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Karla Sofia Gascon Skipping Critics Choice, PGAs & Other L.A. Gascon faces the same prospect.
It was sold as an indie everywhere else in the world.
Because Audiard is French, the financials were much more favorable if he shot in his home country.
(L-R) Director Jacques Audiard and Zoe Saldaña on the set of ‘Emilia Pérez’Netflix
That was half the films $24 million budget, sources said.
The optics of Gascons social media missives have greatly changed the conversation and optics on the film.
What do you make of the way this whole thing has turned around?
Jacques Audiard on the set of ‘Emilia Pérez’Shanna Besson/Netflix
JACQUES AUDIARD:You specifically are talking about Karla Sofia and all that stuff?
Very unfortunately, it is taking up all the space, and that makes me very sad.
Its very hard for me to think back to the work I did with Karla Sofia.
Its as if you fall into a hole.
Because what Karla Sofia said is inexcusable.
DEADLINE:Have you spoken to her?
AUDIARD:I havent spoken to her, and I dont want to.
Why is she harming herself?
Im thinking of myself, Im thinking of Zoe [Saldana] and Selena [Gomez].
I just dont understand why shes continuing to harm us.
AUDIARD:Absolutely not.
Shes really playing the victim.
Shes talking about herself as a victim, which is surprising.
Its as if she thought that words dont hurt.
AUDIARD:Well, Im certainly going to participate, but for the moment theres something sad about it.
Im not alone in this business.
I want to and Im going to champion and defend her.
I would never let her go.
Theres my extraordinary crew that worked on this film, with faith and enthusiasm.
Theres no way Im letting go of these people.
Care to clarify what you meant?
Ive made a film in Tamil, I made a Western, in English.
I wanted to make an international film.
Theres English and theres Spanish, and Spanish is such a rich language that crosses borders.
Whats been said about my statement is actually exactly the opposite of what I think.
DEADLINE:That is part of the criticism coming from Mexico.
Some have objected to the depiction of the cartels and their victims.
What are these critics missing in your intent in making this musical?
The representation of the cartels in the film is thematic.
Its not something that Im particularly focused on in the film.
Theres one scene that deals with it.
That demands a strong stylization.
Well, that tends to be how opera is to have schematic elements.
The psychology can be limited.
Opera has psychological limitations.
It seems Im being attacked in the court of realism.
Well, Ive never claimed that I wanted to make a realistic work.
For example, I read a review where it said that night markets in Mexico City dont have photocopiers.
Well, in night markets in Mexico City, one also doesnt sing and dance.
You have to accept that is part of the magic here.
This is an opera, not a criticism of anything about Mexico.
AUDIARD:The reactions have changed.
The reactions now are not the reactions that we were having earlier.
DEADLINE:Can you be specific about how the reactions changed?
DEADLINE:Your reputation as a filmmaker and an artist is impeccable.
AUDIARD:Theres several ways you’ve got the option to see this.
But theres another way of looking at it, which is maybe more of the cinephile way.
And that is, if a film sparks a debate, well, that gives me confidence in cinema.
Its not able to, because the answers are going to change every week.
Its function is to ask questions.
Are you active on social media?
Im 72 years old, Im not on any social media.
And I think I may give up on my cell phone.
AUDIARD:Lets just talk about the financial stuff.
DEADLINE:Anything else you wish to address?
AUDIARD:I think weve had quite a comprehensive conversation.
DEADLINE:It seemed the fairest way to do it.
AUDIARD:I appreciate that and being able to explain myself.
