But they said, “Let’s go ahead and make the movie anyway, and we’ll sort things out later.” That was the way the associate producer put it to me when I met him many years later.īegley: Take us back to Italy. The filmmakers should not have adapted this book because they had no mechanism for getting the rights to it. One reason is because America was at war with Italy.
It’s really amazing that something like that could happen. She didn’t find out about it until long after it was released. But the first and biggest was that We the Living was semiautobiographical, drawn heavily from Rand’s own life growing up in Russia-yet here is a movie made without her input, permission, or knowledge. The way this movie got made is a big irony, and there were a lot of ironies involved in its production. Why don’t you start with how the film came about?ĭuncan Scott: Thank you, Robert. I’m a huge fan and was thrilled to hear you speak in Charlotte last November about your project to restore this movie. Then I bought it on VHS, then DVD when it came out in those formats. Robert Begley: I first met you in 1988 at a private screening of We the Living in New York City, a few months before it initially hit theaters. This interview came largely from Scott’s appearance on OSI’s podcast “ The Hero Show” and contains spoilers for We the Living. His goal is to bring this extraordinary film to today’s viewers in its full glory. Using state-of-the-art technology, Scott went frame by frame, removing scratches, dirt, and other flaws accumulated while the film was stored.
Scott is now preparing a newly restored high-definition edition of the movie.
Set during the Russian Revolution-a period that Rand witnessed firsthand- We the Living shows how a totalitarian state makes human life impossible. Several decades ago, Emmy Award-winning filmmaker Duncan Scott worked with Ayn Rand to restore the 1942 Italian film adaptation of her first novel, We the Living.
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