Not while we were making it, really. There was a little pushback at times prior to getting it officially greenlit, some concerns about some of the gun violence, understandably. But once we got locked and loaded in the budget and up and running, everything was great.
The trouble didn't start brewing until we screened it for the first time and just wanted to be very, very aware and careful given the subject material. It's been interesting. I'm just glad that we opened and it's all quiet on the Western front.A weight has been lifted. Sometimes you don't know, right? And then sometimes you do, and you have to literally just strap on your flak jacket and lean into it.], and I am sure we are going to have numerous lawsuits.
Several of your films were made with Netflix, which is still not giving films a traditional theatrical window. Did any of you pause before signing on with them?The Irishman ] made. That was the only studio ready to step up and give us what we needed. What's great about Marty is he is so open to new ideas and technology. Obviously, you know his first choice is always a wide theatrical release. When we entered the conversation, [Netflix's Scott] Stuber had been trying desperately to get theatrical, negotiating all of that. We were promised that we would have something.]. We had multiple bidders, then we did have a conversation.
I remember so vividly, 25 years ago, working with Tom Hanks, and he wrote in my script, "Promise me you will never do television." Isn't that unbelievable? And look at him now. He can't stop making television. I feel like a lot of these places are shaking us and waking us up to how we need to bring back a little bit more bravery. We need to push the envelope. We need to do scary things because when you make television, those [risks] are the things that are really encouraged.
SundanceTV It’s about time... Time to ask why two popes All of a sudden in the churchtoo world.
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