Blame Jon Avnet for me ditching my Wayfarer sunglasses. In 1983, when Avnet’s film ‘Risky Business’ hit theaters, the wave it caused was so overpowering that every other shout from passing Chrysler LeBarons was “Hey, Risky Business!” So, I gave up on those shades. Avnet had set a trend.
Over the years, Avnet has gifted audiences with iconic films like 1987’s ‘Less Than Zero’, 1991’s ‘Fried Green Tomatoes’, the ‘The Mighty Ducks’ series in the 1990s, and recently, ’88 Minutes’. At present, he’s wrapping up post-production on a cinephile’s dream project, ‘Righteous Kill’, set to release in September. This film sees legends Robert De Niro and Al Pacino portraying veteran NYPD detectives who’ve weathered storms and perhaps stayed in the game a tad too long. Steering De Niro and Pacino in this cinematic journey demands grit and intelligence. But, much like the characters in ‘Righteous Kill’, Avnet has journeyed through the cinematic world and still packs a punch.
Brian O’Hare (MM): What led you from ‘Fried Green Tomatoes’ to ‘Righteous Kill’?
Jon Avnet (JA): The clear link isn’t the storyline or theme. I’ve always held actresses like Jessica Tandy and Kathy Bates in high regard. Transitioning from them to De Niro and Pacino, the connection is clear: I have a soft spot for exceptional actors.
MM: That’s a good thing.
JA: Absolutely. If you’re passionate about filmmaking, it’s a privilege to collaborate with actors of this caliber. I value their insights and intuition more than mine. Sometimes my ideas might overshadow an excellent concept. A director’s role is to decide what works best. Strive to get the most from your actors. If their performance isn’t elevating the scene, step in and direct. Depending on the actor, scene, film, and the prep work, my involvement varies. One thing’s clear: I’m directing, they’re performing. Overlooking this dynamic is an error.
MM: Directing legends like De Niro or Pacino, does that demand a unique strategy?
JA: The challenge for a director is introspection, to truly grasp one’s own thoughts. Surprisingly, this isn’t straightforward. As the French say, arriving at “le mot juste” or the perfect decision is tough. The daunting aspect about stellar actors is that their performance boundaries are set by a director’s vision. If I can’t visualize, express, or demand something, they might not deliver it.
MM: Wearing the dual hats of producer and director, how does one role impact the other?
JA: It’s a two-edged sword. Initially, I aspired to be a director, but with concerns about securing jobs, I took the producer path to understand the intricacies of film production and ensure my stability. The gamble paid off.
I boldly acquired Fannie Flagg’s ‘Fried Green Tomatoes at the Whistlestop Cafe’. Pitching it to studios, I faced reluctance. I got the hesitation; it was a niche film, not evidently a commercial blockbuster. Yet, this knack to drive projects is invaluable.
The dilemma for a director lies in striking a balance between compromise for practical reasons and uncompromised vision. The challenge begins with endorsing a potentially flawed premise. There’s unpredictability about when this compromise might backfire. Hence, directors are perceived as somewhat eccentric. From a producer’s perspective, you desire a director with passion and zeal, yet one who understands discipline. If he isn’t wholly invested, what will he produce?
I’m often torn between yielding to constraints while simultaneously pushing boundaries. At times, I wish I could sack the producer or, conversely, the director wants to fire the producer in me. It feels like being in a perpetual debate with oneself, an experience that can be isolating. Leading this dual life is akin to walking a tightrope.