Films With No Famous People Don’t Get Made by West Liang

Films With No Famous People Don’t Get Made by West Liang

Film Courage: So let’s pretend this is the moment that
you’ve just finished writing ALL I WANT you just finish the script and now it’s
time for you to begin marketing and and pitch me? Who are you calling and how
are you setting up these meetings this is before the movies made mm-hmm
you know I think this is your script. West Liang, actor, writer, director: right right I think I think this film
taps into a certain audience who’s really interested in kind of almost
foreign cinema you know the the ideas that happen in this movie are almost I
mean I mean you know I think I think I think the the the lines of fracture you
know in the relationships you know and the lives of people in the story are are
are kind of micro fractures you know but those micro fractures you know have a
big effect on on the world of these people and so I think I think I would
probably be interested in talking to someone who’s interested in foreign
cinema interested in in kind of indie filmmaking the kind that doesn’t you
know depend on you know these kinds of you know garden-variety kind of plot
points about you know there is a car crash here and there is a gun shot here
you know which all have very important value in in different kinds of films but
I think in this film it’s really nuanced you know I think I think there’s a lot
of subtext there’s a lot of nuance so I would be you know talking to people who
are who are interested in those kinds of films so do you ever do cold calling
because you you strike me as the type that you’re not intimidated
you’re not like a blustering like salesperson but you you just opened
you kind of perceive the world that way too so you’re not really intimidated I’m
putting on a really really good thing okay I don’t know I’m just going back to
the scales I hate to bring it back to that but yeah yeah it seems like you you
don’t you’re not too shy but you’re not too much of like this hardcore salesman
so if you were going to pitch it how would you approach you know it’s hard
because the the the kind of the the DNA of this movie was not that the DNA of
this movie was very much we hadn’t we had a cast kind of in mind we had a
location in mind and and it was really kind of writing for the resources that
we had you know and trying to make that story as compelling as as kind of
thematically interesting as possible you know but to answer your question I think
you know I think we would have to we would have to what was the question
again oh well look this role play so let’s
suppose you meet with me and you don’t really know me that well but you’re
gonna pitch me this idea how are you gonna pitch me to read this screenplay
you know I I don’t know where you’re meeting me right I think I think I would
I again I think I would you know really really talk about I think I would really
you know ask him the question what are people dealing with every day that we
don’t talk about you know what and what and what are people not what are the
secrets that people are not sharing that impact the decisions that they make
let’s make a film about though secrets let’s make a film about
those ideas that people have that they don’t share let’s make a film about
those emotions that people experience all throughout the day
that they’re too afraid to kind of explore you know this movie is not
necessarily in a traditional sense a plot driven movie although you know the
plot is certainly kind of a driving force just as the character is but this
story is really kind of driven by all these different characters experiencing
something similar for whatever reason you know and I think and I think if if
you as a producer is interested in kind of exploring that theme you know I think
you would be interested you know because I think honestly you know I’m not sure
that this film would be done by the studio’s unless it were attached to a
bunch of famous faces I’m thinking of crash Wednesday so crash was great
because you saw these people that you had a stereotype so right vision of what
they must be like and then when you uncovered stuff behind the scene right
you saw that you know once their mask was off absolutely they were just
fragile and and going through all sorts of thing right and it explained their
behavior right right yeah so and I think I think I Nathan crash is an amazing you
know story obviously was you know very critically acclaimed and but I’m not
sure the crash would maybe get the kind of you know attraction that it had
without you know a famous cast you know I think that’s the really frustrating
thing about the landscape of filmmaking today is that how many stories are not
being explored how many storytellers out there are not able to really kind of
bring interesting ideas to fruition because the market says well we don’t
have we’re not interested in that there’s
audience for that there’s an audience for that I mean you know I mean the fast
and furious kind of like franchises taking over the box office and and and
movies like that have have a lot of entertainment value but I think it might
also scare away investors from you know more personal movies like all I want you
know movies that are some ways foreign in in in in tone and texture do you
think when we go to the movies we want to know this is so-and-so actress this
is so-and-so actor I know what they’re gonna deliver me you know I I know
they’re gonna have their mail right scene and I’m gonna love it I have it
every movie I’m you know I’m not great I’m not great at kind of understanding
how to market a film the way a lot of kind of genius marketers are you know
like in terms of let’s hit the four quadrants and let’s really kind of tap
into that kind of audience and those are the things that I understand in an
intellectual way but that’s that’s not how I kind of think about stories
emotionally so you know recently I mean like I mean a great movie that happened
during the Oscar campaign was the lion you know absolutely loved it
that movie was amazing and I think part of the reason why I really enjoyed you
know Nicole Kidman’s performance as an example was that she was surrounded by
number one really amazing actors and performers but also they were not
quote-unquote famous right and so you naturally believed her context you
believed that she was in a world of quote unquote real people you know and I
think that movie worked in so many ways but I think I’ve had so many people say
oh I love Nicole’s you know performance in that and I said I love that too and I
think one of the reasons aside from a masterful filmmaking is that you never
had to as an audience jump over that kind of
obstacle of she’s famous and I don’t believe that she’s you know struggling I
don’t believe that she’s broke I don’t believe that she’s XY and Z you know
she’s surrounded by people who are very kind of you know not famous and and and
and not movie stars so for me as an audience I I gravitate towards movies
like that and so does Melissa you know Melissa and I that’s one of the things
that we kind of you know really connected to was was but we’re both fans
of kind of those kinds of films so I think you know I’m not sure that I’m the
best person to ask about that because there are people who say like now films
with no famous people don’t get made I don’t know you

9 thoughts on “Films With No Famous People Don’t Get Made by West Liang

  1. I definitely agree with that because based on my experience famous director belong to famous actor then if you're not one of them even you prove that films is worth to watch it will be just a trash, waste of time, money and effort.

  2. Re: Lion. Dev Patel and Rooney Mara are also famous actors, Nicole Kidman wasn't the only one. And to be honest Nicole was the least believable character. The first half of the movie with completely unknown actors was the best.

  3. Either he’s really bad at explaining what his movie is like or his movie is really boring. His “pitch” was vague as hell

Leave a Reply

Your email address will not be published. Required fields are marked *