I wouldn’t know how to make a superhero movie, so we can eliminate that, at least today. I think that remains to be seen, but it’ll be interesting to see what material is going to come in - there’s already things that are coming in - but also what the market is going to do. WILSON: Well, I think that’s going to be what’s going to be curious and fun and interesting because it’s all new and it’s all beginning. How do you think your process or experience will differ, now that you’re producing through Artistic Films? But the truth is, it really comes down to what their character is.ĭEADLINE: You’ve been working as a producer for many years, having first entered this creative arena with the 2002 smash My Big Fat Greek Wedding. We all know people, we place these judgments on them. I think because of my being a first-generation American and my parents coming from Bulgaria and Greece, I understood that sometimes, you can’t really judge a book by its cover. It was about something more, and there was also this relationship that the main character had to immigrants. And I felt that it was aligned with the things that I really like to see in the movies. Something that would translate well into American audiences. So, we scheduled a meeting, and how it came about was that it was just something that I felt really could be a beautiful movie. Like, “Okay, we’ve got to find out who’s got the rights to this and figure out if we can get them and make it happen together.” The rightholders were this very, very old studio in Sweden, so we called, and it just so happened that their representative happened to be in Los Angeles that day. WILSON: Well, when we saw the movie, the next day, we put in the work. I didn’t know it was based on a book when I saw the movie, of course the book has been extremely successful. But it was really from the DVD, and then the book came afterwards. I sort of had this pit in my stomach like, “Oh boy, I really think I want to make this movie,” and I was also thinking, “Tom would be really good in this.” And so the good news was, he didn’t say no. I read the little description of it and I thought, “Sounds fun,” so we put it on…and very quickly, it was apparent that this was a very special movie. Remember when the Academy used to send out DVD screeners? About six years ago when they sent out the DVD screeners for foreign film, there was this film called A Man Called Ove. Wilson caught up with Deadline ahead of the end of Oscar shortlist voting to break down her experience honing the drama and its song, also touching on the film Dream Doll about Barbie inventor and Mattel co-founded Ruth Handler that she’s currently developing, why Wes Anderson’s Asteroid City represents “one of the best experiences” that she and Hanks have ever had making a movie, and more.ĭEADLINE: How you and Tom come to produce A Man Called Otto ? What drew you to the story? Written by David Magee and directed by Marc Forster, A Man Called Otto will hit select Los Angeles and New York theaters on December 30, expanding the scope of its limited release on January 6 before going nationwide on January 13. Otto is ready to end it all, but his plans are interrupted when a lively young family moves in next door, and he meets his match in quick-witted Marisol (Mariana Treviño), who challenges him to see life differently, leading to an unlikely friendship that turns his world around. Emblematic of the “inspirational stories of hope” that Wilson wants to continue bringing to the world, the film starring her husband Tom Hanks tells the story of Otto Anderson (Hanks), a grump who no longer sees purpose in his life following the loss of his wife, Sonya (Rachel Keller).
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