COVER STORY ^||gw.
I tliat will devour tliem. We're living in a world in which you must look at youreelf as a civilized human being. You need to draw some lines, and I tliink these people are anything but civilized." comments about the need to be civilized fi'om a man who makes Ills living from films studded with violence might seem contradictory, but Seagal, like his characters, is a study in contrasts—meditative and contemplative on one hand, aggressive and outspoken on the other "I have a different point ofview than a lot of people do in terms of film affecting people's morals. Some vapid politicians have stood up and accused Hollywood and modern film of increasing violence in modem society. My opinion is tliat one has notliing to do with the other Absolutely notliing. "The increasing violence in society' has to do with the breakdown of the family, the absence of families. There are more children hitting tlie streets that don't have a family, don't have mothere or fathers or anyone to teach them right or wrong, to give them love and support and a sense of belonging. These are the people who will generally turn to narcotics, crime and gangs. That's where the violence is coming from. I don't blame film. I don't like senseless or arbitrary violence in film, and I don't like violence in real life." Despite any criticism, Seagal pushes forward in his career witli flill force (his production company is called Steamroller Productions) while striving to remain a spiritua and dedicated fatlier 'Teople have a stereotypical image ofme as an action star, and it's limiting in the sense that they don't expect me to go beyond that. I'm certainly trying to expand and keep growing. I want to start making movies that are about something that people care about, that will provoke people to thought. I want to make picmres that have to do with spiriaial awakenings, something that is surrounded by light rather tlian darkness. I want to make pictures that are going to help make the world a better place. I think a lot of my fans are spiriUial people and are more interested in the good things we can do for each otlier, rather than the number of people we can shoot or beat up. We live in a world that's so topsy-turvy, where so many ON THE MONEY For Regency Head Arnon Milchan, The Heart Comes First Ismelj-bom hisinessiruxn Amon Milchan, head ofRegerucy Enterprises and pmducer ofUnder Siege IL Dark Itrntory," is one of Hollywood's most powafd producers. A jet-setting atizen of Im-ael ami Monte Carlo, the fanner inteniattonal soccer player spends mudi of his time in France managing a diverse army ofmultinational concerns in entertainment, agfibiviiness atuhimis consultiyig. In 1991. Regency Entopiiscs entered into the most significant international film production partnership m histoiy-an unprecedented $900 million joint-venture deal mth Time Warner (and its film subsidiary, Wamei- Bms.j. French pay TV giant CanalPlus ami Getvuin media company Saiba &Deyhle Cwrently, Mildian is committed to spemimg $500 million a year m production and has at least 10 movies in the pipeline, including "Heat" (staning Al Pacino, Robert De Niro and Val Kilmer) ami director Jod Schwmicher's "A Time to Kill," hosed on the novel by John Gnsham. His impressive list of produdng a-edits includes Mamn Scorsese's The King ofCometly," Sergio Leone's "Once Upon a Time in Ameiica," Thny Gilliam's "Brazil." plus "The War of the Roses," "Pretty Woman, ° "JFK, " "Under Siege, " "The Rnver of One, " "Tlie Client" and "Boys on the Side" A sliatp, charismatic businessinan ivith a real love for film, Milchan has devdopai a reputation as a man who makes movies, not just deals. Bt«OFTicE: Wliat is the source of Steven Seagal's popularit>'? ARNON MILCHAN; There's somediing mysterious about Steven and the characters he plays. The French rail it "a quiet strength." He holds somthing back-he's not trying too hard to please. I think tliere's something very soft about him behind that tough-,guy exterior BoxoFncE: You have produced a wide variety of fflms. What dnnvs you to a project? MILCHAN: 1 make die decision to do a project from my heart. Basically, I ask myself "Would I stand in line in die rain to see tliis movie?" My decision is totally creative, based on a dialogue with a director and working on the script. Once I've decided to do a project, only then do I work to make business sense out of it. Producing a film is like creating a successfril marriage. You fall in love and then you struggle to make it work. BoxoFHCE: Do you ever feel hampered professionally by not Uving in Los Angeles? MILCHAN: I'm in Los Angeles when 1 need to be. The advantage of being outside L.A. is you realize there is life beyond HoUj'Avood. Working there, its like talking to yourself You don't get any real feedback, you don't get your hands dirty. A studio head talks to three vice presidents who care only about pleasing the boss ber^iuse they need a stock option. Evei-ybody in L. A. has screening rooms, drivers and million-dollar houses. I mean, that's not the audience we are catering to. I'm not losing much by not being in Beverly Hills or Malibu every day. BoxomcE: How important is the overseas market to you? MILCHAN: Today, tAvothirds of the revenue of our business is outside the United States. America is still the most important single market, but it's not the only detennining factor in the decision amaiiore. I was bom outside tlie United States, and I have traveled extensively. An intemational perspective is in my blood. Even a film like "JFK"— I knew it would appeal to those outside the United States, perhaps more because of the myth of Kennedy. I think I underatand foreign tastes as an instinct. BoxoFHCE: Can the movie business thrive in an era of $100 million budgets? MILCHAN: In most cases, the people ivho sell the idea don't have to bear tlie consequences of the bucket getting out of contt'ol, and they're selling the project to people who hardly know how a production works. People with the power to greenhght movies must understand the mechanism of production. BoxoFHCE: ^\Tiat is the most important talent necessary for success as a producer? MILCHAN: Ninety percent of success is staying away from problem areas. Anytime you're in doubt, just dont do it. Tlie second tiling is, you've got to have somediing to lose, including financially. You cannot remove yourself from the process. You cannot say, "Oh, I've got a great idea, let's sell it to a studio, and I'll make money whether this tiling goes over budget or sells a single ticket." Pi-oducing is falling in love, but tiiere's a responsibility attached to^it. You are responsible for the outcome, and you must be affected by it. My advice would be, "Don't be an agent when you are a producer, and don't be a producer when you are an agent." BoxoFFiCE: WTiere do you see yourself in 10 years? MILCHAN: For die ftiture, I'd Uke to get into music, pubUshing and merchandising. For the would like to be in conhrol of die marketing and distribution decisions. Part of and die guy who made it should know how to market it. film projects, I making a movie is also marketing it, You and I botii know how many great movies got screwed up because they didn't get the right att:ention. Making movies is like sailhig a big boat: You should steer it youreelf Eidier you succeed or you go under with the whole tiling. —MH July, 1995 21
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