Boxoffice-July.1995

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