Boxoffice® Pro - October 2013

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BIG PICTURE > THE FIFTH ESTATE manage those expectations in telling a story that is still being played out in the media today? I think I plead guilty [of dramatizing] right up front. The movie attempts to represent the story through a dramatic framework. You might ask why—why not lay it out exactly as it happened? The answer is that doing so doesn’t always give the narrative a dramatic shape. Our film works as a thriller and an engaging personal story. I think the ideas surrounding Wikileaks are so interesting that it’s possible to present those aspects in an entertaining manner. I think it gets the conversation going in a different way than a documentary film does. With a movie like this, you have to make sure you get to the central truths of the story and stay honest to the characters and the essence of what happened, which I believe we did. It’s a political film because it deals directly with political issues, but the The Fifth Estate is most incisive as a commentary on the state of journalism today. What do you think the film has to say about technology’s role in the 24-hour news cycle? It’s hard to distill my views on that into a few phrases, but in this world of citizen journalism—with people live-tweeting as stories develop—issues like transparency, knowledge, information shared, and privacy become much more pressing. Julian Assange has many things to say about the fourth estate that I would agree with—particularly in cases where media outlets are co-opted by powerful institutions and it becomes hard to police or be critical of those institutions. At the same time, Julian Assange could be interpreted as an example of the dangers of unlimited access. Somebody with a certain amount of wisdom has to be able to make those tough judgment calls about what is in the public interest. This blanket idea that all information is good, that total transparency is good knowledge, can be reckless. Assange hasn’t been very supportive of the project. Would you be interested to hear his reaction to the film? No, he hasn’t been supportive of the film at all. I’m very interested in hearing what he has to say about the project. He’s been critical of the two books we originally used as source material, but the film is based on a lot more material than just those two books. In general, he has had an angry reaction to anyone who has ever spoken of him critically. I’d like to think that if he did get to see the movie, he would be more pleased with it than he would ever let on. Another thing that struck me about the film is how it feels like a global thriller without resorting to a James Bond villain as the antagonist. The real threat is the data and how that data is used. There are so many narrative threads to this issue in light of the developing Snowden affair and Private Manning’s recent sentence. Would you consider returning to this topic in a future film? That’s very interesting to me, finding out what happens in the next chapter of this story that keeps on getting more and more intriguing. Our film has a very specific ending; it’s a very precise slice of time that we deal with. Even though the events continue to develop, it does feel that the issues we set out to tackle have been captured by our story. I haven’t seen much in recent events that have made me think of another take on this. What we were interested in talking about is pretty well explored in the film. What sort of projects can we expect from you in the future? I’m very excited about working with Ian McKellen again in my next film. He is playing Sherlock Holmes near the end of his life, set in the 1940s. (See other films ripped from the headlines on page 48) LAURA LINNEY AND STANLEY TUCCI CO-STARS AS U.S. STATE DEPARTMENT OFFICIALS 52 BoxOffice ® Pro The Business of Movies OCTOBER 2013
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$6.95 OCTOBER 2013 BOXOFFICE TRIBUT
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Boxoffice® Pro - October 2013

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