![]() Jing Boran and Tan Songyun starred in the urban love drama "Return". (Provided by iQIYI International Station) I’m shooting a film this summer and another one the summer after as an actor.The beautiful wedding photos of Jing Boran (left) and Tan Songyun in "The Way Back" were exposed. It takes a lot of time and a lot of energy and I don't want to wake up one day and feel, “Oh, I’ve made 18 films in 15 years and I feel like I’m 60” when I could have instead used that energy and youth trying to create with other artists who inspire me. It’s not because I don't want to tell stories any more, but because I find it harder and harder. I also want to act and exist in the eyes of other artists and work with other artists. I spent ten years trying to find myself through the criticism of others and I don't feel that necessity any more. A lot of them are understandable a lot of them are stupid. I get so many compliments and also so many hateful reviews. I’ve lived with the criticism of people for ten years now and Georgia O’Keeffe once said how she settled it for herself, how criticism and flattery go down the same drain, and that's basically how I feel. I wish I could tell you that I did it because I wanted to heal from the deep wounds of a film that had been badly received, but that's happened to me before. We shot in 48 days on 65 mm and it looks small, but it’s not so small. It was just a desire to shoot with friends, to be with friends and perhaps feel protected. So Matthias & Maxime is not a film to reconcile myself or to come to terms with something. I create with the actors I love and it was an incredible experience. I always stick with the people with whom I want to create. A lot of people think that I wanted to go back home, but I never left home. Donovan was competed and premiered in TIFF. I started writing it when I was shooting Boy Erased in Atlanta in 2017, a year before John F. XAVIER DOLAN: This movie is not in response to another one. Donovan, which did not go down well at the Toronto Film Festival. You've made a small French-language movie after a very big English-language movie, The Death and Life of John F. So when something like that happens it’s very discombobulating. In your early 20s you are exploring and finding yourself and by your late 20s you know yourself better. I wanted them to ask themselves these questions of identity and sexuality because I think it is not the same to question who you are, what you like, what you are made of and who you are attracted to in your late 20s as opposed to your early 20s. XAVIER DOLAN: They are friends of mine in their mid to late 20s. All the silences of life, all the hesitations of people who talk to each other and don't know what the other person is going to say, might feel real, but I often find them boring or artificial on screen.Ĭould you talk of the casting in the main group scenes? We rehearsed and I rewrote and we rehearsed and I rewrote, again and again, until we reached a point where we felt that the dialogue was fluid and naturalistic and real. They’re heavily scripted and the actors participate in the writing. ![]() I love long scenes with a lot of overlapping dialogue. But they’re not complex to act, they’re fun. XAVIER DOLAN: They’re very long scenes to shoot, sometimes over several days. Is it difficult to direct scenes with so many people talking? It looks very complex. It’s about my insecurities or my fears, which my friends in the past years have made me forget just by their presence. ![]() What he has on his face I feel I have inside of me. People are scared, they find it ugly and then I thought it would make Max more vulnerable. I realised that the attention and the indiscretion-the stare-is not so different from the one that I get. ![]() They noticed the mark before they recognised me so there was this sort of double take. When I had the birthmark I walked down the street in the prep and during the shoot and I suddenly realised how people looked at me. I have lived in the eye of people, grown in the eye of people, for the past ten years. You have to learn to live through the gaze of other people and that's something that I know. Usually when someone walks in with a birthmark it’s like they have this baggage and I tried to put myself in his position, thinking it must have been a life of stupid insults and constant scrutiny and attention from people. He is so comfortable with that group of young men that he forgets this huge scar on his face. They never look at it except the one time in the film when it happens and it is in my opinion quite cruel. XAVIER DOLAN: It was such a big mark and I thought it would stress the fact that his group of friends really accept him for who he is, as they never mention it.
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