Then, when my mechanical shark was being repaired and I had to shoot something, I had to make the water scary. Being Canadian is a strange thing because you have this physical proximity to the United States, and then you’re part of the Commonwealth, and it does put you in this position where you’re constantly looking outside of yourself—being an observer and a gatherer. Directed by Matthew Porterfield, “I Used to Be Darker” is, for the most part, a trial to sit through. She doesn't answer questions and doesn't want to take responsibility for her actions. It’s almost like you have to find these elaborate other angles into making yourself physically understand what something is, what something means. “L’avventura” gave me one of the most profound shocks I’ve ever had at the movies, greater even than “Breathless” or “Hiroshima, mon amour.” Or “La dolce vita”.
She is a little bit privileged, but I think that’s all a part of the struggle in discovering, in trying to re-appropriate her family history into some kind of an art form. Bohdanowicz: No, not at all!
I wanted to ask about the monologues later but I’ll ask about them now: to return to your description of trying to write at university, they don’t seem traumatically unfinished or frustratingly inadequate. A cap, shoes, and a table have a spirituality.
But Kim (Kim Taylor) and Bill (Ned Oldham), musicians, are in the process of separating.
of family history, but this time we just wanted to just delve into her psychology a bit more. Whether or not I agree with what they’ve done, I want that effort there—I want that sincerity.
The bad education I received at school was rectified when I went to the cinema.
I’ve had a similar experience with my grandmother, who’s also from Poland—she gave family photos and documents to the United States Holocaust Memorial Museum, and for various reasons a lot of my own family history is most accessible to me through public sources.
They were, like, in a grocery bag, and a little bit damaged—we used those letters as props. And I think what was paramount for them was for me and my family to be clothed, to be fed, for us to get together on certain occasions. At best it can add its voice to public outrage. “Jaws” is scary because of what you don’t see, not because of what you do. And I find it quite agreeable trying not to hurt anyone, but I have made this decision about the fish. It was fun for Deragh and I to explore that conflict together; there’s something about it that’s really funny sometimes—in editing the film, we were laughing at Deragh’s character a lot, trivializing her, but also at the same time we were kind of like, “Aw, man, that sucks!” [Laughs] “That hurts.” On one hand, we deeply relate with that character, and on the other hand we recognize how she can be a little bit of a brat sometimes. Four people are sitting around a table talking about baseball or whatever you like. And then you have to decide how and in which way you will hurt others. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director.
This is the t-shirt she will wear.
Laughter.
Putting an incorrect or non-functional catalyst in a chemical reaction is tantamount to not having one at all. Like, “Oh… but, doing?” And this is something that my grandmother didn’t like to talk about, by the way. The director was advised to pay attention to Gross for the role of fresher Abby, whose parents are on the verge of breaking, by Hannah’s teacher from the Tisch School.
No one’s ever asked us that before.
By the time of the third film they are in the real world, we see their social interactions and they are much more grounded. You need to follow the agenda of the film, not a personal agenda or that of the studio. October 6, 2019. If it can be written, or thought, it can be filmed.
Her mother, from Belfast, runs the Shaw Festival in Niagara-on-the-lake and her father is a member of the ensemble. And so they both became teachers. , which played this weekend and screens again tonight at. We were trying to shoot in order so that you could actually see Audrey going through these movements in as much real time as possible; it was important for me to support Deragh’s performance that way. When I wanted to pursue filmmaking, they were just trying to do their best and pass on what they knew best to me. It’s a pity about them, but also, if I pull up a fish, then it makes space for another fish who will be so happy to get more space. Campbell: I have one but I just wanted to give you a chance—. room. When I wanted to pursue filmmaking, they were just trying to do their best and pass on what they knew best to me. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.
We would set ourselves up, and again it was just her and I, and we were like, “Okay, how is she going to experience the letters today?” That first day was really about just looking at the letters—discovering them, how do they sound, how do they feel. I think that’s the aim of humankind, being a man, a woman, is to change things. As interpreted, and increasingly authored, by Campbell—now elevated to codirector of, for her role in the conception and editing of the film—Audrey by now is almost tearfully sincere, and translucently receptive to her own thoughts and others’ feelings—a humming vehicle for her two creators’ creative explorations.
We haven’t found any place or room for music in our movies. What I’m trying to say is that, yes, I’m Italian, and yes, I make films with Italian money, but personally, I’ve always been invested in the broader world of filmmaking. We would set ourselves up, and again it was just her and I, and we were like, “Okay, how is she going to experience the letters today?” That first day was really about just looking at the letters—discovering them, how do they sound, how do they feel. Still, they welcome … So I said, “Alright, I’ll do ‘Casino,'” and they said, “Well, gee, it’s the same as ‘Goodfellas. Campbell: Do you want to go first, Sofia?
And that’s so sad! As a whole, the events feel very scattered and it begs one to consider the point the filmmakers are trying to convey, if any. I’m interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away. Where there’s conflict between Audrey and the aunt—what can be the brattiness of our generation—is that, yeah, we have so much comfort and access to information. Bohdanowicz: Growing up with my grandparents, I didn’t feel connected with them—as a kid, I wanted to play Nintendo 64, I wanted all the very modern things.
You could say that Antonioni was looking directly at the mysteries of the soul.
We talk a lot about assimilation—how it’s this process that will happen over the course of several generations and aid in social cohesion whatever whatever whatever, but this film shows such a sense of the loss that goes along with that, through Audrey.
They posed mysteries–or, rather, the mystery of who we are, what we are, to each other, to ourselves, to time. Why can that be seen by kids, but just two grown up persons kissing and enjoying their bodies, that’s a problem? I think what’s pleasurable about the monologues is that they haven’t been made into perfectly articulated arguments yet—you’re really seeing someone in the process of trying to articulate themselves. But I also believe that you can’t just sit back and let destiny happen.