Цитата:
Сообщение от Виталий Нахшунов
Расмотрю любые интересные предложения по совместному производству фильмов. Вся съемочная техника (кроме освещения и слайдера) - моя собственность.
|
Рискованное это дело иностранцам соваться снимать кино Израиле. Вот как забавно Ллойд Кауфман пишет о своем опыте совместного производства.
"Anyhoo , in my efforts to forge ahead in my own producing career,
I moved to the opposite end of the spectrum. Not making slam
dunks in an X-rated feature? Why not try a children’s classic for the
whole family? A G-rated fi lm adventure! And if the English language
isn’t working for me, why not try shooting in Hebrew?! And thus
I set out to produce Ha Balash Ha’Amitz Shvartz (Big Gus, What’s
the Fuss?). Pioneers far ahead of our time, we arranged a $200K
co-production between the American and Israeli fi lm industries,
wherein each country was responsible for raising $100K.
Michael Herz 24 and his wife Maris also invested in this soon-to-be
abomination.
We were told that Israelis see every movie eight times, so we
were bound to become their next national phenomenon. There
would be two versions in two languages (which meant two negatives
of the fi lm). The movie would be shot in English and Hebrew
(“Genius!” I thought. “Brilliance personifi ed! ”) and have all the hot
Israeli stars of the day —heck, Menahem Golan 25 was producing!
He would raise half of the money with the Israelis and we would
raise the other half and together we’d have a mitzvah. 26
Yet had there been a tag line for Big Ol ’ Gus, it would have
included the words Sheer Fucking Twisted as Your Mother Lunacy .
Every bad decision I could possibly make, I made, in full and unabashed
earnestness. Andy Lack, my co-producer, kept telling me I was
crazy and to back out —he saw the writing on the wall, but I plunged
onward, determined and stubborn, even though my guts were puking
green goo.
Mr. Shabbat Shalom (Menahem Golan) dropped out for no
apparent logical reason. 27 Our half of the money was already safely
s towed 28 in an Israeli bank. The only fl y in the ointment was that
there was no money from Israel to match our cash. The Israelis
contributed “services ” such as fi lm developing and processing, valued
at about 50 times what they actually were worth. So we were
fucked, or schtupped , as they say in Gaza.
Andy and I flew across the Atlantic to check up on our baby.
As we arrived on the set, where all business was conducted in
Hebrew, there was a lot of passion and intense gesticulation among
the actors. Oh, I thought to myself, maybe Menahem dropping out
wasn’t such a bad thing after all —things seem to be moving along
quite nicely. They seem very dedicated to the material, very committed.
And then I got closer:
HOT ISRAELI ACTOR (MOISHE) : When is the goddamn fucking
lunch break?! We have been on this set all day and not done one
fucking thing. My ass is tired and these bitches better feed us soon. ”
And then, turning to me, Moishe said: “ I want more money, Mr. Producer! ”
HOT ISRAELI ACTRESS (TOVAH) : Shove your worthless piece of
driveling shit back up your ass and then when it comes back out again,
serve it on a plate to your mother.
And then, turning to me, Tovah said: “ I want more money, Mr. Producer! ”
This nonstop shrieking tower of Hebrew babble went on for what
seemed like 42 hours every day. Panicked, I checked up on our
money that was oh-so-safely stashed in that Israeli bank account
only to fi nd that the checks had been flowing forth to finance the nightmare unfolding in front of me. Apparently, Andy and
I were thought of as the “rich Americans. ” For the fi rst time on foreign
soil, I thought about blowing my fucking brains out .
BACK TO THE BIG FUSS
Big Gus, what’s the fuss?! First of all, they were dubbing the lines
into English. Even the version shot in the English language itself was
so unintelligible, it had to be dubbed from English into English
just like Trainspotting. Michael Herz, Andy Lack, Pat, and I dubbed
almost all of the voices. In fact, Michael Herz was so good at dubbing
that he could have turned it into a career far more lucrative than
continuously getting fucked in the ass by Troma for the past 35
years.
The whole mess fuss didn’t really do much for my friendship
with our associate producer/fundraiser Andy Lack, who was encouraging
me to follow my gut. But I denied it. What had I done? Against
my much better judgment, I COMPROMISED. I PRODUCED
SOMETHING I DIDN’T BELIEVE IN. And I paid the price.
Big Gus, What’s the Fuss? was released in Israel, but never in
the United States. Someone did most certainly make money on it
over there, but we never saw one fucking kosher cent. Our “partner,
” the lab, ignored us when we wrote to them. The Israeli distributor
ignored us when we wrote to them. I tried to transfer the
negative to New York City, but the Israelis kept it. I never saw or
had it in my possession again. If I had had it, Troma could
have potentially made money distributing this fi lm during the
video boom of the 1980s, as we contractually held all worldwide
rights (except for Israel). Video stores back then needed to
fi ll their shelves. You could sell anything that moves —even bowel
movements like Big Gus! But without the negative and the ability
to make release prints, we were powerless to license the fi lm to
distributors."
Снимаем Кино!
Линейный вид
