Donald Rosenfeld, the producer of Anton Chekhov’s The Duel, based on the novella by the same name, warmly greets me at the Laemmle Monica Theater before the screening. As the film commences, we sneak out to a nearby brasserie for a drink and interview before the Q and A session, which followed.
Waiting for our table and for Robyn, his sister in charge of the film’s distribution, Rosenfeld admits that his early ambitions were to be a politician, and then he majored in history at Vassar. A Masters in Film from NYU, however, brought him closer to combining his talents and interests.
His passion for history, art, and practical problem solving led Rosenfeld straight to Merchant Ivory Productions, a company known for quality, intelligent period-piece films. It was there, 1987–1998, that Rosenfeld was president overseeing many critically acclaimed movies.
“I do everything,” Rosenfeld says. “I want to make films if I’m the first one there and the last one gone,” conveying his robust appetite for filmmaking.
Taking a very active role in all aspects of the filmmaking process, Rosenfeld is involved in everything from developing the screenplay to assembling a stellar cast and crew, from location scouting to creating the perfect music score. He recently started his own production company, High Line Pictures.
In the case of The Duel, Rosenfeld got the beautifully rendered screenplay from Mary Bing, an English adaptation, which remained true to the original from 1891, set in a seaside town in the Caucasus.
“Taking a great writer and figuring a way to bring it to be something alive and living,” Rosenfeld explains, is what really excited him about the Chekhov project and what he is most proud of in this adaptation.
Making history alive, tangible, and dynamic in the hearts and minds of the audience is what, in part, motivates the charming and gracious gentleman, wearing a tan suit.
“Movies can visually depict the past,” notes Rosenfeld. “Our history is very connected to us today.”
After reading the screenplay, Rosenfeld contacted Dover Koshashvili, an Israeli director. It was Georgian-born Kosashvili’s 2001 film Late Marriage, dealing with similar themes, that caught the producer’s attention.
Rosenfeld began to put together the cast and crew including master cinematographer Paul Sarossy (The Sweet Hereafter).
His exceptional actors, Andrew Scott, Fiona Glascott, Tobias Menzies, and Niall Buggy were cast from a strong conviction of Rosenfeld’s that the cast should not be well-recognized “stars.”
It is important, especially in The Duel, set in an isolated town, to conjure a feeling of anonymity. Known actors, Rosenfeld felt, would ring inauthentic and “take me out of the movie.”
A comment on the caliber of performances, Rosenfeld remarks with proud certainty, “The actors are going to be discovered for the first time.”
Discovering talent is deeply satisfying to Rosenfeld, who declares that there should be a rule in casting, “40 percent or more should be unknown actors.”
Rosenfeld moves deftly in the myriad of daily dilemmas and mishaps. “I enjoy the problems,” says the producer with naturally low blood pressure. “Things in movies are enlightened mistakes.”
“You really make up a lot as you go along,” admits Rosenfeld, master of flexibility and fluidity, eager to “find visual solutions.”
This was the case of the cave in The Duel, which was found by chance by the cinematographer’s young daughter, Ilya, while she was playing near the set. She is gratefully acknowledged for her contribution in the credits.
Rosenfeld’s next projects include Tree of Life, opening in November, and a film written by Emma Thomson.
Los Angeles engagements of ANTON CHEKHOV’S THE DUEL will begin on Friday, June 18 at the Music Hall in Beverly Hills, the Playhouse 7 in Pasadena, and the Town Center in Encino as well as the Edwards Westpark 8 in Irvine.
Waiting for our table and for Robyn, his sister in charge of the film’s distribution, Rosenfeld admits that his early ambitions were to be a politician, and then he majored in history at Vassar. A Masters in Film from NYU, however, brought him closer to combining his talents and interests.
His passion for history, art, and practical problem solving led Rosenfeld straight to Merchant Ivory Productions, a company known for quality, intelligent period-piece films. It was there, 1987–1998, that Rosenfeld was president overseeing many critically acclaimed movies.
“I do everything,” Rosenfeld says. “I want to make films if I’m the first one there and the last one gone,” conveying his robust appetite for filmmaking.
Taking a very active role in all aspects of the filmmaking process, Rosenfeld is involved in everything from developing the screenplay to assembling a stellar cast and crew, from location scouting to creating the perfect music score. He recently started his own production company, High Line Pictures.
In the case of The Duel, Rosenfeld got the beautifully rendered screenplay from Mary Bing, an English adaptation, which remained true to the original from 1891, set in a seaside town in the Caucasus.
“Taking a great writer and figuring a way to bring it to be something alive and living,” Rosenfeld explains, is what really excited him about the Chekhov project and what he is most proud of in this adaptation.
Making history alive, tangible, and dynamic in the hearts and minds of the audience is what, in part, motivates the charming and gracious gentleman, wearing a tan suit.
“Movies can visually depict the past,” notes Rosenfeld. “Our history is very connected to us today.”
After reading the screenplay, Rosenfeld contacted Dover Koshashvili, an Israeli director. It was Georgian-born Kosashvili’s 2001 film Late Marriage, dealing with similar themes, that caught the producer’s attention.
Rosenfeld began to put together the cast and crew including master cinematographer Paul Sarossy (The Sweet Hereafter).
His exceptional actors, Andrew Scott, Fiona Glascott, Tobias Menzies, and Niall Buggy were cast from a strong conviction of Rosenfeld’s that the cast should not be well-recognized “stars.”
It is important, especially in The Duel, set in an isolated town, to conjure a feeling of anonymity. Known actors, Rosenfeld felt, would ring inauthentic and “take me out of the movie.”
A comment on the caliber of performances, Rosenfeld remarks with proud certainty, “The actors are going to be discovered for the first time.”
Discovering talent is deeply satisfying to Rosenfeld, who declares that there should be a rule in casting, “40 percent or more should be unknown actors.”
Rosenfeld moves deftly in the myriad of daily dilemmas and mishaps. “I enjoy the problems,” says the producer with naturally low blood pressure. “Things in movies are enlightened mistakes.”
“You really make up a lot as you go along,” admits Rosenfeld, master of flexibility and fluidity, eager to “find visual solutions.”
This was the case of the cave in The Duel, which was found by chance by the cinematographer’s young daughter, Ilya, while she was playing near the set. She is gratefully acknowledged for her contribution in the credits.
Rosenfeld’s next projects include Tree of Life, opening in November, and a film written by Emma Thomson.
Los Angeles engagements of ANTON CHEKHOV’S THE DUEL will begin on Friday, June 18 at the Music Hall in Beverly Hills, the Playhouse 7 in Pasadena, and the Town Center in Encino as well as the Edwards Westpark 8 in Irvine.
