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Interview mit „50 Shades“-Produzent Dana Brunetti

Produzenten sind wohl die Arbeitergruppe im Filmbusiness von welcher der größte Teil der Zuschauer keine Ahnung hat was sie eigentlich tun. Umso erfreulicher wenn es Interviews mit ihnen gibt, die ihren Arbeitsalltag näher beleuchten. Dana Brunetti (The Social Network, House of Cards, Captain Philips) ist momentan einer der einflussreichsten und auf jedenfall erfolgreichsten Produzenten in Hollywood. Zusammen mit Kevin Spacey gründete er die Produktionsfirma „Trigger Street Productions“. Der „Hollywood Reporter“ führte nun ein ausführliches Interview mit Brunetti zu dem ihr ein paar Antworten unten nachlesen könnt. Um das komplette Interview zu lesen, folgt dem unten angegeben Link.

HR: How involved is Spacey on projects when he’s a producer?
DB: It varies. On House of Cards, obviously, a lot because he’s there and very involved. On Social Network, he was a little bit involved on that, but that ultimately led us to House of Cards with [director David] Fincher. With Captain Phillips, I used him to come meet the captain with me, basically to help push the captain over to go with us. I always refer to Kevin as my arrow. If I need to get to somebody, I fire him at whoever it is that I need to get to, and he basically opens the door for me, and then I’m in.

HR: What’s the market right now in Hollywood for these adult dramas of substance?
DB: It sounds kind of crazy for me to say this [given Fifty Shades], but it sucks that it has to be all franchises and these big, insane movies. Not that there’s anything wrong with them, but that’s all they’re trying to find, constantly. I think it’s cannibalizing a bit, and you really start to get away from the enjoyment of filmmaking, the craft, and storytelling. Look how much money American Sniper made. There’s definitely an audience for it, so there should definitely be a place for it. But even at Sony, it would have been impossible for me to get a movie like Social Network or Captain Phillips made there in the past year because they were focusing more on tentpole movies and not those [types of adult dramas], even though they were made for a price and did very well. It just wasn’t their M.O. They were changing direction. But now with Tom there, maybe it will change back. We need to feel it out and start to see what they start approaching us with or what I’m able to get traction with there.

HR: How much is Netflix going to change the business?
DB: Remember when the iPhone first came out and Steve Jobs held it up and swiped his finger across the screen, and the whole audience was like, „Holy shit“? That wasn’t that long ago. That was 2007. That’s where we are with Netflix now. Eventually that’s where we’re going to go with the studios. Right now, the theaters have a stranglehold on the studios, where they take a piece of the films and take concessions. If I ran a studio, I would flip that. You want to show my films? You pay me, and I’m going to take a piece of your concessions. And I would also release the films day-and-date and make them available for streaming and charge a premium, $50, $60, $70, $80, whatever the market will bear.

Quelle: hollywood reporter

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