By John Anderson | Thompson on Hollywood November 6, 2013 at 2:13PM
“I’ve been on the Armstrong story since 2008,” said Gibney, who spent 21 days following the cyclist’s 2009 attempt to win – yet again -- the Tour de France. “But we had to put it on the shelf for a couple of years. And meanwhile, I’m still keeping in touch with people. That’s the hard part -- in a way, it’s the hardest thing trying to keep in touch with people. You’re hoping they’re going to talk, so you have to keep talking to them. And it’s hard to do that when you’re on a completely different story. Imagine doing ‘WikiLeaks’ and you’re trying to keep those people talking, but you’re also on the phone with the Armstrong people from time to time, keeping them in play.”
The Armstrong film was done -- mixed, music rights cleared, with narration by Matt Damon (who’d been involved in an Armstrong dramatic feature with producer Frank Marshall, so there was what Gibney called an “organic” connection). Then the doping allegations heated up, along with a grand jury investigation. “You couldn’t just put some update cards at the end of the film,” Gibney said. “So we sat on it for a year.”
He’d had battles over the drug aspect of the Lance story with his fellow producers, Marshall and Matthew Tolmach. “Sony Pictures had put up the money to do the original film,” Gibney said. “Tolmach was an executive there; he’s a cyclist. And Marshall had been developing the fiction project. When the stuff all started coming out, I said, ‘Maybe we can get Armstrong to play ball’ and Sony Classics said ‘We’ll put up the money for that.’”
The original “Armstrong” wasn’t going to be about the “Lie,” obviously. Gibney had wanted to do a straight-up sports story, a comeback story. “I like Lance,” said cinematographer Maryse Alberti, who with editor Andy Grieve had popped into Gibney’s office, admiring his pope picture. “He was full of energy, he was a fighter. I wanted him to win,” she said of Armstrong’s failed comeback in ‘09.
“So did I,” said Gibney, who made no secret of his fondness for his subject. “I’ve made films about priests who rape children, government officials who think torture is a good idea, and corporate guys who wanted to burn down California for fun,” he said, referring to “Mea Maxima Culpa,” “Taxi” and “Enron: The Smartest Guys in the Room.” “Lance doesn’t seem that bad.”
But the revelations did change the movie and illustrated how Gibney gets as much done as he does.
“It’s tough keeping all those stories in your head simultaneously,” he said, “and the only way it works is if you have people working on different projects exclusively. Armstrong was the hardest one because we had to put it aside, because there was no money to keep someone on it full time, someone who would have their head only in that story.
“With 'WikiLeaks' and even the Vatican film,” he continued, “I had people working with no connection to each other. They were only on those subjects and their job was to keep updating and reaching out to people – there are some people only I can reach out to, but their job was just to focus on those stories. So I can go to them without fear that I’m gonna fuck up, because no one’s been paying attention.”
At some point in the life of Jigsaw, the director said, he had to make a decision. “Get smaller -- go back to my house and do one feature doc at a time -- or get bigger and see if you can develop a company that has a more predictable cash flow so you can hire people more permanently and take the pressure off and not worry about contracts and budgets and all that. And also create something bigger where I might produce more for other people.”
Hence Jigsaw’s recent partnership with Content Media. “They have a distribution mechanism, which doesn’t necessarily have to be used, but can be,” Gibney said, “and they can provide, sometimes, production financing in exchange for rights, which may be useful in terms of negotiations, and give me clout. And it allows us to hire people to make sure the trains run on time" – like Stacey Offman, who recently joined as VP of production and development.
“So suddenly it’s making sense. I mean, you don’t want to do a story on the Vatican and get your facts wrong.” You’d go to hell. “Or worse,” said Gibney, who probably plans to make movies in the afterlife.