And inPast Lives, the producers had the chance to help cement the career of another.
DEADLINE: Tell us more about those initial conversations with Celine.
What did she describe, in terms of her vision?
From left: ‘Past Lives’ producers Christine Vachon, Pamela Koffler and David HinojosaDominik Bindl/Getty Images
VACHON: The movie that you just saw.
Its a pretty extraordinary, straight line.
Theres just an uncanny sense of the form of each story.
Teo Yoo and Greta Lee inPast LivesA24
So thats what she talked about.
DEADLINE: Was there a process of further developing her script ahead of production?
Or was the one you read initially the version that made it to the screen?
And not fixing things that werent working, by any means.
How was that part of the shoot, from your perspective?
HINOJOSA: We had tremendous partners in [producer/co-financier] CJ Entertainment.
They gave us a lot of logistic support and were full partners throughout the process, continue to be.
So, I think for us, there were interesting anecdotal things.
Like, how you book your actors is very culturally different than how it works in Los Angeles.
Like anything, you just pick up the rhythm and the style of the new place.
But I think from a practicality standpoint, it was quite different.
DEADLINE: What did you find to be the biggest challenges in bringing the film to fruition?
It was like post-Delta but pre-Omicron, but on the edges of either of those strains.
Honestly, I think we had our fair share of normal production challenges.
But Celine rolled with them incredibly well, given it was her first time making a film.
You know, we had a hurricane on the first day, but thats okay.
We dealt with it.
We had…
HINOJOSA: Great clouds in that scene, with the hurricane leaving.
I would say it was challenging because every movie is challenging, but really a fantastic team of people.
So, if you get distracted or someone asks you a question, you lose your place.
Why do you think your film has broken through in this way?
KOFFLER: I just think at the end of the day, it is causing people to feel deeply.
So, thats number one.
Number two, its execution is excellent.
Its just a great film; plus, it makes you feel, across so many generations.
Its so emotional, and its so good.
So, thats a lot.
VACHON: Thats word of mouth.
KOFFLER: It is the old-fashioned word of mouth.
Like, you’re gonna wanna see this movie.
HINOJOSA: I also think Celine understood something.
But its a movie about making choices, and literally everyone can relate to that.
Is that the version of life Im in right now?
And I dont think I saw that until the movie was done.
I didnt really understand it.
DEADLINE: Do you think the films marketing has played a role in the way its connected?
And it also delivers.
DEADLINE: How has the indie scene changed in the rebound from the pandemic?
VACHON: Are we actually dropping them off yet?
KOFFLER: No, we dont have to budget for Covid anymore.
VACHON: We really dont?
KOFFLER: We really dont.
So I feel relieved about the Covid piece of it, but its still shocking.
And I understand why.
Its just a fact.
VACHON: I think we take it a day at a time.
It just kind of worked out that we werent going to be in production now anyway.
What do you think about that?
Look, I havent listened to it yet.
But I would say, why are we closer to the AMPTP?
Why would people think that?
People think that because they dont actually know what we do.
And that if anything, were walking on an even thinner ledge.
DEADLINE: What are the issues within our business right now that are most concerning to you?
So, to hear that dramas are dangerous and dont call it a drama is definitely a little heartbreaking.
But I dont believe thats true.
So thats what I think a lot about.
We just cant give up on those.
