James Gray - Genius?

Genius. The word is over-used. And yet occasionally - it is right on the money. In 1994 James Gray made a film called Little Odessa. While attending USC Film School Gray looked up to the following luminaries: Kurosawa, Fellini, Kubrick and Francis Ford Coppola. After Little Odessa came out Gray received many congratulatory phone calls. Agents, producers, dealmakers. Out of those many calls one came from Akira Kurosawa. Another by Stanley Kubrick. Gray was 25 years old. Kurosawa's message went unreturned because Gray was too nervous to call him back.

I think there is only one other director to have released a film by 25. Steven Spielberg at 24. So what about this genius moniker we've all heard to death? "Genius" in wikpedia (the lazy man's reference guide) has some interesting concepts. One of them is the idea that some of the Master composers could hold five, six or even seven different melodies in their minds at once. They could write complicated music with many different parts all at once without having to hear it played. In comparison, the average person can only hold one melody in memory.

I was on my way home from work pondering that one. Go ahead and recall your favorite melody, then turn the radio on and try to hear just 2 melodies at once. Yeah, right. Another explanation of genius was the idea that a person could look at a pocketwatch and imagine every working part from the hands to the spring.

So with that high bar reminder let's use some caution before we call our favorite filmmaker, musician, artist, CEO, whatever... a 'genius'. With this proposal I've pretty much written myself into a corner on this post but let's see where it goes.

James Gray can do a number of things really well. He can play a highly proficient piano. He can discuss the depths of classical music with a classically trained composer. He can draw. (If I can find it I'll include a drawing he did for my daughter.) He can act. He can write. He's incredibly funny. When I met him on "The Yards" I had worked on so much previous drek that after viewing the images of his movie I felt refreshed. Like maybe there was still hope for a good film. (I don't believe good films have been made since 1975.)

When you watch a film and the images speak on an iconic level you know you're about to be a part of a serious job. Every director can manage a few of these images. Gray seems to hit every frame with them. I don't know how he does it but eventually people will study his work. Producing these images take a great deal of thought, planning and luck. Excluding the Director that includes a great DP, an excellent script and primo performances. It would be fun to know your favorite film images. (Let me know in your comments.)

I believe Gray's upcoming film We Own The Night will place him on the A-side of the known map. His script is tighter than his other films. (He might argue on that one.) The cast is also tightly wound. If all goes right you can say you read it here first. (Hey, that genius prognosticator - what's his name? Oh yeah, Portnoy! I read about Gray last year in Reel Hollywood.)

So how does Gray handle his cast? With vision and a strong hand. An actor who's a bit nuts had destroyed part of the set on one Gray's films. (Not mentioning which film) James let the actor go crazy and then made him pay for it. I mean, out of the actor's pocket. He told him, "Okay you're paying for this!" That got the actor's attention - like a parental correction.

When Miramax sent their notes on "The Yards" Gray took the notes from me and told me what he thought of them. By that I mean he ripped them out of my hand and burned them. As much as I appreciated that iconic effort it didn't sit so well with the big guy at Miramax. Not that he knew about the fire. But Gray's independent vision caused him more trouble than it was worth. I admire Gray tremendously for that fight. But, in the end, you can't go head to head with Harvey. You just can't.

The problem with studio notes: They don't go away. Many times they are conceived by inexperienced and insecure execs. Most of them don't seem to realize or care how those notes are perceived. (Which is problem one.) Many times words like 'whimsical', 'artsy', 'European' are used in the literal descriptions. The words ought to be. 'Needs more pace' or 'Needs a better transition' Instead they confuse (and anger) the filmmaker with abstract exec lingo. If you're a creative exec, please weigh in.

From the filmmaker's side - They have been working long hours trying every take, scrutinizing every frame of the film. They know what is there and what isn't there. Then there's the exec. They have one dominant money gene which determines the thrust of their notes. Unless that exec is an old schooler who knows how to make a film. (Not many left these days) Then the problem becomes - how does the exec get the filmmaker to trust him/her in regard to their notes. It's usually a nasty situation unless the director is Speilberg, Zemeckis and a few others including Woody Allen. Why? They don't do notes.

On a personal level - I tend to get sick of it all and want to leave Hollywood. (Please see my donation box in the lower right sidebar)

I know there are a few writers who read me. (imagine that) My online pal wc dixon may weigh in on this post. I hope it's not too technical or boring - or both. But maybe you get an idea of how much love and care can go into the making of a film. They don't call it a 'baby' for nothin.


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James Gray, Fellini, Kubrick, Kurosowa, Coppola, The Yards, Little Odessa, We Own The Night