On Finding Schindler’s List and Making Period Films

In the Guardian, Thomas Kineally tells the rambling, sentimental story of coming across the Oskar Schindler story in 1980, when he dropped into a Beverly Hills handbag shop. Literally.
And in a rambling rant that ranges from the importance of obtaining copyright clearance for period music to the size of Reagan’s bowel movements (Hey, I report, you decide.), John Patterson gives crucial advice to filmmakers trying to authentically recreate the past on a tight budget. So what’s he say? Beats me; it makes almost no sense.
My advice: Do whatever Todd Haynes did in Velvet Goldmine. (Yeah, you could copy Far From Heaven, and almost go bust. Ask Killer Films if $16 million is low budget.)

On Finding Schindler’s List and Making Period Films

In the Guardian, Thomas Kineally tells the rambling, sentimental story of coming across the Oskar Schindler story in 1980, when he dropped into a Beverly Hills handbag shop. Literally.
And in a rambling rant that ranges from the importance of obtaining copyright clearance for period music to the size of Reagan’s bowel movements (Hey, I report, you decide.), John Patterson gives crucial advice to filmmakers trying to authentically recreate the past on a tight budget. So what’s he say? Beats me; it makes almost no sense.
My advice: Do whatever Todd Haynes did in Velvet Goldmine. (Yeah, you could copy Far From Heaven, and almost go bust. Ask Killer Films if $16 million is low budget.)