pics would have little overlap with Eggers’ idiosyncratic approach to genre films. But one of the goals of Maiden Voyage, Chris and his daughter Eleanor’s production company, is to show that filmmakers contain multitudes. The journey to father-daughter Columbus producing their third film for Eggers — and fourteenth overall under the Maiden Voyage banner — hinges on several different factors.
The first is producorial philosophy, which Chris established during the course of making the film franchise-launching(2001). The filmmaker wasn’t completely satisfied with the Devil’s Snare sequence, so he requested some CG-related augmentations that an executive producer ultimately rebuffed. “One of the executives said to me, ‘Well, it doesn’t matter if that scene is not as good as the other scenes in the film. It’s fine,’” Columbus recalls to. “So I told myself that I’m never going to say that if I’m producing for someone else. This is probably going to be the death knell for Maiden Voyage as a company, but our philosophy is we never say no to the director. I’m not kidding. And that attitude of ours has been very successful in helping Rob realize his vision ,” Chris Columbus says. “There’s a lot of filmmakers in their fifties and sixties that, quite frankly, can’t get to where they were when they were 30 or 40 years old. Why is that? Quentin Tarantino would say, ‘Oh, you can only make movies between your thirties and forties,’ but I don’t necessarily believe that. I believe that it’s a loss of passion and a loss of listening to everyone else around you. I’m not saying that the film I just finished directing is the best film I’ve ever made, but by listening and learning from younger people, I have faith that it will keep me working for quite some time.”(2015). He’d hit a snag, and so he sought outside guidance to get the Anya Taylor-Joy-led film over the hum
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