‘Descendants’ story connected with Payne

Eye on the Oscars: Best Picture - 'The Descendants'

PRODUCERS:
Jim Burke, Alexander Payne, Jim Taylor

ORIGINS:
“We received a manuscript of the book by an unpublished author from an agency in London, and read it and immediately responded to it,” Burke says. “It was like when you walk into an apartment and you know this is the place where you want to live.”

FUNDING:
“Fox Searchlight was ready to finance, provided the vision of the film was in line with theirs, so we figured out a way to do it. We think you shouldn’t be spending that much on movies. We’re conservationists, in all parts of our lives.”

HIGH HURDLES:
“The biggest challenge was to get Alexander (Payne) to direct it. It’s not that easy. It had been a while, and he’s extraordinarily particular, as he should be. I respect him for this: He needs to find a way to connect to the material personally, and that’s what makes him the director that he is. He’s not a careerist; he’s more of an auteur.”

DOMINO EFFECT:
“Alexander, then George (Clooney). Once he said yes, then the rest of the casting chugged right along. With the exception of Beau Bridges and Robert Forster, everybody else auditioned. The last person to be cast in a major role was the younger girl, Amara Miller. It was a little nerve-wracking; we were three weeks away from shooting, and we found her through a friend of a friend of a friend.”

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  1. Robyn plascencia says:

    My daughter and I were enjoying the cinematography of the descendants-oooing and awwwing over not just the beauty of each shot but the soul and emotion each shot conveyed in each scene-a very tightly woven undercurrent duet with the actors/story/tone. Beautiful ballet. Until the ash dumping scene-just curious why all the buildings behind Mr Clooney? Was this intended? Maybe represents back to business?/business as usual? Wouldn’t ask if every other shot hadn’t seemed meticulously set up for optimum range of story telling.

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