A new print interview with Robert and producers Paris Latsis-Kassidokostas and Terry Dougas from the Athens press junket for “Good Time”. Rob discusses with Athinorama.gr how he selects his projects and how be became involved in “Good Time”.
How did your cooperation with brothers Saphdi?
RP: I searched frantically on the internet for new directors with whom I could possibly work until I got the trailer of the last film that Josh and Benny Soffy had released at the time (Heaven knows What, 2014) and I was excited. I wanted to be part of their electrified, crazy, universe. The good feeling I had for them was confirmed when I met them.
So is it true that you first approached them?
RP: In fact, when we met, I was told “looked, we got a movie idea, you got the first script in about 4 weeks.” I was a little surprised and answered “ok, we say!” But after a while they sent me the draft “Good Time” and it was amazing.
Your interpretation of “Good Time” reminded me of “The Rover” as to how you completely embraced the roles. What criteria do you choose for each job? Is it a director or hypocritical challenge?
RP: First I’m concerned with the director, but surely the role has to intrigue me equally. I remember when I first read the Rover scenario it seemed terribly original to me, as was the way the character I was finally talking about, Ray. I was so excited that I immediately wanted to start playing. I think it’s fun when you do not know everything about some characters, as you discover them while you interpret them. So it was with “Good Time”, because it is a dark but funny movie, there was no single emotion that I found tempting and crazy. It’s a movie that you do not know where it will go, but it’s really fun to risk with something that satisfies you so much.
The character that you convey, Koni Nikas, who lives a feverish twenty-four hour without always taking the initiatives he takes, gets a constant risk …
RP: You know it’s interesting that most people think the film is making the wrong decisions, in fact they are the right ones and probably the smartest. Given that the options available all lead to a dead end, he devises his own solutions. When I talked about Connie to Josh Saphdi, I realized he behaved like a stupid little joke while he was a mind. He sketches off on-site outlets, improves himself under stifling pressure, and eventually it is somehow natural that he constantly lied to escape. For example, the taxi scene with Jennifer Jason Li is so lousy and easy to say, I told Josh “how do you write something like that?” On the other hand, Connie feels he is not guilty of anything at the moment he causes everything in the film, and then tries in his own awkward way to justify his actions.
The Greek surname of how it came about?
RP: Josh Saphdy and the co-scriptwriter of the movie Ronnie Brond chose it before they even wrote the script, they had always been in their minds. They were inspired by their encounter with the actor Banti Durres (who plays the role of Ray) who grew up in Queens where there is a strong Greek presence.
Given your blockbuster past, do you prefer to work on independent productions?
RP: Without having anything against the blockbuster, I confess that yes. Industry has changed very much. Today the blockbuster is almost exclusively superhero and if you want to play in such a movie you have to sign a contract with a horizon of up to ten movies. On the other hand, in an independent production with a small budget you have artistic freedom and you earn the money that will allow you to make the next film.
You have commented that “Good Time” filming resembled those of a film by John Cassavetes.
RP: Yes, it was a unique experience. When someone visits New York, he automatically thinks of the films of Martin Scorsese and Cassavetes, where the city was starring. It is impossible to avoid this. Personally sometimes I feel like playing in the “Taxi Driver” .
Your next film, of course, is directed by Clever Denny and it’s all set out differently.
RP: Inevitably, as it is science fiction. It is played in a spaceship over the course of sixteen years. She has an abstracting and unusually sexy style. I think it will be very dark, but I can not say it with confidence because of the way Clever Denny works. I needed time to realize how she sets the narrative story. He is a creator with whom I always wanted to collaborate, he has made too many films and none is bad. I hope this is not the first!
Behind the film is the Hercules Film Fund, which, along with “Good Time”, marks another success with “American Made” . Both of them balance between mainstream and arthouse audiences. What is the rationale behind choosing the producers you take?
Paris Kasidokostas – Latsis: To put it simply, our basic criterion is to try to create something that artistically has the potential to become great and at the same time accessible to a wide audience. I admit that it is not always easy to find the projects that meet our requirements, but in the case of the Saphdi brothers, they helped their previous films a lot. When we saw them we immediately felt the energy and authenticity we were looking for while their directorial talent was puzzling and promising. The participation of a pro-class actor such as Robert (PATTINSON) in the film has confirmed our sense of having something very good in our hands that will differentiate us from the rest. Our main goal at Hercules Film Fund is to make great films that are both original. Authenticity has disappeared, and when the public has access to such material, it must see something new. We want to offer an experience in the world to return to the cinema.
Terry Dougas: The truth is, you can never know how a movie will come out and how it will go to the halls. This is something that only the “gods” of the cinema know … What is in our hands is to make the best possible foundations. You get directors with a unique vision, a talented actress with displacement, and that’s how you start to set up production. “American Made” was more pop, “Good Time” more cinematic, we what we are trying to do is with any kind of thing we are hoping to celebrate.
