The Dissolve: What were the origins of this Criterion project? Did the company come to you to make an offer on it?
Morris: They did come to me. Well, actually, that’s not true! What am I saying? What happened was, I bought the North American rights back for the movie, because I felt that otherwise, it would never be seen by anybody, and I love it. I’ve seen how easy it is to forget stuff. I fought for three or four years to get the rights, and when I finally bought the rights back, I took it to Criterion. I think I met those guys up at Telluride, and they said, “Of course we want to do it.” They’ve been lovely, by the way. They’re a terrific company. But no, I did it! [Laughs.]
The Dissolve: Is this going to be part of a series? Can Criterion get a good Gates Of Heaven edition out, and so on?
Morris: They are. I’d like them to put out the Leutcher film [Mr. Death: The Rise And Fall Of Fred A. Leuchter, Jr.] and I’d like to change the title from the Mr. Death—which no one could keep straight anyway—to Honeymoon In Auschwitz, which is Fred’s line about his actual honeymoon spent in Auschwitz.
“Bertuccelli was best known for ‘Remparts of Clay,’ a drama turning on a young woman from a small Algerian village who dreams of another life. It won a Jean Vigo prize and represented France in the foreign-language race in 1971.”
“Boy with Apple is a quintessential product of the Czech mannerist, Habsburg high Renaissance, Budapest neo-humanist style. To put it another way, it is a finely constructed piece of nonsense in the same playful spirit as everything else in Wes Anderson’s delectable middle European fantasy, The Grand Budapest Hotel.”
“Maybe, just maybe the single most stunning food shot Anderson has ever put together – Where are the savory snacks? – the delectable snack tray on the luxury eponymous train of The Darjeeling Limited is worth yelling about.”
How you would compare working with someone like Wes Anderson, with someone like Lars von Trier.
“There are similarities, but there are probably more differences. You know, their interests, they have a different kind of cinema, but they both have very clear visions, their ways of working are very different. Wes likes to shoot a lot, he’s very obsessive, and he works things out ahead of time. Lars prohibits rehearsal, because he wants the actor off-balance and he wants the actor to be fresh, he doesn’t want them to be able to deliver a performance, he wants the performance to happen. I mean that’s my interpretation of it, but he really doesn’t want them to rehearse. Also, the camera is more fluid, some shots are very designed but they’re huge signs.”
“In the sequences in Lars’ work where the camera moves, you don’t even know where it is, and he really believes you can cut anything to anything so he doesn’t shoot conventionally. Wes doesn’t shoot conventionally but he does shoot in a very formal way. He really knows the frame, while he may have these wildly athletic camera shots, it’s quite built. He plays very little with chance.”
“Also serving on the jury are directors Noémie Lvovsky of France (“Camille redouble”), Daniela Thomas of Brazil (“Linha de passé”), Mahamat-Saleh Haroun of Chad (“Grigris”) and Joachim Trier of Norway (“Oslo, August 31”).”
“The Cohen Media Group has revealed that it plans to add to its Blu-ray catalog two films directed by acclaimed filmmaker Costa-Gavras: Amen. (2002) and Capital (2012). The two releases are expected to arrive on the U.S. market on June 10th.”
“Anderson’s sense of himself as preposterously fastidious and even sort of silly is essential to the success of his work. He knows he has a way of making movies that some find off-putting, but he’d like people to take them in the spirit in which they’re intended. His mania for books, toys, costumes, and artificiality all come from a place of genuine affection and enthusiasm for what they meant to him when he was younger, but Anderson never denies their essential inadequacy when it comes to confronting adulthood.”
“the latest project to get a pilot green light by the studio arm of the streaming service is single-camera comedy Red Oaks, which has Oscar-winning filmmaker Steven Soderbergh attached to executive produce and David Gordon Green (Eastbound & Down) to direct and executive produce.”