Writer-producer-director Theodore Melfi has a different take than those who think independent filmmaking is becoming an endangered species; in fact, he tells me right now we are in “a golden …
and Matt Dillon. Both are for sale, and the bottom line is Melfi truly believes the audience will dictate whatever the perfect form of distribution is, whether it be theatrical, streaming, digital VOD or a combination of all three.As a director, Melfi has had experience on every level in finding great success with the kind of indie-centric, character-driven movies he has his name on, each taking its own path to finding an audience.
“We have kept this completely hidden. No one has seen it. No one has seen it in the entire country, no buyers have seen it…and no reviewers have seen it because we really, really wanted to have it be with 800 people. Like, it’s a comedy, you know? It benefits from the group,” Melfi told me just a couple of days before the premiere.
, but it is just weirdly fascinating enough to perhaps attract a real theatrical specialty distributor that could give it tender loving care. In odd ways it reminded me in tone of a John Cheever short story, particularlywhich was made into a movie in 1968, or even something a bit more abstract or Buñuelian. Hamm is terrific in it. Again Melfi is always looking on the bright side for these kinds of movies that need tender loving care once they get off the festival circuit.
So why was Tribeca Festival the right place to debut both movies? “First of all, it was a two-fold thing.is, to me, a classic New York indie, and Jon Hamm lives in New York, and Peter Dinklage lives in New York. So, they’re both New Yorkers. So, it just felt like the perfect place to launch both movies, and we’re lucky enough and thankful enough to have gotten into the festival with both movies, but it just felt like Tribeca was the perfect place for multiple reasons.
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