The french say "f*ck you hellywood

[Ash28M]

Hey maybe these guys won't go the Aja sell out route.

THE FRENCH SAY "F*CK YOU HELLYWOOD

My boy Travis just pointed me to this very interesting article where some big French filmmakers have spoken out against Hollywood - and take a stab at the Elm Sreet reboot whle they're at it. Here's a tatse.

"I can only talk for myself, but Hollywood is not much of an attraction for me," Mr. Du Welz (the director Calvaire and Vinyan) says. "I know I wouldn't be happy on a film set having two line producers prodding me like on a commercial."

"Directors like myself, Alexandre Bustillo and Julien Maury, and Pascal Laugier have all been getting sent the same scripts, it's not like Hollywood is interested in us as individual talents," he adds.

Mr. Bustillo (co-director of Inside) is in total agreement: "We [Julien Maury and I] have an American agent who couldn't understand how we could turn down directing a remake of 'A Nightmare on Elm Street.' He felt we were going to earn a lot of money and make a big hit -- why refuse? But for us, the screenplay wasn't any good, and we weren't going to be able to rewrite it. We're not interested in cheating, we want to make films we can be proud of."

http://www.bloody-disgusting.com/news/17080

Original article.

http://online.wsj.com/article/SB125019614070830153.html

[KR~!]

can't blame them, who the hell wants to do a remake?

[Grim]

can't blame them, who the hell wants to do a remake?

John Carpenter, David Cronenberg, Tom Savini. :p Just busting your chops.

I get what they're saying. I guess they have different priorities over there. Yeah you might get paid a shit ton to do a certain script, but in the end are you really proud of it?

[BoredSeal]

Hellraiser remake/reimagination (whatever Clive Barker calls it) under Weinstein brothers was silly idea from the start, idea of Buena Vista as producer would be little bit more silly ;). No wonder Bustillo/Maury felt sick. I guess they all talk about Hellraiser remake, because Laughier was second option ;)

[msw7]

Good for them - the French are doing so much better than Hollywood these days when it comes to horror. Who needs more watered-down PG-13 remake bullshit? I would rather have more films like Inside, Martyrs, Vinyan, etc.

[x666x]

It disappoints me that Aja doesn't have the same mindset. But that's his business, I guess.

[Jeremy]

Spoken like men who don't have to worry about paying for health insurance. :D

[The Chaostar]

Spoken like men who don't have to worry about paying for health insurance. :D

There's a totally different health-care system in Europe man. Especially France and Greece. You'd be amazed.

[Jeremy]

I'm well aware that there's a totally different healthcare system in Europe, hence the basis of my quip. A lot of Americans, when faced with the prospect a well-paying job that they don't agree with or don't want to do (not necessarily directing ANOES remake, but you know what I mean) would do it anyways either for the insurance or because of the money because they have no safety net. I was just joking that as Frenchmen these guys don't have to worry about that in the same way.

[fattyjoe37]

Good for them! The majority of recent good horror movies have come from France, so I'm glad they aren't interested in selling out and going the American way of remakes upon remakes. Bring on the original French horror!

[The Chaostar]

I'm well aware that there's a totally different healthcare system in Europe, hence the basis of my quip. A lot of Americans, when faced with the prospect a well-paying job that they don't agree with or don't want to do (not necessarily directing ANOES remake, but you know what I mean) would do it anyways either for the insurance or because of the money because they have no safety net. I was just joking that as Frenchmen these guys don't have to worry about that in the same way.

Didn't get that - sorry mate.

[Slackjaw83]

It's easy for us to say "Good for them! Fuck the system!". It's also easy for them to say "Yeah we turned down this and that". That said, who knows what they were actually asked to do and who knows how much money was being spoken about. Would more money or a little more control have changed their minds? Who knows?

In any case, movies, in general, are as much a business as an artform. Sure, one wants to "express oneself" and make movies that are great, but, on the other hand, people have to eat. I have as much respect for a guy like Jeff Burr for simply consistently working as a "working director", making modest budgeted fliks and getting paid as I do any of the indie "visionaries" out there.

As I've mentioned before, I'm not the keenest on the Elm Street remake, but if it was offered to me, I'd take it for a few reasons :

1. It's a solid payday (to quote one Ted Dibiase : "Everyone's got a price") and I have a family to feed
2. It's a pretty high profile gig and will get my name out there
3. If I'M the one doing it, i can do everything in my power to convince the producers and execs involved NOT to make a shitty waste of celluloid.

As much as we bitch and gripe about it, obviously we're the minority because these remake movies ARE making money and doing great business, hence why more get released every year. It's basic business, and they don't call it "The Film Business" for nothing.

[Mitbox]

Damn...that doesn't sound good for ANOES remake. Not that I was expecting something good out of it anyways.

[Ash28M]

It's easy for us to say "Good for them! Fuck the system!". It's also easy for them to say "Yeah we turned down this and that". That said, who knows what they were actually asked to do and who knows how much money was being spoken about. Would more money or a little more control have changed their minds? Who knows?

In any case, movies, in general, are as much a business as an artform. Sure, one wants to "express oneself" and make movies that are great, but, on the other hand, people have to eat. I have as much respect for a guy like Jeff Burr for simply consistently working as a "working director", making modest budgeted fliks and getting paid as I do any of the indie "visionaries" out there.

As I've mentioned before, I'm not the keenest on the Elm Street remake, but if it was offered to me, I'd take it for a few reasons :

1. It's a solid payday (to quote one Ted Dibiase : "Everyone's got a price") and I have a family to feed
2. It's a pretty high profile gig and will get my name out there
3. If I'M the one doing it, i can do everything in my power to convince the producers and execs involved NOT to make a shitty waste of celluloid.

As much as we bitch and gripe about it, obviously we're the minority because these remake movies ARE making money and doing great business, hence why more get released every year. It's basic business, and they don't call it "The Film Business" for nothing.

Hey I applaud them. The way I look at it is they are talented directors and everyone knows it. They may not get supper rich without the big pay day but they will still be rich enough to feed their families any have all the luxuries they want in life. They are not saying they won't do Hollywood they just don't want to sell out for the sake of it. When it's all said and done and you look back at your career would you rather be a Michael Bay or a David Cronenberg? Cronenberg was offered Top Gun and Flashdance and he still doesn't regret turning them down.

Saying that if Hollywood throws enough money at them things may change quickly. For now though I like there attitude and it could only mean better films for us.

[msw7]

3. If I'M the one doing it, i can do everything in my power to convince the producers and execs involved NOT to make a shitty waste of celluloid.



I think the problem with this is that you may have no power whatsoever to convince them otherwise. If a studio or producer has "final cut" on a film, the director may be out of luck. And then the risk is that your name is attached to the POS movie, and you deal with the backlash and negativity, not the nameless suit who messed it up. (One exception may be the Harvey Weinstein, who at least has his name out there, for better and worse cases).

I understand what you're trying to say, but whether or not that is possible or desirable may depend on some unknowns (to us, hopefully any director would know up front how much control they would have in the end).

Personally, if I were a director I would have a very difficult time with studio execs/producers making changes (I hope I'd be open to feedback/criticism). (this is based on having written a fair number of papers collaboratively - I have no idea if directing/creating a movie is the same as writing, but I'd be surprised if it were too different)

[rhett]

Because INSIDE was such a quality script compared to crap that Hollywood's been putting out like DISTRICT 9, DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT (2009)...nice to see pretension doesn't just die in the arthouse.

[msw7]

Because INSIDE was such a quality script compared to crap that Hollywood's been putting out like DISTRICT 9, DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT (2009)...nice to see pretension doesn't just die in the arthouse.

:confused:

(I get the sarcasm, but not the part about arthouse pretension)

[Kolpitz]

Because INSIDE was such a quality script compared to crap that Hollywood's been putting out like DISTRICT 9, DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT (2009)...nice to see pretension doesn't just die in the arthouse.

I love Inside but I will agree that both District 9 (love that film) and Drag Me to Hell are better films. But, you lost me with My Bloody Valentine 3-D and, especially, The Last House on the Left remake. MBV 3-D is entertaining but the script is pretty much shit, especially the cliched ending, which almost ruins the entire film. And, this is coming from a guy that thinks Todd Farmer's script for Jason X is brilliant. And, I just don't get any of the love for the LHotL remake. It had its moments but I just couldn't get into the film as a whole. And, like MBV 3-D, the ending is terrible.

[Grim]

Because INSIDE was such a quality script compared to crap that Hollywood's been putting out like DISTRICT 9, DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT (2009)...nice to see pretension doesn't just die in the arthouse.

:lol: Burn!

[rhett]

:confused:

(I get the sarcasm, but not the part about arthouse pretension)

These guys are acting like the movies they are making outside of the system in France are layered with strong, deep scripts. I think HIGH TENSION is probably the best horror film post-BLAIR WITCH, but sorry, French genre films certainly aren't on the map because of their prose. Had this been Robert Bresson, Eric Rohmer or Jean-Luc Godard bemoaning the vapidity of the Hollywood script then okay...but Alexandre Bustillo? Yeah, whatever dude.

[msw7]

These guys are acting like the movies they are making outside of the system in France are layered with strong, deep scripts. I think HIGH TENSION is probably the best horror film post-BLAIR WITCH, but sorry, French genre films certainly aren't on the map because of their prose. Had this been Robert Bresson, Eric Rohmer or Jean-Luc Godard bemoaning the vapidity of the Hollywood script then okay...but Alexandre Bustillo? Yeah, whatever dude.

I didn't get that at all from what was quoted - he just seemed to me to be saying that didn't want to be in a situation where he had no control over a script that he didn't like or wasn't happy with.

I'm not sure any of the movies mentioned here (hollywood or otherwise) are standard bearers of arthouse prose in film, but that is besides the point, I think.

If he is handicapped, or feels handicapped, he likely won't make as good a movie. Was the remake of The Hills Have Eyes the best Hollywood had to offer?

I hope that these guys don't take Aja's route, and instead continue to make ferociously savage movies that I very much doubt could come out of Hollywood without being severely neutered first. (some movies may be good, but a Hollywood studio is not going to support something like Martyrs - if I'm wrong shoot me, I'll die happy that Hollywood made a daring movie).

[Ash28M]

Because INSIDE was such a quality script compared to crap that Hollywood's been putting out like DISTRICT 9, DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT (2009)...nice to see pretension doesn't just die in the arthouse.

I haven't seen District 9 but IMO those other films don't have anything on what the French have been putting out lately. I don't think that's the point though. They're just saying they don't want to the Hollywood thing just for the sake of it. Aja's reputation has taken quite a hit since he has gone the remake route.

[_pi_]

Because INSIDE was such a quality script compared to crap that Hollywood's been putting out like DISTRICT 9, DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT (2009)...nice to see pretension doesn't just die in the arthouse.

I was going to say something like that, too :p

Although I agree that the French "new wave" of horror is admirably stylish, brutal and "different" from what Hollywood offers, I have yet to see a recent French horror film I consider any good. Inside, Martyrs and They/Ils all had awful scripts.

If the ANOES remake has a worse script than those, then it can't be any good.

[17thJuggalo]

Honestly, while the the stuff coming from France is trumping American horror films, those films aren't really that good either.

I'm glad there's an alternative from predictable Hollywood popcorn horror, but they can't honestly act like their movies are high art. They're just as cliched as the rest of them.

[rhett]

I haven't seen District 9 but IMO those other films don't have anything on what the French have been putting out lately.

I'm not talking about the films themselves, although I'd certainly beg to differ. I'm talking the scripts themselves, which is what this French consortium seems to have issues with. You mention Aja's pedigree going down since he went Hollywood but the sad truth is that he's written the scripts to all the remakes he's directed (The Hills Have Eyes, Mirrors, Piranha 3-D) and even the ones he hasn't (P2). Doesn't exactly help their case, does it?

[msw7]

I'm not talking about the films themselves, although I'd certainly beg to differ. I'm talking the scripts themselves, which is what this French consortium seems to have issues with. You mention Aja's pedigree going down since he went Hollywood but the sad truth is that he's written the scripts to all the remakes he's directed (The Hills Have Eyes, Mirrors, Piranha 3-D) and even the ones he hasn't (P2). Doesn't exactly help their case, does it?

Maybe I'm misunderstanding the points being made here, but my interpretation is that the issue here is (at least partly) about control over a script.

I can't say whether the problems in Aja's less than stellar efforts have all been the fault of the script or not. But did he even have full control over the scripts that he could write, or did studios dictate some terms?







Honestly, while the the stuff coming from France is trumping American horror films, those films aren't really that good either.

I'm glad there's an alternative from predictable Hollywood popcorn horror, but they can't honestly act like their movies are high art. They're just as cliched as the rest of them.

I still don't see this attitude in them - i think they're making good movies, but I wouldn't call them high art or arthouse films.

It seems there is an assumption that all films from France are artistic - maybe a left-over cultural association from the French New Wave films, or maybe there really is a French snobbery about their work that I'm not picking up on (maybe they see their films as "high art" - but even if not true, that shouldn't make any complaint about a script less valid).

[Ash28M]

I'm not talking about the films themselves, although I'd certainly beg to differ. I'm talking the scripts themselves, which is what this French consortium seems to have issues with. You mention Aja's pedigree going down since he went Hollywood but the sad truth is that he's written the scripts to all the remakes he's directed (The Hills Have Eyes, Mirrors, Piranha 3-D) and even the ones he hasn't (P2). Doesn't exactly help their case, does it?

I have to agree with msm7. Just because you are given credit for a script that doesn't mean the studio's didn't screw with it. On a side not I did love The Hill's Have Eyes remake so it's really only Mirror's that I am suspect of. I guess fans like to tear apart up and coming directors after just one mediocre film. Same thing happened after Rob Zombie did Halloween. I also wouldn't call DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT great scripts two of them were remakes and Drag me to hell was a pretty simple story executed well. Allot like Haute Tension and Inside in that way. Would Hollywood even back a film like Drag me to hell if Sam Rami's name wasn't behind it? Would Hollywood have backed My Bloody Valentine and Last House on the left if they were original films? The days of Hollywood taking risks are long gone. The film needs to either have built in Audience like remakes, sequals, video game adaptation, comic books etc or have a major star or director behind a film. There are exceptions but there is little room for original ideas.

[Katatonia]

I just can't watch too many French films and enjoy them to be perfectly honest. Any other language is fine to my ears, but with French it's like fingernails scraping down a chalkboard for some reason. :eek1: I own perhaps 2-3 films where French is the only language.

[rhett]

I have to agree with msm7. Just because you are given credit for a script that doesn't mean the studio's didn't screw with it. On a side not I did love The Hill's Have Eyes remake so it's really only Mirror's that I am suspect of. I guess fans like to tear apart up and coming directors after just one mediocre film. Same thing happened after Rob Zombie did Halloween. I also wouldn't call DRAG ME TO HELL, MY BLOODY VALENTINE 3-D, and LAST HOUSE ON THE LEFT great scripts two of them were remakes and Drag me to hell was a pretty simple story executed well. Allot like Haute Tension and Inside in that way. Would Hollywood even back a film like Drag me to hell if Sam Rami's name wasn't behind it? Would Hollywood have backed My Bloody Valentine and Last House on the left if they were original films? The days of Hollywood taking risks are long gone. The film needs to either have built in Audience like remakes, sequals, video game adaptation, comic books etc or have a major star or director behind a film. There are exceptions but there is little room for original ideas.

Yeah, but are you, or anyone else, really, enjoying these French films for their scripts? I think it's pretty unanimous these films are loved for their style over anything else. Would you buy the novelization of INSIDE?

Calling the HALLOWEEN remake "mediocre" is probably the highest praise I've ever seen the film get. :D But even look at Rob Zombie, he's a hack who gets to make his own scripts in the heart of Hollywood. Same with Rodriguez, Tarantino, Aja, Zack Snyder, Eli Roth, etc. And believe you me, it isn't studio meddling that ruined HALLOWEEN. Considering how illogical the plot and how awkward all the English is in MIRRORS, I'd be hard pressed to blame that one on the studios (especially if you're going to give Aja credit for his script on THHE). These guys are all about cinematography, set design and special effects, and that's exactly what Hollywood can provide with bigger budgets. Aja certainly saw the light, and even MIRRORS was still a beautiful example of style over substance. Deluding yourself that your scripts are of a special caliber is just hubris, in my opinion.

[17thJuggalo]

I still don't see this attitude in them - i think they're making good movies, but I wouldn't call them high art or arthouse films.

It seems there is an assumption that all films from France are artistic - maybe a left-over cultural association from the French New Wave films, or maybe there really is a French snobbery about their work that I'm not picking up on (maybe they see their films as "high art" - but even if not true, that shouldn't make any complaint about a script less valid).

Perhaps I'm basing alot of this on an interview I read in Rue Morgue about the movie Inside. The interviewer was making the movie sound like high art and the filmmakers weren't really objecting to that notion. Also, I've heard so much talk (from critics) saying that Ils/Them is so original and great, yet people that have seen it have said it's filled with "backwoods horror" cliches.

I just can't watch too many French films and enjoy them to be perfectly honest. Any other language is fine to my ears, but with French it's like fingernails scraping down a chalkboard for some reason. :eek1: I own perhaps 2-3 films where French is the only language.

I'm the same way unfortunately. I agree with you on the "nails on a chalkboard" thing for the French language. It took me a few tries to get through High Tension due to this. When I stayed in Paris a few months ago I was going crazy.

Although, I have no problem with Man Bites Dog for some reason. Probably because it's Belgian and I love their beer. :glasses:

[Slackjaw83]

I never got the hype of High Tension. Sure, it has some brutal kills and looks pretty stylish, but the fact remains that the script is pretty terrible and the twist made zero sense (i.e it negated certain parts of the movie to achieve it). I blind bought it based on all of the positive reviews (and the fact that it was only 8 bucks) a few years back, and it just didn't do it for me.

[Darga]

Cronenberg was offered Top Gun and Flashdance and he still doesn't regret turning them down.

Ha ha, I was completely unaware of this. Is that really true? So he was offered Flashdance on the strength of Scanners?:lol:

[Grim]

High Tension is still one of my favorites. I've actually enjoyed all of Aja's films excluding Mirrors and I am very much looking forward to his new Piranha movie. I haven't seen the films of any of those other directors in question, but yeah I basically watch French films for the same reasons I watch Italian films, insane sets, music, and gore.

[Ash28M]

Ha ha, I was completely unaware of this. Is that really true? So he was offered Flashdance on the strength of Scanners?:lol:

Yup he brought it up on "The Hour" last week. It's a Canadian talk show. You should be able to find it on youtube.

[Darga]

Yup he brought it up on "The Hour" last week. It's a Canadian talk show. You should be able to find it on youtube.

Thanks for the tip, that sounds awesome. I'll have to check it out.

[Darga]

Oh man, he turned down Beverly Hills Cop too? Great interview- he's always so well spoken.

http://www.youtube.com/watch?v=7Z3m9VWWduY

[Ash28M]

Actually now i'm wondering what those films would look like if Cronenberg directed them:hum:

[rhett]

Cop, Top Gun and Flashdance are all Paramount properties, so I guess he did the right thing and chose to do Stephen King for his Paramount entry. Good interview.