Is willem dafoe gay movie#
In a 90 minute movie we keep that mindset. In our history of character arcs we go from Point A to Point A. You know we’re not big on character arcs. The bottom line here is that the movie’s 90 minutes so if it’s 1 day or 200 days, if we start in 800 BC and go 14,000 years in the future, you’re still looking at an approximately 85 minute framing. Going back even to “Go Go Tales”, that’s the same timeframe too. When we all start at the same place it’s not to say that everyone does everything, but if you allow for that it’s much more organic.Īt what point in the initial stages of the film’s production did it become evident that you would focus solely on the last day of Pasolini’s life, and that you were going to intersperse that with depictions of his late writing?įerrara: I think one film warps into another. The model for making traditional movies very much is: you have a screenplay, you have a director, then you cast it, then you get everyone there and you get them dressed in the clothes and everything’s nice but then when you get there it just doesn’t come together because people start from different places and they’re interested in different things. It sounds really prosaic and kind of obvious but it’s not. He can go deeper and I can go deeper because you don’t waste all this time trying to figure out what you’re doing. Abel understands, obviously, that if you give a performer a connection to what is going on then when it’s time to actually do the thing there’s an understanding. Well, those things are a little looser at the beginning and they’re still very strong identities and different responsibilities. You have these little different teams that have different separate jobs and then they come together and they try to make something. When you separate the writing from the rehearsal from the discussion from the research from the understanding…ĭafoe: A lot of people make films you know. “4:44 Last Day on Earth” he’s in every scene except for the moon shots. Especially in these films, he’s in every scene. And then we sit, and then we start going through it. And then we have a screenplay that he gets.
So he goes out in the world and he brings all of the experiences back with him. Because me and the guys, we don’t really get out there.
He goes out into the world and then he comes back and tells us what filmmaking is really like out there, outside of our little group of people. So once we choose the thing we know we want to do then we’re off to the races. I mean we gotta agree on what we’re going to do, then we can fight. Throughout the Q&A at last night’s screening you both said “ We wanted to make a film about Pasolini, we decided that this must be included, etc.”įerrara: For me as the director, really Willem’s the actor at this point.
My first question is about the genesis of the project and how much collaboration you two had with one another and with the screenwriter (Maurizio Braucci).
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