Danny Leigh of The Financial Times spoke to David about War Machine. Here’s an extract.
“Letting a movie find an audience is incredibly hard to do in actual cinemas now,” Michôd says. “With Netflix, the movie lives there. You’re still competing for attention, but as a film-maker it eases my anxiety and makes me braver knowing my whole career doesn’t hinge on how many people I hypnotise into coming on the opening weekend.”
For Michôd, it’s a curious turn of events, the price of the big league being the loss of the big screen, well enough funded to make great cinema to then be seen on iPads. But, he says, hasn’t that been the way since the dawn of video? Even on Animal Kingdom, it felt odd spending weeks on pristine sound mixes for high-end cinemas that would, he knew, be enjoyed by a fraction of his audience.
“Movies live mostly on TVs, and TVs are pretty good these days. If I’m to be wholly honest, it’s how I watch movies.” Then he smiles ruefully, and says he still signed off on the finished version of War Machine only after seeing it on a giant screen at the Los Angeles headquarters of Technicolor. “I do have to admit,” he says, “that really was a lot of fun.”
Click here to read the full interview/article.
Photo credit: Leo Goddard
