then be like an example. That's really interesting..

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