OPUS Mark Anthony Green Director wrote a 350 -page worship (exclusive interview)

What made you want to set the movie in the music industry or specifically? Was that partially due to the emergence of Stan’s culture today or the power -like power that rock stars used in the past to stick to their fans? Was it a mixture of the two? What inspired you to go to this direction?

It is a few of these two points, and they are really smart points, but mostly I wanted to choose something where hair good. Part of my problem with tribalism, something that extends to more entertainment, is that it is exciting. I never met you, Bill. You never met me. Where are you from?

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

So let’s say Michigan, and I am from the Middle West. We may sit next to each other in the movie theater. I will likely be greater than you, so we are different from different places, and we love horror movies, but outside, we are just strangers. We are strangers in the experience. And I wanted to make something that I felt if we assemble our heads together and look away at the same time, then perhaps, through the experience of a very fun ride, we will not be very excited to have a conversation with each other, and we ask a question, and to have a different answer from me, and will not be frustrated by you, because we went through this experience.

I felt that making the movie as fun as possible is the most effective way to achieve this goal. For this reason, I chose pop music, which created the issue of having to create pop music, which is an expensive and very difficult effort, but the Nile, Dream, John (Malkovich) and everyone, and all engineers and crazy people in A24 that allow me to do this, and songs are very good. And this experience, I think, is high to a very enjoyable place because of it.

I consider “OPUS” among a group of films about fictional pop stars or fictional groups where the songs are legally good and you should sell that this is the main pop star in this imaginary world. I already talked about it, but I was wondering what the process is in terms of getting these songs properly, because it is not only that it should look good, but it should be good legally good, all of that. But I am also thinking, of course, about the scene of the listening party, and this scene works on several levels as soon as you know everything that is happening. Was there this consideration when they were going to write songs as well?

Ah, it’s very difficult. It is one of the most difficult things in making this movie. Since you do not have money, so you have to persuade people who earn millions and millions of dollars to do this for any money. Dream and Nile worked with Beyonce at the time, so she had to spend time from Beyonce. Beyonce, if you are reading this, I am very sorry. And so in itself, only to make them say that they will try, such as an almost impossible curse. Then you have to make them make these songs on the deadline. Also, they should take the direction. You have to send the songs they love and be like, “No, she needs to do this”, or “you must fit with the story”, because at the end of the day, the story is a king, this is my manager.

After that, if you can do all of this, which is close to the impossible, you should get the actor to enter and the way you were released, to do this before the movie, before pre -production, and go to these songs. They must do so. It was really important for me that John’s first thing as Moreti was doing was music. So all these things, all these small miracles, must occur in order to withdraw this. And they did. And we did. It is one of the most ambitious things in the movie, but I am very grateful to everyone. I am constantly listening to songs, still.