OPUS Director Mark Anthony Green wrote culture on 350 pages (exclusive interview)

What made you specifically set up a movie or about the music industry? Was partly because of the rise of the culture of Stan nowadays or the iconic force that the rock stars of the past kept over their fans? It was some kind of combination of two? What inspired you to go in this direction?

It’s a little of these items that are really smart moments but basically I wanted to choose where it feel Good. So, part of my question with tribal, this is a thing that covers past entertainment is that it is so separate. I never met you, Bill. You never met me. Where are you from?

I was born in Massachusetts, moved to Michigan when I was 10.

So, let’s say in Michigan, and I am from the Midwest. We can sit next to each other in the cinema. I am probably older than you, so we are different ages from different places, and we both love horror movies, but we are just unfamiliar. We are unfamiliar in experience. And I wanted to do what we felt as if we had unfolded our heads together, and we looked at the same time, then perhaps we, because of this very cheerful, wild experience, we wouldn’t have been so agile to talk to each other, ask a question, and that you had a different answer than I was, and I was not just repulsed.

And it seemed to me to make the movie as interesting as possible – this is the most effective way to rely on this goal. And so I chose a pop -music that created the question of the need to create a pop music that is an expensive, very difficult endeavor, but Nile and Mara and John (Malkovich), and all, all engineers and crazy people on A24 who allow me to do so, songs are so good. And this experience, I think, is raised to a very funny place from this.

I consider “Opus” among a group of films about fictional pop stars or fictional bands where songs are legitimately the same good as it should be to sell that this is the main pop star in this fictional world. And you talked about it a little, but I was wondering what the process was from the point of view of these songs, because it is not just what they should sound good, they should be legal good, all this. But I also think, of course, about the scene of listening, and this scene works at several levels as soon as you know everything that happens. So were this consideration when they were writing songs?

Ah, it’s so hard. This is one of the most difficult things in making this movie. Because you don’t have money, so you have to convince people who earn millions and millions of dollars to make it without money. And Mara and Neil worked with Biones at the time, so I had to pick up time from Biones. Biones, when you read it, I’m sorry. And so that in itself, just make them say that they will try as it is almost impossible. And then you have to make them make these songs in your term. And they also have to accept the direction. You have to send the songs back that they love and look like this: “No, it needs to be done,” or “he has to fit into history,” because after all, history is a king, this is my boss.

And then, if you can do it all that is almost impossible, you have to make the actor go and how I shot it, make it before the movie, before the previous production, and enter and sing these songs. And they have to do it. And it was very important for me that the first thing John was doing, as a sea, was music. So, all these things, all these little children’s miracles, must happen to get you draw it. And they did. And we did. This is one of the most ambitious things about the movie, but I am just so grateful to everyone. And I listen to songs constantly, still.