January 7, 2026 • 55 mins
Christine La Monte, producer/director/writer and former film marketing executive at Universal, Disney, and Orion is the founder/president of La Monte Productions where current projects include VIVA VERDI! the feature documentary Shortlisted for Best Song, where she serves as producer, writer and executive producer. Also on the awards circuit, AI WEIWEI’S TURANDOT, a co-production with Italy’s Incipit Film and La Monte Productions
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SPEAKER_00 (01:16):
So glad you could join us on the Art of Film
Funding podcast, where we giveindependent filmmakers the
tools, insights, and inspirationthey need to bring powerful
stories to life.
And From the Heart Productionsis a nonprofit that has
supported independent filmmakersfor over three decades.
(01:37):
Today's conversation is one I'mespecially excited to share.
Our guest, Christine Lamont, isa producer, director, writer,
and former film marketingexecutive at Universal Disney
and Orion.
She's the founder president ofLamont Productions, where
(01:58):
current projects include VivaVerdi, the feature documentary
shortlisted for Best Song, whereshe serves as producer, writer,
and executive producer.
Also on the award circuit, IWeiwe's Tour de Dot, a
co-production with Italy'sInsipat Film and Lamont
(02:22):
Productions.
Christine produced the PalmSpring International Film
Festival Audience Award-winningshort film Dandelion Dharma, the
Gary Goldstein scripted play,Three Grooms and a Bride, and
syndicated television talk showMary Lou, starring Mary Lou
(02:44):
Henner.
Christine has been a member ofthe Academy since 1987.
She's also a frequent guestspeaker panelist at independent
filmmaking events and has beenthe chair of the Humanitas
Awards jury panel for theprevious two years.
(03:06):
With U.S.
Italian Dual Citizenship, shedivides her time between Los
Angeles and Rome.
And Carol Dean, I know you're amajor fan of Christine and her
work.
SPEAKER_02 (03:19):
Thank you so much.
Christine, what a joy to haveyou with us.
SPEAKER_01 (03:24):
So great to be here, Carol.
You know, I've always been a fanof your work and of From the
Heart and all that you do forfilmmakers.
So thank you for having metoday.
SPEAKER_02 (03:32):
Oh, it's a pleasure.
Yes, we're going to have awonderful time here.
So for filmmakers who may justbe discovering your work,
Christine, can you share yourjourney into filmmaking and what
first drew you to this medium asyour creative path?
SPEAKER_01 (03:51):
Well, I feel like I've always been obsessed with
film since I was a young girl.
I remember being at mygrandmother's on her Sunday
sauce and um just begging anyoneto take me to the movies.
And once we were there, I wouldbeg them to stay to see it a
second time because I love beingimmersed in those worlds where
(04:12):
all my senses are engaged, mymind was stimulated, I was
seeing things that I didn't knowabout and curious to learn.
So it comes from a very verylong time ago.
And I think my real entry intofilmmaking was through the
studios and uh as a marketingexecutive, I had also produced
(04:33):
events when I lived in Aspenafter college.
So producing came kind of easy,easily to me.
Um, I uh worked at the jazzworkshop Paul's mall in Boston,
so I learned uh my publicity andmarketing chops there.
And I also worked for an 82theater chain sack theaters in
Boston, where Universal hired meand and um moved me to New York,
(04:56):
and I was the East Coast fielddrop.
So I think being at the studio,you know, increased obviously my
love and my knowledge of film.
And I think um I was alwayslearning at the feet of these
masters, and it was a naturalsegue to produce and to create
um stories and to make storiesmanifest that I believed in.
(05:18):
So, and and documentaries justcame to me.
I was lucky in that regard.
It was um easy.
SPEAKER_02 (05:24):
Good.
So you really loved making docs,you found that out.
SPEAKER_01 (05:28):
Yes, I do.
I think um it's a differentprocess than um this the short
that I did was um a scriptedfilm.
Non-scripted is kind ofinteresting, it's a different
challenge because you really youhave an idea, you have a budget,
and then you go from there.
Um, so you you do these papercuts, and um, as I said, you you
(05:53):
do a first budget, and then itkind of takes you on a journey
on its own, discovering andbeing curious about a subject,
especially we'll talk aboutVerdi.
That started in 2013.
And being uh when when my myproducing partner, Ivan Russa,
who uh directed the film, uhcame to me and said, I have this
(06:16):
great idea, I'd love you to be apart of it.
And she said, it has to do withVerdi, Milan, shooting in Milan,
and an older Italians.
I said, That's that's heaven forme.
Those are all the things that Ilove.
So we went there and started,and it just wasn't it was easy
in many ways.
I mean, producing is not alwayseasy, but this was um a joy
(06:39):
because it's musical.
It had wonderful stories ofpeople that I um respected and
enjoyed hearing their storiesand telling them as well.
So it was an easy segue for me,I think, into that world.
I I love documentaries and IWeiwei too, learning so much
about um the background, um moreabout him.
(07:02):
I've always been a fan of Iwe'sin LA, there's always been great
installations.
So I've I've followed him foryears.
So it was easy to jump intothat.
And I'm an opera fan because Igrew up with my grandmother when
she made her sauce, playingMario Lanza on these great red
vinyl albums I remember soclearly.
(07:22):
So I feel like it was in my DNA.
So I was very lucky to spendtime with Verdi and Puccini
these this last decade or plusyears.
It's been wonderful.
SPEAKER_02 (07:33):
Oh, Mario Lanza was my first record as a child.
SPEAKER_01 (07:38):
Was it red, Carol?
Because my grandmothers werered, her albums.
SPEAKER_02 (07:42):
Yes, and it was so wonderful.
And my father, my uncle gave itto me, and I played it over and
over with my ear to the speakerto get the Italian words.
And my father said, What is itabout that?
Because you either love it orhate it, you know.
SPEAKER_01 (08:00):
Right, yeah, so isn't that interesting?
That's great.
No one I've ever talked to knowsabout those red albums.
That's great.
SPEAKER_02 (08:08):
Oh, yeah, that was the beginning of my love for
good music.
SPEAKER_01 (08:13):
And me too, me too.
And then I was lucky enough whenI was at Universal to uh work
with Franco Zaffarelli on LaTraviata, another Verdi opera.
So I've been blessed, veryblessed in that respect.
He kind of took me under hiswings and I got even a more
proper education on opera andspent a lot of time with him in
(08:36):
Italy and here.
So I was I've been very lucky.
The opera gods have smiled onme.
So it's been good, very good.
SPEAKER_02 (08:44):
Zephyrelli did a um set for uh an opera in New York.
I've forgotten the name, but I Iwent uh with the season with
season tickets all the time.
And when the curtain opened withZefferelli's background,
everyone said, ah, and theyinhaled, we all inhale together,
(09:07):
was so gorgeous.
SPEAKER_01 (09:09):
Oh, all of his work is just beyond uh Tusca is
probably one of his most famousones, but as well as Turin Dot
and La Traviata as well.
So he's he does a lot of Verdiand Puccini.
SPEAKER_02 (09:21):
Yes, it's marvelous.
Oh boy, you're getting to workwith the very, very best.
How wonderful.
SPEAKER_01 (09:26):
Very lucky, very lucky, right?
SPEAKER_02 (09:28):
Now, what motivates you personally to keep making
films at such a high level whenprojects get difficult, like
they always do?
What keeps you?
SPEAKER_01 (09:39):
Well, I think I I really love a challenge.
I'm an Aries, so I'm and I haveI grew up with four brothers, so
no sisters, and that was alittle challenging as well, but
I met the challenge and theykind of groomed me to be able to
um respond and you know have anopinion and be able to back it
(10:01):
up.
And I think that's that wasimportant growing up.
And I also had a Catholiceducation that was very good and
was always um questioning andand um introduced me to new
things, very curious aboutthings.
So, and I have a great passionfor the arts.
I grew up with the arts, as Isaid.
So, and I when I believe in aproject, I embrace it full on.
(10:25):
Um, and I I feel I have aformidable work ethic.
I grew up with that with for myparents and being a Catholic as
well, Catholic schools, and umI'm tenacious and relentless.
And so um I think that's therole of a producer to see it
through to the end, to deliverfor the creative team and for
the executive producers thathave given you financial support
(10:46):
for the film.
So no matter what it takes, um,more creative thinking, which it
always does, more financialmeans, more rallying the troops
to keep spirits up, that's whatI do.
And it's it's easy for me.
I um I embrace it, um, I likeit.
And it's really funny.
I was sent a t-shirt forChristmas that said, being a
(11:08):
producer is easy.
It's like riding a bike, exceptthe bike is on fire, you're on
fire, everything is on fire.
It's not always that bad, but attimes it feels that way.
Editors don't work out, morefunds are needed to move
forward, pandemics happen.
What can you do to keep going?
And I I guess I like thatchallenge.
I embrace it, and I've alwayshad a very um creative um mind
(11:34):
and ways of doing things, so itseems to work out.
SPEAKER_02 (11:38):
It's great, and tenacity is the backbone of the
filmmaker.
That's what you said.
You fall back.
SPEAKER_01 (11:44):
Absolutely, yeah.
If you don't have that, if ifyou can't put 100% in, um you
you probably should look to dosomething else.
SPEAKER_02 (11:54):
Absolutely.
Well, now tell me about the newfilm that you have, where you
have a song that is up forAcademy Award.
SPEAKER_01 (12:02):
Right.
Well, this is Viva Verdi, theone that I was seeing that
Yvonne uh initially came to me.
We we went um in 2013 to dodevelopment, got some
development reel going, and wefell in love with the this
place.
It's just stunning, uh, just asbeautiful it was when Verdi
built it in um 1896, where hespared no expense.
(12:24):
It's just beautiful.
And the people that were there,because it's intergenerational
with these um residents who livethere, these opera opera,
ballet, um, musicians,conductors, they're all masters.
And they teach students who livethere.
So there were about um 80residents who live there, and
(12:45):
there were 17 students who livethere with them.
So every day there were classes,there were music therapy, there
were um teaching classes, therewere um concerts.
It was just an exciting place tobe.
And you could see these youngpeople and masters and older
generation walking arm in arm,having lunch, talking about
(13:08):
music, the thing that they wereall obsessed about, which is
such I'm obsessed about music.
So how beautiful to be aroundthat energy and to have music
going all the time in everyroom.
And Yvonne always said when shefirst went there, it was for a
National Geographic um piecethat she was doing on the gems,
the hidden gems of Milan.
(13:28):
She said she saw Sonic Colors,which to me is an exact
description of what you feelwhen you walk in there.
There's music all over and colorand this energy that you can't
describe.
Verdi did something very specialthat was very groundbreaking.
It was he was very, you know, itwas 1896 in Who Thought About
(13:49):
Other People.
To me, Verdi was a humanitarianfirst and foremost.
And then he was an incrediblecomposer of some of the most
beautiful music in the world andthe most beloved.
In Italy, when he died in 1901,there were over 300,000 people
that came to his funeral.
(14:11):
And these photos are remarkable.
People are sitting in trees, andhe was just beloved.
So um, to to have that legacy inmy hands with Ivan and um the
artists that we chose to workwith us was a responsibility
that I did not take lightly.
It was um a very serious, veryserious thing for me, especially
(14:34):
because I loved opera so much.
So growing up and um having thatum handle with Verdi,
especially, and then with FrancoZeffarelli, and then having this
um in my hands with Yvonne tocreate something, we set an
intention the first day, and wesaid, sorry, this would be the
(14:54):
most beautiful film.
Every frame, every sound um willbe um like Verdi's legacy.
It will be a leg like hislegacy, like his music.
Um, so we were and we wouldremind each other all the time
when it was a matter of a cut orsomeone that we were hiring.
Uh, we wanted them to fit intothis intention, into this um
(15:18):
idea that we had, this goal thatwe had for this film to be
beautiful on every level,artistic, like Verdi's work.
So um we we we um had adevelopment reel created.
We did an Indiegogo campaign andraised money, went back a second
time and um got beautifulfootage.
(15:40):
We brought on Yassik Laskis,incredible cinematographer who
worked with um Robert Altman.
He was one of the best from thePolish School of Cinema, right?
Cinematography, the best.
So he was there with us, andthen we came back.
(16:00):
It took a lot of time becauseyou would raise money, you know.
As everybody knows, you youknow, you kind of patchwork this
together, quilt patchwork thisthese things together, you raise
money, you can do a little bitmore, hire an editor.
And we had Federico Rodelli, whois um I hired as a an um an AP
(16:23):
initially, but he was our man onthe ground in in that area in
Parliament in Milan.
So he eventually now he's aco-producer on the film, but he
was one of the cameramen.
And there's a lot of theseconcentric circles in my life.
So Max, it goes back to MaximeDerevenko when I was living in
Rome.
(16:44):
He was my mentee.
Um, uh, one of my friends there.
I said, I have a son who's inschool.
We think he's talented.
Would you look at his film?
I looked at his film, I said,Oh, this guy's brilliant.
He's an artist.
And so I helped him with hisfilm.
He ended up being the directorof I Weighways Turned out, which
I'll get back to.
(17:05):
So that was in 2012.
In 2013, I'm I'm up in Milan andI said, Maxim you hikmati, come
up and be our cameraman.
So he came up, did incrediblework at a young age.
He was, I think he was 22, maybeat the time, 23.
And so he did beautiful work.
Um, as I said, we created thisreel, raised more money, went
(17:26):
back, and then we came back andum Federica Rodelli created a
string out.
We had a paper cut, he created astring out, we put all these
select scenes together, createdthe string out, and then went
from there.
So going on, we we um thepandemic happened, we were able
(17:47):
to edit remotely with Ivana, NewYork, me in LA, and Federico in
Parma, and we went from there.
So it was, you know, you dowhatever you can.
So we ended up with thisbeautiful film, did a lot of
festivals, about 20 festivals.
We had our our launch, our worldpremiere at Woodstock in 2024 in
(18:09):
October.
Then we went on to Santa Barbaraand Mendocino, we did uh hot
docs.
There were so many great umfestivals that we did, and it
gained a lot of momentum.
Then we had our LA opening uhfor Oscar consideration, um,
qualifying week at Lemmley.
Greg Lemmley is the best.
We love working with him, andum, that was in October.
(18:34):
And then we submitted, and wewere we were a contender, which
was great.
Uh, for Deadline Hollywood, weended up being a contender with
I Weiwe and with uh with about10 other documentaries, and then
we ended up being shortlistedfor our beautiful song that
Nicholas Pike wrote, SweetDreams of Joy.
(18:56):
And this is the thing, Carol,that we talk about is this
networks, right?
Being an academy member, I'mvery lucky to be in LA and going
to screenings and events.
I meet um a lot of my peers, andum, somebody introduced me to
Nick and said, To Nick,Christine's got a great project
you should get involved with.
So Nick said, Why don't you sendme something?
(19:18):
So I sent him this 11-minutereel that we had, and in two
days, Nick was inspired.
He's an incredible, he's Britishand Grammy Award-winning um
composer.
He sent us back this amazingsong, Sweet Dreams of Joy.
And I said to Yvonne, this isreally so stunning.
She listened, she said, That'sit, let's do it, let's hire him.
(19:40):
We did.
That was a while ago, and he'sbeen a great partner for us.
He's been with us all the way.
We didn't always have the fundsto, you know, some people
deferred some of their pay.
We eventually paid everybody,but they hung in with us and
they were as dedicated as wewere.
And they had their crafts, theywere craftsmen, they were
(20:00):
artists.
And I think that's importantwhen you can hire people that
you know have the higheststandards and the best quality
and have a passion and believein the project as well, as much
as you and your partner, youknow, director and producing
partner.
So we were very fortunate tohave him.
And it's unusual.
We there were 65 other filmsthat were up against these films
(20:26):
for this coveted 15 short-listedspot.
And we were one of them upagainst Netflix and the big
studios, animated films, otherfilms, and I don't think there's
been very many arias.
Our our song is an aria that umAnna Maria Martinez, the great
Met Soprano, she's incredible,um, performs for us.
(20:48):
So um, we were lucky anddefinitely uh worth it and well
deserved, I feel.
So now we're up against uhtrying to get to the final five.
And uh so we have a the umItalian Council General is
hosting a screening on Monday atthe Italian Cultural Institute,
(21:09):
and Nick will do a QA, and itwas going to be exciting.
I hope you'll join us, Carol andClaire, both of you vice.
SPEAKER_02 (21:17):
And this is in Los Angeles.
SPEAKER_01 (21:19):
Yes, yes, yeah.
So we're we're excited to behere, and we we've got um great
support around us, and we'llwe'll see what happens.
Fingers crossed.
Yes, and that that is announced.
People start voting, the musicbranch starts voting next week,
and then it's announced on the22nd.
SPEAKER_02 (21:39):
Okay, of February.
Thank you.
Thanks.
Okay, now this is so fabulousbecause this is the heart of
filmmaking, setting an attendintention, bringing other people
in to having a partnership withone vision, and then working
(22:00):
together to achieve that.
That's exact that's the bestexample of on top filmmaking
that you can do.
Congratulations.
SPEAKER_01 (22:09):
That's right.
That's right.
And if, you know, I've hadmeetings with people, um, not on
Viva Verdi, and some other filmswhere I've said, if you don't
believe that this is an AcademyAward contender, and this is
right in the beginning, youprobably don't belong in in this
meeting with us.
It has to be that high of abelief.
We have to put all of ourenergy, all of our belief, all
(22:31):
of our positive thinking intocreating a work of art and and
embracing it that way andputting it out to the public
that way from the beginning.
SPEAKER_02 (22:42):
And telling the universe what you want.
Exactly, and only taking thebest of the best.
Wow.
But the key here is that peopleare on this film because they
love the energy of the film,right?
Right.
SPEAKER_01 (22:58):
Yes, that's right.
And it's so beautiful when youhave people that love the
subject matter, like like Verdi.
So um, I remember uh FedericoConforti, we had incredible
editors, Federico.
Quinforti was our lead editorthen, and Dariana Cardili, both
Italian, both living in LA, thatI found and hired, they were
(23:19):
incredible and they brought suchsensitivity and nuance to our
film.
And I remember Federico comingwith these all these new ideas
about Verdi and Dariana, youknow, being able to go to these
arias because the Italians areversed in the arts from the
beginning, from when they'revery young.
(23:41):
So they're able to sing anyaria.
They can talk about anyphilosopher, they can recite
poetry.
They are they embrace the artsin a very big way more than
Europeans, I should say, andprobably South Americans as
well.
I says, I wish that we did aswell.
I wish there was more of a focuson that for young people so they
(24:02):
grow up being comfortable,because it it changes your life
to understand the arts without adoubt.
And to um it brings joy, it's arewarding thing to go to
concerts to be moved ondifferent levels by the arts, by
music, by reading, by poetry.
SPEAKER_02 (24:22):
Wow, that's so true.
Thank you very much, and goodluck with that.
Thank you.
So really, what do you believeis the secret sauce of a
successful creative partnership?
What do you and uh Al Wewi bringout in each other that elevates
(24:43):
your product?
SPEAKER_01 (24:45):
Well, I think that trust and a shared vision make
for a great relationship andopen communication.
Sharing intentions and goals ona film are essential.
You know, as I said, Ivana and Idid that in early 2020 2013 and
repeated it to ourselves and toeach other throughout the
process, trusting your intuitionon things as well, setting high
(25:06):
standards.
And those red flags, when theycome up, only look at them once
and then act on that becausewhen they come up, they will
also come up a second and thirdtime, and by that time you're in
trouble.
So trusting your intuition isessential, and especially when
(25:28):
it comes to red flags.
Honestly, if something's notworking out, an editor doesn't
feel right, just discuss it,open communication and move on.
That's what I feel.
And I think that's importantthat as I said, you all can
agree that we're doing thistogether, that it's sacred.
Work is sacred.
(25:48):
And when you have theresponsibility, uh, especially
of someone like Verdi's legacyuh on your hands, that's that's
a that's a big deal, and that'sa sacred thing.
And especially with Aiwe andPuccini, that's important.
So that we all agree on that andgo move forward together as a
unit is important.
SPEAKER_02 (26:10):
Right, as a unit going forward, right?
Right, right, right.
Uh so will your films constantlyfeel thoughtful, they do feel
intentional.
I mean, you get into the filmand it's there, you're so
engrossed you don't think aboutanything.
And uh so what are you mostfocused on during production to
ensure that level?
(26:31):
Uh you want the best people ofthe highest caliber, and your
script has to be perfect, right?
Tell me more.
SPEAKER_01 (26:40):
Well, yeah, you know, you you it's a very
interesting balance betweenintellect and emotion, right?
And you, as I said, you startwith um an idea, you do a paper
cut after you've been there andunderstand, you know, what's in
front of you, and you have abudget and you have a log line
(27:01):
and maybe some marketing ideas.
I always have marketing ideas,so that's a given for me.
So and then you you go fromthere and you have to be um
steady and have some stabilityto keep a focus on the goal and
the intention and you know whatwhat you're initially trying to
(27:25):
create, but also be flexibleenough that if it goes in a
different direction, that youknow you can support it in ways.
So, you know, to me, it's likeyou're you're a sculptor and you
have a block of marble and youstart chipping in, that's when
you're creating all these,these, you know, you're you're
(27:48):
filming, and then you'restarting to see a shape and a
form, and then it kind ofdevelops itself in a way.
I I really believe this creativeprocess, I think it's all kind
of challenged, uh, or I'm sorry,uh channeled.
Um I believe in you know otherdimensions, and I believe this
is uh we're it's all out there.
(28:10):
I remember living with um a lotof my boyfriends were musicians
and composers, and I remembertheir fingers were always going
because they were alwayslistening, they always heard
things that maybe we couldn'thear.
So I believe the arts are there.
You kind of breathe them in, youyou bring them in somehow, and
then you exhale them out andcreate and manifest this these
(28:33):
things.
So I think um this um thisbalance between intellect and
emotion is important.
Um, the in I and as I said, theintent and the goal, but being
flexible enough to give if wehave to.
And for a producer, you know, doyou stay on, you have to stay on
(28:53):
track, you have to be carefulwith your budget, you have to um
make sure everyone is safe andso that they're able to do their
best work.
Um, intimacy and authenticity isessential as a filmmaker on
film, um the partners that youchoose to get involved with.
Um, if it takes more money, ifit takes um, you know, putting
(29:16):
it on your card until the fundscome in, you do it.
You just have to believe in it.
You've got to don't settle foryour second best or anything
that's inferior.
If you have to wait, you wait.
As I said, safety is importantum so they can be stress-free.
And encouragement is importanttoo.
I mean, that's the job of aproducer as well, just to
(29:36):
encourage people to keep going,to give their best and to be a
part of the unit and to trustthat everything will work out.
Um, and even if we have to goback to revisit something, get
better archival or whatever itis to find a balance, respect
for the subject, our storyprocess, our creative process is
(29:59):
also important.
Respect for the people that webring on as well.
SPEAKER_02 (30:05):
Exactly.
Well, what I have heardfilmmakers say, and what I have
seen, is that when you think youknow the film, but when you turn
on the camera and people starttalking, a whole new world opens
up to you.
Right, right, right.
And that can take your story ina whole new direction.
SPEAKER_01 (30:23):
That's right, that's right.
Um, it does.
Um it happens, as I said, youknow, you have an idea of what
it should be, but then youstart, it could go in different
directions.
You just have to trust that, youknow, stay true to the core, the
gem of what you're trying to do,but then trust that it's going
in a direction and let it go.
Um, the stories that we we werehad an embarrassment of riches
(30:46):
with I with um both both films,actually, with uh Viva Verdi.
We had so many rich stories tofollow.
Um, but when you start withpeople when they're 91 and you
you you try to get an arc andyou go back, we were lucky to go
back three times to Milan.
And so some of the people afterthe first time ended up in the
(31:09):
fourth floor, which is the areawhere there's assisted, you
know, either people going intodementia or Alzheimer's.
So we had to shift gears alittle bit and pivot a little
bit and concentrate on someother people, but there were so
many that had rich stories andthat we fell in love with.
Claudio Giombi for me was one ofthe ones he was uh a shaman.
(31:32):
You would love that, Carol.
He did energy work, and so allof his books were all of my
books at home from the Castanetabooks to um Zen, you know, Zen
Buddhist books to all thesegreat um religions.
So our conversations were veryphilosophical and exciting, and
(31:54):
um he had such a greatfollowing.
He was um he was an actor inmovies, he was on stage as a um
theatrical actor, he was a greatbaritone and La Scala Lamette,
he had a beautiful story, hewas, and you've just fallen in
love with him, he was biggerthan life and so kind and so
loving, and had a wink in his inhis eye and a little mischief
(32:18):
here and there, but so sweet andwonderful.
And we were lucky to have adiverse group also with um with
chitose Japanese coming fromJapan and taking so many days to
get to Italy because shecouldn't sing Italian opera in
in Japan at the time.
And because I lived in Japan fora year, I was able to speak some
(32:40):
Japanese with her and relate onthese very different levels.
It was a very enriching time forme, very joyful, and just being
able to film in Italy is alwaysa joy.
Um, there's a different way ofliving there, a different way of
life.
I have my Italian citizenship,and I've spent a lot of time
there.
I go back and forth a lot.
(33:01):
So to be able to work there onthree three documentaries has
been such a dream and such agift, and I'm very grateful for
that.
With Iwe as well, um, we had avery rich um rich archives to
pull from.
I Wewe gave us his archives,access to his archives, which
was so generous and kind.
(33:23):
He was wonderful.
Um, because um it was such atight project, and because um,
when Maxime started, it was umhe had been in the process for
seven years of writing this andthinking about it.
His father was a ballet Bolshoiballet dancer, and um, because
he fell in love with an Italianwoman who was a prima ballerina,
(33:48):
he was he had to leave Russia.
So he was exiled by himself.
He exiled, he was and leftItaly.
I mean, he I'm sorry, he leftRussia.
Like Iwewe's father was exiled.
Uh, he was a poet.
So Iwewe and Maxime had um thissympatico, they their lives
(34:08):
resonated, they understood eachother.
So Maxime was able to get accessto Aywewe uh and his process to
be able to record hisconversations, his collaboration
with other artists and the topartists in Italy.
You can imagine an opera whocostumes and set designs have
(34:30):
access to that.
Yeah, that was so rich.
I know that you saw that, Carol,in in Santa Barbara.
SPEAKER_02 (34:36):
It's one of the greatest films I've seen.
To go into I Wewe's mind andlook at Tarando from that,
Tarandot, sorry.
It was thank you very much forthat.
But I want to know how yourwhat's your marketing plan for
your film?
SPEAKER_01 (34:55):
Well, um, you know, this is Iwe Ai We's um right now
is still we're we're both doingfestivals, we're still doing
festivals, and both films havebeen Oscar contenders.
And as I said with uh VivaVerde, we're shortlisted for
original song.
So now our our next move is toum have theatrical, and I Weiwe
(35:19):
actually has been releasedtheatrically in Germany and in
Belgium and in Switzerland andwill continue to roll out.
And then um we'll we'll have uma we have a sales agent uh Rise
and Shine out of Berlin, andafter Oscar, they will then go
forward with getting um astreaming deal.
(35:40):
We wanted to wait until afterthe Academy Awards um in case
because everything changes ifyou're shortlisted, if you win
anything.
So that would be the next stepfor both of them.
I think both of these films kindof bring a fresh lens to very
timely cultural subjects.
Verdi, the home in Milan, and IWeiwe's is really a manifesto of
(36:02):
hope and opera for peace, as yousaw.
SPEAKER_02 (36:05):
Yes, yeah, yes, show to say connection of one country
to the world.
SPEAKER_01 (36:13):
Right, right.
And for I Wewe drawing onPuccini's classic to challenge
oppression and to reflect urgentissues from the Ukraine war to
the pandemic.
It was um it was exciting.
And we knew it was going to belike that rough right from the
very beginning.
So uh I am considering myself anactivist.
And then I brought on um AndyCohen, who had worked with
(36:37):
Iweiwe as an executive produceron some of his other films.
He's uh he's a journalist and anactivist, and then he brought on
Julian Lennon, a great activist.
So, and then Marcy Pullier, myfriend, I brought in as an EP as
well.
And we've all understand thatthis is such an important thing
to move forward, um, that thatfilms like this really can
(37:00):
change the way people think,their perception and their
preconceived ideas.
And that was an important thingfor for all of us to um to
embrace and share.
There's another thing that weshare, the intention, right?
And agreed on the goal of this.
SPEAKER_02 (37:17):
This is so important.
Intention is a key tomanifesting your future.
I believe that.
SPEAKER_01 (37:24):
Absolutely.
You know, Carol, um, I alwayswanted to live in in Rome, and I
had this um this R that's madeout of um, and it's this
interesting material, and it hasa red tassel, and I put it in
front of me for years, and Isaid, this is gonna be the key
to my apartment when I live inRome.
(37:46):
And that is that this intentionand that materialized, that
manifested.
And it's the same thing withfilm, with art, with anything.
I think it's important.
There's there's a thing when Ilived in Japan, there's um
there's a thing, the Daruma.
I don't know if you know what adaruma is, but I have one for
you, Carol.
Um, and I'll and for Claire too.
(38:08):
Um, it's a Buddha that has satin meditation so long that he's
round and he sits on his hands.
And so if something pushes himback, he bounces back to the
center.
If something attacks him fromthe side, he comes back to the
center, and it has two emptyeyes.
(38:29):
And when you start a new projector new year, you fill in the
left eye and you keep the rightone blank until your idea, your
inspiration, your wish ismanifest, and then you fill in
the other one.
But you keep this daoduma nextto you because looking at it
(38:53):
intensifies your intentionbecause you're thinking about
it, you're imagining it, you'revisualizing it, and it helps
bring in the reality and helpsyou to manifest this.
So, so when I I'm always givingthem out um when people start on
projects to uh and that helps usto manifest and to intensify the
(39:13):
manifestation.
SPEAKER_02 (39:15):
Oh, how lovely, what a perfect gift, Claire and I.
SPEAKER_01 (39:19):
That's right.
So you'll have to very soon.
SPEAKER_02 (39:23):
Right, perfect.
Um, all right, now what aboutcreative discipline and daily
practice?
Can you share some of yourhabits or rituals that you use
to support your ability to do somuch strong work and
consistently be up there with ahigh level of vibration and
(39:45):
making films that contribute tosociety?
SPEAKER_01 (39:50):
Yes, I um I I have a few mantras and I have a few
things that are really importantto me.
Saying yes and showing up isessential.
Um, you know, I think there'ssuch power in those three
letters, yes, much more than no.
And a lot of people think thatno is the thing.
(40:10):
I think it might bemale-oriented.
I hope I don't get into troublesaying that because uh women
obviously do that too.
But that CEO um thing of controland saying no, but saying yes to
me is the big deal.
Showing up, saying yes, showingup, being fearless, uh praying
(40:30):
uh for something is that's anintention, meditating, taking a
break and looking at things fromthe short end and the long end,
keeping your stamina up, if you,you know, working out, getting
fresh air, finding a balance inyour life if you can, although
most producers that I know areobsessed and driven, so it's
kind of hard, but you do thebest that you can so that you
(40:53):
have a fresh mind and freshenergy and fresh attitude.
That's I love working withemerging filmmakers.
They have unusual approaches andunusual ideas.
And I I I work at keeping thatfresh in myself as well, and
that helps me.
So I always have interns around.
I'm always teaching if I can orgiving a class or a course or
(41:14):
workshop.
I like that.
SPEAKER_02 (41:17):
Oh, that's wonderful to hear.
So, where would they find outabout that?
On your website or something youcan share with us?
SPEAKER_01 (41:24):
Oh, oh, sure.
Yes, it's LamontProductions.com.
Mm-hmm.
Yes, I I list those.
I I just did one for GreenlightWomen.
And I wanted to say that thoseorganizations are so important
as well.
The places like GreenlightWomen, um, uh the IDA, um, the
documentary producers alliance,um, the alliance of women
(41:47):
directors, all those things areso important because you have a
network of people to bounceideas around, to network, to
learn from.
And um, I have found thoseinvaluable.
And from some of those, I'vefrom um women independent
producers out of New York, I'veformed uh a small group of five,
(42:08):
five of us, five producers, andwe share our our angst, our joy,
our wins, our losses, and theall of us are much richer and
smarter because of that.
So every Monday at 10:30, wemeet for an hour and just give a
(42:29):
little, you know, update.
And that support is remarkable.
And even being able to talkabout your process and or your
problems uh helps to identify,and then it helps to clarify
what's needed.
And um, they all have ideas,they're all smart, incredible
women that I respect, verysuccessful.
(42:52):
And so those are importantthings, I think, also for
emerging filmmakers tounderstand and to embrace.
SPEAKER_02 (43:00):
That's brilliant.
What a kind thing to do.
I'm sure it's beneficial becausesometimes my problem is uh
recognized quickly by the otherproducers.
They've been there, they'vehooked, they've seen other
people in that place, and theycan share guidance and you don't
(43:20):
feel so alone.
SPEAKER_01 (43:22):
Exactly.
Exactly.
It's so important.
Yeah, and those women, they gotmy front, my back.
We hold each other's hands.
And as you said, if I've beenthrough something, I can save
you the the you know, theproblems of uh, you know, going
straight to what would make it asuccess instead of these rough
(43:42):
patches that we come across.
And also people, you know, ifthere I've had a good experience
with a distributor or with afestival, we share those two.
It's really important.
Introductions, we introduce eachother to different fundraisers,
to different festivals, reallyhelp each other a lot.
And they're they're very smartand very and lovely and loving
(44:06):
and kind and non-judgmental.
So you use a safe place to totalk.
Very important.
SPEAKER_02 (44:14):
Yeah, a safe place to talk.
Right.
You have so much responsibilityas a producer that maybe it
starts with safety first, feedyour crew and go and get
everybody on the set, regardlessof what's happening with
weather, traffic, whatever, onto getting an Academy Award
nomination.
(44:35):
It's a marvelous journey thatyou're on here.
SPEAKER_01 (44:39):
You know, Carol, I um I'm very lucky because I've I
am studio trained.
I'm I was in that army of umstudio executives, and it's
fierce and there's a lot atstake, so you can't make a
mistake.
And um so I bring that with meto the indie world, and it's
(45:02):
daunting sometimes for somepeople because I'm very strict
about certain things, because Ibring this uh studio.
Training with me.
And some people don't have that.
And it's it's an unusual thingto because they're a little bit
looser.
It's an indie production.
(45:24):
But I have found that thereasons why studios are
successful and some films aresuccessful is that they have
this playbook that you go by.
And that is that you have animage and a log line that you
don't change until you have to,till it's distributed, because
(45:47):
changing things is um confusingto the public.
So it's branding.
There are so many levels that asa producer who understands
marketing, as I said, especiallyfrom the studio perspective, um,
it it it helps us to organizeand to understand step by step
(46:09):
what's needed.
There's definitely a rollout.
And I'm lucky to know a lot ofthe press, because I've been in
the business for such a longtime, to know a lot of the
distributors, to understand umhow things work and to
understand some of the secretways of maneuvering, of getting
around.
(46:30):
So if anybody can get aneducation in the studios, I
definitely think it's the placeto start or at a PR agency.
Um, because um if you want to bein film, it really helps you to
understand and to positionthings.
We don't have to hire an outsidePR for for the life of the film
until we get to the end when wehave a big strategy, and you
(46:54):
need obviously some people toget reviews and to do other
things, but all along, um, ifyou've got someone who comes
from that world, they're able tobring uh a richness of um
experience.
And I've been lucky to be ableto do that with both films, and
I think that's helped us to getto where we are and
(47:16):
strategically to have astrategic marketing mind helps
you.
So if you can bring that onboard, that's one of the
secrets, I think, is to to havesomebody who understands that
world that can can bring thosethose things to the film.
SPEAKER_02 (47:34):
Absolutely.
Thank you so much, becausethat's just what filmmakers need
to hear.
That old world is crumbling now,and that's right.
Anyone who had a part in that isso valuable, it's important.
SPEAKER_01 (47:49):
I agree, and because a solid base um keeps things
steady and stable, and that'swhat you get from those that
studio education.
You build on these solid blocks.
You know, we were at a studio,you would have that log line,
you would have an image, uh, aposter, you would make that
(48:11):
right away if you could, um, andyou would have um some marketing
ideas.
Those were springboards thatyour editor, that your
cinematographer would alleverything would spring from
that.
And it was again, it was like anintention and a goal that was
(48:31):
set together that you wouldagree on.
And this was the base for afilm.
You'd go from there.
SPEAKER_02 (48:39):
You go from there.
That's intentional filmmaking.
That's right.
That is wonderful.
Thank you so much for sharingwith us.
I sincerely appreciate it.
SPEAKER_01 (48:50):
Uh yeah, yes, and and I, you know, this other film
that I have, this uh thirdItalian documentary, Children of
the River, is another veryinteresting thing.
I I like unusual approaches.
This is soul slow cinema, andit's um it's more meditative,
it's less dialogue and morevisual.
It's really beautiful.
(49:11):
It's about three men who livealong the Po River in search of
ancestral roots, and it's umit's really beautiful.
It's in post-production, and soI'm excited to get that out as
well and into festivals um thiscoming year.
Be exciting.
SPEAKER_02 (49:28):
Oh my goodness.
Well, please, Christine, we needyou to come back and tell us
about that.
SPEAKER_01 (49:35):
I will, I would love to.
Yes, I will.
Thank you, Carol.
I love talking to you.
It's um talking with you.
It's uh it's exciting.
We have similar, very similarmindsets, especially because of
that.
I think I have a spiritualapproach to the arts.
SPEAKER_02 (49:52):
Exactly.
You do, and it works, and youtrust your intuition.
And thank you for sharing thatbecause so many people don't
want to talk about that.
But this is the key to a goodproducer.
SPEAKER_01 (50:04):
Well, I think so.
It's worked for me.
I'm I'm very proud and happy,especially after Viva Verdi with
13 years and I Weiwe with sevenyears of being at this place
where you know, really robustfilm festivals and great
reviews, amazing reviews,audiences um loving the film and
coming up at festivals saying wecan't thank you enough.
(50:28):
We are hungry for this kind ofintelligent, sophisticated fare
that we don't find.
And festivals saying we need anencore screening because of an
audience demand.
That happened so many times.
And even um this summer, uhWoods Hole coming back to us and
saying we in the fall we want todo another series and dinner in
(50:51):
a film, and your film is one ofthe ones we'd like to do that
with.
So it keeps going.
It's very strong to have filmsthat you believe in that have um
that that reach um a that have ahumanity to them, that have a um
something to uh think about,something, and and that's the
(51:13):
difference, you know.
You think about great films.
What makes a great film, right?
A film that you think about, afilm that you go back to, a film
that you can change yourperception of things that makes
you think that you want to seeagain and again, and that you
want to talk to your friendsabout.
SPEAKER_02 (51:30):
Yes, I love it when I wake up thinking about a film
and what did he mean by this, orwhat I get from the film.
It's just wonderful when it Iknow.
SPEAKER_01 (51:42):
One of my favorite films is Black Orpheus.
I don't know if you ever sawthat or remember, it was from
1959, and it won actually, Ithink in 1960 it won Best
Foreign Film for an Oscar, butit's one of those um based on
Eurydice and Orpheo, uh, a myth,and but it takes place in Rio in
(52:03):
carnival time, and the music andthe imagery and the
cinematography is just as freshtoday as it was then.
It's stunning, and I recommendthat anybody who hasn't seen it
take a look at it.
It's exciting.
SPEAKER_02 (52:18):
Oh, I will, I will.
Thank you for that.
And what is so wonderful?
Thank you for sharing yourintuition, your trust, and how
collaboration is an importantaspect of filmmaking.
We really appreciate, and I hopeyou'll come back and share more
on your current film that you'reworking on your Italian
(52:38):
documentary that has themeditation and the three men
living on the river.
SPEAKER_01 (52:43):
That's right, children of the river.
Thank you, Carol.
I love being on your show, and Iappreciate I appreciate all that
you do for filmmakers.
It's um you're a gift.
Thank you.
SPEAKER_02 (52:55):
Oh, you're so welcome, Christine.
Thank you.
All right, so what I want to dois say thank you for listening.
And if this episode resonatedwith you, I encourage you to
reflect on how you'reapproaching your own creative
partnerships, your process, andthe standards you're holding for
your work.
And you can find more resourcesresources, uh, funding
(53:18):
opportunities and educationalprograms at FromTheHard
Productions.com.
I'm Carol Dean, and this hasbeen the Art of Film Funding.
Thank you very much, ClairePapin, for your support and for
your information, Christine.
And we'll see you again nextweek.
So glad you could join us on the Art of Film
Funding podcast, where we giveindependent filmmakers the
tools, insights, and inspirationthey need to bring powerful
stories to life.
And From the Heart Productionsis a nonprofit that has
supported independent filmmakersfor over three decades.
(01:37):
Today's conversation is one I'mespecially excited to share.
Our guest, Christine Lamont, isa producer, director, writer,
and former film marketingexecutive at Universal Disney
and Orion.
She's the founder president ofLamont Productions, where
(01:58):
current projects include VivaVerdi, the feature documentary
shortlisted for Best Song, whereshe serves as producer, writer,
and executive producer.
Also on the award circuit, IWeiwe's Tour de Dot, a
co-production with Italy'sInsipat Film and Lamont
(02:22):
Productions.
Christine produced the PalmSpring International Film
Festival Audience Award-winningshort film Dandelion Dharma, the
Gary Goldstein scripted play,Three Grooms and a Bride, and
syndicated television talk showMary Lou, starring Mary Lou
(02:44):
Henner.
Christine has been a member ofthe Academy since 1987.
She's also a frequent guestspeaker panelist at independent
filmmaking events and has beenthe chair of the Humanitas
Awards jury panel for theprevious two years.
(03:06):
With U.S.
Italian Dual Citizenship, shedivides her time between Los
Angeles and Rome.
And Carol Dean, I know you're amajor fan of Christine and her
work.
SPEAKER_02 (03:19):
Thank you so much.
Christine, what a joy to haveyou with us.
SPEAKER_01 (03:24):
So great to be here, Carol.
You know, I've always been a fanof your work and of From the
Heart and all that you do forfilmmakers.
So thank you for having metoday.
SPEAKER_02 (03:32):
Oh, it's a pleasure.
Yes, we're going to have awonderful time here.
So for filmmakers who may justbe discovering your work,
Christine, can you share yourjourney into filmmaking and what
first drew you to this medium asyour creative path?
SPEAKER_01 (03:51):
Well, I feel like I've always been obsessed with
film since I was a young girl.
I remember being at mygrandmother's on her Sunday
sauce and um just begging anyoneto take me to the movies.
And once we were there, I wouldbeg them to stay to see it a
second time because I love beingimmersed in those worlds where
(04:12):
all my senses are engaged, mymind was stimulated, I was
seeing things that I didn't knowabout and curious to learn.
So it comes from a very verylong time ago.
And I think my real entry intofilmmaking was through the
studios and uh as a marketingexecutive, I had also produced
(04:33):
events when I lived in Aspenafter college.
So producing came kind of easy,easily to me.
Um, I uh worked at the jazzworkshop Paul's mall in Boston,
so I learned uh my publicity andmarketing chops there.
And I also worked for an 82theater chain sack theaters in
Boston, where Universal hired meand and um moved me to New York,
(04:56):
and I was the East Coast fielddrop.
So I think being at the studio,you know, increased obviously my
love and my knowledge of film.
And I think um I was alwayslearning at the feet of these
masters, and it was a naturalsegue to produce and to create
um stories and to make storiesmanifest that I believed in.
(05:18):
So, and and documentaries justcame to me.
I was lucky in that regard.
It was um easy.
SPEAKER_02 (05:24):
Good.
So you really loved making docs,you found that out.
SPEAKER_01 (05:28):
Yes, I do.
I think um it's a differentprocess than um this the short
that I did was um a scriptedfilm.
Non-scripted is kind ofinteresting, it's a different
challenge because you really youhave an idea, you have a budget,
and then you go from there.
Um, so you you do these papercuts, and um, as I said, you you
(05:53):
do a first budget, and then itkind of takes you on a journey
on its own, discovering andbeing curious about a subject,
especially we'll talk aboutVerdi.
That started in 2013.
And being uh when when my myproducing partner, Ivan Russa,
who uh directed the film, uhcame to me and said, I have this
(06:16):
great idea, I'd love you to be apart of it.
And she said, it has to do withVerdi, Milan, shooting in Milan,
and an older Italians.
I said, That's that's heaven forme.
Those are all the things that Ilove.
So we went there and started,and it just wasn't it was easy
in many ways.
I mean, producing is not alwayseasy, but this was um a joy
(06:39):
because it's musical.
It had wonderful stories ofpeople that I um respected and
enjoyed hearing their storiesand telling them as well.
So it was an easy segue for me,I think, into that world.
I I love documentaries and IWeiwei too, learning so much
about um the background, um moreabout him.
(07:02):
I've always been a fan of Iwe'sin LA, there's always been great
installations.
So I've I've followed him foryears.
So it was easy to jump intothat.
And I'm an opera fan because Igrew up with my grandmother when
she made her sauce, playingMario Lanza on these great red
vinyl albums I remember soclearly.
(07:22):
So I feel like it was in my DNA.
So I was very lucky to spendtime with Verdi and Puccini
these this last decade or plusyears.
It's been wonderful.
SPEAKER_02 (07:33):
Oh, Mario Lanza was my first record as a child.
SPEAKER_01 (07:38):
Was it red, Carol?
Because my grandmothers werered, her albums.
SPEAKER_02 (07:42):
Yes, and it was so wonderful.
And my father, my uncle gave itto me, and I played it over and
over with my ear to the speakerto get the Italian words.
And my father said, What is itabout that?
Because you either love it orhate it, you know.
SPEAKER_01 (08:00):
Right, yeah, so isn't that interesting?
That's great.
No one I've ever talked to knowsabout those red albums.
That's great.
SPEAKER_02 (08:08):
Oh, yeah, that was the beginning of my love for
good music.
SPEAKER_01 (08:13):
And me too, me too.
And then I was lucky enough whenI was at Universal to uh work
with Franco Zaffarelli on LaTraviata, another Verdi opera.
So I've been blessed, veryblessed in that respect.
He kind of took me under hiswings and I got even a more
proper education on opera andspent a lot of time with him in
(08:36):
Italy and here.
So I was I've been very lucky.
The opera gods have smiled onme.
So it's been good, very good.
SPEAKER_02 (08:44):
Zephyrelli did a um set for uh an opera in New York.
I've forgotten the name, but I Iwent uh with the season with
season tickets all the time.
And when the curtain opened withZefferelli's background,
everyone said, ah, and theyinhaled, we all inhale together,
(09:07):
was so gorgeous.
SPEAKER_01 (09:09):
Oh, all of his work is just beyond uh Tusca is
probably one of his most famousones, but as well as Turin Dot
and La Traviata as well.
So he's he does a lot of Verdiand Puccini.
SPEAKER_02 (09:21):
Yes, it's marvelous.
Oh boy, you're getting to workwith the very, very best.
How wonderful.
SPEAKER_01 (09:26):
Very lucky, very lucky, right?
SPEAKER_02 (09:28):
Now, what motivates you personally to keep making
films at such a high level whenprojects get difficult, like
they always do?
What keeps you?
SPEAKER_01 (09:39):
Well, I think I I really love a challenge.
I'm an Aries, so I'm and I haveI grew up with four brothers, so
no sisters, and that was alittle challenging as well, but
I met the challenge and theykind of groomed me to be able to
um respond and you know have anopinion and be able to back it
(10:01):
up.
And I think that's that wasimportant growing up.
And I also had a Catholiceducation that was very good and
was always um questioning andand um introduced me to new
things, very curious aboutthings.
So, and I have a great passionfor the arts.
I grew up with the arts, as Isaid.
So, and I when I believe in aproject, I embrace it full on.
(10:25):
Um, and I I feel I have aformidable work ethic.
I grew up with that with for myparents and being a Catholic as
well, Catholic schools, and umI'm tenacious and relentless.
And so um I think that's therole of a producer to see it
through to the end, to deliverfor the creative team and for
the executive producers thathave given you financial support
(10:46):
for the film.
So no matter what it takes, um,more creative thinking, which it
always does, more financialmeans, more rallying the troops
to keep spirits up, that's whatI do.
And it's it's easy for me.
I um I embrace it, um, I likeit.
And it's really funny.
I was sent a t-shirt forChristmas that said, being a
(11:08):
producer is easy.
It's like riding a bike, exceptthe bike is on fire, you're on
fire, everything is on fire.
It's not always that bad, but attimes it feels that way.
Editors don't work out, morefunds are needed to move
forward, pandemics happen.
What can you do to keep going?
And I I guess I like thatchallenge.
I embrace it, and I've alwayshad a very um creative um mind
(11:34):
and ways of doing things, so itseems to work out.
SPEAKER_02 (11:38):
It's great, and tenacity is the backbone of the
filmmaker.
That's what you said.
You fall back.
SPEAKER_01 (11:44):
Absolutely, yeah.
If you don't have that, if ifyou can't put 100% in, um you
you probably should look to dosomething else.
SPEAKER_02 (11:54):
Absolutely.
Well, now tell me about the newfilm that you have, where you
have a song that is up forAcademy Award.
SPEAKER_01 (12:02):
Right.
Well, this is Viva Verdi, theone that I was seeing that
Yvonne uh initially came to me.
We we went um in 2013 to dodevelopment, got some
development reel going, and wefell in love with the this
place.
It's just stunning, uh, just asbeautiful it was when Verdi
built it in um 1896, where hespared no expense.
(12:24):
It's just beautiful.
And the people that were there,because it's intergenerational
with these um residents who livethere, these opera opera,
ballet, um, musicians,conductors, they're all masters.
And they teach students who livethere.
So there were about um 80residents who live there, and
(12:45):
there were 17 students who livethere with them.
So every day there were classes,there were music therapy, there
were um teaching classes, therewere um concerts.
It was just an exciting place tobe.
And you could see these youngpeople and masters and older
generation walking arm in arm,having lunch, talking about
(13:08):
music, the thing that they wereall obsessed about, which is
such I'm obsessed about music.
So how beautiful to be aroundthat energy and to have music
going all the time in everyroom.
And Yvonne always said when shefirst went there, it was for a
National Geographic um piecethat she was doing on the gems,
the hidden gems of Milan.
(13:28):
She said she saw Sonic Colors,which to me is an exact
description of what you feelwhen you walk in there.
There's music all over and colorand this energy that you can't
describe.
Verdi did something very specialthat was very groundbreaking.
It was he was very, you know, itwas 1896 in Who Thought About
(13:49):
Other People.
To me, Verdi was a humanitarianfirst and foremost.
And then he was an incrediblecomposer of some of the most
beautiful music in the world andthe most beloved.
In Italy, when he died in 1901,there were over 300,000 people
that came to his funeral.
(14:11):
And these photos are remarkable.
People are sitting in trees, andhe was just beloved.
So um, to to have that legacy inmy hands with Ivan and um the
artists that we chose to workwith us was a responsibility
that I did not take lightly.
It was um a very serious, veryserious thing for me, especially
(14:34):
because I loved opera so much.
So growing up and um having thatum handle with Verdi,
especially, and then with FrancoZeffarelli, and then having this
um in my hands with Yvonne tocreate something, we set an
intention the first day, and wesaid, sorry, this would be the
(14:54):
most beautiful film.
Every frame, every sound um willbe um like Verdi's legacy.
It will be a leg like hislegacy, like his music.
Um, so we were and we wouldremind each other all the time
when it was a matter of a cut orsomeone that we were hiring.
Uh, we wanted them to fit intothis intention, into this um
(15:18):
idea that we had, this goal thatwe had for this film to be
beautiful on every level,artistic, like Verdi's work.
So um we we we um had adevelopment reel created.
We did an Indiegogo campaign andraised money, went back a second
time and um got beautifulfootage.
(15:40):
We brought on Yassik Laskis,incredible cinematographer who
worked with um Robert Altman.
He was one of the best from thePolish School of Cinema, right?
Cinematography, the best.
So he was there with us, andthen we came back.
(16:00):
It took a lot of time becauseyou would raise money, you know.
As everybody knows, you youknow, you kind of patchwork this
together, quilt patchwork thisthese things together, you raise
money, you can do a little bitmore, hire an editor.
And we had Federico Rodelli, whois um I hired as a an um an AP
(16:23):
initially, but he was our man onthe ground in in that area in
Parliament in Milan.
So he eventually now he's aco-producer on the film, but he
was one of the cameramen.
And there's a lot of theseconcentric circles in my life.
So Max, it goes back to MaximeDerevenko when I was living in
Rome.
(16:44):
He was my mentee.
Um, uh, one of my friends there.
I said, I have a son who's inschool.
We think he's talented.
Would you look at his film?
I looked at his film, I said,Oh, this guy's brilliant.
He's an artist.
And so I helped him with hisfilm.
He ended up being the directorof I Weighways Turned out, which
I'll get back to.
(17:05):
So that was in 2012.
In 2013, I'm I'm up in Milan andI said, Maxim you hikmati, come
up and be our cameraman.
So he came up, did incrediblework at a young age.
He was, I think he was 22, maybeat the time, 23.
And so he did beautiful work.
Um, as I said, we created thisreel, raised more money, went
(17:26):
back, and then we came back andum Federica Rodelli created a
string out.
We had a paper cut, he created astring out, we put all these
select scenes together, createdthe string out, and then went
from there.
So going on, we we um thepandemic happened, we were able
(17:47):
to edit remotely with Ivana, NewYork, me in LA, and Federico in
Parma, and we went from there.
So it was, you know, you dowhatever you can.
So we ended up with thisbeautiful film, did a lot of
festivals, about 20 festivals.
We had our our launch, our worldpremiere at Woodstock in 2024 in
(18:09):
October.
Then we went on to Santa Barbaraand Mendocino, we did uh hot
docs.
There were so many great umfestivals that we did, and it
gained a lot of momentum.
Then we had our LA opening uhfor Oscar consideration, um,
qualifying week at Lemmley.
Greg Lemmley is the best.
We love working with him, andum, that was in October.
(18:34):
And then we submitted, and wewere we were a contender, which
was great.
Uh, for Deadline Hollywood, weended up being a contender with
I Weiwe and with uh with about10 other documentaries, and then
we ended up being shortlistedfor our beautiful song that
Nicholas Pike wrote, SweetDreams of Joy.
(18:56):
And this is the thing, Carol,that we talk about is this
networks, right?
Being an academy member, I'mvery lucky to be in LA and going
to screenings and events.
I meet um a lot of my peers, andum, somebody introduced me to
Nick and said, To Nick,Christine's got a great project
you should get involved with.
So Nick said, Why don't you sendme something?
(19:18):
So I sent him this 11-minutereel that we had, and in two
days, Nick was inspired.
He's an incredible, he's Britishand Grammy Award-winning um
composer.
He sent us back this amazingsong, Sweet Dreams of Joy.
And I said to Yvonne, this isreally so stunning.
She listened, she said, That'sit, let's do it, let's hire him.
(19:40):
We did.
That was a while ago, and he'sbeen a great partner for us.
He's been with us all the way.
We didn't always have the fundsto, you know, some people
deferred some of their pay.
We eventually paid everybody,but they hung in with us and
they were as dedicated as wewere.
And they had their crafts, theywere craftsmen, they were
(20:00):
artists.
And I think that's importantwhen you can hire people that
you know have the higheststandards and the best quality
and have a passion and believein the project as well, as much
as you and your partner, youknow, director and producing
partner.
So we were very fortunate tohave him.
And it's unusual.
We there were 65 other filmsthat were up against these films
(20:26):
for this coveted 15 short-listedspot.
And we were one of them upagainst Netflix and the big
studios, animated films, otherfilms, and I don't think there's
been very many arias.
Our our song is an aria that umAnna Maria Martinez, the great
Met Soprano, she's incredible,um, performs for us.
(20:48):
So um, we were lucky anddefinitely uh worth it and well
deserved, I feel.
So now we're up against uhtrying to get to the final five.
And uh so we have a the umItalian Council General is
hosting a screening on Monday atthe Italian Cultural Institute,
(21:09):
and Nick will do a QA, and itwas going to be exciting.
I hope you'll join us, Carol andClaire, both of you vice.
SPEAKER_02 (21:17):
And this is in Los Angeles.
SPEAKER_01 (21:19):
Yes, yes, yeah.
So we're we're excited to behere, and we we've got um great
support around us, and we'llwe'll see what happens.
Fingers crossed.
Yes, and that that is announced.
People start voting, the musicbranch starts voting next week,
and then it's announced on the22nd.
SPEAKER_02 (21:39):
Okay, of February.
Thank you.
Thanks.
Okay, now this is so fabulousbecause this is the heart of
filmmaking, setting an attendintention, bringing other people
in to having a partnership withone vision, and then working
(22:00):
together to achieve that.
That's exact that's the bestexample of on top filmmaking
that you can do.
Congratulations.
SPEAKER_01 (22:09):
That's right.
That's right.
And if, you know, I've hadmeetings with people, um, not on
Viva Verdi, and some other filmswhere I've said, if you don't
believe that this is an AcademyAward contender, and this is
right in the beginning, youprobably don't belong in in this
meeting with us.
It has to be that high of abelief.
We have to put all of ourenergy, all of our belief, all
(22:31):
of our positive thinking intocreating a work of art and and
embracing it that way andputting it out to the public
that way from the beginning.
SPEAKER_02 (22:42):
And telling the universe what you want.
Exactly, and only taking thebest of the best.
Wow.
But the key here is that peopleare on this film because they
love the energy of the film,right?
Right.
SPEAKER_01 (22:58):
Yes, that's right.
And it's so beautiful when youhave people that love the
subject matter, like like Verdi.
So um, I remember uh FedericoConforti, we had incredible
editors, Federico.
Quinforti was our lead editorthen, and Dariana Cardili, both
Italian, both living in LA, thatI found and hired, they were
(23:19):
incredible and they brought suchsensitivity and nuance to our
film.
And I remember Federico comingwith these all these new ideas
about Verdi and Dariana, youknow, being able to go to these
arias because the Italians areversed in the arts from the
beginning, from when they'revery young.
(23:41):
So they're able to sing anyaria.
They can talk about anyphilosopher, they can recite
poetry.
They are they embrace the artsin a very big way more than
Europeans, I should say, andprobably South Americans as
well.
I says, I wish that we did aswell.
I wish there was more of a focuson that for young people so they
(24:02):
grow up being comfortable,because it it changes your life
to understand the arts without adoubt.
And to um it brings joy, it's arewarding thing to go to
concerts to be moved ondifferent levels by the arts, by
music, by reading, by poetry.
SPEAKER_02 (24:22):
Wow, that's so true.
Thank you very much, and goodluck with that.
Thank you.
So really, what do you believeis the secret sauce of a
successful creative partnership?
What do you and uh Al Wewi bringout in each other that elevates
(24:43):
your product?
SPEAKER_01 (24:45):
Well, I think that trust and a shared vision make
for a great relationship andopen communication.
Sharing intentions and goals ona film are essential.
You know, as I said, Ivana and Idid that in early 2020 2013 and
repeated it to ourselves and toeach other throughout the
process, trusting your intuitionon things as well, setting high
(25:06):
standards.
And those red flags, when theycome up, only look at them once
and then act on that becausewhen they come up, they will
also come up a second and thirdtime, and by that time you're in
trouble.
So trusting your intuition isessential, and especially when
(25:28):
it comes to red flags.
Honestly, if something's notworking out, an editor doesn't
feel right, just discuss it,open communication and move on.
That's what I feel.
And I think that's importantthat as I said, you all can
agree that we're doing thistogether, that it's sacred.
Work is sacred.
(25:48):
And when you have theresponsibility, uh, especially
of someone like Verdi's legacyuh on your hands, that's that's
a that's a big deal, and that'sa sacred thing.
And especially with Aiwe andPuccini, that's important.
So that we all agree on that andgo move forward together as a
unit is important.
SPEAKER_02 (26:10):
Right, as a unit going forward, right?
Right, right, right.
Uh so will your films constantlyfeel thoughtful, they do feel
intentional.
I mean, you get into the filmand it's there, you're so
engrossed you don't think aboutanything.
And uh so what are you mostfocused on during production to
ensure that level?
(26:31):
Uh you want the best people ofthe highest caliber, and your
script has to be perfect, right?
Tell me more.
SPEAKER_01 (26:40):
Well, yeah, you know, you you it's a very
interesting balance betweenintellect and emotion, right?
And you, as I said, you startwith um an idea, you do a paper
cut after you've been there andunderstand, you know, what's in
front of you, and you have abudget and you have a log line
(27:01):
and maybe some marketing ideas.
I always have marketing ideas,so that's a given for me.
So and then you you go fromthere and you have to be um
steady and have some stabilityto keep a focus on the goal and
the intention and you know whatwhat you're initially trying to
(27:25):
create, but also be flexibleenough that if it goes in a
different direction, that youknow you can support it in ways.
So, you know, to me, it's likeyou're you're a sculptor and you
have a block of marble and youstart chipping in, that's when
you're creating all these,these, you know, you're you're
(27:48):
filming, and then you'restarting to see a shape and a
form, and then it kind ofdevelops itself in a way.
I I really believe this creativeprocess, I think it's all kind
of challenged, uh, or I'm sorry,uh channeled.
Um I believe in you know otherdimensions, and I believe this
is uh we're it's all out there.
(28:10):
I remember living with um a lotof my boyfriends were musicians
and composers, and I remembertheir fingers were always going
because they were alwayslistening, they always heard
things that maybe we couldn'thear.
So I believe the arts are there.
You kind of breathe them in, youyou bring them in somehow, and
then you exhale them out andcreate and manifest this these
(28:33):
things.
So I think um this um thisbalance between intellect and
emotion is important.
Um, the in I and as I said, theintent and the goal, but being
flexible enough to give if wehave to.
And for a producer, you know, doyou stay on, you have to stay on
(28:53):
track, you have to be carefulwith your budget, you have to um
make sure everyone is safe andso that they're able to do their
best work.
Um, intimacy and authenticity isessential as a filmmaker on
film, um the partners that youchoose to get involved with.
Um, if it takes more money, ifit takes um, you know, putting
(29:16):
it on your card until the fundscome in, you do it.
You just have to believe in it.
You've got to don't settle foryour second best or anything
that's inferior.
If you have to wait, you wait.
As I said, safety is importantum so they can be stress-free.
And encouragement is importanttoo.
I mean, that's the job of aproducer as well, just to
(29:36):
encourage people to keep going,to give their best and to be a
part of the unit and to trustthat everything will work out.
Um, and even if we have to goback to revisit something, get
better archival or whatever itis to find a balance, respect
for the subject, our storyprocess, our creative process is
(29:59):
also important.
Respect for the people that webring on as well.
SPEAKER_02 (30:05):
Exactly.
Well, what I have heardfilmmakers say, and what I have
seen, is that when you think youknow the film, but when you turn
on the camera and people starttalking, a whole new world opens
up to you.
Right, right, right.
And that can take your story ina whole new direction.
SPEAKER_01 (30:23):
That's right, that's right.
Um, it does.
Um it happens, as I said, youknow, you have an idea of what
it should be, but then youstart, it could go in different
directions.
You just have to trust that, youknow, stay true to the core, the
gem of what you're trying to do,but then trust that it's going
in a direction and let it go.
Um, the stories that we we werehad an embarrassment of riches
(30:46):
with I with um both both films,actually, with uh Viva Verdi.
We had so many rich stories tofollow.
Um, but when you start withpeople when they're 91 and you
you you try to get an arc andyou go back, we were lucky to go
back three times to Milan.
And so some of the people afterthe first time ended up in the
(31:09):
fourth floor, which is the areawhere there's assisted, you
know, either people going intodementia or Alzheimer's.
So we had to shift gears alittle bit and pivot a little
bit and concentrate on someother people, but there were so
many that had rich stories andthat we fell in love with.
Claudio Giombi for me was one ofthe ones he was uh a shaman.
(31:32):
You would love that, Carol.
He did energy work, and so allof his books were all of my
books at home from the Castanetabooks to um Zen, you know, Zen
Buddhist books to all thesegreat um religions.
So our conversations were veryphilosophical and exciting, and
(31:54):
um he had such a greatfollowing.
He was um he was an actor inmovies, he was on stage as a um
theatrical actor, he was a greatbaritone and La Scala Lamette,
he had a beautiful story, hewas, and you've just fallen in
love with him, he was biggerthan life and so kind and so
loving, and had a wink in his inhis eye and a little mischief
(32:18):
here and there, but so sweet andwonderful.
And we were lucky to have adiverse group also with um with
chitose Japanese coming fromJapan and taking so many days to
get to Italy because shecouldn't sing Italian opera in
in Japan at the time.
And because I lived in Japan fora year, I was able to speak some
(32:40):
Japanese with her and relate onthese very different levels.
It was a very enriching time forme, very joyful, and just being
able to film in Italy is alwaysa joy.
Um, there's a different way ofliving there, a different way of
life.
I have my Italian citizenship,and I've spent a lot of time
there.
I go back and forth a lot.
(33:01):
So to be able to work there onthree three documentaries has
been such a dream and such agift, and I'm very grateful for
that.
With Iwe as well, um, we had avery rich um rich archives to
pull from.
I Wewe gave us his archives,access to his archives, which
was so generous and kind.
(33:23):
He was wonderful.
Um, because um it was such atight project, and because um,
when Maxime started, it was umhe had been in the process for
seven years of writing this andthinking about it.
His father was a ballet Bolshoiballet dancer, and um, because
he fell in love with an Italianwoman who was a prima ballerina,
(33:48):
he was he had to leave Russia.
So he was exiled by himself.
He exiled, he was and leftItaly.
I mean, he I'm sorry, he leftRussia.
Like Iwewe's father was exiled.
Uh, he was a poet.
So Iwewe and Maxime had um thissympatico, they their lives
(34:08):
resonated, they understood eachother.
So Maxime was able to get accessto Aywewe uh and his process to
be able to record hisconversations, his collaboration
with other artists and the topartists in Italy.
You can imagine an opera whocostumes and set designs have
(34:30):
access to that.
Yeah, that was so rich.
I know that you saw that, Carol,in in Santa Barbara.
SPEAKER_02 (34:36):
It's one of the greatest films I've seen.
To go into I Wewe's mind andlook at Tarando from that,
Tarandot, sorry.
It was thank you very much forthat.
But I want to know how yourwhat's your marketing plan for
your film?
SPEAKER_01 (34:55):
Well, um, you know, this is Iwe Ai We's um right now
is still we're we're both doingfestivals, we're still doing
festivals, and both films havebeen Oscar contenders.
And as I said with uh VivaVerde, we're shortlisted for
original song.
So now our our next move is toum have theatrical, and I Weiwe
(35:19):
actually has been releasedtheatrically in Germany and in
Belgium and in Switzerland andwill continue to roll out.
And then um we'll we'll have uma we have a sales agent uh Rise
and Shine out of Berlin, andafter Oscar, they will then go
forward with getting um astreaming deal.
(35:40):
We wanted to wait until afterthe Academy Awards um in case
because everything changes ifyou're shortlisted, if you win
anything.
So that would be the next stepfor both of them.
I think both of these films kindof bring a fresh lens to very
timely cultural subjects.
Verdi, the home in Milan, and IWeiwe's is really a manifesto of
(36:02):
hope and opera for peace, as yousaw.
SPEAKER_02 (36:05):
Yes, yeah, yes, show to say connection of one country
to the world.
SPEAKER_01 (36:13):
Right, right.
And for I Wewe drawing onPuccini's classic to challenge
oppression and to reflect urgentissues from the Ukraine war to
the pandemic.
It was um it was exciting.
And we knew it was going to belike that rough right from the
very beginning.
So uh I am considering myself anactivist.
And then I brought on um AndyCohen, who had worked with
(36:37):
Iweiwe as an executive produceron some of his other films.
He's uh he's a journalist and anactivist, and then he brought on
Julian Lennon, a great activist.
So, and then Marcy Pullier, myfriend, I brought in as an EP as
well.
And we've all understand thatthis is such an important thing
to move forward, um, that thatfilms like this really can
(37:00):
change the way people think,their perception and their
preconceived ideas.
And that was an important thingfor for all of us to um to
embrace and share.
There's another thing that weshare, the intention, right?
And agreed on the goal of this.
SPEAKER_02 (37:17):
This is so important.
Intention is a key tomanifesting your future.
I believe that.
SPEAKER_01 (37:24):
Absolutely.
You know, Carol, um, I alwayswanted to live in in Rome, and I
had this um this R that's madeout of um, and it's this
interesting material, and it hasa red tassel, and I put it in
front of me for years, and Isaid, this is gonna be the key
to my apartment when I live inRome.
(37:46):
And that is that this intentionand that materialized, that
manifested.
And it's the same thing withfilm, with art, with anything.
I think it's important.
There's there's a thing when Ilived in Japan, there's um
there's a thing, the Daruma.
I don't know if you know what adaruma is, but I have one for
you, Carol.
Um, and I'll and for Claire too.
(38:08):
Um, it's a Buddha that has satin meditation so long that he's
round and he sits on his hands.
And so if something pushes himback, he bounces back to the
center.
If something attacks him fromthe side, he comes back to the
center, and it has two emptyeyes.
(38:29):
And when you start a new projector new year, you fill in the
left eye and you keep the rightone blank until your idea, your
inspiration, your wish ismanifest, and then you fill in
the other one.
But you keep this daoduma nextto you because looking at it
(38:53):
intensifies your intentionbecause you're thinking about
it, you're imagining it, you'revisualizing it, and it helps
bring in the reality and helpsyou to manifest this.
So, so when I I'm always givingthem out um when people start on
projects to uh and that helps usto manifest and to intensify the
(39:13):
manifestation.
SPEAKER_02 (39:15):
Oh, how lovely, what a perfect gift, Claire and I.
SPEAKER_01 (39:19):
That's right.
So you'll have to very soon.
SPEAKER_02 (39:23):
Right, perfect.
Um, all right, now what aboutcreative discipline and daily
practice?
Can you share some of yourhabits or rituals that you use
to support your ability to do somuch strong work and
consistently be up there with ahigh level of vibration and
(39:45):
making films that contribute tosociety?
SPEAKER_01 (39:50):
Yes, I um I I have a few mantras and I have a few
things that are really importantto me.
Saying yes and showing up isessential.
Um, you know, I think there'ssuch power in those three
letters, yes, much more than no.
And a lot of people think thatno is the thing.
(40:10):
I think it might bemale-oriented.
I hope I don't get into troublesaying that because uh women
obviously do that too.
But that CEO um thing of controland saying no, but saying yes to
me is the big deal.
Showing up, saying yes, showingup, being fearless, uh praying
(40:30):
uh for something is that's anintention, meditating, taking a
break and looking at things fromthe short end and the long end,
keeping your stamina up, if you,you know, working out, getting
fresh air, finding a balance inyour life if you can, although
most producers that I know areobsessed and driven, so it's
kind of hard, but you do thebest that you can so that you
(40:53):
have a fresh mind and freshenergy and fresh attitude.
That's I love working withemerging filmmakers.
They have unusual approaches andunusual ideas.
And I I I work at keeping thatfresh in myself as well, and
that helps me.
So I always have interns around.
I'm always teaching if I can orgiving a class or a course or
(41:14):
workshop.
I like that.
SPEAKER_02 (41:17):
Oh, that's wonderful to hear.
So, where would they find outabout that?
On your website or something youcan share with us?
SPEAKER_01 (41:24):
Oh, oh, sure.
Yes, it's LamontProductions.com.
Mm-hmm.
Yes, I I list those.
I I just did one for GreenlightWomen.
And I wanted to say that thoseorganizations are so important
as well.
The places like GreenlightWomen, um, uh the IDA, um, the
documentary producers alliance,um, the alliance of women
(41:47):
directors, all those things areso important because you have a
network of people to bounceideas around, to network, to
learn from.
And um, I have found thoseinvaluable.
And from some of those, I'vefrom um women independent
producers out of New York, I'veformed uh a small group of five,
(42:08):
five of us, five producers, andwe share our our angst, our joy,
our wins, our losses, and theall of us are much richer and
smarter because of that.
So every Monday at 10:30, wemeet for an hour and just give a
(42:29):
little, you know, update.
And that support is remarkable.
And even being able to talkabout your process and or your
problems uh helps to identify,and then it helps to clarify
what's needed.
And um, they all have ideas,they're all smart, incredible
women that I respect, verysuccessful.
(42:52):
And so those are importantthings, I think, also for
emerging filmmakers tounderstand and to embrace.
SPEAKER_02 (43:00):
That's brilliant.
What a kind thing to do.
I'm sure it's beneficial becausesometimes my problem is uh
recognized quickly by the otherproducers.
They've been there, they'vehooked, they've seen other
people in that place, and theycan share guidance and you don't
(43:20):
feel so alone.
SPEAKER_01 (43:22):
Exactly.
Exactly.
It's so important.
Yeah, and those women, they gotmy front, my back.
We hold each other's hands.
And as you said, if I've beenthrough something, I can save
you the the you know, theproblems of uh, you know, going
straight to what would make it asuccess instead of these rough
(43:42):
patches that we come across.
And also people, you know, ifthere I've had a good experience
with a distributor or with afestival, we share those two.
It's really important.
Introductions, we introduce eachother to different fundraisers,
to different festivals, reallyhelp each other a lot.
And they're they're very smartand very and lovely and loving
(44:06):
and kind and non-judgmental.
So you use a safe place to totalk.
Very important.
SPEAKER_02 (44:14):
Yeah, a safe place to talk.
Right.
You have so much responsibilityas a producer that maybe it
starts with safety first, feedyour crew and go and get
everybody on the set, regardlessof what's happening with
weather, traffic, whatever, onto getting an Academy Award
nomination.
(44:35):
It's a marvelous journey thatyou're on here.
SPEAKER_01 (44:39):
You know, Carol, I um I'm very lucky because I've I
am studio trained.
I'm I was in that army of umstudio executives, and it's
fierce and there's a lot atstake, so you can't make a
mistake.
And um so I bring that with meto the indie world, and it's
(45:02):
daunting sometimes for somepeople because I'm very strict
about certain things, because Ibring this uh studio.
Training with me.
And some people don't have that.
And it's it's an unusual thingto because they're a little bit
looser.
It's an indie production.
(45:24):
But I have found that thereasons why studios are
successful and some films aresuccessful is that they have
this playbook that you go by.
And that is that you have animage and a log line that you
don't change until you have to,till it's distributed, because
(45:47):
changing things is um confusingto the public.
So it's branding.
There are so many levels that asa producer who understands
marketing, as I said, especiallyfrom the studio perspective, um,
it it it helps us to organizeand to understand step by step
(46:09):
what's needed.
There's definitely a rollout.
And I'm lucky to know a lot ofthe press, because I've been in
the business for such a longtime, to know a lot of the
distributors, to understand umhow things work and to
understand some of the secretways of maneuvering, of getting
around.
(46:30):
So if anybody can get aneducation in the studios, I
definitely think it's the placeto start or at a PR agency.
Um, because um if you want to bein film, it really helps you to
understand and to positionthings.
We don't have to hire an outsidePR for for the life of the film
until we get to the end when wehave a big strategy, and you
(46:54):
need obviously some people toget reviews and to do other
things, but all along, um, ifyou've got someone who comes
from that world, they're able tobring uh a richness of um
experience.
And I've been lucky to be ableto do that with both films, and
I think that's helped us to getto where we are and
(47:16):
strategically to have astrategic marketing mind helps
you.
So if you can bring that onboard, that's one of the
secrets, I think, is to to havesomebody who understands that
world that can can bring thosethose things to the film.
SPEAKER_02 (47:34):
Absolutely.
Thank you so much, becausethat's just what filmmakers need
to hear.
That old world is crumbling now,and that's right.
Anyone who had a part in that isso valuable, it's important.
SPEAKER_01 (47:49):
I agree, and because a solid base um keeps things
steady and stable, and that'swhat you get from those that
studio education.
You build on these solid blocks.
You know, we were at a studio,you would have that log line,
you would have an image, uh, aposter, you would make that
(48:11):
right away if you could, um, andyou would have um some marketing
ideas.
Those were springboards thatyour editor, that your
cinematographer would alleverything would spring from
that.
And it was again, it was like anintention and a goal that was
(48:31):
set together that you wouldagree on.
And this was the base for afilm.
You'd go from there.
SPEAKER_02 (48:39):
You go from there.
That's intentional filmmaking.
That's right.
That is wonderful.
Thank you so much for sharingwith us.
I sincerely appreciate it.
SPEAKER_01 (48:50):
Uh yeah, yes, and and I, you know, this other film
that I have, this uh thirdItalian documentary, Children of
the River, is another veryinteresting thing.
I I like unusual approaches.
This is soul slow cinema, andit's um it's more meditative,
it's less dialogue and morevisual.
It's really beautiful.
(49:11):
It's about three men who livealong the Po River in search of
ancestral roots, and it's umit's really beautiful.
It's in post-production, and soI'm excited to get that out as
well and into festivals um thiscoming year.
Be exciting.
SPEAKER_02 (49:28):
Oh my goodness.
Well, please, Christine, we needyou to come back and tell us
about that.
SPEAKER_01 (49:35):
I will, I would love to.
Yes, I will.
Thank you, Carol.
I love talking to you.
It's um talking with you.
It's uh it's exciting.
We have similar, very similarmindsets, especially because of
that.
I think I have a spiritualapproach to the arts.
SPEAKER_02 (49:52):
Exactly.
You do, and it works, and youtrust your intuition.
And thank you for sharing thatbecause so many people don't
want to talk about that.
But this is the key to a goodproducer.
SPEAKER_01 (50:04):
Well, I think so.
It's worked for me.
I'm I'm very proud and happy,especially after Viva Verdi with
13 years and I Weiwe with sevenyears of being at this place
where you know, really robustfilm festivals and great
reviews, amazing reviews,audiences um loving the film and
coming up at festivals saying wecan't thank you enough.
(50:28):
We are hungry for this kind ofintelligent, sophisticated fare
that we don't find.
And festivals saying we need anencore screening because of an
audience demand.
That happened so many times.
And even um this summer, uhWoods Hole coming back to us and
saying we in the fall we want todo another series and dinner in
(50:51):
a film, and your film is one ofthe ones we'd like to do that
with.
So it keeps going.
It's very strong to have filmsthat you believe in that have um
that that reach um a that have ahumanity to them, that have a um
something to uh think about,something, and and that's the
(51:13):
difference, you know.
You think about great films.
What makes a great film, right?
A film that you think about, afilm that you go back to, a film
that you can change yourperception of things that makes
you think that you want to seeagain and again, and that you
want to talk to your friendsabout.
SPEAKER_02 (51:30):
Yes, I love it when I wake up thinking about a film
and what did he mean by this, orwhat I get from the film.
It's just wonderful when it Iknow.
SPEAKER_01 (51:42):
One of my favorite films is Black Orpheus.
I don't know if you ever sawthat or remember, it was from
1959, and it won actually, Ithink in 1960 it won Best
Foreign Film for an Oscar, butit's one of those um based on
Eurydice and Orpheo, uh, a myth,and but it takes place in Rio in
(52:03):
carnival time, and the music andthe imagery and the
cinematography is just as freshtoday as it was then.
It's stunning, and I recommendthat anybody who hasn't seen it
take a look at it.
It's exciting.
SPEAKER_02 (52:18):
Oh, I will, I will.
Thank you for that.
And what is so wonderful?
Thank you for sharing yourintuition, your trust, and how
collaboration is an importantaspect of filmmaking.
We really appreciate, and I hopeyou'll come back and share more
on your current film that you'reworking on your Italian
(52:38):
documentary that has themeditation and the three men
living on the river.
SPEAKER_01 (52:43):
That's right, children of the river.
Thank you, Carol.
I love being on your show, and Iappreciate I appreciate all that
you do for filmmakers.
It's um you're a gift.
Thank you.
SPEAKER_02 (52:55):
Oh, you're so welcome, Christine.
Thank you.
All right, so what I want to dois say thank you for listening.
And if this episode resonatedwith you, I encourage you to
reflect on how you'reapproaching your own creative
partnerships, your process, andthe standards you're holding for
your work.
And you can find more resourcesresources, uh, funding
(53:18):
opportunities and educationalprograms at FromTheHard
Productions.com.
I'm Carol Dean, and this hasbeen the Art of Film Funding.
Thank you very much, ClairePapin, for your support and for
your information, Christine.
And we'll see you again nextweek.
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