Entreveus Belfort Interview_English
Keep a Tidy Soul
Par Franck le dimanche 25 novembre 2012, 14:44 - Journal du festival - Lien permanent Compétition internationale court métrage
Film de Joshua Moore. Etats-Unis, 2012. Durée : 11’.
Prochaine séance : Aujourd’hui à 15 h 30 salle 12
- Gagner sa vie sans perdre son âme - You write and realize only on women. Are they for you an inexhaustible source of inspiration?
Yes women are an inexhaustible source of inspiration for sure, but so are all genders really. It's true, my last three films have all had female leads and I guess I’ve been more interested lately in female perspectives. It’s also a very nice way for me to take things from my own life and look at them more objectively by changing the gender of my characters; changing shoes more or less.
- Why don't you write on men ? The evil to be teenager with "The Day of Adele", the ardour of the young adult finally free with « I think it's raining », the awareness of around thirty with " Keep has tidy soul "; are you brought on with these women ?
The film I’m working on next will actually feature two male characters in addition to the female lead, so I am looking forward to changing it up a bit. I do connect to all these women; after all, they are all characters I’ve created and they each represent many personal things about myself at different times of my life. I care about all of them deeply. They are all very internal people, as I am too. I’ve always admired the way male directors such as Bergman, Woody Allen, Cassavetes, and even Goddard to an extent, have been able to write fully realized female characters and I’ve strived to do the same. Often times when a man writes a female character she comes off as a projection, or a fantasy woman that the male writer has crafted as his perfect mate- I’m more interested in creating characters that have an emotional depth and share the same insecurities we can relate to. In “Keep A Tidy Soul,” Flyn really represents a time in my life where I was very complacent and needed a reminder to “wake up” so to speak and start being the person I really wanted to be. The film is very much about re-connecting with ourselves. This was something both Claire (Flyn) and I had both gone through recently.
- Women who have for common to do what they want, what they have choose to do. Generally, men are more concerned by this kind of behavior, no? The women undergo a stronger social pressure who very often prevent them from making really what they want, consciously or not moreover. What is your point of view?
I don’t think that’s necessarily true. At the present time, I believe young women, as well as young men, are equally in the process of self-discovery, and with that discovery come choices about choosing to do what you want to do verses what’s expected of you. I agree, woman have stronger social pressure, sure, but men have their own pressures as well. Societal pressures on femininity and masculinity are blurring more and more. That’s something I’ll be exploring more in my next film too. Flyn is a woman who has done everything expected of her and has excelled in life, but she’s lost the passion she once had; the pleasures she once felt, and she is a very strong willed character that has actually forgotten how to be strong. That’s her struggle in the film.
- Your three movies have an image, an aesthetic each time different and appropriate to your movie. Is it a choice for you to investigate each time new ways as a perpetual stylistic composition or do you still looking for your own style?
Thank you. Yes, each film has its own visual world, and those worlds come from who the character is- everything in my films from the production design, the costumes, the music, locations, all serve the characters. Though each film is a bit different esthetically, there is a common style present in each of them, which is my filmmaking voice. I tend to prefer long takes with very minimal camera set ups, and I don’t use a lot of wide shots or a musical score, and my characters are all very internal people struggling with themselves rather than outside forces. You might also notice I have fondness for record players, old books, and bathtubs.
- Why this retro side, that songs, that clothes, this black and white image for Keep A Tidy Soul?
The retro styles were used in my past two films to a certain extent, because I like how they give the film more of a timeless quality to them; they’re not era specific which always ages a film well, plus I just really like old stuff. “Keep A Tidy Soul” is definitely my most stylish film and it was designed that way because that is Flyn’s world, that’s the world she prefers. If you notice, there are never any other people in the frame with Flyn other than Mandelbrot. After I created the character and the more and more I thought about her, and the more I talked to Claire about her, I realized Flyn fit perfectly into the world of an existential French film from the 60s. In my last film, “I Think It’s Raining,” there’s a journal entry that the character Renata reads describing a preferred world that is in black and white with everyone well dressed and smoking cigarettes. It’s no wonder my next film “Keep A Tidy” is that world.
- What is your relationship with France?
Good question. I’ve been asking myself that for years! I’m not sure exactly, but I’ve loved French cinema since I was a kid, and many of my favorite films, actors, and directors are French. It has something to do with the examination of the internal struggle that I believe that French do so well in their cinema, and it’s a theme that resonates in my work as well. It’s also a beautiful language to hear.
- Do you feel that French people are wiser than Americans?
Ha! I’m sure Mandelbrot would agree with that.