People have been trying to tell this story for a while. And to make a movie about racing is to make an expensive movie.If you're making a movie that's a period film about period cars and racing around period tracks, it's not going to be cheap. So instantly you have the burden of how expensive is this movie? And is there an audience to justify it? I was tracking this from before I even did the first Wolverine movie. It was actually before Tom Cruise and Brad Pitt were involved.
Yes. And what all these have in common is they are dramatic pictures. Part of what I bring to the movies I make, and it's also a lesson I've learned from people as diverse as Hitchcock or John Ford, is you don't need a lot of action, you just need the right action. Movies have tended recently, particularly summer movies or tentpole movies, to lean into the action as the only entrée. You are here for sensory overload.
It was our desire to make something that felt like you were there and as un-CG as possible. The first goal was to lean into real cars. Out of the thousands of shots in the movie, there are maybe two where there is a digital car dropped in. And obviously we put in the crowds with digital effects. We couldn't afford 20,000 people for audience shots. That's what more of our effects budget was: set extensions and crowd filling.
When you make a movie like this as an executive there is tremendous upside but huge downside. When you make an original film and it doesn't work and someone says"Why did you make it?" you can only say,"Because I believed in the filmmaker." That's thin ice. So a lot of credit has to be given to Emma Watts at Fox.But the current landscape of the studio system, today, is it still attractive to you for the kind of stories you want to tell?I think so.
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