Feature

Big Shot

Of course, Meistrich and his colleagues offer little but respectful admiration for the Brothers Weinstein, and continually note that it’s pointless to make comparisons.

“The big difference between us and Miramax, or even someone like October Films Secrets & Lies, The Apostle, is they’re an acquisitions company getting into production, and we’re a production company getting into acquisitions, post-production, and studios,” says Meistrich. (“Miramax is both an acquisitions and a production company,” sniffs a Miramax spokesman in response.) Still, Meistrich clearly relishes getting the Weinsteins to buy Sling Blade for more than $8 million (a film he made for $1.2 million).

“I actually respect Harvey Weinstein in a weird kind of way,” he says. “He’s absolutely up-front and honest about the fact that he’s going to try and fuck you. He’s like: ‘I will put your movie out there, market it well, and win awards. But don’t get in my face.’”

Nevertheless, Miramax has already snagged the distribution rights to Thornton’s next two films, which the Shooting Gallery will produce. And in public, at least, Miramax honchos are supportive of Meistrich’s studio vision.

“The need for more studio space in New York is absolutely there,” says Mark Gill, president of Miramax’s Los Angeles operations. “Larry and Bob are better than anyone else at making movies for a price. You bet against them at your own risk.”

Ted Hope of Good Machine agrees: “It’s a build-it-and-they-will-come thing. There’s huge shortage of space. All you need is Spin City, Cosby, and a big movie in town, and there’s nothing left. The question is, who’s the right person to build it? I wouldn’t do it. But Larry has always had a profound amount of courage and has demonstrated his ability to succeed at things using unorthodox means. I mean, over the last few years indie film hasn’t been particularly kind to private money, unless you’ve invested in Larry’s indie films.”

“I don’t like it there,” says Meistrich flatly. There is Los Angeles. “I don’t want to raise my kid there. I don’t like not having seasons. I don’t like it when the earth shakes. I’ve chosen to stay here.” The Shooting Gallery’s wood-paneled offices at Sixth Avenue and Spring Street are another reason why. The casual, clubhousey space vibrates with confidence. Meistrich is trailed most of the time by two large Samoyed-chow mutts that he brings to the office every day. (He leaves his pet wolf at home.)

“We’ve had the opportunity to go to L.A. and do big deals on a lot,” he says. “But I don’t want to be a part of that system, where you pay someone $20 million and then get hassled the whole time ‘cause the fruit isn’t red enough.”

Or, as Gosse puts it: “The only thing that puts the fear of God in us is having to move out to L.A. and work for the studios.” The Shooting Gallery, Meistrich says, hopes to release ten to twelve films a year, most of which will be financed for less than $10 million. “The studio is really our blockbuster. It’s selfish. I want to live here; I want to have a movie company here. So I want to make it as good as possible for me to do that. We’ve chosen to try and make that happen brick by brick. We’ve invested heavily in the infrastructure and relationships required to make profitable movies in New York.”

But can they pull it off? “Well,” says Gosse, “for a long time there were only two airports in New York. then along came the plan for Newark, and everybody said, ‘nah, it’ll never work in Jersey.’ But there was a need for it. Now there’s Kaufman Astoria and some other places, but there’s a need.”

Thornton eloquently concurs: “Those fellas are bulldogs. They’ll do it.” Then he tells a story of Meistrich’s early days on a film set. “He was a PA, and they told him to watch some equipment down in the subway. Then they forgot about him. Larry didn’t move, stayed down there all night. They found him sleeping on the stuff in the morning. Now you’ll probably find him sleeping out there in Jersey.”

Inspecting the Harrison site early one morning, Meistrich seems almost cocky: “I’m confident,” he says. “Look, I never thought I’d be doing even this much. I wanted to create a place where we could make money, and make movies that guys I played ball with in college wouldn’t give me shit about. If it gets any better, then it’s a bonus.” Taking a last look before leaving, he adds, “It is a little intimidating. But, you know, it’s not like it’s the Super Bowl. It’s just movies.”