Terry Gilliam shares more background on The Zero Theorem plus four new images
Director Terry Gilliam's THE ZERO THEOREM is opening at film festivals this week and on the heels of his director's statement comes four new images and more information about the film courtesy of Entertainment Weekly.
The images illuminate the crazy futuristic society from THE ZERO THEOREM and give us some new looks at Christoph Waltz and David Thewlis as they navigate this surreal city that shares a lot in common with Gilliam's BRAZIL. This looks like the most thoroughly realized world from the director we have seen since 12 MONKEYS. As a big fan of Gilliam and Christoph Waltz, I am thoroughly looking forward to this movie.
Below are a couple of the interesting notes on THE ZERO THEOREM from Gilliam. Head over to Entertainment Weekly for the rest and check out the photos below.
On the advertising in the film:
We just wanted it to be so aggressive and carnivorous almost — these great, glowing lips shouting about “Occupy Mall Street!” “Shoppers of the world unite!” I thought religion was very important, that’s why we have Batman The Redeemer. Since the world — especially Hollywood movies — seem to be dominated by cartoon characters, then why not have religions dominated by similar ones?
On Christoph Waltz's performance:
It’s a different kind of performance from Christoph that we’ve never seen before. When we first met and talked about it I said, “You know I’ll build the world around you, but you have to take the lead when it comes to Qohen. You are it and I will follow you.” And that’s how we worked. Once I had Christoph on board I knew we were going to be fine.
On working with an extremely limited budget:
When you’re working with very little money you’ve got to be inventive. That’s the primary reason we shot in Bucharest. It was much cheaper than anywhere else in Europe and the crews were good. That’s why we were able to build the chapel for about a quarter of what it would have cost in London. I think it’s very difficult getting money for very interesting films these days and it’s even more difficult to get decent distribution and marketing. That’s the problem now. Everybody who’s making a smaller film who doesn’t have a studio who got behind it, it’s hard work. It’s dangerous. I get frightened about it. For me the film is finished, it’s made, it exists. It will not disappear, it’s out there.