/ Louis C.K. and his new controversial film ''I Love You Daddy'' /

I Love You Daddy is the first movie Louis C.K. has directed in 16 years, his last film Pootie Tang was released in 2001.
Louie shot it on a small budget, mostly financed from fans who payed for his web series Horace and Pete and he is writer, director, star, editor and producer of the movie.
He plays the role of Glen Topher, a successful TV writer whose 17-year-old daughter (Chloë Grace Moretz) falls in love with a 68-year-old filmmaker (John Malkovich). The film was shot on black and white and it looks like an homage to Woody Allen’s Manhattan (1979)

The film was premiered at the Toronto International Film Festival and immediately made scandalized conversation.
That's just fine with Louis C.K.
"We’re depicting oxygen-rich people who live in these beautiful apartments and offices saying whatever they want," Louis says . "Folks say shit to each other. You can’t think about the audience when you’re making the thing. If you do, you’re not giving them something that came out of your gut. You’ll be making something that you’re like, ‘Is this OK for you?’ And they say, 'Yes, thank you.' Mark Twain said something like, 'You can’t say no one can eat steak just because the baby doesn’t have teeth yet.

He added that sparking conversation is “exactly what I want in a movie,” and admitted that “Woody is an ingredient” he used in the making of this film—“along with a whole other generation of dudes who used to go up and down the age line a lot more easily.”
“I grew up with that,” C.K. said. “Manhattan is a movie I saw as a kid, and I was like, ‘OK, that’s what people do.’'
(Hollywood Reporter)

Here is a link from TIFF 2017 where Louie talked about his latest film

FUN FACTS
(source : no film school)

Many people think that C.K.'s debut behind the camera was Pootie Tang, the 2001 cult classic that the A.V. club describes as "Dolemite meets The Last Dragon meets the Zucker brothers meets Jean-Luc Godard, and everything the hero says is complete gibberish," which is a pretty fair assessment of the film, a ridiculously absurd super-hero movie that almost ended his career in Hollywood (more on that below). But at TIFF, C.K. revealed that he had actually directed another film, a black and white 16mm feature about "the morose owner of a camera store" that he made in 1998 with his own money. It's available to watch on his website. 


He dutifully took the film off to Sundance, where, he remembers, "seven people came [to the screening]. Literally. I counted seven people. And that was my shot, I got one screening...I went back to work." 

When he made Pootie Tang, which started out as a Paramount Classics film before it ended up a $7 million dollar production, C.K. was determined to keep complete and total control of the project. His strategy? The budding auteur decided, "I'm only going to shoot masters of everything, so they can never change the movie. So there was a guy who was tasked with saying, 'Don't you wanna get more closeups?" C.K., no surprise, roundly avoided this unnamed Paramount employee, until finally, the two of them ended up in producer John Goldwyn's office and were bawled out, C.K. for his truculence, and the executive for failing to get the coverage that the studio wanted from the director.


Today, he looks at the film, wrenched from his hands by the studio, extensively re-edited, and tossed out to the box office where it earned less than half of its budget back, as a "formative" education, though he says the film in its current form is "nothing I identify with...[but] it wasn't good the way I had it either." But some good did come from the debacle. 

In the years following his studio debacle (and later, underground "secret success"), C.K.'s career took off, and, against all odds, he began to get control of projects, culminating with his hit Louie on FX, the first time he had total say. Today, C.K. says that his studio outing taught him some valuable lessons. "You've got to consider everyone's motivations and their pressures," he said. "When I made Pootie Tang, what I really learned wasn't that the studios are horrible and vicious, and I must find my own way. What I found was, I'm an asshole, and I don't think of other people enough." 

Citing the reason for self-financing I Love You, Daddy, he said that beyond control over the project, he has, "what I think are some pretty bad ideas, and I don't want to drag anyone else into it." He gave a little more insight into his thinking when he discussed the way he was able to secure his cast, and how he looks at the capital that fame has given him. "The one value that has is access to talent that I wouldn't otherwise have." He can thus work with people that he likes while avoiding the system of gatekeepers and agents in Hollywood, and indeed, the film features stars like John Malkovich and Chlöe Grace Moretz.C.K. revealed that "talented actors, who have taste and want to do great projects, sometimes their representatives will very aggressively keep you away from them, because they don't want you to do the good shit, because it usually doesn't pay as much money. They would rather [their clients] go and make Superman 14." Today, he looks on the ability he has to do things his way as a "responsibility," and is grateful to be in the position he's in, even if it's at the center of a storm. C.K. has said that the film, which does not yet have a release date, is about the "the fact that you really can never know anybody," and it seems safe to say that people will be trying to get to know Louis C.K. and his movie for the foreseeable future.