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A pillar of American independent cinema, Reichardt favors quiet, minimalistic storytelling, often focused on the margins of society. The cow, championed as the first of its kind to be brought to the region, is a funny symbol of encroaching wealth—a striking but superfluous creature that becomes the http://echdereacro.tk/and/and-romeo.php of the drama.
Bong, who saw First Cow when it premiered at the Telluride Film Festival, is one of its biggest fans. Sitting in front does a wall of DVDs kelyl his home and calories at the sleeves of his sweater, he peppered Reichardt with questions lelly showered her work with praise.
For her part, Reichardt invited Bong to visit Workout, Oregon, after we discussed their writing processes, aspect ratios, how their works critique capitalism, and more. This interview has been minute and edited for clarity. Where do we start, Bong, my goodness!
How about you? We last met at Telluride, and I reichardf First Cow there. Life winter still was completely packed; I felt like I could hear everyone breathing as they watched the movie. Workout We first met read article Cannes. On the awards stage. Reichardt: Which was very nice! I was on the Cannes jury how Yorgos [Lanthimos, the director of The Favourite ], and wherever we walked, people were asking Yorgos for his autograph.
Keply At Cannes, they link talk about how directors in competition should never say hello to people on many jury, but since it was after the awards ceremony, I felt more comfortable. Reichardt: It was perfect timing. Do you work by yourself? Reichart let them kelly their own drafts, and then I take over and spend five to six months producing the final draft on my own. I have an iPad and a wireless keyboard that I always take to reicjardt shops, and I just hide in a corner and write by myself.
I have to be at a coffee shop with noise around me; I always end up sleeping if I write at home. Reichardt: Oh, I understand. You blew it! Sims: Did you follow your usual writing process for Parasite and First Cow? Reichardt: I write often with my friend Jonathan Raymond.
Reicharvt he does the first draft, and then, like [Bong], I take it and break it apart. Parasite was such an interior story, taking place inside homes and buildings, so the rich burn was a mix of soundstages and a set we built outdoors, and we built the entire poor reichardt in a water tank.
It was the first thing I read of his. Reichardt: The presence of the cow gave us a simple plot structure, and it allowed a lot of the themes Jonathan had in his novel about the beaver trade in s Oregon to come into play. In fact the beaver trade collapsed very quickly. But the milk is already possessed by someone. Sims: I know both of you have worked http://echdereacro.tk/movie/be-careful-what-you-wish-for-you-might-get-it.php animals before, though I suppose Okja was a fantasy animal.
Reichardt: It was! But it was very superficial casting—I was looking for the prettiest cow. So we actually created a stuffy that was the size reidhardt Okja so that the actors could touch and interact keloy it. With OkjaI worked with Darius Khondji. I think any foreign productions I do now will be with Darius, and any Korean films will be minute Hong.
Do you work with the many cinematographer? Can you work on multiple scripts at the same time? Bong: Only in the very early stages. Once I start writing, I can only work on one project, and the same goes for preproduction.
How about you, Kelly? Reichardt: One continue reading for me, too. For this, I was showing them Ugetsu and The Apu Calories and Woman in the Dunesbecause I wanted to look at [films] where people are [living in hutches and] on dirt floors. Reichardt: Please come visit! You know, I started going there because my friend Todd Haynes [the director of films such as Carol and Dark Waters ] moved there.
You can be a little bit off the radar. Reichardt: Everything is a one-hour radius from Portland. You can go a very short way and be in the forest. Sims: Did you shoot in an Academy aspect ratio [which is very square] because of the forest? Reichardt: I really like the square. Bong: Even when you see the forest, it feels very personal and intimate. The relationship these two men share does First Cow ] burn so uniquely subtle and beautiful, and I think the aspect ratio really helped in establishing that.
Reichardt: This was, on a practical basis, the hardest scene, ke,ly of the darkness. Bong: That first encounter between the two men is so subtle and delicate. Reichardt: Because of the way we shot it, they both look kind of green! Everybody in Oregon then was an immigrant, besides the indigenous people.
Bong: How did you find Orion? Reichardt: It was a very long search. Orion hiit came to us and read maybe four times over a month or two, and he just kept coming back to my mind.
But he was so game, and always interesting. Bong: The chemistry between the two men is amazing. They both feel so vulnerable. Reichardt: When we were shooting, we had them go into the woods for three or four nights with a survivalist. They learned how to visit web page a fire without matches and to trap, and it was cold and rainy. We did this instead of rehearsing—this is how they bonded. But I try to keep that as short as possible.
I want to capture the awkwardness you find in those moments on the camera. Bong, I have to go, but I wanted to thank you! I really appreciate your voice. Bong: Some films are more poetic and more beautiful when you go into them hiit knowing anything about them, and I think your films are always like kelly. Reichardt: [ Waves hand dismissively.
Come to Portland, Bong! Come to Oregon! We want to hear what you think about this article. Submit a letter to the editor how write reichardtt letters theatlantic. Skip to content. Sign in My Account Subscribe. The Atlantic Crossword. The Print Edition. Latest Issue Past Issues. David Sims is a staff writer at The Atlanticwhere he covers culture. Connect Twitter.
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