Tony, David, Beverly Liangelo discussed on The Moment with Brian Koppelman
No prison sequence. That's amazing there was flashbacks to a lurid image of being slammed against the wall and rape. That's it. There was not one bit in david's original script was about the nature of what had transpired in the prison. That had changed him and when we sat down and everything he's the best david is the best and he and when we talked for a long time about all these things he lit up and he was like. Oh my god dude. Like let's fucking go. Let's go and and he said to me he was like let's tear this thing apart. Helped me out. I wanna make it. I want to do with you blah blah blah. And he said just one thing is. This is my first script. It's really important to me. It's a career making moment for me. Whatever we do. I don't care he goes right. Do whatever i need this. You know this is my script. And i was like and i literally put my hand out. I was like dude done right. I it's like all i want to. Let's do much audible done. We worked for like months and months and months together every day. Him writing me writing doing these things. We worked on that and turned it into the thing we wanted to do right. Yes we wanted to do. I would no more betray. David like the rules engagement with us. I want to say on renders. I remember you literally said i remember. We're standing outside the country club. We're the first scene with with you. And matt and the in the long Craftsmanship driveway thing. And and you said if i can find something funnier. I'm going to try to say it. If you guys want me to go back to the script. I'll go back to script whatever and it was like. Hey and like. I say i think there are. There are five or six lines in the movie. That i know david i didn't write and i'm so fucking happy that during the movie and then the rest of it is exactly the script that we wrote and but but the thing is the thing. Is that unfamiliar. Projects was having his new line. We start making a movie with tony. Tony told me told me in. David i have no i. I have no experience with narrative literally whatsoever. He said i'm a. I understand the moment. He literally savings like. I'm a photographer injured in a moment. And he he used to say. I leave that to you guys. I leave that to you guys. I he goes. I think this is fantastic. I know what to do with this. And for all of tony's like what does he did he great. You know it's amazing for a great is a great sense of things. He wanted to use the photo. Sonic cameras on turn and he had. He has like amazing visual instincts right but it was to such a degree on that film that he he would pull up. He would pull up in his car and take. What are we doing today and we would say. It's the scene at the table. With beverly liangelo and elliott gould right edward. Rehearse it for a while to get it all together and when you're already call me right. And then he would go do phone calls and i would rehearse essentially like act like a director rehearse the scene and then we would go get tony. Tony would watch it like an audience. And then he would go right. Great amazing amazing. Don't anybody move. And he would run around. Set up lights. Put the camera on his shoulder and shirt and shoot it and we would and this was obviously an orthodox and we were all young and i remember thinking well. This is great. We're we're all a team where we're this is unorthodox. David are working on the script. I'm sort of handling the the staging of it. Tony shooting it. But tony was tony. Throughout and on into the editing he was a person of great emotion and on many occasions he wept like would he would break down in tears and he would give me a hug and say i have never been this supported i have never had and if i can just i just wanted to. I've never had a collab-. I've never been supported. I just want to jump a slightly ahead. Because we have to end soon. And i just want to say i'm going to deep into this. No no you're not. Because here's i wanna jump ahead because i saw the cut that you had to work from because i was there i wanted to say like the thing about the rap about you in this way and again as someone who's made movies with you and then been around a bunch of them like the cut that exists of american history. X is because of what you did in the editing room. And i know that not because you told me but because i yeah you showed me the cuts that existed before and the cut that you know what's important to just say because i objective also lost people. Don't even understand like tony commercial editor. Who did this really gonzo cut. Nobody can make heads or tails of it. Tony got a little insecure. Whatever tony went off to shoot a commercial it literally in the middle of the whole thing and the whole thing was sort of flat line literally. No one knew what to do and i got on the phones and called around. I didn't go in and and cut it. I i went. I i went in. I did some stuff to reassemble stuff. They're trying to into a more full-throated away totally almost like a script assemblage right just so that so that an editor would know what we had to work with. And i went and got jerry greenberg. Who won the oscar for the french connection kramer versus kramer apocalypse. Now that literally. Those are his credits. I got that guy to come in and work on the movie with me and tony. Many times in the course of that process tony wept and said to me like you know like i've never been supported and everything and i had great love for the guy like he was he was a very. He's very figure and everything. But but you weren't serving your. I just wanna say watching it all you wanted. I remember you show david me that original cut and then later cuts and you're like tell me like you were so open you being told. Here's what we're going to be. We we went through this whole thing and everything. Tony went through Tony went through a struggle. To make a thing go he and he and by the way. I am not saying that critically but it's also one of the things people. It's like what has happened since then. how many. How many films has tony completed since. Then none and i think he's a great artist. I actually really do. I think he's a like a great conceptual artist and a great thing. I witnessed him go a personal struggle to complete a thing of course to complete a thing to let it go extraordinary talent. He captured that. That's it it's a real incredible go and what happened to save. Yeah what's happened. Yeah is not an argument between me and tony. What happened is tony. In my opinion he struggled to let it go. He struggled to do what. Francis coppola says an abandoned. Your film like. Don't you don't finish it. You abandon it..