![]() ![]() How do you portray a world and get it right? And I believe the only way I think that you can do that is by losing your own personal feelings and political beliefs about a situation and trying to figure out the humanity in the most difficult situation. But I’m always looking for the complexities in human nature. One is a satire and the other is a flat out drama. Yes, well, they’re two different kinds of films. How do you decide what’s appropriate for the situation? I can’t imagine a lot of humor in a film like Dead Man Walking… I’m thinking about, for example, Bob Roberts vs. As an artist I’ve seen you tackle important and difficult subject with humor, and yet also as an extreme drama. So I think they need their senses of humor in order to survive. If you think about the things that these people witness and the abhorrent part of human nature that compels people to violence and retribution, dealing with the aftermath of that is very difficult to do. Do think that’s a lesson we can all apply in our lives, or is that gallows humor what these people need to survive? You’re trapped in such an impossible situation, and yet everyone approaches it with good humor. IFC A lot of the film plays a bit like Catch-22. So I leaped at the opportunity, and also the opportunity to work with Benicio Del Toro, who is one of my favorite actors. It’s quite an interesting group of people and I thought, well, here’s an opportunity to tell their story. Dark senses of humor that get them through the darkness. It’s the kind of person who wakes up in the morning and says, “You know where I have to be? I have to in Syria.” You know, that person who runs toward the fire rather than away from it? That only feels whole when they’re living in a situation that’s dangerous and life-threatening.Īnd it’s something that’s really compelling about these people, that they would not only have the hearts to risk danger and to try to provide help for people, but also do so with such aplomb and such vigor. ![]() When you meet them, as I have in the past – and I did before I made this film – it’s a very unique kind of individual. Well I was looking at the whole script and the story it was telling and the people it was telling a story about, and we haven’t seen very many stories about aid workers. ![]() Is that unusual story part of the appeal of A Perfect Day, or were you just looking at your character? I think there’s more mention of rope than in the movie Rope. There’s more mention of rope in A Perfect Day than in all of my films combined. IFC Crave: I’ve seen a lot of your movies, and I feel like A Perfect Day may be the most rope-centric film you’ve ever made. ![]()
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