This interview with Abel Ferrara is mostly about his new Pasolini, but anyone working as an independent filmmaker in 2014 might also do well to learn from Ferrara's pragmatic can-do spirit.
Q: There’s an incredible parade of logos at the beginning of the movie. It seems like you got a little bit of money from a lot of places.
A: Well, that’s film financing in 2014, you gotta get money from—from the government, actually. Not corporate, but government—something that doesn’t exist in the United States. For me to go to my government and think that I’m gonna get money to make a film is absolutely the most avant-garde, outrageous concept. I wouldn’t dream of it in a million years. Call up Obama and say we’re making a movie? But in Europe they do, they support the arts. The city itself, the country, the campagna, the county, the state, the whatever. And we did it with three countries. France was a big supporter of the film, Belgium, and Italy is his home. I know, it looks a little funky at the beginning, but hey, whatever it is. Sometimes you get one guy to put up all the money, you got one name, sometimes you got 10 different people put up one-tenth of the money, you got ten names. But, hey, we got a movie, I ain’t bitchin’.