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The fear was that you will determine the narrative progression in advance and then you will create your characters after that. And I was like, "Oh, Josh, this would be a good time to stop being such a chicken shit in terms of the sphere of narrative plotting." We were afraid that if we were steering a story from on high with too much force, it would come at the expense of character development.
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So outside of creating certain things from the most recent Gems draft, we were starting from a place of zero.
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That allowed us to secure money, just enough money to make something on a bigger scale than we had and we had no ideas. Robert Pattinson just basically, unceremoniously just appeared and said, "All right, do that for me." It was a project that sort of-it was not a project, it was a person. And so we made Good Time and Good Time was interesting. I guess our muscles had developed as a result of making Heaven Knows What together to the point that that next draft did not even resemble the previous iterations. So we just stopped mentioning it and then we made Heaven Knows What and that was just Josh and I, we were like, "All right, well let's just do it as two." Then as soon as we were done with that, Josh just said, "Well, let's just pick up Gems and go back to it." And then we radically rewrote it. But was completely creatively bankrupt. It was like, when you are a kid and you are asleep in the back seat of your parents' car and you can kind of feel that you have gotten off the highway and the car is turning more as you are getting close to your house and you are going to be picked up and carried into the house. I was just faking my way through these, through promoting that movie, just acting like I had a career ahead of me. I did not think I was going to do anything ever again.
UNCUT GEMS CAST MOVIE
I had spent so many years by myself over the edit of my own movie and I had just sort of barely managed to slither to the finish line with any feelings of self-respect left.Īnd I just was totally enervated. I wouldn't say against my better judgment, that wouldn't be accurate, but sort of a counter-phobic thing that just sort of forced me to plummet myself into the project. Okay, so I know a little bit about how Gems began for the Safdies 10 years ago. He unpacked his and the Safdies' processes, reflected on the development of their unique identities as storytellers, and his generally insightful disposition yielded many, well, gems. His contributions to the architecture of the films are so vital that if you consider yourself a fan of the Safdies, then whether consciously or not, you're a fan of Bronstein, too.Ĭomplex spoke with Bronstein recently to solicit his side of how Gems came to be, and what he additionally shared was a wealth of perspective on filmmaking overall. One of the most invaluable players on the team is co-writer and co-editor Ronald Bronstein, who has been central in rearing every one of the Safdies' narrative films since starring in their 2009 feature debut Daddy Longlegs-at this point, it isn't uncommon to hear him referred to as the third Safdie brother. By now, Josh and Benny Safdie's decade-long journey to making the most ardently celebrated film of the year has been well chronicled: Uncut Gems owes its feverish appeal to the Safdies' many years of field research in New York's Diamond District, their practical and psychological guile sharpened by making similarly rattling fare such as Heaven Knows What and Good Time, and their impeccable assembly of cast and crew.