As a longtime fan and follower of Sean Baker’s work, I can confidently say that his latest masterpiece, Anora, has solidified my belief that he is one of the most innovative and captivating filmmakers of our time. Having worked with him on several projects, Alex Coco and Samantha Quan were uniquely positioned to witness the evolution of this brilliant story from its inception.
From the get-go in the gripping world of “Anora”, Alex Coco and Samantha Quan, two veterans in collaborating with Sean Baker, felt a unique spark. As longtime producers, we’re accustomed to brainstorming alongside this filmmaker from the moment an idea takes shape. The intriguing narrative of “Anora”, which chronicles the swift romance between a young sex worker from Brighton Beach and the son of a Russian oligarch in Brooklyn, was born out of tales Baker gathered while working on movies like “Tangerine” and “Red Rocket”. I remember thinking during scriptwriting that this would undoubtedly be one of Sean’s funniest films. Unexpectedly, while shooting, Sean looked at me and said, “I think I’m making my best movie.” Little did we anticipate the incredible response it has garnered so far.
I’m thrilled to share that my movie, Anora, has taken home the prestigious Palme d’Or at this year’s Cannes Film Festival! Before we hit the big screens on October 9th, we’re heading back to New York City for a grand premiere at the New York Film Festival. In an exclusive interview with THR, our team, including the talented Mikey Madison who plays the title role, discuss the journey that led us here.
Can you talk about the journey this movie took from the first nugget of an idea?
Samantha Quan: The narrative, in essence, combines various pieces of information that Sean has gathered. Moreover, we sought advice from sex workers as consultants and visited dance clubs for discussions with performers. The script was consistently evolving with the influx of fresh insights.
Was it challenging to get buy-in from the Brighton Beach locals to film on location?
ALEX COCO Before we began filming, we stayed in that location for several months to build connections within the community, which is typical of Sean’s movie-making approach.
QUAN We don’t want it to feel as if we’re going in somewhere, taking advantage and then leaving.
In our production of COCO, we received valuable assistance from our cast members. Karren Karagulian, who is Armenian and portrays Toros in the movie, had discussed the idea of filming a movie in Brighton Beach with Sean possibly 10 to 15 years ago. We took him and Yura Borisov, a well-known figure in Russia, to various locations. I recall one instance when we entered Tatiana [a restaurant on the Brighton Beach boardwalk] and the waiter became extremely excited, as he wanted photographs. The same occurred with Vache Tovmasyan, who plays Garnick. On a couple of occasions during filming, we noticed someone we wished to use as an extra; they would recognize Vache, so we could simply say, “Feel free to take a photo with him while you stand in the background for this shot.”>
In the beginning, there’s a tune played which resurfaces at a crucial point in the movie. What was your thought process behind selecting this particular piece of music?
Originally, we selected two different popular tracks to accompany our scene, but ended up filming it twice to fit both songs. While negotiations for the rights continued, we grew increasingly worried about the potential expenses.
Later on, Sean and I hit the road while discussing the topic. We mused, “We need a way to emphasize how special this day will be.” I navigated to Spotify and began searching for suitable music, eventually discovering “Greatest Day” by Take That. The tune was stuck in our minds ever since.
Initially, we found COCO too straightforward, but once it was integrated into the film, it turned out to be incredibly thrilling. Typically, Sean opts for upbeat, popular tunes to start a potentially sad movie with a joyful song. In The Florida Project, there’s “Celebration,” and in Red Rocket, it’s “Bye Bye Bye.” When we synced it with the scene we had shot, it seemed as if it was perfectly placed, almost like a miracle.
As Sean’s films get more and more attention, are larger studios chasing after you?
Regarding COCO, Sean has openly expressed his reluctance towards that path, but there’s definitely interest from larger companies for a potential partnership. I’ve had discussions with representatives from these companies, and they are keen, however, the decision is not set in stone yet. The future is uncertain, but we prefer to produce our movies independently and then find a distributor to acquire the film. This approach allows us to create the movie as envisioned, and it’s essential for Sean that any distributor agrees to a 60-day theatrical window.
Lots of people are praising this film. Whose feedback means the most?
COCO It’s heartening to hear from several individuals in the sex work industry affirming, “You’ve hit the nail on the head.” Their acknowledgment is deeply meaningful as it signifies they are being understood and acknowledged.
“The article you’re reading was published in the September 19th edition of The Hollywood Reporter magazine. If you want to stay updated, consider subscribing.
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2024-09-24 19:25