Why Mark Anthony Green Swept His Own Movie Set for ‘Opus’

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As a gamer stepping onto the virtual battlefield of filmmaking for the first time, I made sure to leave no stone unturned while directing my debut feature film, Opus.

Born and raised in Kansas City, affectionately known as “MAG”, took an unconventional path to filmmaking. He initially built a career as a journalist and editor for GQ, where he had the opportunity to interview stars like LeBron James, Donald Glover, and Daniel Kaluuya. After 13 years at the men’s magazine, Green recognized that his long-standing desire to be a filmmaker couldn’t be ignored any longer. He poured all his energy into creating a short film titled Trapeze, U.S.A. (2017). After a few years, he began writing a thriller called Opus, which will debut in theaters on Mar. 14 through A24.

Green was overjoyed to be living out his dream, so he worked tirelessly to create a fair and inclusive atmosphere on his Santa Fe-based production set. This wasn’t just for the main actors like Ayo Edebiri, John Malkovich, and Juliette Lewis, but also extended to the crew members and background artists. In fact, an extra from “Opus” recently noted that Green even pitched in to clean up the set himself when filming.

In making a small film, a director or leader like Green might say, ‘I’m part of this team. I’ll pitch in and help clean up,'” Green says to The Hollywood Reporter. “Sometimes, I’d even pick up broken glass [from a window], so someone else could have a brief rest. I’d sweep a thousand sets if it meant getting back on set quicker.

The movie Opus narrates a story about a secluded pop star named Alfred Moretti (Malkovich), who is hosting an exclusive album-listening event. This event invites prominent figures, one of whom is Ariel Ecton, played by Edebiri’s character, a journalist. Moretti embodies various musicians like Prince, David Bowie, and Elton John. During breaks from their work with Beyoncé, Grammy winners Nile Rodgers and The-Dream contributed to the movie’s mystique by composing several songs attributed to Moretti.

Gradually, Ariel unveils the secretive society of Moretti’s Levelists, an organization with cult-like characteristics, nestled within his secluded complex in Utah. This community performs various roles and functions.

Green clarifies that while some might assume he’s referring to a specific incident during an interview for GQ that sparked the creation of ‘Opus’, this film is actually a delightful yet cautionary exploration of tribalism. He explains that pop music served as an appealing entry point for delving into this universal issue of tribalism, which permeates various aspects of society and isn’t confined to just art or entertainment. It’s challenging to identify an area where tribalism doesn’t have a presence.

In their latest chat with THR, MAG shares his take on an interpretation of Opus that’s left him troubled. He also elucidates the reason behind his gratitude towards Spike Lee, which he expressed in the film’s closing credits.

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For more than ten years, you worked as a journalist for GQ magazine. At some stage, you chose to pen a screenplay instead. What were the key aspects that led to this decision?

For a long time, I’ve harbored a dream of creating films. Around eight years back, I produced a short film titled “Trapeze, U.S.A.“. After that, six years ago, I embarked on the project of “Opus“. Those close to me were well aware that this was my ultimate goal and where my passion lay. However, it has been amusing and surprising for my friends and colleagues who never knew about it, as they find it quite unexpected when they see my work in filmmaking.

When Juliette Lewis’ character inquires about Murray Bartlett’s character’s experience with print media, it resonates with me as someone who shares a similar perspective. Is this scene a reflection of your personal feelings towards the current state of print media?

I’m utterly enamored with magazines. In the past, my professional role involved me contributing to this beloved medium, but since then, I’ve been less attuned to the business side of print media. Nevertheless, I firmly believe that magazines have a long-standing future. This conviction is one of the reasons why I penned the comment I did, reflecting the ongoing rivalry among different media sectors. Over the years, I’ve engaged in friendly banter with colleagues in broadcasting or newspapers about our respective fields, given my background in magazines. It was all done in a playful manner, but I’ve retained my passion for collecting magazines to this day. The number of subscriptions I have is unknown to me, but I always keep them, not discarding any.

At first glance, there’s a magazine cover featuring LeBron James, which seems to be placed close to the elevator. Could this be a tribute to the cover story you published together in 2017?

Absolutely, you’ve made an excellent choice there. It reminds me of my admiration for LeBron James as well. Whenever I get the chance to incorporate him, I always try to find a way. Pari Dukovic took that 2017 cover image, and I’m a big fan of his work. For our movie, we required a magazine cover, so I reached out to him. After getting everyone’s approval, we were given permission to use an alternative photo from the original shoot.

Overall, how much of you is smuggled into Ayo Edebiri’s journalist character, Ariel?

At first glance, it seemed like there wasn’t much of me reflected in the film. However, as friends who truly know me watched it, they began to point out numerous subtleties. Art often contains pieces of its creator unintentionally. In this movie, I tackled journalism like the basketball in ‘White Men Can’t Jump’. Sure, the basketball scenes are accurate, but the film isn’t about basketball. It delves into obsession and understanding the point where you must relinquish dreams and ambition. So, I used my personal experiences to make Ariel’s reporting authentic, and her thoughts on making a name for oneself mirrored my own youthful aspirations. “If you interview celebrities, people will care about your opinions.” I injected some of the green inexperience I had when I first joined GQ, by poking fun at myself.

To begin with, numerous budding writer-directors often find themselves selling their scripts to other directors. In your case, how many people did you need to persuade or influence significantly to obtain the director’s position?

It’s quite a struggle, but this time feels different. Previously, other screenplays of mine have been optioned by various studios, even one at Sony for a while. What makes A24, Neon, and newer production companies special is their commitment to discovering fresh voices they truly believe in. It’s exciting that some of the battle is lessening as forward-thinking studios like A24 are willing to take risks on first-time filmmakers. As cinema enthusiasts, I think we all should root for such developments.

As a gamer, I can’t help but wonder if the plot twist about the return of the iconic character Alfred Moretti, who vanished 30 years ago, and his Utah compound album listening party was drawn from real-life events akin to Kanye West’s Wyoming retreat. Could it be?

The film wasn’t influenced by Kanye, but events since its completion have strikingly mirrored the significance of both the message and the movie itself. The initial script was penned prior to his Wyoming phase, yet numerous other celebrities have drawn media attention. Kanye’s case might be the most prominent example in recent times. However, with all that’s unfolding currently, it feels like a tragic, regrettable tale.

Many have urged me to declare, “During an interview with someone, this event occurred, sparking the idea for this movie.” However, Opus is essentially a delightful yet thought-provoking exploration of tribalism. Although tribalism may not seem particularly amusing, I opted to utilize pop music because of its undeniable charm and contagious nature. Furthermore, I structured the film in a manner reminiscent of a pop album, taking into account its tempo and progression. Pop music provided an engaging entry point for this investigation into tribalism, a widespread issue that transcends art and entertainment. It’s challenging to identify a realm untouched by tribalism.

People often ask me to claim, “I was interviewing someone when something happened, leading to the creation of this film.” However, Opus is fundamentally an entertaining and thought-provoking portrayal of tribalism. While tribalism may not appear enjoyable, I chose pop music because of its appeal and ability to spread quickly. Additionally, I designed the movie with a rhythm similar to a pop album, considering its pace and development. Pop music seemed like a fun way to approach this examination of tribalism, a global concern that extends far beyond art and entertainment. It’s difficult to find a sphere where tribalism hasn’t infiltrated it.

Absolutely, I resonate with the sentiment in your statement. In my view, the ticker on CNN footage in the movie effectively captures the essence. It’s amazing how deeply people can be devoted to a specific individual or persona, often choosing to disregard or forgive even questionable aspects. Does this interpretation strike a chord with you too?

Man, not only do I understand what you’re saying, but you’ve truly brightened up my day! “Opus” is a rather complex film with many layers, and in that particular instance, it’s all about the news ticker. I didn’t want to be too heavy-handed with it, so we placed it subtly. You’re the first one to notice it, and that’s the essence of the movie in a nutshell. It feels great to be understood, so thank you. You seem to grasp the reason behind making this film.

You’re welcome! Opus often prompts a thought that journalists may ponder occasionally: “Am I shaping this narrative according to my perspective, or is the subject dictating the narrative?”

In simpler words, it encourages them to consider if they are telling the story in their own way, or if they’re letting the subject control the story.

Absolutely, I’ve experienced situations where I felt in control of the narrative, as well as instances where I felt like someone else was steering the story. Sometimes, when reading something, I get the sense that it’s being told from the person’s perspective or from a journalist’s viewpoint. It’s acceptable to set boundaries: “I invite you into my world, but there are certain aspects of my life that are private.” This is just part of the dynamic between subject and interviewer, but in some professions, the media outlets are actually owned by those being investigated, which can make for a challenging relationship. This is an extreme example, but it highlights the delicate balance between the subject and the interviewer.

Have you felt that as someone who’s now on the other side?

The conversation has been quite intriguing. Some journalists who are unfamiliar with me have perceived “Opus” as being critical of media or critics. I’m thrilled that the film is now available to the public, and as an artist, it’s not my role to try to change your interpretation of how a piece affects you. However, if you’re curious about my perspective, I’d like to clarify that, in my role as Mark Anthony, neither I nor the film are against journalism. In fact, the film is not intended to be critical or hostile towards critics or journalists. For 13 years, I took great pride in doing that job.

I’ve spoken to several individuals who misconstrued the film’s message, which left me disappointed. However, the film raises an essential question that needs addressing, and journalists are crucial in shaping public opinion, often serving as the first line of defense. I hold journalism in high regard, and it was a bit unexpected for some to perceive the film differently than my intentions. It seems that only a few individuals felt this way, but we had thoughtful discussions about it. To be clear, my personal beliefs are the complete opposite of what some may have assumed.

I didn’t have that takeaway whatsoever. 

At times, your work may unintentionally evoke specific emotions in others. As an artist, it’s important to create what resonates with you, but also to ensure that your audience experiences the intended feelings. If your work causes harm to people, I have no issue if you find my film offensive. However, I firmly believe journalists are not capable of causing such harm.

Or, in a more conversational tone:

Sometimes, people might feel something unexpectedly when they interact with your art. As an artist, it’s crucial to express what feels right to you while making sure the audience gets the intended emotional response. If your work hurts someone, I don’t mind if you take offense to my artwork. But I wholeheartedly believe that journalists are not in the business of causing harm.

Absolutely, you’re correct. This film was the most enjoyable project I’ve ever worked on, and despite our stellar cast, it was a low-budget production. Contrary to reports suggesting a budget of $20-$30 million, our expenses were significantly less. When working on a small production, I believe any director or leader should lead by example and pitch in where necessary to move forward. I had an exceptional crew in New Mexico, and I can’t stress enough how highly I recommend them. As a director, I see my role as providing support, which includes understanding that when we break a window, someone needs to clean up the mess. On occasion, I even rolled up my sleeves and helped with the cleanup to give others a break. I don’t think it’s necessary to praise a leader for being human, but I do believe we should all strive to be human. Today happens to be my 37th birthday, and while I’ve been a filmmaker for ten years, I’ve been a human for much longer.

Happy birthday.

Grateful for your attention! You know, I feel much more at ease being human compared to any other form. Still, it’s amazing they wrote that character for me, and working in New Mexico was a blast with some fantastic extras. We made sure to cast native background actors in the film because it was an honor to collaborate with the Pojoaque nation who graciously allowed us to shoot on their land. Making movies is truly a priceless experience, and I can’t wait to get back behind the camera. If sweeping a thousand sets would let me step onto set again, I’d do it in a heartbeat. It’s a small sacrifice for such a rewarding opportunity. So, bring on the next project, I can’t wait to lend a hand!

Are Spike Lee, Daniel Kaluuya, Trent Reznor, Atticus Ross, and Lionel Boyce among the people you typically acknowledge in a movie’s acknowledgments section?

Apart from Spike, it’s my strong conviction that every Black filmmaker ought to express gratitude towards Spike Lee in their acknowledgments. Spike Lee has been instrumental in enabling me to create “Opus”, whether he ever watches the movie or mentions it. He has tirelessly advocated for Black cinema. He has championed Black leads. Even before I was born, he stood up for expressing perspectives that are deeply rooted in Black culture and the Black diaspora. Therefore, I firmly believe that he should be included in every Black filmmaker’s acknowledgments.

Trent and Daniel are two individuals whom I consider friends, and it was a unique experience to share the movie with them and discuss it together. They were incredibly supportive throughout this challenging, exposed period of producing the film. For me personally, the ‘thank you’ segment at the end of the film holds special significance. There are people in that section who supported me when I was homeless and striving to graduate from Morehouse College. My high school English teacher and debate coach, Melissa Reynolds, was the first person to acknowledge my writing skills, offering me special assignments so I wouldn’t fail her class. She said, “You have a knack for writing when you’re passionate, so I want you to write about things that matter to you. Tell me what you care about, and I will make sure you can write about it for school to help improve your skills.” Despite my poor grades as a freshman, she enrolled me in AP English.

I’ve expressed gratitude to those who graciously offered their homes for me to rest and provided emotional support during tough times, and they’ve been on my mind quite a bit lately. As I journey through life promoting my film, I find myself reflecting deeply when others inquire about the creative process and my path here. Usually, I don’t dwell much on the past. However, I’m thrilled about what lies ahead – the next project and the upcoming release of Opus. This project has been a long time coming, and whenever someone asks about it, I’m reminded of the challenges and rejections faced along the way. Sharing these struggles with my dear friend Warren [Chancellor] was essential during those difficult moments, such as when a particular individual turned me down. All in all, I feel incredibly fortunate to be surrounded by such incredible friends and loved ones.

In a perfect world, what would you do next? 

I have found my next movie project, and it’s a unique concept with an original script. I recently shared the manuscript with my representatives, and I am thrilled about it. A quote that resonates with me is by Tom Sachs: “The reward for good work is more work.” Filmmaking, in this artistic form, has allowed me to fulfill every requirement, quench every thirst for knowledge, and satisfy every creative impulse. Even though I incurred debt and experienced stress while making my short film, I was fully committed to honing my skills as a filmmaker. The experience has been enlightening, and I hope to bring as much value to this field as possible. Essentially, the payoff is simply getting back to work, and I am eager to start writing the next script. I have now written something that truly inspires me. It’s quite distinct from my previous work, Opus. Drawing upon all the lessons I learned during the creation of Opus, I am excited to take a more audacious and ambitious approach with this upcoming project.

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Opus opens Mar. 14 in movie theaters. 

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2025-03-13 22:55