Different Kind Of Mary

I just want to make films that last. I want “Mudbound” to last. In the same way that “Pariah” is still being discovered, I want “Mudbound” to be a film that, five years from now, is still being discovered. It’s not just a Kleenex film, where you watch it once and you’re done with it. That’s why I was glad Netflix got this film, because, for me, “Pariah” got picked up by Focus and got this small platform release ― it got kept alive because of Netflix. I was aware of that, so I had a different idea: When they got “Mudbound,” I was like, “OK, great, it’s going to be kept alive and be available.” It’ll have this simultaneous global audience, which is a different feeling. In terms of their support of the film, this is the most marketing support I’ve ever had for a film. It feels great to have them actively putting this film in front of audiences. The festival support has been amazing. It’s almost been like a reunion. All the festivals we’ve done so far are the festivals with the “Pariah” wins: Sundance, Toronto, London and then New York. In a weird way, it’s like six years later we’re making the same rounds again.

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