“You let grief sit in your films without sentimentalizing it. How do you direct actors toward that kind of restraint without losing emotional clarity?”
“You let grief sit in your films without sentimentalizing it. How do you direct actors toward that kind of restraint without losing emotional clarity?”
“You’ve talked a lot about subtext, but your films also rely heavily on rhythm. Do you think of scares the way a musician thinks about timing, or does the pacing come more intuitively once you see footage?”
“You’ve talked a lot about subtext, but your films also rely heavily on rhythm. Do you think of scares the way a musician thinks about timing, or does the pacing come more intuitively once you see footage?”
“You capture interiority through silence better than almost anyone. When you write, do you already know what those silent beats are, or do they reveal themselves once you’re working with the actors?”
“You capture interiority through silence better than almost anyone. When you write, do you already know what those silent beats are, or do they reveal themselves once you’re working with the actors?”
“In your films there’s always this tension between the vast scale of the world and the emotional isolation of the characters. When you’re blocking scenes, what usually comes first — the emotional geography or the physical geography?”
“In your films there’s always this tension between the vast scale of the world and the emotional isolation of the characters. When you’re blocking scenes, what usually comes first — the emotional geography or the physical geography?”