Josh Safdie, Josh, New York discussed on Maltin On Movies


It but I had a very emotional moment actually with Josh Safdie at the critics choice awards. WHO's one half of the SAFDIE brothers Josh and Benny and I've known Josh and Benny since I was twenty one We met at South by southwest. They had a short film film. I had a tiny little contribution to movie giovane movie and we met we both still in school and and we realize we're both. We were both lived in New York and we became really good friends. We were roommates for awhile. I left on my couch like I mean very. We snuck into New York from last. Because they you know there were great movie makers there that we wanted to be and so anyway. We had this very emotional moment. Where like someone's like can I get a picture of you together and they usually? Yeah Music Roommate's like you know it's very so I'm in. It was a very special moment. And I think the thing for me about And those filmmakers in those films and it was It was Josh Penny Saftey but it was also I met Barry Jenkins and then time because he had made medicine for melancholy. An errand cats and reiver's so young and the dupe loss brothers. Andrew Pajamas Ski I loved the work they were making. We all took the work we were doing very seriously and I feel like as much as young artists need anything they need a community to bounce stuff absolutely. Because that's it that's as important as any other more I think marker you can you can have the dip further your career. But I don't think anyone does anything in isolation so to have a group of people that you know you. Could you know. Go to the movies as you all these different things or you all hate the same thing so you bond over that like you have someone to talk about the medium with on a consistent basis. Listen what you're trying out and anyway and it's very meaningful to me that like you know. Now we're in our mid thirties. And I can NC Josh Safdie at an award show I know well. They're riding the crest of the wave with the uncut gems season and which is a hell of a film. I loved it. I sat at telluride tonight. We saw him the the Verna Herzog and I was like back it blew ever wants lid off. I felt like fun and then tire theater with like what in the world is this and I was just delighted alighted the whole time I was also I mean I just had a sandler was incredible. I thought their filmmaking was just amazing and bananas and actually they where shooting uncut gems at the same time that I was shooting little women so josh and I were on the phone when they were in the casino That they shoot in with Julia places the Bat and all that and he was like yeah. We're shooting in a Casino Darius in their league and then I was like lakes in the rural Massachusetts and hey anyway I loved it. I thought it was a to me. It was the culmination of so much of the work that they've been I'm doing and and and and they're kind of particular filmmaking and it was It was just really exciting to see it and to see it with like no. Oh I had no idea what it was going to be. That's a fun of seeing things like at telluride which I see you guys at I love telluride I I just love it. It's what's special festival you know what's crazy is in looking it all of your films Greenberg is twenty ten down. I know so we we met you ten years ago. I know the how in the actual like I know. Where does it where does and of course my dad and I always joke about overnight sensation I think in the world? Yes you look and you go overnight for ten years yes it's true now it's crazy. No it's it's crazy I don't know I mean you know it's I. It's funny also because my my partner Noah who directed Greenberg Lindburg but Noah Baumbach some guys some guys you know. He's he's fifty and he's been making movies since he was twenty four. You're twenty five and he's making movies for twenty five years. He's made ten narrative films in that time and he and I. It was just the sort of realization relation with the did a retrospective at metro graph and And that's a body of work for twenty five years of filmmaking. And that's you know it's one of the wonderful things about filmmaking is that it's it's difficult takes long time time. which is wonderful because it's he? It's not like Tetris. You're never gonNA get so good at it. Then it gets boring like it's only ever going to be hard. Yeah there's not another speed it comes that it's just hard and it's hard on a new way I mean Tetris does eventually pretty hard. But like I got disturbingly family. Good at Tetris at one point But I that thing of you know even if you make movies your whole life life you only get a handful like an each movie you make. It's the only time you're gonNA make that one and it makes it very vivid. What you're doing while you're doing it and like I really always are human? I use when I'm up against it with something and I'm like I'm only going to make this movie once so I wanted to be right So give me the ball gowns. I heard her off your who imparted this. The nuggets not to me personally but I read it if you make if you shoot a film for sixty days fairly. I am vicious movie. And you make one compromise every day sixty compromises in your movie. Yeah and I mean that. That's a a AH kind of stark way of looking at it but yes it sort of underscores what you just said right now. The people I ah some observer might say why she being so stubborn about this way. What's the big deal? I know right then you have to fight for your belief leave for your vision. Yeah and also. You're the only one that knows. I mean you bring everyone into it and and an and ideally you have a team around you. And I had such an amazing group of artists with me on both ladybird and little women and that ideally and hopefully they're all kind of dreaming the same dream you are so that you know what the thing is before it exists. But like you've got to fight for it because it's not I mean no one will ever care as much as you so you have to. There's no cavalry coming and you're the one who has to be your own cavalry and that's I used to think that directors had a certain kind of personality and that's it's what made them directors and then. I realized that making movies gives you that personnel. That it's a it's a reverse osmosis in a way the yeah. Ah No actually no made a documentary Where you talk to Brian? DEPALMA is close friends with them. which is I I suppose not included in the ten narrative films but The eleventh But he brian said something at the end. which just I All all filmmaking is. It's just a record of your mistakes. Wow Record of everything you got wrong man. Oh that's a totally fatalistic. Wow is it but but I know what he means. He's saying it's a hard hard one you said to me when you publish the first movie guide all you can see his mistake. People were coming over me all my gosh all he you could see. Wow think like he was eighteen when he first published that Book Almighty particulars. But you know when you learn how young the beetles are what. I can't imagine making a film especially for the first time because you know my mom always says once you finish building a house you you know how to build a house right you know. I can't imagine you finish lady bird you go cool. I'm ready to make a movie now. Oh Yeah it's true the things that and also you only learn there is no one applicable lesson kept. I think on Lady Bird I was even kept looking for the one lesson and as soon as you think you have the one lesson you learn the op like like sort of like I see the thing to always do is to make sure you have them do it. You know really fast and or you know and then you'll get to the cutting.

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