starting

Everything is going very quickly. I can’t believe that I already have my producers. My Dad is an executive producer, and thanks to him Fred Ross a good friend of his agreed to be part of the film as well, he is an executive producer as well. He has worked alongside of my Dad in The Godfather and in Apocalypse Now.
I contacted Ross Kats that has worked as a producer in my last film Lost in Translation. He has also worked in great films like Ang Lee’s Sense and Sensibility and Tarantino’s Reservoir Dogs. Really talented people are working with me, and I’m very lucky.

With the help of my Dad I managed to get in contact with Milena Canonero, a great costume designer that has gone two academy awards for Barry Lyndon ( Directed by Stanley Kubrick) and Chariots of Fire ) Directed by Hugh Hudson. She had done amazing work with many movies, including one of my favorite films: Out of Africa.
When discussing with her the film, I mentioned that I didn’t want anything that was really classic; I imagined something that wasn’t expected for a historical piece. She mentioned that it was going to be challenging, but it would be very interesting to do. And right there she started doing sketches and discussing color and ideas.
For music I had a very clear what I wanted. I hate the idea of only having classical music. The music should reflect what was in Marie Antoinette’s head. I really want the music to be expressive, and the audience notices that is not the traditional historical and Biographical film. My good friend Brian Reitzell also agreed to work with me. We have a similar pattern of thinking when it comes to mixing images with sound. We worked together for Virgin suicides and for Lost in translation. He always manages to read my mind, and he shows me the music that matches perfectly with what I’m thinking.