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  • Richard, there's an irony in having just a few minutes to talk to you about something

  • that took you 12 years to make.

  • On the logistics of it, so it's a movie that was 12 years in the making, and you met up

  • with Ellar, was it once a week every 12 years?

  • -No no. -Once a year.

  • Yeah we shot it roughly every year. We shoot every six months to 18 months, but we shot

  • 12 times over 12 years. And, but yeah we lived in the same town. You know, I would... He

  • was like a family member. I would kind of check in with him and see where he was at

  • developmentally, and my own daughter obviously is much more close. I always knew where they

  • were at any given time. You know, I could work up that year's material around kind of

  • where they were.

  • Now the heartbreaking thing, and the beautiful thing about the movie, and there's lots of

  • them, is the subtlety of the passing of time. And you've captured that in a way that I don't

  • think many filmmakers get to do. The way time passes is so subtle and so gentle, the little

  • differences. So that was very deliberate, that you didn't ever want to put 'One Year

  • Later' on the movie, did you?

  • No. If anything I've found that, that wouldn't work. The transitions were meant to be very

  • subtle and just observational. I didn't want the audience to be led in any way, other than

  • their own observation. Like you would notice the hair's different or someone's grown a

  • little or there's something new, you know, would kind of have the connotation of the

  • passing of time, but I wanted the film to feel like a memory, almost like you're older

  • looking back. You know, your memory doesn't... No one throws up a sign or tells you too much.

  • It just all kind of flows. So that's what I was going for.

  • And I like how you didn't try to make it overly sentimental. Like the sentiment is there,

  • and the melancholy is there because life just is melancholy.

  • Mmmhmm.

  • But there's trauma in his life, but you didn't make it too histrionic. He takes a lot of

  • this stuff in his stride, and I guess that's because children are resilient in that way.

  • Yeah, I wanted to represent that, and it's hard to say what's traumatic. It would be

  • hard to predict, like oh, something big happens, and it might be traumatic, but little things

  • are traumatic too. Moving, being the new kid in class. Is that as traumatic as...? Things

  • can be pretty dramatic when you're a kid. On the surface, a lot of the film doesn't

  • look that dramatic, but who knows? Some of it actually is.

  • Yeah, I also wanted touch on, in the UK, we don't move around all that much. Like if you

  • moved, you move an hour down the road. You're not ever too far from your family members.

  • There's kind of a wistfulness and a romance in your movie because moving across town in

  • America is such a big vast thing, and you capture that, the kind of that wistful feeling

  • of upping sticks, packing your bags and moving on.

  • Yeah and leaving friends behind. You don't really know that as a kid. Like will we see

  • him again? And you realise, oh we didn't. You know, those kids were gone from your life,

  • and that's how it felt when your parents get a new job and you move somewhere. So that

  • kind of up-rootedness, I wanted to depict that.

  • Now it lingered long in my memory. I only saw it this week, so it kind of like - it

  • stays with you. When you're making it, when you're editing it, how's the whole process

  • made you feel over the years?

  • It was great subject matter to hang out with for 12 years. I mean, you pick your subjects

  • carefully, but I knew there would be so much here, not only thinking about childhood because

  • we all have that, but also thinking about parenthood. There was so much there, and I

  • don't know. There were some deep wells there to always be drawing from I felt. So it was

  • a good life project. It was about life. It was about these relationships, about parents,

  • siblings, just life itself. So it felt like something I knew I would be there for 12 years with.

  • Are you the Ethan Hawke character?

  • Not really, no, no. I mean, I'm a little bit of everybody. Probably... Certainly, it was

  • an expression of kind of bumbling through... He's trying to figure out how to, you know,

  • be a dad, and I think every parent feels that way, like you feel like you know something,

  • and you feel like you really don't. So everybody kind of feels that way to some degree, but

  • yeah.

  • It's a testament to Ethan and Patricia that they're able to portray people who change,

  • but again it's that very little quiet differences as the years roll by. They just show signs

  • of maturity, the theme of responsibility comes up.

  • Always.

  • Quite a lot. How much of it do you feel like, did you push on them characters, or did you

  • let them develop? Did Patricia say okay, this is the kind of woman I think I'd like to be?

  • Yeah, no. You know, we talked about it. It was just this active collaboration of where

  • we felt that character was going, and we were always in agreement. We never had an argument.

  • It was always like well, here's where I see it, and we just kind of built on each other's

  • ideas. That's how I collaborate. You know, it is kind of... They both kind of come into

  • their own in their own way. You know, she professionally and academically. She's this

  • kind of great woman on one level. I think by the end, and he kind of accepts that responsibility.

  • It's a little sad. He's driving a muscle car, and he's got shades on. He's kind of this

  • cool dad, and by the end he's got the mini-van, the new kid and the moustache and the suit.

  • You know, it's like these subtle things and who knows about his own dreams for his life?

  • But you know, life gives you this much.

  • What do you want to be, Mason? What do you want to do?

Richard, there's an irony in having just a few minutes to talk to you about something


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    Hei Duncan Ng 發佈於 2021 年 01 月 14 日