When I met with Gaston Pavlovich at the Ritz Carlton to talk about his work on Martin Scorsese’s Silence, the film’s producer expressed doubt: would movie goers come to this two hour plus film set in 17th century Japan about the persecution of Christians? I had just seen Silence the night before with an awe-struck audience; a panel followed, including producers Emma Koskoff and Irwin Winkler, and the Japanese actor Issey Ogata who plays The Inquisitor. From an opening procession in a shimmering mist, the film feels special. Scorsese told the rapt crowd, it was Ang Lee who suggested he shoot in Taiwan. Andrew Garfield was cast as Rodrigues because he read well for the part, but more, he wanted it so much. Scorsese wanted to film this book, Silence by Shusaku Endo, for 28 years. Many came away believing, as I did, that Silence was a game changer.
What was your role?
I met with Marty and he invited me to produce and finance his film. The cast was already set. That is why I was willing to risk my money and company for this film. My main work was to finish the production plans and agreements.
What are your goals as a filmmaker?
My company is three years old, with a main office in Mexico City. We made Max Rose with Jerry Lewis, my first American film, and then Hologram for the King with Tom Hanks. I want to be part of extraordinary films, finance them and be completely hands on.
You may be criticized for having no women.
This is just a reflection of the book. It’s true but we were being faithful to the original literary story. Women were strongly mentioned however, by The Inquisitor. It would have been great for me as producer to have a woman superstar.
Do you think the inclusion of women would make this more a film for today’s world?
What I love about the film is, it is quite contemporary. When we were in Rome together with the Pope we had a conversation about its contemporary sensibility despite being set in the 17th century. I said, Marty, there’s a reason why you didn’t make this film 20 years ago, or 15 or 10. This is as contemporary as ever. There’s great religious persecution in several parts of the world, and discussion about religious liberty. The inner conversations about faith, and respect for cultures that don’t accept church are contemporary. Silence is respectful of the opposite view. I love that Marty did not make a sermon about it.
What is your next project?
I am making The Irishman, Marty’s next movie with Bob DeNiro, who is very passionate about it. He’s pushing everyone. It’s based on a novel, Charles Brandt’s I Hear You Paint Houses, based on an interview a reporter made with a man on his deathbed. This was a man who worked with the mob for many years, the man who killed Jimmy Hoffa, so it’s back to the mob, back to Marty-world, back to the trilogy. The Irishman will be shot in New York next summer.
You are on a great ride now. Are you thinking about the Oscars?
You never think of that as an objective. I actually doubt that the Academy would embrace Silence. It’s religious, very different from normal Marty films; it’s very old school. Marty admires great old Japanese films. I have my doubts that the Academy will embrace that. However, if they do, I think that would be fantastic. He deserves it, especially for Best Director. I think the Director of Photography, Rodrigo Prieto, is a must. Thelma Schoonmaker is a brilliant editor, and a beautiful human being. But our objective was just to get the film made after 28 years, and hope the audience will connect with Marty’s vision: to show humans’ constant effort to find meaning, to feel accompanied through this journey of life. Marty was honest and respectful. Silence has a very Marty ending. At the end of the day, faith is just between you and God.
Comments