![]() It's not easier or harder, I don't think. Which makes you wonder how England won the war.Ĭreating an original piece of material, you find yourself usually having to invent more things. Apparently he used to consider gunnery positions with a Ouija board. And got really obsessed with the occult, which I sort of hint at during the war, with the Ouija board and the fortuneteller. And Fawcett went on eight trips, not three, which is crazy. You lose the present-day stuff, with David Grann running around the jungle. You could have made a whole film - and I'm not exaggerating - from Fawcett's courtship of his wife, Nina. In the book, you have so many different threads. ![]() Here what you have is the danger of riches. Was your approach to writing the script different than in the past? Then I thought about how difficult it would be to get made. He's trying to escape the strictures of class in England. There's a nobility to what Fawcett is doing, but also a darker side. The son of this guy finds this obsession, which becomes almost a form of escape. He was an alcoholic and a gambler and destroyed not one but two family fortunes, apparently. The first thing that attracted me was a very short passage about Fawcett's dad. There's nothing in my work that would have suggested I could do this. I was sent the book, which hadn't been published yet, by producers Jeremy Kleiner, Dede Gardner, and Brad Pitt, who had bought it for Brad. The interview, which has been edited for length and clarity, began with a simple explanation of how he got involved in the project. It's Gray's first movie not to be set largely in his native New York City, and the first he adapted from a book, as he noted to The Credits the morning after the D.C. The film also covers Fawcett's service in World War I and the role played by his wife, Nina (Sienna Miller). Derived from David Grann's 2009 nonfiction book, it follows Fawcett (played by Charlie Hunnam) from 1905 to 1925, when he vanished while on an expedition to the site with his older son. The movie, whose title Gray pronounces the British way as The Lost City of Zed, opened in the U.K. (That forced the production to move to Colombia.) That facet of the tale was revealed to him only when he reached the area of Brazil explored in the early 20th century by his protagonist, British officer Percy Fawcett, and found the jungle had all been razed for soybean fields. Introducing his new film, The Lost City of Z, to a full house at the National Geographic Society auditorium, writer-director James Gray confessed to something he termed "a bit embarrassing": He originally hadn't considered the ecological aspects of the Amazon-set saga that was making its Washington debut in March as part of the Environmental Film Festival in the Nation's Capital.
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