It was such a great play when I saw it with Richard Burton and Julie Andrews and Robert Goulet.
But I’m not interested in identity politics.Īnd you think that’s impossible in Hollywood right now, to avoid that? What was the Best Picture? Everything Everywhere All at Once. You’re so optimistic about human innovation. If we didn’t make more movies right now we could probably live off of what we have. Unless you make the bows and you paint it a bit brighter, but it’s all that money wasted. I watch a lot of old movies, and I’m just astounded. Look at the history of movies we haven’t even seen half or a third of what’s out there. There’s no one movie that has an idea and can really be that original right now. You seem to be implying that narrative pursuits are silly compared to this.Īt this point, I’ve made 20 feature films, ten documentaries. We should get past politics, get past ideologies, bring together countries, and we can solve it. But I think it’s one of the most important things if not the most important thing. How does anybody get attention on anything? It’s ridiculous. You’re in Washington you understand the crosscurrents. What are you anticipating in terms of the reaction?
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Before, you made the movie first, then you worried about how to sell it.Īll private. You have to figure out, How do I sell this before I even make it? which is ridiculous. The advertising and the marketing keep going up and up and up. There have been changes since the ’90s - now, it’s more difficult. I certainly have been at the top of the profession, and I’ve seen it at its best and at its worst. But now the actors come first.Īnd you don’t see a way around that as a filmmaker? In the old days it never did, and they made a great business that way. Well, money! The system is now built around ten or 20 stars, and you have to pay a fortune for them, which is silly.
You make a feature, it’s going to cost ten times as much and you’re going to have actor issues. If you come up with an idea, send it to me. Maybe someone could take this and be inspired by it. There’s no way to deal with this that way.Įh, I don’t want to. I mean, a “female scientist tries to save the world” kind of story isn’t going to work. Normally I come in and work on a script, but I couldn’t save this thing. I don’t know if he got to the script stage. It was just another film that would have come and gone. I asked Josh to write me a nuclear fiction story. As a filmmaker, why take the documentary approach? Why not process this in a narrative?
We have to take risks to get anywhere - the world was built on risk. But we became averse to any kind of accident. That’s the price you pay to develop an industry. By now, we’d have a thousand nuclear reactors. It is heartbreaking, when you really get into it, and you think about, Wow, we were going on our way. It was about, How does it work? The book was very clear. I didn’t realize there had been a nuclear fraud in the 1970s with this movement to stop it. And there was a lie about Vietnam, there was a lie about Wall Street, there are lies about football. To me, there was a lie about the presidency. If you look at my films, there are a lot of times where I dig into something and I find there’s a lie. Nuclear, certainly, was at the back of everyone’s mind, but we forgot about it. Wind, sun, hydropower, geothermal - all of them are good. So what is it? And how does it work? People can be very confusing when they talk about forms of energy. To me, energy is the most important subject because energy makes the world go. The whole search for meaning, search for truth, is crucial. If you don’t understand the world around you, you can feel ignorant and lost. It was reviewed in the Times by Richard Rhodes, and it was in the middle of all of this confusion. How did you decide to approach this as a documentary versus a feature? After the screening, Stone elaborated on the project and shared his pessimistic outlook on the movie business. It is his belief that a great fraud was committed - with the help of Big Oil - to shut down the construction of nuclear facilities, a scandal that robbed the world of the beautifully efficient future we were promised in the 1960s. But perhaps that’s because Stone’s feelings about this issue are so uncomplicated. It is a surprisingly wonky affair, with more in common with a Vox explainer than with Nixon or W. With Joshua Goldstein, a professor at American University and the author of A Bright Future, the film’s foundational text, Stone makes an environmentalist’s case for nuclear energy with aesthetic and narrative nods to An Inconvenient Truth. Last week, Oliver Stone welcomed guests to the Navy Memorial Theater on Pennsylvania Avenue for a screening of his latest documentary, Nuclear Now, which is playing in NY and LA and hits VOD on June 6.
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