JEREMY THOMAS MASTERCLASS
The magic of filmmaking, his early relationship with the cinema, the secrets of film production and the lack of original scripts in our time were among the main issues raised by Academy award-winning producer and director Jeremy Thomas during his masterclass on Friday, November 20 at John Cassavetes Theatre in the framework of TIFF.
Jeremy Thomas was welcomed by TIFF president Georges Corraface and TIFF director Despoina Mouzaki. Referring to the distinguished producer and director, Ms Mouzaki said: “In the history of cinema there are producers who distinguish themselves with blockbuster movies and Oscar awards and producers who make real art. Jeremy Thomas has succeeded in combing the two, transforming himself into a real pillar of the international art cinema. In out present age, in which the survival of truly independent producers is hard - to say the least - experience, knowledge and instinct are valuable counsels and guides for all of us, allowing us to keep on hoping that a bright future for the cinema that can really make a difference lies ahead”.
Thomas, who has won an Academy Award for Best Picture with Bernando Beroclucci’s The Last Emperor, opened the masterclass saying that, his aspiration was to become a director, not a producer. He fulfilled his dream at the age of 50, when he decided to direct All the little animals. “Ever since I was a child I wanted to become a director like my father. There was always this zest inside me. My desire was burning in my mind. When All the little animals came my way, my passion to direct it was so intense, there was no way I would let anyone else do it”. His powerful drive was not influenced by the bad reviews he got for this film. “The reviews were a punishment. They said I was a mediocre director and called me vain. They even suggested that I never pick up direction again. Perhaps my film was not a success, however I do not pass judgement on films using commercial criteria. This is why I will dare it again”.
Commenting on the “cliche”, as he called it, that producers are the bad guys in the production of a movie, he underlined that he tries “to present his ideas mildly, avoiding conflicts with directors”.
Although he calls himself “lazy”, he has worked hard from an early age. At 17 he dropped school for the cinema, stimulated by his father who worked as a director. At first, he worked as a cutter, but at age of 27 he took his first step in film production. He did it in Australia, because he wanted to distance himself from the production system of big studios. He remained faithful to this principle, even after he became successful as a producer. “It took me ten years to start making money. In the beginning, I slept on floors. Things changed with Merry Christmas Mr Lawrence, when I finally understood how the system works and managed to make a profit and reinvest it in my new projects”. He intentionally remained an independent producer even after the huge success of The Last Emperor, when he was offered the management of big Hollywood studios. “I refused their offers, because I wanted to remain faithful to my ideals as a young man. Besides, working for an American studio means you are obliged to get orders, and I am not good at receiving orders. I have my own views and I cannot allow others to tell me what to do”.
This is the reason he chose to be a loner, often travelling around the globe, seeking interesting stories and locations. “It all depends on the mood. In every country you can find a story. My aim is to combine locations and make a screen like a book with subtitles. Besides, the world is running out of original ideas. 90% of the box office since 2000 is not original movies, but sequels and adaptations. It is as if the world is defying original ideas”.
Commenting on his collaboration with great directors like Nicolas Roeg and Bernardo Bertolucci, he said that it is a pleasure to work with people who have something to teach him. “Chance is an important factor. I had the nerve to ask to work with Kubrick. After I was rejected, I worked with Skolimowski. If you can remain afloat in the river of life, then you can let yourself go with the flow”.
Thomas made special reference to Bertolucci, whom he characterised a maestro of filmmaking. “When we were shooting the movies, it was as if we were involved in a daily war - we shared many hardships. I admire him for his work and for the fact that he has managed to change his life. He no longer tells epic stories, and concentrates on everyday issues instead. He is a true artist”.
Asked about new technologies and their influence on the motion picture industry, he said: “The Internet has had one damaging effect. It gives the impression that things can be had for free. But neither movies, nor music can be offered for free, because filmmakers spend millions to do all this work. People are gradually realising this, changing their mentality, and this is reflected in the riding revenues of the two industries”.
As far as the financial crisis is concerned, he stressed there are always difficulties in film production, however “optimism is the key word to make creative things”. Thomas is now examining with his associates 10 film projects and this process is naturally time-consuming. It goes without saying, that he is not abandoning his desire to direct a second film.
