As a seasoned movie reviewer with decades of industry insights under my belt, I can confidently say that Roeg Sutherland is a true game changer in the global film industry. His remarkable career trajectory at CAA, where he co-heads the Media Finance department and the International Film Group, has been nothing short of extraordinary.
Roeg Sutherland from CAA reflected on his dynamic profession and talked about the evolving world of international cinema during the Zurich Film Festival, where he was presented with the prestigious Game Changer Award for 2021.
At the recurring Zurich Summit industry conference, Sutherland voiced his disagreement with the concept of a “game-changer” within the movie industry, humorously noting that “LeBron James could potentially be a game-changer.
At the Creative Artists Agency (CAA), Sutherland shares leadership roles in both the Media Financing department and the International Film Group. A significant aspect of his responsibilities involves devising strategies to assist clients and facilitating film production, even under challenging circumstances.
Regardless of any unforeseen circumstances such as pandemics, economic downturns, studio rejections, or international issues like China’s closure or Russia’s war, our mission is to find a solution to produce these films. This adaptability is becoming increasingly important,” said Sutherland.
He mentioned that their approach when creating movies is always aimed at ensuring a fitting presentation (…), while also taking into account the requirements and preferences of the movie funding community, which includes international distributors and potential financiers.
Often, these arrangements are on a global scale; more commonly though, they’re fragmented, involving a foreign representative who handles different regions and brings in an investor for equity, ensuring their investment is secure even when a movie is made without pre-arranged distribution,” he explained.
Moving forward, it’s also essential to address any voids, he stated. “Whenever we identify a market vacuum, whether it’s in Canada or internationally – in France, Germany, or even the United States – if setting up a distribution company can help bridge that gap, we’re ready and willing to do so. Our goal is always to enhance and simplify the independent film market, ensuring its continued success.
The independent international business division of CAA didn’t truly take off until approximately 2005, as per Sutherland. Before this, all productions were handled by studios, and that specific department primarily functioned as a service provider for clients who wanted to work on projects outside of big studio films when they weren’t engaged in such productions. However, the business underwent significant transformation following the economic crisis in 2006, which led to an increasing number of these film projects being handled by entities like ours for financing or financial planning purposes.
Sutherland credits part of his initial triumphs to “pure, unadulterated luck,” which included the opportunity to work on Darren Aronofsky’s film “The Wrestler.
In simpler terms, when you’re young and inexperienced, you often learn as you go along. You trust the process and believe it will work out, without overanalyzing or complicating things excessively. Nowadays, I tend to overthink things more frequently and intensely than before. Back then, I simply trusted what producer Vincent Maraval said about working on “The Wrestler.” He told me we’d do it, so I agreed.
Currently, I’d like to inquire about four hundred questions regarding potential pre-sales and the possibility of borrowing against unsold territories. Additionally, I need to know where he can be reached at 4 a.m., should we require his signature on a contract.
He achieved another notable victory with Aronofsky’s subsequent movie, “Black Swan,” released in 2010, despite encountering challenges while organizing it.
The brilliance of the film ‘Black Swan’ lies with Darren Aronofsky and Natalie Portman. At times, it can be challenging for viewers to grasp the director’s vision and relate to it. However, our role is essentially to assist in this process. There’s a gap between pure creativity and financial matters that sometimes needs bridging, and we aim to do just that. Sometimes we manage to connect these worlds effectively, while other times it may not be as successful.
On “Black Swan,” part of the challenge was explaining Aronofsky’s actual vision of the film.
Originally, the script was perceived as a drama by many readers. However, the director had a different vision – he intended to create a psychological thriller. If you talked to Darren about his plans, it was evident that the final product would be tense and suspenseful, leaving viewers breathless throughout. Interestingly, this intensity wasn’t immediately apparent in the script. The movie, when released, delivered on this promise of constant tension – a thrill that wasn’t explicitly conveyed on paper. This discrepancy between the written word and the final product might not be obvious to everyone.
Subsequently, Sutherland successfully persuaded producer Brian Oliver to finance the production of the movie, which ultimately turned into a global sensation.
Looking back on his early days at CAA, Sutherland mentioned that it was Ron Meyer, then his father’s agent and a co-founder of the company, who recommended he join the team to his parents. “I was assigned to the mailroom, which seemed odd because my parents didn’t have a warm feeling towards agents or express much admiration for them in their youth. And the artistic circle around them, let me tell you, they weren’t exactly raising a glass to agents at dinner. So I thought I was being sent to jail. But it turned out to be the most rewarding experience of my life.
Acting as a profession, unlike my father Donald or brother Kiefer, was not something that seemed destined for me. My lackluster performance in a college musical production and brief experience as an understudy in a film featuring the temperamental Marlon Brando further solidified this reality.
I find it challenging to handle setbacks, especially rejections. It wasn’t clear to me earlier that rejection is an inherent part of many life experiences, but in acting, you encounter rejection almost every day. If you aim for something, your chances of success might be as low as 1%.
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2024-10-06 01:18