OSCARS: Brian Grazer & Robert Lorenz Open Files On Clint Eastwoods J. Edgar

This is the second production collaboration between Imagine Entertainment co-chairman BrianGrazer and Clint Eastwood’s Malpaso Productions partner Robert Lorenz. (The first was 2008s The Changeling). J. Edgar was surrounded byintrigue and intensity from the startof the film, which was turned down by Universal because the studio didn’t want to make another period film.A Malibu meeting between Grazer and Eastwood paved the way for Warner Bros to release this montha fascinating look at one of the most complicated figures in history, his abuse of power, and the demons that haunted him. Central to the movie is the incredible pedigree ofclint as a director Eastwood, and the powerful performances by Leonardo Di Caprio,Armie Hammer, Naomi Watts, and Judi Dench. Before J. Edgar hit theaters, AwardsLine contributor Ari Karpel spokewith Grazer and Lorenz to discuss biopics in the age of dirty Oscarcampaigns, Clint Eastwoods difficult-to-categorize politics, and the challenge ofmaking serious films in an often frivolous age: AWARDSLINE: Tostart, tell me about how this project came to be, from the beginning. Grazer: I thought it would be interesting tomake a movie about Hoover because hes such a complex character.He also, for the most part, originated theFBI.He certainly sustained it. So, I pitched it to Universal and they likedit.I met with writer Dustin LanceBlack and then pitched it to him.Hesaid hed been thinking about something similar.He likes power structures the same way I likepower structures. So while wewere developing it, Id seen Leonardo a couple times just casually. He was aware that we were developing Hooverwith Lance Black.He seemed excited bythe idea of either reading it or maybe even doing it.Script comes in and Universal chose not to doit.I suggested we give it to Rob forClint and for Rob himself.Wed alreadyhad a great work experience together on TheChangeling with Angelina Jolie.He readit, liked it and quickly talked to his partner over there, Clint Eastwood. They said were in. Then that got Leo tosay Ill do it. AWARDSLINE: The subject matter didn’t give anyone pause? Lorenz: Whatever work Brian and Lance had doneprior was working because the script came in and we both felt it was reallysmart and intriguing.Hoover, whomeveryones familiar with as the director of the FBI, is also this characterthats surrounded in mystery because hes hiding secrets and he has thispersonal life that everyone has questions about.It just seemed like a great subject for amovie. Grazer: I think that a lot of the subjects withinthe movie are relevant today and are even more relevant today in some ways.When Lancestarted writing it prior to Clint and Robs involvement, he did a lot of researchon it went to the FBI and then as Rob and Clint became involved, we justcontinued to research.Thats where alot of the story gets filled in because these guys are great.Clint and Rob are just great researchers. I think we made a point tohave it be as accurate as it possibly can be and settle in the aspects thatwouldnt overtake the central story. AWARDSLINE: Obviously,Lance who won an Oscar for his Milk screenplay, is a naturally political person and very progressive in his politics. Similarly, Clint is also a naturallypolitical person, though more conservative.Was that a kind of delicate dance in some way with this project? Lorenz: Well, I dont think so.People try to label him a conservative.But Im always impressed by how progressive afigure he is.I think if you look at thesubject matter in his choice of films over the last several years you canreally see that.I mean choosing to do Flags of Our Fathers and really sort ofglamorizing the Americans and that war and then countering that with theJapanese perspective was something that for a lot of veterans tensed them up tothink that Clint was going to try and tell their side of the story.They resent any need to do that. Grazer: I think hes singularly been sosuccessful at doing these great American tragedies.I dont know if either Rob or I have seenanyone else succeeding on his level; doing films that are so hard.He picks these really difficult and complexsubjects and finds ways to create cohesive movies that make sense. AWARDsLINE: Ofcourse were in such a polarized political culture, even in the Oscar races.Brian, from your experience withA Beautiful Mind — which wasprobably the most attacked movie in terms of the opposition — how does thatshape how you go into making a movie like this that is a likely Oscar contender? Grazer: Well, first of all, Rob and I canonly hope that its thought of with that kind of potential.Thatd be great.As far as ABeautiful Mind, I think controversy comes when you get pulled into therace.It wasnt really as controversialwhen we made A Beautiful Mind as itwas when people started competing with each other.On this movie, Clint has tackled such toughsubjects, so I thought he would be perfect for this not only as an artist butsomeone who always struggles and struggles and finds the truth insubjects.I think people, his criticsand people who work within the business; they all sort of feel that if anyonesgoing to try a tough subject and do it with honesty its going to be Clint. AWARDSLINE: Yousaid Universal didnt want to do this initially. Why was that? Grazer: Once Clint said hewas interested in doing it, Universal might have come to the same conclusion tomake it.But I think they werent goingto come to that conclusion that quickly; whereas, Clint read it and Rob read itand they had an enormous amount of passion and urgency. Clints pretty busy all the time, so Rob andClint and I, to some degree, took it to Warner Bros; they were ready to makeit right away. AWARDSLINE: Whatdid Universal struggle with?Was it thetopic, the budget or what? GRAZER: I dont know.I think its hard to get dramas made rightnow, right, Rob? LORENZ: Yeah.Thats the same thing Warner struggled with.There are restrictions on it in terms of thebudget size.It was a risky proposition that a historical drama was going to make back a big amount of money unless itturned out just right, which I think it has. GRAZER: A movie like this, everybody takes alot less money and a lot less of everything. You have to make it at a verysmart price. [Editors note: They claim J. Edgars production cost came in just under $40 million].In some ways, youre thinking I hope peoplesee it and like it or love it the way we love it. Youre not thinking of it the same way youthink of an event movie.You just cantframe it that way. AWARDSLINE: Now,certainly Clint’s obviously had incredible box office and Oscar success with MillionDollar Baby and Unforgiven.Itseems like his last few movies havent received the attention of the Academy thathis previous ones have.Im curious fromboth of you why you think that is. GRAZER: I think a lot of it is the subject andthe theme.I think this one has those andits also a tour de force.So, I thinkwe might have a chance. LORENZ: Weve been out there every year with aproject.I think enthusiasm goes backand forth.I think the timing is rightto open this particular project.